Curriculum Vitae

 CURRICULUM VITAE
 
Benjamin K. Wadsworth
Associate Professor of Music Theory
Music Building #491, Room 119, 1000 Chastain Rd., Kennesaw, GA 30144 
phone (cell): (404) 547-8138 
email: bwadswo2@kennesaw.edu
 
EDUCATION
 
2003—2008                  Doctor of Philosophy, Eastman School of Music, University of Rochester, Rochester, NY, Music Theory
Dissertation, “Dialectical Opposition in Fin-de-Siècle Music: A Model of Balance Applied to Melodic Motives, Harmonic Context, and Their Interaction;” Dr. Dave Headlam, advisor (May, 2008).
 
1999—2003                  Master of Arts, Eastman School of Music, University of Rochester,                                             Rochester, NY, Music Theory
 
1994—1998                  Bachelor of Music, Oberlin College Conservatory, Oberlin, OH, Piano                                        Performance and Music Theory, Minor in Organ Performance
 
TEACHING EXPERIENCE
 
2015—present              Associate Professor of Music Theory, Kennesaw State University
Teach music theory and aural skills courses, oversee theory curriculum, and participate in area, departmental, college, and university service.
 
2009—2015                  Assistant Professor of Music Theory, Kennesaw State University.                                                Oversaw and developed a new aural skills curriculum.
 
 
2008—2009                  Visiting Instructor of Music Theory, Louisiana State University. 
Taught a variety of music theory and aural skills courses to undergraduate and graduate students.
.
 
2006—2008                  Visiting Instructor of Music Theory, University of Rochester. 
Taught freshman theory and designed and taught new keyboard skills courses.
 
 
GRANTS AND AWARDS
 
 
1.     KSU College of the Arts Research Advisory Council Professional Development Award, February 2021 ($500) 
2.     KSU College of the Arts Teaching Award, January 2021 ($1,000)
3.     Georgia Affordable Textbook Grant, November 2020 ($5,300) 
4.     Advance on contract for undergraduate theory textbook and workbook, Routledge, January 2020 ($400)
5.     Grant-Writing Cohort, College of the Arts, November 2019 ($750)
6.     Georgia Affordable Textbook Grant, October 2017 ($10,500)
7.     School of Music Award, Publication Copyright Costs, summer 2017 ($300)
8.     Invited Speaker and Performer at University of Southern Mississippi, supported by a grant from the Mississippi Humanities Council, October 2016 ($500)
9.     College of the Arts Online Bootcamp, summer 2016 ($4,000)
10.  College of the Arts Online Bootcamp, summer 2015 ($4,000)
11.  Graduate Teaching Assistantship Awards, Eastman School of Music, 1999—2003 ($12,000 per year, $48,000 total)
12.  Pi Kappa Lambda Membership, spring 1998 at Oberlin College Conservatory of Music
 
 
BOOK CONTRACTS
 
Terefenko, Dariusz and Benjamin K. Wadsworth, A Practical Introduction to Harmony and 
Improvisation, Routledge (Taylor and Francis). This textbook and workbook set is due by June 2022. Terefenko is Associate Professor at the Eastman School of Music in Rochester, NY. Signed January 2020.  
 
PEER-REVIEWED PUBLICATIONS
 
Articles:
 
Benjamin Wadsworth and Simon Needle, “Rhyme, Metrical Tension, and Formal Function in the 
Flow of Kendrick Lamar” (under review at Intégral).
 
Yunek, Jeffrey, Benjamin Wadsworth, and Simon Needle, “Perceiving the Mosaic: Form in the 
Mashups of DJ Earworm,” Music Theory Spectrum 2021, 42 (forthcoming).
 
“Schenkerian Analysis for the Beginner,” Journal of Music Theory Pedagogy, 2016, 30, pp. 177–
220.
 
 “Directional Tonality in Schumann’s Early Music,” Music Theory Online 2012, 18, 4.
 
“A Model of Dialectical Process in Berg’s Opus 1 Piano Sonata,” Theory and Practice, 2008, 33, 
pp. 329-358.
 
Reviews:
 
(Peer-Reviewed by MTO) Review of Tonal Analysis: A Schenkerian Approach, by David 
Damschroder, Music Theory Online 2018, 24, 3.
 
