Columbia University, Department of Music
Adjunct Assistant Professor (Lecturer in Summer 2019)
|
Fall 2017 - Summer 2019,
Fall 2013 - Spring 2015
|
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
|
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)
|
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
|
