Reviewed by Dorothy PayneWith his opening assertion that "defining music theory is almost impossible" (p. 3), Michael Rogers sets the stage for his important and in the unabashedly subjective eyes of this reviewer highly successful attempt to synthesize the host of traditions, techniques, and trials associated with the teaching of music theory. Those who have felt at home in the undergraduate theory classroom, but who have found it difficult to distill their experience into a meaningful pedagogy course, will find this a major contribution, offering as it does a splendid outline and text for such a course. Not only does the book offer a wealth of suggestions for the first-time teacher; even the battlescarred veteran who has, by trial and often painful error, arrived at a successful modus operandi, will find reminders, justifications, new ideas, and perhaps most rewarding-recognition of a kindred pedagogical spirit. Perhaps the most hopedfor goal should be that of bringing the book to the attention of the bright, young graduate theorist who, typically immersed in the conundrums of set theory, views the teaching of undergraduate musicianship as, at best, the source of lunch money and, at worst, a tedious and totally unnecessary chore which could far more effectively be performed by a computer.The topics addressed are those normally clustered (often squeezed elbow-to-elbow) under the "Music Theory" umbrella in the undergraduate curriculum. The book consists of a very manageable 177 pages of text, and is organized in three large sections, each of which is further divided into smaller subsections. The first part, designated "Background," seeks to define the discipline, placing it in historical context and pointing out ways in which trends have altered both teaching approaches and philosophical goals of the subject (integration vs. separa-I am not so interested in recommending particular philosophies as I am in providing a background for current or prospective teachers to
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