Online Textbooks (peer-reviewed grant):
 
Yunek, Jeffrey and Wadsworth, Benjamin, “Aural Skills I–IV (KSU)” (2018). Fine Arts 
Grants Collections. 6.
            https://oer.galileo.usg.edu/arts-collections/6
 
 
JOURNALISM
 
Selected reviews and previews of the Atlanta Symphony Orchestra for Arts Atl, the successor to the cultural section of the Atlanta Journal Constitution, edited by Pierre Ruhe and Scott Freeman:
 
“Review: The Atlanta Symphony soars with David Coucheron’s virtuosic solo,” October 18, 2019. Url: https://www.artsatl.org/review-the-atlanta-symphony-soars-with-david-coucherons-virtuosic-solo/
 
“Review: ASO, Spano and pianist Tengku Irfan forge strong artistic bond,” October 4, 2019. Url: https://www.artsatl.org/review-aso-spano-and-pianist-tengku-irfan-forge-strong-artistic-bond/
 
“Previewing the 2019–20 season for chamber and vocal groups and ‘new music,’” September 30, 2019. Url: https://www.artsatl.org/previewing-the-2019-20-season-for-chamber-and-vocal-groups-and-new-music/
 
“What’s ahead for The Atlanta Opera, Spivey Hall and universities for 2019–20,” September 26, 2019. Url: https://www.artsatl.org/whats-ahead-for-the-atlanta-opera-spivey-hall-and-universities-for-2019-20/
 
“Review: Superstar violinist Joshua Bell highlights the ASO’s opening night,” September 23, 2019. Url: https://www.artsatl.org/review-superstar-violinist-joshua-bell-highlights-the-asos-opening-night/
 
“The ASO’s 2019–20 season begins search for new music director in earnest,” September 20, 2019. Url: https://www.artsatl.org/the-asos-2019-20-season-begins-search-for-new-music-director-in-earnest/
 
Additional freelance journalism:
 
“Classical music and today’s youth: a parent’s guide,” May 21, 2020. Url:
https://www.earrelevant.net/2020/05/classical-music-and-todays-youth-a-parents-guide/
 
 
CONFERENCE PRESENTATIONS (peer-reviewed)
 
International: 
 
“Urlinie Play and Musical Narrative,” accepted at Birmingham Music Analysis Conference, 
Birmingham, UK, July 28–30, 2021 (Meghan O’Harra as second author).
 
“Conceptual Change: Considerations in Teaching Chromatic Harmony,” presented at 
the International Conference on Learning, Belfast, UK, July 24–26, 2019.
 
“Perceiving the Mosaic: Form in the Mashups of DJ Earworm,” presented at the German Society 
for Popular Music Studies (Gesellshaft für Popularmusikforschung, GfPM) and the 17th Annual Conference of the Gesellschaft für Musiktheorie (GMTH), November 19, 2017, Graz, Austria (principal author Jeffrey Yunek; Simon Needle as third author).
 
National:
 
“Perceiving the Mosaic: Form in the Mashups of DJ Earworm,” presented at the Popular Music 
Interest Group, Society for Music Theory Annual Meeting, Arlington, VA, 2017 
(principal author Jeffrey Yunek; Simon Needle as third author).
 
“A Learning Taxonomy for Schenkerian Analysis,” presented at the Pedagogy into Practice
conference, Cleveland, TN, 2017.
 
“Parallel Forms in Robert Schumann’s Early Keyboard Music: A Reconsideration,”
            presented at the Society for Music Theory (SMT), Charlotte, NC, 2013.
 
“Online Music Theory Rudiments: A Report from Kennesaw State University,” 
               presented at College Music Society (CMS), San Diego, CA, 2012. 
 
“Semitonal Key Pairings and Set-Class Pairings in Schoenberg’s Atonal Keyboard       
         Music,”
            presented at SMT, Indianapolis, IN, 2010.
 
“Dialectical Opposition between Tonal and Atonal Structures in Berg’s Piano Sonata,”
presented at SMT, Baltimore, MD, 2007.
 
“A Structuralist Typology for Medieval Writings on Music,”  
presented at a joint session of SMT and the American Musicological Society (AMS), Columbus, OH, 2002.
 
Regional:
 
“The Submerged Urlinie and Musical Narrative,”
Accepted and due to be presented at the South-Central Society for Music Theory (SCSMT), Memphis, TN and online, February 2021 (second author Meghan O’Harra).
 
