Alegant, Brian. 2014. “On ‘scuba diving,’ or the Advantages of a Less-is-More Approach.” Engaging Students: Essays in Music Pedagogy 2.
———. 2008. “Listen Up! Thoughts on iPods, Sonata Form, and Analysis Without the Score.” Journal of Music Theory Pedagogy 22: 149–76.
Allen, Theodore. 1994. The Invention of the White Race. London and New York: Verso.
Anderson, Myrdene. 1998. “Folklore, Folklife and Other Bootstrapping Traditions.” In High-Fives: A Trip to Semiotics, edited by Roberta Kevelson. New York: Peter Lang.
Arnheim, Rudolf. 1992. To the Rescue of Art: Twenty-Six Essays. Berkeley: University of California Press.
BaileyShea, Matt L. 2007. “Filleted Mignon: A New Recipe for Analysis and Recomposition.” Music Theory Online 13 (4).
Bain, Ken. 2004. What the Best College Teachers Do. Cambridge, MA: Harvard University Press.
Bali, Maha. 2014. “Critical Pedagogy: Intentions and Realities.” Hybrid Pedagogy, September 9.
Barkley, Elizabeth F. 2010. Student Engagement Techniques: A Handbook for College Faculty. San Francisco, CA: Jossey-Bass.
Bean, John C. 2001. Engaging Ideas: The Professor’s Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom. Second edition. Hoboken, NJ: Jossey-Bass.
Bourne, Janet. 2014. “CAT Got Your Tongue? Adapting Classroom Assessment Techniques (CATs) for the Music Classroom.” Engaging Students: Essays in Music Pedagogy 2.
Brackett, David. 2014. The Pop, Rock, and Soul Reader: Histories and Debates, Third Edition. New York: Oxford University Press.
Bribitzer-Stull, Matthew. 2003. “Contention in the Classroom: Encouraging Debate and Alternate Readings in the Undergraduate Theory Class.” Journal of Music Theory Pedagogy 17: 21–45.
Bruner, Jerome. 1990. Acts of Meaning. Cambridge, MA: Harvard University Press.
Burke, Kevin. 2014. “Roleplaying Music History: Honing General Education Skills via ‘Reacting to the Past.’” Journal of Music History Pedagogy 5 (1): 1-21.
Burkholder, J. Peter. 2015. “The Value of a Music History Survey.” Journal of Music History Pedagogy 5 (2): 57-63.
———. 2002. “Peer Learning in Music History Courses.” In Teaching Music History, edited by Mary Natvig, 205-223. Farnham, Surrey, England: Ashgate.
Burnham, Scott G. 2006. “Form.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 880-906. Cambridge: Cambridge University Press.
Burstein, L. Poundie. 2013. “Music Theory Pedagogy in the iPhone Generation.” Engaging Students: Essays in Music Pedagogy 1.
Campbell, Patricia Shehan, David Myers, and Ed Sarath. 2014. “Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors.” College Music Society Report of the Task Force on the Undergraduate Music Major.
Caplin, William E. 2013. Analyzing Classical Form: An Approach for the Classroom. New York: Oxford University Press.
———. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.
Charron, Claude. 1978. “Toward Transcription and Analysis of Inuit Throat-Games: Micro-Structure.” Ethnomusicology 22 (2), May: 245-59.
Chattah, Juan. 2015. “A Paradigm Shift in Undergraduate Music Theory Pedagogy.” College Music Symposium. Accessed July 21, 2015.
Chesterton, Gilbert Keith. 1997. Platitudes Undone: A Facsimile Edition of ‘Platitudes in the Making: Precepts & Advices for Gentlefolk’ by Holbrook Jackson. San Francisco: Ignatius Press.
Clague, Mark. 2011. “Publishing Student Work on the Web: The Living Music Project and the Imperatives of the New Literacy.” Journal of Music History Pedagogy 2 (1): 61-80.
Clendenning, Jane Piper and Elizabeth West Marvin. 2011. A Musician’s Guide to Theory and Analysis. New York: W.W. Norton and Company.
Colletti, Carla R. 2013. “The Silent Professor: Enhancing Student Engagement through the Conceptual Workshop.” Engaging Students: Essays in Music Pedagogy 1.
