The main premise of this book is that a single best method for teaching music theory probably does not exist; most theory programes and individual teaching methods are a compromise among many possible approaches. In emphasizing one aspect of a course or a program over another, something else will necessarily be slighted or omitted. Good teaching, then, to a large extent, consists of recognizing the strengths and weaknesses – the values and limitations – of a wide variety of approaches and in being able to blend the greatest number of desirable features while compensating for inevitable deficiencies. An analysis of the pros and cons of various pedagogical orientations along with an understanding of a individual teaching situation become vital elements in constructing and improving the level of college theory teaching.
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