“Rhymes, Metrical Stability, and Formal Functions in the Flow of Kendrick Lamar,”
Presented at the Music Theory Southeast (MTSE), Boone, NC, March 2020 (accepted, but cancelled due to COVID-19). 
 
“Perceiving the Mosaic: Form in the Mashups of DJ Earworm,” 
presented at the Rocky Mountain Society for Music Theory, Salt Lake City, UT, 2017 (principal author Jeffrey Yunek; third author Simon Needle).
 
“Musical Idea and Form in Schoenberg’s Op. 9 Kammersymphonie,”
presented at the Music Theory Society of New York State (MTSNYS), Binghamton, NY, 
2015.
 
“Unshackling the Period: A Hybrid Form in the Viennese Classics,”
presented at the Music Theory Society of the Mid-Atlantic (MTSMA), Winchester, VA, 2014.
 
“Parallel Forms in Robert Schumann’s Early Keyboard Music: A Reconsideration,”
read on my behalf by Michael Baker at Music Theory Southeast (MTSE), Boone, NC, 2013.
 
“Directional Tonality in Schumann’s Early Works,”
presented at MTSE, Atlanta, GA, 2012; and at the Music Theory Society of New York 
State (MTSNYS), New York, NY, 2012.
 
 “Semitonal Key Pairings and Set-Class Pairings in Schoenberg’s Atonal Keyboard Music,”
presented at MTSNYS, Hempstead, NY, 2010.
 
 “The Harmonic Structure of Schoenberg’s First Chamber Symphony,”
            presented at the South-Central Society of Music Theory (SCSMT) and Texas Society of 
Music Theory (TSMT), Houston, TX, 2009; and at MTSNYS, Hempstead, NY, 2009.
 
“The Five Harmonic Practices: A Model of Harmonic Ambiguity in Fin-de-Siècle Works,”
presented at SCSMT, Oxford, MS, 2008; and at The New England Conference of Music Theorists (NECMT), Cambridge, MA, 2008.
 
“Dialectical Opposition between Tonal and Atonal Structures in Berg’s Piano Sonata,”
presented at MTSNYS, New York, NY, 2007.
 
Local:
 
“Analysis Symposium, KSU Festival of New Music,”
 
Benjamin K. Wadsworth, Yayoi Uno Everett (Emory), Mark MacFarland (Georgia State), Kennesaw State University, April 3, 2011. I organized a symposium and presented a paper at it.
 
 
INVITED LECTURES AND RECITALS
 
Regional:
 
Graduate Seminar: An Introduction to the Music of Gabriel Fauré,
Taught an invited graduate seminar at the University of Southern Mississippi, Oct. 11, 2016.
 
“Fauré’s La Bonne Chanson: His Affair with Emma Bardac,”
Lecture-Recital on Fauré’s life and the song cycle, performed with Dr. Kimberley Davis (soprano), University of Southern Mississippi, Hattiesburg, MS, October 10, 2016.
 
Local: 
 
“Strauss’s Salome, Dance of the Seven Veils,”
            Pre-concert lecture at a concert of the Kennesaw State University Orchestra, March 2012.
 
“Neoclassicism in Hindemith’s Second Organ Sonata, Movement 1,”
Performance, presentation and workshop on Hindemith’s harmonic theory given to the Graduate Theory class at Emory University, February 2011.
 
TEACHING
 
 
Theses/Capstones/Presentations Advised at Kennesaw State (2017–present):
 
Meghan O’Harra (2021): “The Submerged Urlinie and Musical Narrative”
·       Presented at COTA Undergraduate Research Symposium (September 2, 2020)
·       Joint paper to be presented at SCSMT
 
Samuel Mishkin (2021): "Parody and Politics in Shostakovich's Piano Concerto No. 1"
(NCUR presentation)
 
Victoria Brodeur (2021): The Case for Casting Alcina in the aria “Tornami a vagheggiar” (NCUR presentation)
 
Andrew Hughes (2021): "The Performance Practices of Liszt's Vallèe d'Obermann"
 (NCUR presentation)
 
Nicole Hamel (2019): “Aragorn: A Case of Joseph Campbell’s Monomyth in Howard Shore’s 
Film Score from the Lord of the Rings”
 
Kristin Houston (2019): “Tonal Ambiguity in Solo Piano Works of Thelonious Monk”
 