Cook, Nicholas. 2000. Music: A Very Short Introduction. Oxford: Oxford University Press.
———. 2006. “Epistemologies of Music Theory.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 78-105. Cambridge: Cambridge University Press.
Cornelius, Steven, and Mary Natvig. 2012. Music: A Social Experience. Upper Saddle River, NJ: Pearson.
Covach, John. 1997. “We Won’t Get Fooled Again: Rock Music and Musical Analysis.” In Keeping Score: Music, Disciplinarity, Culture, edited by David Schwarz, Anahid Kassabian, and Lawrence Siegel. Charlottesville: University Press of Virginia.
Crain, Timothy M. 2014. “Beyond Coverage in the Music History Classroom.” Journal of Music History Pedagogy 4 (2): 301–18.
Credé, Marcus, Sylvia G. Roch, and Urszula M. Kieszczynka. 2010. “Class Attendance in College: A Meta-Analytic Review of the Relationship of Class Attendance With Grades and Student Characteristics.” Review of Educational Research 80 (2): 272-295. doi: 10.3102/0034654310362998.
Croft, John. 2010. “The Spectral Legacy.” Journal of the Royal Musical Association 135 (1): 191–97.
Cross, Andrew, Mydhili Bayyapunedi, Edward Cutrell, Anant Agarwal, and William Thies. 2013. “TypeRighting: Combining the Benefits of Handwriting and Typeface in Online Educational Videos.” Proceedings of CHI 2013.
Diamond, Beverley. 2008. Native American Music in Eastern North America. New York: Oxford University Press.
Duker, Philip. 2013. “Capturing Thinking in Time — Using ‘Clickers’ to Measure Student Understanding.” Engaging Students: Essays in Music Pedagogy 1.
Duker, Philip, Anna Gawboy, Bryn Hughes, and Kris P. Shaffer. 2015. “Hacking the Music Theory Classroom: Standards-based Grading, Just-in-Time Teaching, and the Inverted Class.” Music Theory Online 21 (1).
Duker, Philip, Kris Shaffer, and Daniel Stevens. 2014. “Problem-Based Learning in Music: A Guide for Instructors.” Engaging Students: Essays in Music Pedagogy 2.
Elbow, Peter. 1973. Writing Without Teachers. New York: Oxford University Press.
Elliott, David. 1995. Music Matters: A Philosophy of Music Education. Oxford: Oxford University Press.
Emig, Janet. 1977. “Writing as a Mode of Learning.” College Composition and Communication 28 (2): 122-128.
Engebretsen, Nora A., and Per F. Broman. 2007. “Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Riemannian Approach.” Journal of Music Theory Pedagogy 21: 39–69.
Fain, Paul. 2014. “Experimenting With Aid.” Inside Higher Ed. Accessed June 15.
Falchikov, Nancy. 2001. Learning Together: Peer Tutoring in Higher Education. London: RoutledgeFalmer.
Feisst, Sabine. 1999. “Schoenberg and America.” In Schoenberg and His World, edited by Walter Frisch, 298–301. Princeton: Princeton University Press.
Ferenc, Anna. 2015. “Transforming Passive Receptivity of Knowledge into Deep Learning Experiences at the Undergraduate Level: An Example form Music Theory.” Collected Essays on Learning and Teaching 8: 55-77.
Fink, Robert. 2002. “Teaching Music History (After the End of History): ‘History Games’ for the Twentieth-Century Survey.” In Teaching Music History, edited by Mary Natvig, 43-65. Farnham, Surrey, England: Ashgate.
Finkel, Donald L. 2000. Teaching with Your Mouth Shut. Portsmouth, NH: Boynton/Cook Publishers.
Foucault, Michel. 1990. The History of Sexuality. Translated by Robert Hurley. 3 volumes. New York: Vintage Books.
Francis, Kimberly, and Travis Stimeling. 2013. “E-Publishing in the Undergraduate Music History Classroom: The University of Guelph Book Review Project.” Journal of Music History Pedagogy 4 (1): 1-22.
Freire, Paulo. 2011. Education for Critical Consciousness. New York: Continuum.
———. 1998. Pedagogy of Freedom: Ethics, Democracy, and Civic Courage. Translated by Patrick Clarke. New York: Rowman & Littlefield.
