University of Alabama, School of Music
Full-time Instructor of music theory
Spring 2017 · Graduate Analysis (Schenkerian) (graduate students)
  · Form and Analysis (undergraduates)
Fall 2016 · Theory and Analysis of Post-tonal Music (graduate and undergraduate students)
  · Graduate Theory Review
  · Topics in Music Theory: Analysis of Beethoven and Schubert (graduate seminar)
Spring 2016 · Analysis of Carter, Berio, Reich and Saariaho (graduate seminar)
  · Graduate Analysis (Schenkerian) (graduate students)
  · Form and Analysis (undergraduates)
Fall 2015 · Theory and Analysis of Post-tonal Music (graduate and undergraduate students)
  · Graduate Theory Review
  · Topics in Music Theory: Analysis of Beethoven and Schubert (graduate seminar)
Columbia University, Department of Music
Adjunct Assistant Professor
2013 & 2014 Fall
2014 & 2015 Spring
Music Humanities: The focus is on masterpieces of Western art music in historical and cultural context. Using a "great works" approach, moving chronologically from the Middle Ages to the present, it traces genres, styles, choices, and assumptions of composers, as relating to patrons and audiences.
2012 & 2011 Spring Chromatic Harmony and Counterpoint II: Final course in the four-semester required music theory sequence for undergraduate music majors.
2011 Fall Chromatic Harmony and Counterpoint I: Third semester in the four-semester required music theory sequence for undergraduate music majors. (video)
2010 Fall Fundamentals of Western Music: Basic notation, rhythm, scales, keys, intervals, triads, inversions, cadences, introduction to figured bass, voice-leading, and chorale analysis
Hofstra University, Department Music
Adjunct Assistant Professor
2015 Spring
Advanced Musicianship: sightsinging and dictation of chromatic tonal music, as well as advanced rhythms and meters
William Paterson University, NJ, Department of Music
Adjunct Assistant Professor
2014 Fall
Fundamentals of Western Music: Basic notation, rhythm, scales, keys, intervals, triads, inversions, cadences, introduction to figured bass, voice-leading, and chorale analysis
2013 Fall
Music Theory 1: Simple and compound meters, scales, keys, intervals, triads, two-voice species counterpoint, voice-leading, basic phrase model (chordal functions) including its expansions, chorale harmonization, melody and cadence of phrases, dominant 7th chords
Fordham University, Department of Arts and Music
Adjunct Lecturer
2014 Fall
History of Western Music
University of California, Santa Barbara (UCSB), Department of Music
Visiting Assistant Professor
Spring 2013 Graduate seminar: Narrative, Metaphor, Embodied Mind, and Technology in Music Discourse
  Music 5B: third course of the first year of undergraduate music theory
Winter 2013 Music 160B: Analysis and theory of post-tonal music for graduate and undergraduate students
  Music 5E: Second course of the second year of undergraduate music theory
Fall 2012 Music 5D (First quarter of the second year of the two-year music theory sequence: sequences, secondary dominants, and tonicizations)
  Music 160: Tonal Analysis
New York University (NYU), Steinhardt School, Department of Music and Performing Arts Professions
Adjunct Assistant Professor
2012 & 2011 Spring Music Criticism: Music journalism course for musician graduate students. The critiquing, interpreting, and writing of reviews of concerts and recordings, and biographical or topical pieces for newspapers and magazines are discussed along with practical and philosophical issues of writing music criticism.
2011 Fall Aural Comprehension III: Sight-singing, conducting, dictation, and aural form analysis pertaining to chromatic tonal music, for graduate and undergraduate students
2010 Fall Music Theory I (E85.0035): Two-voice counterpoint, voice-leading, basic phrase model (chordal functions) including its expansions, chorale harmonization, melody and cadence of phrases, diatonic sequences
City University of New York (CUNY), Hunter College, Department of Music
Adjunct Lecturer
2010 spring Music Theory IV (MU-T321): advanced tonal harmony and counterpoint, composition, advanced tonal form, introduction to twentieth-century music techniques including jazz harmony, popular song forms, blues, symmetrical scales and harmonic systems, and atonal set-theory
University of Maryland, College Park, School of Music, Division of Theory and Composition
Visiting Assistant Professor (sabbatical replacement)
2006 spring · Graduate seminar: Dynamism, Temporality, Processive Form and Philosophy
  · Form: phrase and period structure; binary, ternary, sonata, and rondo forms
  · Theory, Analysis, and Composition of 20th century music
University of Rochester, Department of Music
Graduate Instructor, part-time
2004-2005 · Musicianship I: melodic, rhythmic, harmonic dictation, and sight singing, keyboard
  · Musicianship II: melodic, harmonic, and counterpoint dictation; singing, keyboard
2002-2003 · Musicianship III: harmony and counterpoint dictation; singing
  · Musicianship IV: chromatic harmonic dictation; singing
  · Aural Analysis: standard forms; listening strategies; atonal pcsets & rows
Eastman School of Music, Department of Music Theory
Graduate Instructor, part-time
2005 fall Th205: theory, analysis, composition, and aural skills of 20th century music
2003 fall Th262: sight-singing and dictation for 20th century music
2001-2002 Supervised and taught Th102 and Th101
2000-2001 Th201-202: chromatic harmony; sonata form; atonal; 12-tone
1999-2000 Th101-102: basic counterpoint; harmony; form
Eastman School of Music, Writing Center
2004 Tutored graduate and undergraduate students in writing essays for all subjects
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