Allyn Phelps

faculty

Allyn Phelps he/him/his

Assistant Teaching Professor

Music

Contact

508-999-8568

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College of Visual & Performing Arts 204D

Education

2024Boston UniversityDoctor of Musical Arts
2012Boston UniversityMaster of Music
2007University of Massachusetts AmherstBachelor of Music

Teaching

  • MUS 316: Teaching Children
  • MUS 317: Secondary Methods
  • MUS 414: Student Teaching Practicum
  • MUS 165: Class Piano
  • MUS 214: Vocal Methods

Teaching

Programs

Teaching

Courses

Introduction to digital music notation software and music theory fundamentals. The course will include the setup and use of notation software and MIDI technology for the purposes of note entry and playback of scores. Elements of music fundamentals will be integrated into the course design to better prepare students for subsequent music theory and skills courses. The topics of music fundamentals (such as notation of pitch and rhythm, scales, intervals, triads, and Seventh Chords) and skills (solfege singing, rhythm performance, and conducting) will be introduced and reinforced through active music-making and the practice of digital notation. 

Upper levels are continuation courses requiring permission of the instructor Instruction in piano for the beginning student. No prior musical knowledge is necessary. An electronic piano laboratory will provide the setting for class instruction. Harmonic and melodic improvisation will be pursued as well as the study of keyboard skills and appropriate performance literature

Second class in instruction in piano for the beginning student.  An electronic piano laboratory will provide the setting for class instruction. Harmonic and melodic improvisation will be pursued as well as the study of keyboard skills and appropriate performance literature.

Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work.  Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.

Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work.  Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.

Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work.  Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.

Second of a four-course sequence presenting foundational concepts and skills in music theory, ear-training, and keyboard work.  Comprehensive musicianship II explores the construction, functionality, and analysis of diatonic harmony (especially the Dominant Seventh and Leading-Tone Seventh chords), cadences, nonchord tones, and melodic organization. Four-voice harmonic progressions and the principles of voice leading will also be introduced. A combination of written exercises, sight-singing, ear-training and keyboard work will be utilized enhance students' abilities to write, hear and perform music.

Third class in instruction in piano for the beginning student. An electronic piano laboratory will provide the setting for class instruction. Harmonic and melodic improvisation will be pursued as well as the study of keyboard skills and appropriate performance literature.

Fourth class in instruction in piano for the beginning student.  An electronic piano laboratory will provide the setting for class instruction. Harmonic and melodic improvisation will be pursued as well as the study of keyboard skills and appropriate performance literature.

Second of a four-course sequence presenting foundational concepts and skills in music education needed for an initial music teaching license in Massachusetts. Students will critically engage with foundational ideologies and methods in the context of elementary music, secondary general music, and ensemble instruction. Further, students will analyze national, state, and district-based standards, begin developing evidence-based music-teaching practices, and explore current thought and practice on anti-racist, culturally sustaining, social and emotional, accessible, and inclusive pedagogies. Twenty hours of observation in school or community-based music education are required. This course is for music majors only. Non-majors may be considered upon instructor permission.

Research

Research interests

  • Self-directed musical learning
  • Anti-racism and deconstructing whiteness in music classrooms

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