Madison Coffey (2018): “Minimalism, Form, and Meaning in Björk: An Analysis of Utopia”
·       is now a teaching assistant and master’s student in music theory at the University of Minnesota
 
Kyle Green (2018): “Sleeping Beats: An Interactive Sleep Study”
 
Simon Needle (2018): “The Function of Flow: Beat-Class Stability in ‘A.D.H.D.’ by Kendrick 
Lamar”
·       will be a published author as of 2021 with the third authorship of an article in Music Theory Spectrum on DJ Earworm’s mashups
 
Alexander Peneton (2018): “Leitmotifs in Progressive Rock: Haken’s Aquarius”
 
Joshua Little (2017): “The Absolute Progression in Michael Giachinno’s Film Scores”
 
Curriculum Development at Kennesaw State (2009–present):
 
Refined repertoire in Form & Analysis to be more diverse in style, Summer 2020.
Created new advanced keyboard skills and improvisation course, Spring 2020.
Increased quantity of form topics in Theory IV, Spring 2020.
Designed written theory core curriculum in Theory III and IV, Summer 2017–present.
Created new, more challenging placement tests in written theory, Fall 2017–present.
Created new Theory Pedagogy course, Fall 2017.
Revised Theory III to be writing-intensive with a new, four-stage writing project, 2016–present.
Created new online Schenker course shell, Summer 2016.
Created new Introduction to Schenker course, Fall 2014.
Created new, more challenging freshman theory placement test, Summer 2011–present.
Revised placement tests in aural skills, Fall 2009–2016.
Created new theory-infused curriculum in aural skills, Fall 2009–2016.
 
 
Courses Taught at Kennesaw State University (2009–present):
 
Upper-Level Undergraduate:
 
MUSI 3320, Form & Analysis, 2013, 2015–present
·       a writing-intensive, analysis survey of different forms in tonal music 
MUSI 4090, Independent Studies in Chromatic Music and Schenkerian Analysis
·       two writing-intensive courses leading to student research and papers
MUSI 3321, Advanced Ear Training, 2015 (spring)
·       a course in advanced topics in dictation and improvisation, progressing to post-tonal styles
MUSI 4419, Introduction to Schenker, 2014, 2016, 2020 (spring)
·       a requirement for music theory majors, giving students an overall competency with Schenkerian graphing and launching a research project and final paper
MUSI 4422, Theory Pedagogy (“Theory Seminar”), 2017 (fall)
·       a practical course giving theory majors teaching experience in front of their music-major peers and including a wide survey of teaching techniques and textbooks
·       theory majors are given an up-to-date understanding of peer-reviewed research in theory pedagogy 
MUSI 4495, Capstone, 2017–present
·       career mentoring for advanced theory majors, preparing research, the writing of a final paper or presentation, any application to graduate programs, and ongoing career advising
 
Theory Core:
 
MUSI 1120, Intensive Theory I, 2016–present
·       intensive theory I course featuring an extra keyboard lab
MUSI 1121, Theory I, 2009–2015
·       introductory written course culminating in root-position part-writing
MUSI 1122, Theory II, 2010–2016
·       spring semester written course on diatonic harmony and analysis
MUSI 2221, Theory III, 2016–present
·       fall semester writing-intensive course on chromatic harmony
MUSI 2222, Theory IV, 2017–present
·       spring semester course on 20th-century theory and model composition
 
 
Aural Skills Core:
 
MUSI 1111, Intensive Aural Skills I, 2010–present (fall)
·       beginning melodic dictation and sight-singing for majors
MUSI 1112, Aural Skills II, 2011–2019 (spring)
·       melodic to harmonic dictation, diatonic singing for majors
MUSI 2111, Aural Skills III, 2009–2015 (fall)
·       sight-singing and dictation of harmony up to applied chords
MUSI 2112, Aural Skills IV, 2010–2016 (spring) 
·       chromatic sight-singing and dictation
 
Rudiments:
 
MUSI 0099, Fundamentals for Music Majors, 2012–2015 (summer)
·       an online refresher course for incoming music majors
MUSI 1020, Fundamentals of Music Theory, 2017–present (spring)
·       an introductory, hybrid course for non-majors
 
Courses Taught at Louisiana State University (2008—2009):
 
