Robert Glarner

Focus and Philosophy: My area of expertise is Music Theory here at Radford University. My basic philosophy in my teaching is that all teachers confront the problem of making the subject interesting to the students. Any introductory music course (i.e. fundamentals, theory, music appreciation) can be particularly tedious and quite uninspiring which results in a large percentage of students losing interest rather quickly. As higher educational institutions around the country often require several semesters of theory, this provides ample opportunity to exponentially elevate one's abhorrence of the subject! To communicate the basics of music while motivating and inspiring the student to want to learn more theory is a challenge that only a few have overcome.

Background: My background includes over 40 years of undergraduate and graduate level teaching experience in all aspects of music. As a result, I possess a combination of classroom experience, research interests, and practical musicianship. I have extensive pedagogical abilities in a variety of areas, coupled with my years as an accomplished composer and recitalist allowed me to transcend the “one-dimensional” status that is commonly encountered with a music theory teacher.

Teaching: I tend to teach all the Music Theory curriculum for the music majors. This encompasses a four-semester sequence that includes the fundamentals, diatonic, and chromatic harmony. My general approach to every class is thus: unlike those professors whose methods have become routine and predictable, I sincerely enjoy finding new ways to convey my knowledge of the subject every semester. Innovative approaches, utilization of technology, an eclectic array of live music performed by me or the students, and an inspirational personality are all integrated throughout every course I teach. There are no ’wallflowers’ to be found in my classrooms.

Research/Scholarship/Creative: The research topics that are of special interest to me are profuse. My degrees in Music Theory and Dalcroze Eurhythmics have been a supportive influence for a continuing interest in rhythm and meter, particularly in Ives’ large works. Multiculturalism in nineteenth-century music with a particular focus on the works of John Field and Frederic Chopin has also been a research pursuit for several years while here at Radford University. I have delivered a number of presentations to music conferences concerning both areas. One additional interest is my investigation into the role of women in music since 1800. This latter concentration has been a direct result of my association with Vivian Fine in Vermont throughout her last decade.

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