Friend, Chris. 2014. “Learning to Let Go: Listening to Students in Discussion.” Hybrid Pedagogy, September 11.
Gallagher, Chris W. 2014. “Disrupting the Game Changer: Remembering the History of Competency-Based Education.” Change 16.
Garcia, Luis-Manuel. 2005. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online 11 (4).
Gilroy, Paul. 1993. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press.
Goehr, Lydia. 2007. The Imaginary Museum of Musical Works : An Essay in the Philosophy of Music. Oxford: Oxford University Press.
Goodlad, Sinclair. 1998. Mentoring and Tutoring by Students. London: Kogan Page.
Gosden, Stephen. 2013. “The ‘Technology Tools’ Session at FlipCamp Music Theory.” Engaging Students: Essays in Music Pedagogy 1.
Gourgey, Annette F. 1998. “Metacognition in Basic Skills Instruction.” Instructional Science 26 (1-2): 81-96.
Graybill, Roger. 2014. “Thinking ‘In’ and ‘About’ Music: Implications for the Theory Curriculum,” Engaging Students: Essays in Music Pedagogy 2.
Green, Elizabeth. 2014a. Building a Better Teacher: How Teaching Works (and How to Teach It to Everyone). New York: W. W. Norton.
———. 2014b. “Why Do Americans Stink at Math?” New York Times Magazine (July 23).
Guo, Phillip J., Juho Kim, and Rob Rubin. 2014. “How Video Production Affects Student Engagement: An Empirical Study of MOOC Videos.” ACM Conference on Learning at Scale.
Haefeli, Sara. 2013. “Using Blogs for Better Student Writing Outcomes.” Journal of Music History Pedagogy 4 (1): 39-70.
Hainey, Thomas, Thomas Connolly, Liz Boyle, and Mark Stansfield. 2011. “Motivations for Playing Computer Games at Tertiary Education Level: A Comparison of Further Education and Higher Education Computing Students.” Proceedings of the European Conference on Games Based Learning 220-229.
Hall, Tom. 2009. Free Improvisation: A Practical Guide. Boston, MA: Bee Boy Press.
Hanch, Anna, Christopher Newman, Lisa Hillers, Thomas Schildhauer, Katherine McConachie, and Philipp Schmidt. 2015. “Video and Online Learning: Critical Reflections and Findings from the Field.” HIIG Discussion Paper Series No. 2015-02.
Hein, Ethan. 2014. “How Can Traditional Music Theory Mesh With Modern Pop Music?” Slate, February 17. Accessed June 15, 2015.
Hepokoski, James, and Warren Darcy. 2006. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth Century Sonata. New York: Oxford University Press.
Hills, Thomas T. 2015a. “Crowdsourcing Content Creation in the Classroom.” Journal of Computing in Higher Education 27 (1): 47–67.
———. 2015b. “The Future of Crowdsourcing in the Classroom.” Statistical Life, April 29.
Hoag, Melissa. 2013. “Hearing ‘What Might Have Been’: Using Recomposition to Foster Music Appreciation in the Theory Classroom.” Journal of Music Theory Pedagogy 27: 47–70.
hooks, bell. 1994. Teaching to Transgress: Education As The Practice of Freedom. New York: Routledge.
Huang, Wendy Hsin-Yuan, and Dilip Soman. 2013. “A Practitioner’s Guide to Gamification of Education.” In Behavioural Economics in Action. Toronto, Ontario: Rotman School of Management.
Hughes, Bryn. 2013. “Just-in-Time Teaching and Peer Instruction.” Engaging Students: Essays in Music Pedagogy 1.
Huron, David. 2007. Sweet Anticipation: Music and The Psychology of Expectation. Cambridge, Mass.: MIT Press.
Ilioudi, Christina, Michail N. Giannakos, and Konstantinos Corianopoulous. 2013. “Investigating Differences Among the Commonly Used Video Lecture Styles.” Proceedings of the Workshop on Analytics on Video-Based Learning (WAVe ’13): 21-26.
Jenkins, J. Daniel. forthcoming. “I Care If You Listen: Schoenberg’s ‘School of Criticism’ and the Role of the Amateur.” Journal of the Arnold Schönberg Center.
