Early Music EnsembleLocation: DGH 282 (DGH 282)
Lsns I Non Maj Keybd
Lsns I Maj 1 Keybd
Lsns I Maj 3 Keybd
Lsns II Non Maj Keybd
Lsns II Maj 1 Keybd
Lsns II Maj 3 Keybd
Lsns III Non Maj Keybd
Lsns III Maj 1 Keybd
Lsns III Maj 3 Keybd
Early Music EnsembleLocation: DGH 282 (DGH 282)
Lsns IV Non Maj Keybd
Lsns IV Maj 1 Keybd
Lsns IV Maj 3 Keybd
Adv Lessons Nondegree
Adv Lessons Major 1
Secondary Lessons Maj I
Early Music Ens GradLocation: DGH 282 (DGH 282)
Performance Practice ILocation: DGH 400 (DGH 400)
- The International Keyboard Collaborative Arts Society . 09/01/2022 - present. Position : Member.
- College of Examiners, Royal College of Music, Canada & USA. 08/31/2021 - present. Position : Adjudicator.
- Utah Music Teachers Association. 01/01/2021 - 12/31/2021. Position : NCTM, 25-Year Member, Adjudicator.
- Music Teachers National Association. Nationally Certified Teacher (NCTM). 01/01/2019 - 12/31/2019. Position : Member & Adjudicator.
- Music Teachers National Association. Member and Nationally Certified Teacher (NCTM). 01/01/2018 - 12/31/2018. Position : Member and adjudicator.
- National Federation of Music Clubs. 01/01/2018 - 12/31/2018. Position : Member and adjudicator.
- Music Teachers National Association. Member and Nationally Certified Teacher (NCTM). 01/01/2017 - 12/31/2017. Position : Member and adjudicator.
- National Federation of Music Clubs. 01/01/2017 - 12/31/2017. Position : Member and adjudicator.
- Music Teachers National Association. 01/01/2016 - 12/31/2016. Position : Member and Nationally Certified Teacher (NCTM).
As an undergraduate music theory and musicianship instructor, I conceptualize musical
learning from the student's perspective as the gaining of a set of practical and useful
musical skills. From this vantage point it becomes clear to me that my job as an
instructor to freshmen and sophomores is to not only teach skills that are relevant and
meaningful, but also to continually point out that these basic skills are universally
important across the spectrum of all different types of musical occupations that they
may choose to pursue. I have learned that my students have better knowledge
retention rates when I structure my theory classes to have a reasonable amount of
teacher lecturing with more student participation and interaction. My goal for my
undergraduate students is to teach them how to develop their critical thinking and
problem-solving skills. I want them to know how music is organized and composed,
from the smallest of elements up to large-scale forms. I especially want them to
understand why this knowledge is critical to their own performance and teaching, and
so in my lectures I always link this directly to how it can help them in their own live
With the doctoral students, my role in the teaching and learning process is somewhat
different. These students are already experienced performers and scholars, and several
of them are already working professionally as music professors at other institutions
while finishing their doctoral degree program at the U. of U. Nearly all of them would
like to pursue a career in academia and/or performing. With this in mind, every
semester I provide each student with several opportunities to lead the class in a
discussion of an assigned topic. The final project for the semester requires them to
present a 30-minute polished lecture/performance in front of their peers. They also
must write a very substantial research paper as part of this final project. My goal in the
assigning this final assignment (performance + research paper) is specifically geared to
help DMA students prepare to write their doctoral theses and present their final DMA
In order to achieve these goals, I use a very interactive pedagogical teaching approach
in all of my classes, particularly in the Aural Skills and Musicianship courses. I make it a
priority to foster a safe and supportive learning environment, a place where students
feel free to ask questions and offer their opinions. I use the "flipped" classroom
approach to teaching and learning in my MUSC 3540 (Form and Analysis) and MUSC
7210/11 (Doctoral Performance Practice) classes. This technique requires that students
complete reading assignments before coming to class, thus reducing the amount of
lecturing. It also frees up more time for critical thinking, in-depth class discussion, and
Music Theory I
The course begins with a brief review of fundamentals and then moves on to species counterpoint (1st - and 2nd-species), basic four-part writing, and an introduction to tonal syntax.
Music Theory II
The course begins with a study of the remaining species of counterpoint (3rd-, 4th- & mixed-species). It then moves on to the study of traditional diatonic harmony through four-part writing using figured bass, unfigured bass, melody harmonization and model composition. The course also includes analysis of excerpts from the music literature of the 18th and 19th centuries.
This aural-skills course provides further development of sight-singing and dictation skills. The content of this course is coordinated with the material introduced in Music Theory I (Musc. 1110)
This aural-skills course provides further development of sight-singing and dictation skills. The content of this course is coordinated with the material introduced in Music Theory II (MUSC 1120).
This aural-skills course provides intensive development of chromatic sight-singing and dictation skills. The content of this course is coordinated with the material introduced in Music Theory III (MUSC 2110).
This aural-skills course provides further development & practice of sight-singing and diction skills. There are also exercises in hearing form to complement the material presented in Form & Analysis (MUSC 3540).
Form and Analysis
The course provides an introduction to the common musical forms of 18th- & 19th-century literature. Topics include small musical structures such as sentences & various periods, and larger structure such as binary forms, variations, rondo, ternary forms & sonata form. The course also introduces methods for representing musical forms such as formal diagrams and hierarchical outlines.
Doctoral Performance Practice I
Study of sources and materials specific to performance practices in music prior to 1750.
Doctoral Performance Practice II
Study of sources and materials specific to performance practices in music from 1750-1900.
- UNIVERSITY RESEARCH GRANT - PIETRO CASTRUCCI World Premier Recording and Scholarly Video & Edition Project, funded by a University Research Grant (May 2021-June 2022). Project Lead: Pamela Palmer Jones. Collaborators: Gerald Elias, Noriko Kishi. University Research Grant 05/10/2021 - 06/30/2022. Total Budget: $5,100.00.
- DEE GRANT Award with Christopher O'Riley. Project Lead: Vedrana Subotic. Collaborators: Pamela Jones. Dee Grant 03/10/2021 - 03/27/2022. Total Budget: $10,000.00.
- UNIVERSITY TEACHING GRANT - Historical Performance Practice Pedagogical Videos Recording Project, funded by University Teaching Grant (Nov. 2020-2021) . Project Lead: Pamela Palmer Jones. University Teaching Grant (UTC) 01/01/2021 - 12/31/2021. Total Budget: $3,500.00.
- Performance Practice Videos for MUSC 7210/11 Doctoral Seminar & for MTNA. Project Lead: Dr. Pamela Jones. 07/02/2018 - 08/24/2018. Total Budget: $0.00.
- Dee Grant: Dr. Kenneth Drake, Fortepianist & Beethoven Scholar, with Jun-Hee Han. Project Lead: Dr. Pamela Jones. Dee Grant 03/01/2018 - 03/30/2019. Total Budget: $4,744.40.
- Early Music Ensemble Harpsichord Instructor (solo and continuo training). My small group consisted of three students for Spring 2019 and four students for Fall 2019 Semester, including graduate student Yuhuan Xu and several undergraduate students. We alternated one-on-one lessons with small group teaching for this course, 2 hours per Week. 08/19/2019 - 12/06/2019