Music 3000: Form & Analysis. Otterbein University, 2012 - present.
This was the first time this course had been taught at Otterbein. Intensive study of traditional forms in classical music, and analytical studies of works of Mozart, Beethoven, Schoenberg, Debussy and contemporary composers. 4-10 students.
Music 3001: Orchestration. Otterbein, 2016.
Supervised course arrangement projects for string orchestra, wind ensemble and smaller groups. 8 students.
Music 4001: Advanced Composition. Otterbein, 2013-2016.
Music 1000: Freshman Music Theory. Otterbein, 2011 – 2014.
Music 1010: Freshman Aural Skills. Otterbein, 2011 – present.
Introduces students to dictation and sight-singing using movable-do solfege. 11-18 students.
Music 2010: Sophomore Aural Skills III. Otterbein, 2011 - present.
Sophomore-level aural skills. Focuses on chromatic solfege. 7-17 students.
Music 4142: New Music Ensemble. Otterbein, 2011-present.
Faculty advisor for newly formed contemporary music ensemble. Approximately 10 students.
Music 4000: Advanced Theory. Otterbein, Fall 2011.
Independent study with one student. Topics included contemporary music materials, along with analyses of writings and scores by Ligeti, John Adams, Ferneyhough and others.
Music 33A: Introduction to Composition. University of California, San Diego, 2009.
First third of year-long course, focusing on solo works. Duties included teaching lessons, performing student exercises on violin and viola, and organizing class concert. The class also featured readings of student pieces by flutist Kimberly Turney, percussionist Steve Solook and guitarist Paul Bowman. 12 students.
Music 8: American Music. UCSD, 2009 and 2010.
Topics included Anglo-American ballads, the blues, Tin Pan Alley, early American popular music, sacred music, the history of jazz, connections between political conservatism and country music, the role of the recording studio in rock music, the evolution of the term “R&B,” and the music of Charles Ives. 20-30 students.
Music 13AM: Multicultural Music of America. UCSD, 2008 and 2010.
Lecture topics included musical terminology, race and gender issues, immigration patterns, pow-wows, polka, minstrelsy, rockism, Yiddish Theater, gospel, the blues, conjunto, Chicano hip hop, salsa, the Asian American Movement, bhangra and much more. Class activities (in 2008) included a performance and talk by the UCSD Asayake Taiko Ensemble; a performance of and talk on Irish music in America by flutist and UCSD graduate student Ben Power; and a talk on cultural populism in country music by UCSD communications graduate student Reece Peck. About 200 students; 2-3 teaching assistants.
Music 14: Contemporary Music. UCSD, 2008-2010.
Self-designed course based on the impact of technology on classical music since 1900. Lecture topics included serialism; futurism; modernism and the role of science in contemporary music; process music; changes in performance practice throughout the 20th century; developments in improvised music; the role of individuality in contemporary music; and much more. Class activities (in 2008) included performances of Stockhausen’s Klavierstuck X and a portion of Ligeti’s Sonata for Viola Solo by UCSD music graduate students; a performance of Ian Power’s I Seem to be a Verbby the composer; a class discussion of the music of Michael Pisaro with leading Pisaro interpreter and UCSD graduate student Greg Stuart; a performance and lecture by the New York avant-garde band Extra Life; and performances of short piano pieces and original compositions by students. 20 students.
Music 1: Fundamentals of Music, UCSD, 2007-2010.
Year-long course (2007-2008; taught last two thirds of the course again in early 2009; taught the last third of the course in Spring 2010). Taught basics of rhythm, melody, harmony, musical notation, musical terminology, and keyboard skills. Designed proficiency test to determine student placement. Aided in curriculum development for the course. Authored (in 2009 and 2010) an extensive series of written lessons (with audio examples) for last third of course. Each quarter culminated in performances of long, medley-like pieces written by class sections with the guidance of their teaching assistants. Up to 150 students; 2-3 teaching assistants.