Johnson, Roger. 2009. “Critically Reflective Musicianship.” In Music Education For Changing Times: Guiding Visions For Practice, edited by Thomas A.Regelski, and J. Terry Gates, 17-26. New York: Springer.
Johnson, Shersten, 2014. “Recomposition as Low-stakes Analysis.” Engaging Students: Essays in Music Pedagogy 2.
Jones, Evan, Matthew Shaftel, with Juan Chattah. 2013. Aural Skills in Context. Oxford: Oxford University Press.
Karpinski, Gary. 2000. Aural Skills Acquisition. New York: Oxford University Press.
Kerstetter, Kathleen. 2011. “Pod-Logic: A Guide to Getting the Most out of Your iPod in the Music Classroom.” In Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube, edited by Nicole Biamonte, 19–28. Lanham, MD: Scarecrow Press, Inc.
King, Alison. 2002. “Structuring Peer Interaction to Promote High-Level Cognitive Processing.” Theory Into Practice 41 (1): 33-39.
Knyt, Erinn. 2014. “Student Performance as Pedagogy in the Music History Survey Course.” Engaging Students: Essays in Music Pedagogy 2.
———. 2013. “Rethinking the Music History Research Paper Assignment.” Journal of Music History Pedagogy 4 (1): 23-37.
Kulma, David, and Meghan Naxer. 2014. “Beyond Part Writing: Modernizing the Curriculum.” Engaging Students: Essays in Music Pedagogy 2.
Lampert, Magdalene. 2001. Teaching Problems and the Problems of Teaching. New Haven: Yale University Press.
Laqueur, Thomas Walter. 1990. Making Sex: Body and Gender from the Greeks to Freud. Cambridge, MA: Harvard University Press.
Larson, Steve. 2012. “Expressive Meaning and Musical Structure.” Music Theory Online 18 (3).
Lee, Joey J., and Christopher M. Hoadley. 2007. “Leveraging Identity to Make Learning Fun: Possible Selves and Experiential Learning in Massively Multiplayer Online Games.” Innovate: Journal of Online Education 3 (6).
Lehman, Frank. 2013a. “Transformational Analysis and the Representation of Genius in Film Music.” Music Theory Spectrum 35 (1): 1–22.
———. 2013b. “Hollywood Cadences: Music and the Structure of Cinematic Expectation.” Music Theory Online 19 (4).
Lowe, Melanie. 2015. “Rethinking the Undergraduate Music History Sequence in the Information Age.” Journal of Music History Pedagogy 5 (2): 65-71.
Lyman, Frank T. 1981. “The Responsive Classroom Discussion: The Inclusion of All Students.” In Mainstreaming Digest: A Collection of Faculty and Student Papers, edited by Audrey Springs Anderson, 109–13. College Park: University of Maryland.
MacLachlan, Heather. 2011. “Teaching Traditional Music Theory with Popular Songs: Pitch Structures.” In Pop-Culture Pedagogy in the Music Classroom: Teaching Tools from American Idol to YouTube, edited by Nicole Biamonte, 73–94. Lanham, MD: Scarecrow Press, Inc.
Maiello, James Vincent. 2013. “Toward an Extension of Regelski’s Praxial Philosophy of Music Education into Music History Pedagogy.” Journal of Music History Pedagogy 4 (1): 71-108.
Marcozzi, Rudy. 2009. Strategies and Patterns for Ear Training. Upper Saddle River, New Jersey: Pearson Prentice Hall.
Margulis, Elizabeth Hellmuth. 2014. On Repeat: How Music Plays the Mind. New York, NY: Oxford University Press.
Marissen, Michael. 1993. “J.S. Bach’s Brandenburg Concertos as a Meaningful Set.” The Musical Quarterly 77 (2): 193-235.
Marzano, R. J. (2015). “Assessment & Grading.” Marzano Research. Accessed July 17, 2015.
Marzano, R. J., and T. Heflebower. 2011. “Grades That Show What Students Know.” Educational Leadership: 34-39.
McClary, Susan. 2004. “Rap, Minimalism, and Structures of Time in Late Twentieth-Century Culture.” In Audio Culture: Readings in Modern Music, edited by Christoph Cox and Daniel Warner. New York: Continuum.
