Rhythmic Theory Pedagogy, Ways of Knowing, and Experiential Learning

Abstract

This article proposes an approach to rhythmic theory pedagogy that foregrounds the intersection of performance, creation, and analysis. Daphne Leong’s recent work on this intersection uses the German verbs wissen (knowing that), können (knowing how), and kennen (knowing of) to describe the different kinds of knowledge generated and utilized by theorists and performers. I use Leong’s theory to identify a mismatch, or gap, between what undergraduate students learn about rhythm in the theory classroom and what their practical needs are as music majors—a plurality of whom specialize in performance. As a means of remedying this mismatch, I use David Kolb’s framework of experiential learning spaces to situate strategies for integrating analysis and performance in undergraduate theory pedagogy. Focusing primarily on post-tonal and non-Eurocentric repertoires and traditions, I argue that mobilizing this framework in the classroom encourages rumination on the utility of analysis for performance, and on the informative role that performance issues can assume in theory pedagogy. This approach empowers students to identify means of applying their theory knowledge beyond the classroom.