Revolutionizing Music Theory Education: Personalized Approaches for Modern Musicians

Introduction to Creative Music Theory

The traditional approach to music theory is evolving, and the old methods are increasingly seen as outdated. Most curricula are lengthy and cumbersome, taking years to master. In contrast, a modern and innovative approach, often referred to as 'Downhill Music Theory,' can get musicians to an expert level in days or weeks, significantly accelerating their journey to proficiency.

One key aspect of this creative music theory is right-to-left chord construction on a keyboard. Starting with any key as the root, the fifth key down is the fifth of the root's chord. The third key down from that fifth is the third, and the second key down from the third is the second, also known as the ninth. The dominant seventh is always the second key down from the root. This technique allows for a much faster and intuitive understanding of chord construction compared to the traditional left-to-right method.

The Purpose of Creative Music Theory

Central to this approach is the goal of minimizing the interference between the creative process in the brain and the execution through the physical instrument. It focuses on topics such as haptic perception, brain processing efficiency, and other neuroscientific principles to enhance the learning experience and performance of musicians.

While I couldn't fully articulate the details of a book I started writing on this subject, the core idea is to make the transition from brain to instrument as seamless as possible. This involves understanding how the brain processes musical information and using this knowledge to design instructional methods that align with these processes.

Teaching a Personalized Music Theory Course

One of the most rewarding experiences I had was teaching a course on World Music at Washington State University in 1990. Back then, there was no specific course on World Music, and with a significant push for diversity in the curriculum, I was given the chance to design a course based on student interests. It was truly revolutionary.

I started the course by diving into reggae, using Bob Marley's 'Buffalo Soldier' to cover a wide range of topics including harmonic ratios, rhythm, and the roots of the anhemitonic pentatonic scale. This made it intuitive and engaging for students.

For music majors, I structured the course into three main modules:

Shamans and Bards: Examining the roles of early musicians and dancers, including shamanic traditions and the significance of bards in preserving and performing cultural memories. Modal Improvisation: Focusing on the improvisational systems of the Mediterranean, Central Asia, and South Asia, and encouraging students to explore their own improvisational interests. Technology and Documentation: Providing an opportunity for students to document and explore the 'worlds' of music, including their personal, regional, and global contexts, and examining the impact of technology and the music industry on their experiences.

Each module required students to engage deeply with the material through journals and research projects. This approach not only challenged the faculty but also transformed many students, leading to some heated debates about cultural and religious sensitivities.

Despite the success of these innovative teaching methods, my approach was ultimately met with resistance. The faculty at the university were uncomfortable with the focus on self-expression and the integration of spiritual and cultural practices into their curriculum. Eventually, I was terminated from the department after 15 years of teaching.

While I am proud of the transformative experiences I created for my students, the lasting lesson is that innovation in music education should be championed, as it has the potential to profoundly impact both the students and the broader music community.