———. 1987. “The Blasphemy of Talking Politics During Bach Year.” In Music and Society: The Politics of Composition, Performance and Reception. Edited by Richard Leppert and Susan McClary, 13-62. Cambridge: Cambridge University Press.
———. 1986. “A Musical Dialectic from the Enlightenment: Mozart’s ‘Piano Concerto in G Major, K. 453.’” Cultural Critique 4: 129-69.
McGranahan, Carole. 2014. “What is Ethnography? Teaching Ethnographic Sensibilities without Fieldwork.” Teaching Anthropology 4: 23-36.
McManus, Laurie. 2014. “Playing by Ear: Listening Games in the Music History Classroom.” Journal of Music History Pedagogy 5 (1): 23-39.
Mekler, Elisa D., Florian Bruhlmann, Klaus Opwis, and Alexandre N. Tuch. 2013. “Do Points, Levels and Leaderboards Harm Intrinsic Motivation?: An Empirical Analysis of Common Gamification Elements.” Proceedings of the First International Conference on Gameful Design, Research, and Applications: 66-73.
Meyer, Leonard B. 1984. “Music and Ideology in the Nineteenth Century.” The Tanner Lectures on Human Values.
Michaelsen, Garrett. 2014. “Improvising to Learn/Learning to Improvise: Designing Scaffolded Group Improvisations for the Music Theory Classroom.” Engaging Students: Essays in Music Pedagogy 2.
Miyake, Jan. 2014. “A Mini-Flip of the Music Theory Classroom.” Engaging Students: Essays in Music Pedagogy 2.
Monelle, Raymond. 2000. The Sense of Music: Semiotic Essays. Princeton, N.J.: Princeton University Press.
———. 2006. The Musical Topic: Hunt, Military and Pastoral. Musical Meaning and Interpretation. Bloomington: Indiana University Press.
Moon, Jenny. 2000. Reflection in Learning & Professional Development: Theory and Practice. London: Kogan Page.
Moore, Robin D. 2010. Music in the Hispanic Caribbean: Experiencing Music, Expressing Culture. New York: Oxford University Press.
Moore, Sarah, Claire Armstrong, and Jill Pearson. 2008. “Lecture Absenteeism Among Students in Higher Education: A Valuable Route to Understanding Student Motivation.” Journal of Higher Education Policy & Management 30 (1): 15-24. doi: 10.1080/13600800701457848.
Morrison, Charles D. 2009. “Music Listening as Music Making,” The Journal of Aesthetic Education 43 (1): 77-91.
Moseley, Brian. 2013. “Using Criterion-Referenced Assessment to Encourage Active Analytical Listening.” Engaging Students: Essays in Music Pedagogy 2.
———. 2012. “Using Spotify in the Aural Skills Classroom.” Personal Blog, October 8. Accessed June 1, 2015.
Mulryan-Kyne, Catherine. 2010. “Teaching Large Classes At College and University Level: Challenges and Opportunities.” Teaching in Higher Education 15 (2), April: 175-85.
Murphy, Scott. 2015. “Transformational Theory and The Analysis of Film Music.” In The Oxford Handbook of Film Music Studies, edited by David Neumeyer. Oxford: Oxford University Press.
Natvig, Mary. 2012. “Classroom Activities.” In The Music History Classroom, edited by James A. Davis, 15-30. Farnham, Surrey, England: Ashgate.
Nelson, Lans. 2013. “A Certain Slant of Light, Typographically Speaking.” Blog post. Accessed June 6, 2010.
O’Hara, William. 2015. “Making Up for Snow Days: An Experiment in Responsive Video.” The Bok Blog. Accessed August 18, 2015.
Omi, Michael, and Howard Winant. 1994. Racial Formation in the United States: From the 1960s to the 1990s. New York: Routledge.
Overbaugh, Richard C., and Lynn Schultz. “Bloom’s Taxonomy.” Accessed July 19, 2014.
Palisca, Claude V., and Ian D. Bent. “Theory, Theorists.” Grove Music Online. Oxford Music Online. Accessed June 5, 2015.
Peebles, Crystal. 2013. “Using Audacity to Participate in Active Music Listening.” Engaging Students: Essays in Music Pedagogy 1.
Phillips, Joel, Paul Murphy, Elizabeth West Marvin, and Jane Piper Clendinning. 2011. The Musician’s Guide to Aural Skills. Second edition. New York: W.W. Norton.
Pike, Pamela. 2015. “The Ninth Semester: Preparing Undergraduates to Function as Professional Musicians in the 21st Century.” The College Music Symposium 55 (June).
Quaglia, Bruce W. 2015. “Planning for Student Variability: Universal Design for Learning in the Music Theory Classroom and Curriculum.” Music Theory Online 21 (1).
Rahn, Jay and James R. McKay. “The Guide-Tone Method: An Approach to Harmonic Dictation.” Journal of Music Theory Pedagogy 2 (1): 101-11.
Rehding, Alexander. 2003. Hugo Riemann and The Birth of Modern Musical Thought. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press.
Rogers, Michael. 2004. Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies. Carbondale, Illinois: Southern Illinois University Press.
Rigby, Scott, and Richard Ryan. 2007. “Rethinking Carrots: A New Method for Measuring What Players Find Most Rewarding and Motivating About Your Game.” Gamasutra. Accessed July 2, 2015.
Roig-Francolí, Miguel A. 2011. Harmony in Context. Second edition. New York: McGraw-Hill.
Roust, Colin. 2013. “Creating Illusions: Practical Approaches to Teaching ‘Added Value’ in Audiovisual Artworks.” Engaging Students: Essays in Music Pedagogy 1.
Russell, Bertrand. 2009. The Basic Writings of Bertrand Russell. New York: Routledge.
Ryan, Mary-Laure. 2004. “Multivariant Narratives,” In A Companion to Digital Humanities, edited by Susan Schreibman, Ray Siemens, and John Unsworth. Malden, MA: Blackwell.
Salley, Keith. 2012. “On Fostering Critical Thinking in the Music Theory Classroom through Comparative Analysis and Debate.” Dutch Journal of Music Theory 17 (1): 46–54.
Saul, Mark, ed. 2015. “Response to the Elizabeth Green Article.” Notices of the American Mathematical Society 62 (5): 508–14.
Saxe, G. B. 1988. “Candy Selling and Math Learning.” Educational Researcher 17 (6): 14-21.
Schoenberg, Arnold. 2006. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Edited and translated with a Commentary by Patricia Carpenter and Severine Neff. Bloomington: Indiana University Press.
———. 1964. Letters. Edited by Erwin Stein. Translated by Eithne Wilkins and Ernst Kaiser. London: Faber.
Schubert, Peter. 2014. “Teaching Music Analysis through Improvisation.” Engaging Students: Essays in Music Pedagogy 2.
———. 2012a. “The Story of ‘See what an ass I am.’” YouTube. Accessed June 11, 2015.
———. 2012b. “‘See what an ass I am’ Improvisation #1.” YouTube. Accessed June 11, 2015.
———. 2012c. “‘See what an ass I am’ Improvisation #2.” YouTube. Accessed June 11, 2015.
———. 2012d. “‘See what an ass I am’ Improvisation #3.” YouTube. Accessed June 11, 2015.
———. 2011. “Global Perspectives on Music Theory Pedagogy: Thinking in Music.” Journal of Music Theory Pedagogy 25: 211–234.
Seabrook, John. 2001. Nobrow: The Culture of Marketing, the Marketing of Culture. New York: Vintage.
Seaton, Douglas. 2015. “Reconsidering Undergraduate Music History: Some Introductory Thoughts.” Journal of Music History Pedagogy 5 (2): 53-56.
Shadle, Douglas. 2012. “Nothing Ordinary About It: The Mass Proper as Early Music Jigsaw Puzzle.” Journal of Music History Pedagogy 3 (1): 1-37.
Shaffer, Kris. 2015. “Homework is a Social Justice Issue.” Hybrid Pedagogy, May 19.
———. 2014a. “Assessing Problem-based Learning.” Engaging Students: Essays in Music Pedagogy 2.
———. 2014b. “Student-Centered Curriculum.” Blog post. Accessed June 5, 2015.
———. 2013a. “The Basic Flip.” Engaging Students: Essays in Music Pedagogy 1.
———. 2013b. “Inquiry-Based Learning.” Engaging Students: Essays in Music Pedagogy 1.
———. 2012. “Video Grading for Transcription and Arranging Projects.” Blog Post. Accessed August 18, 2015.
Shaffer, Kris, and Bryn Hughes. 2013. “Flipping the Classroom: Three Methods.” Engaging Students: Essays in Music Pedagogy 1.
Shepherd, John. 1994. “Music, Culture and Interdisciplinarity: Reflections on Relationships.” Popular Music 13 (2): 127–41.
Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England.
Smith, C. Veronica, and LeeAnn Cardaciotto. 2011. “Is Active Learning like Broccoli? Student Perceptions of Active Learning in Large Lecture Classes.” Journal of the Scholarship of Teaching and Learning 11 (1), January: 53-61.
Snodgrass, Jennifer. 2013. “Undergraduate Learning and Teaching ‘In The Trenches’: The Development of a Peer Run Music Tutoring Center.” Music Theory Pedagogy Online 1.
Snyder, Bob. 2000. Music and Memory: An Introduction. Cambridge, Mass: MIT Press.
Sousa, David A. 2006. How the Brain Learns. Third edition. Thousand Oaks, CA: Corwin Press.
Stephan-Robinson, Anna. 2014. “Enhanced Podcasts as a Tool for the Academic Music Classroom.” Engaging Students: Essays in Music Pedagogy 2.
Stevens, Daniel B. 2013. “Symphonic Hearing: Listening as Active Participation.” Paper presented at the annual meeting of Music Theory Midwest, Norman, Oklahoma, April 26–27.
Stewart, Mary. 2014. “Designing for Emergence: The Role of the Instructor in Student-centered Learning.” Hybrid Pedagogy, August 21.
Stommel, Jesse. 2014. “Digital Pedagogy is About Breaking Stuff: Toward a Critical Digital Humanities Pedagogy.” Slide Presentation. Accessed June 10, 2015.
———. 2013. “The Digital Humanities is About Breaking Stuff.” Hybrid Pedagogy, September 2.
Sturgis, Chris, and Susan Patrick. 2010. “When Success is the Only Option: Designing Competency-Based Pathways for Next Generation Learning.” Nellie Mae Education Foundation. Accessed August 17, 2015.
Sutton-Smith, Brian. 1997. The Ambiguity of Play. Cambridge, MA: Harvard University Press.
Svicarovich, J. 2008. “Taking Promising High School Practices to Scale: Challenges for Oregon in Service Delivery and Governance.” In Oregon Education Roundtable, edited by J. Kirk. Oregon Community Foundation.
Taruskin, Richard. 2005. The Oxford History of Western Music. Volume 2. Oxford: Oxford University Press.
Taylor, James S. 1998. “Poetic Knowledge: The Recovery of Education.” Albany: State University of New York Press.
VanHandel, Leigh. 2012. “What Can Music Theory Pedagogy Learn from Mathematics Pedagogy?” Journal of Music Theory Pedagogy 26: 191–213.
Werback, K. PBL. Gamification. Accessed July 17, 2015.
Whitehead, Alfred North. 1929. “The Aims of Education and Other Essays.” London: William & Norgate.
Whitman, Neal A. 1988. Peer Teaching: To Teach is to Learn Twice. College Station, TX: Association for the Study of Higher Education.
Wu, Hung-Hsi. 2014. “Building Better Mathematics Teachers.” Accessed August 18, 2015.
Wu, Michael. 2012. “Gamification 101: The Psychology of Motivation.” Science of Social, July 2.
Yang, Sandra Sedman. 2012. “Singing Gesualdo: Rules of Engagement in the Music History Classroom.” Journal of Music History Pedagogy 3 (1): 39-55.
Yates, Cliff. 2007. “Writing like Writers in the Classroom: Free Writing and Formal Constraint.” English in Education 41 (3).
Zbikowski, Lawrence M., and Charles K. Long. 1994. “Cooperative Learning in the Music Theory Classroom.” Journal of Music Theory Pedagogy 8: 135–57.
Zoller, Uri. 1993. “Are Lecture and Learning Compatible? Maybe for LOCS: Unlikely for HOCS.” Journal of Chemical Education 70 (3): 195-197.
2015. “Research Spotlight on Peer Tutoring.” National Education Association. Accessed May 27, 2015.