MUS 3704, Graduate Aural Skills Review, Fall 2008
·       primarily a dictation course
MUS 3703, Graduate Theory Review, Fall 2008
MUS 7711, Graduate Seminar: Analytical Approaches to 20th-Century Music, Spring 2009
·       an analytical survey of 20th-century music; had D.M.A. and Ph.D. students
MUS 3731, Theory III, Fall 2008
·       large chromatic harmony class with over 50 students
·       incorporated both written theory and aural skills
MUS 3732, Theory IV, Spring 2009
·       continuation of Theory III, ended with 20th-century unit
 
 
Courses Taught at University of Rochester (2006—2008):
 
MUR 116, Class Piano I (fall 2006–2007)
·       a keyboard harmony course focusing on keyboard skills and harmonic skills such as figured bass realization
MUR 117, Class Piano II (spring 2007–2008)
·       continuation of above course
MUR 111, Theory I (fall 2006–2007)
MUR 101, Theory for non-majors (fall 2006)
·       a rudiments and music appreciation course with a focus on pop music
MUR 110, Advanced Theory for non-majors (spring 2008) 
 
 
PROFESSIONAL SERVICE
 
 
To the Music Theory Field: 
 
SMT
 
Society for Music Theory, IT/Networking Committee,
            Duties included checking the SMT website for typographical errors and broken links. 
Main focus was Upcoming Events page. November 6, 2014—2017.
 
SCSMT
 
South Central Society for Music Theory,
President, April 2016—March 2020. Duties included setting strategic priorities for the society, representing the society at national SMT meetings, organizing conferences, shaping the calls for papers, guiding the content of workshops and keynote presentations, and facilitating all communications with members. Bylaws state that a president must step down after two consecutive terms of service.
 
2019–2020: worked on two workshops on improvisation by Dariusz Terefenko (Eastman School of Music) and Andrew Goldman (University of Western Ontario); collaborated with CMS-South colleagues on designing a joint theory-musicology conference. Largest attendance ever with 66 members.  
2018–2019: innovated a new type of workshop open to all participants; helped design workshops by Trevor deClercq (Middle Tennessee State University) and Daniel Shanahan (Ohio State University). Conducted online vote in the summer to raise rates and keep revenues high.
2017–2018: collaborated with Scott Murphy (University of Kansas) on a graduate student workshop, and with Daniel Harrison (Yale University) on a keynote on music theory pedagogy. Conducted member survey to ascertain member needs and maximize attendance at meetings.
2016–2017: revised bylaws so that president takes lead in recruiting for conference and ensuring greater diversity on the program.
 
 
 
 
PEER REVIEWS
 
GAMUT Journal,
            Completed a peer review of a submitted article on musical form. December 2018.
 
TEXTBOOK REVIEWS
 
Review of The Complete Musician: The Essentials, by Steven Laitz, for Oxford University Press.
Reviewed a revision of Laitz’s textbook and offered suggestions and critiques. December 2019.
 
Review of Concise Introduction to Music Fundamentals, by Poundie Burstein and Rachel 
Lumsden, for W.W. Norton.
Reviewed a proposed fundamentals textbook and offered suggestions for improvement. May 2019.
 
Review of Online Music Fundamentals, by Steven Hoge, for W.W. Norton.
Reviewed a proposed fundamentals package and offered suggestions for improvement. August 2014.
 
Review of The Manual for Ear-Training and Sight-Singing by Gary Karpinski for Norton,
Reviewed this aural skills text and offered suggestions for improvement for a proposed second edition, May 2014.
 
Review of A Concise Introduction to Tonal Harmony, by Poundie Burstein and Joseph Straus, for 
Norton,
Reviewed a theory textbook that has been widely adopted throughout the country, and offered suggestions for improvement, February 2014.
 
REGIONAL CONFERENCES
 
Member, Program Committee, MTSE Conference,
            Duties included revising the call for papers and evaluation of all proposals. Fall 2020.
 
Session Chair, MTSE/SCSMT Conference, 
Duties included announcing paper presenters, reading their biographies, and initiating questions and answers. April 2016. 
 
 
To Kennesaw State University:
 
UNIVERSITY LEVEL:
 
Member, Strategic Planning Committee,
            I helped draft KSU’s bridge strategic plan for 2017-2022, offering guidance for 
strengthening our culture of teaching and learning, October 2015–April 2017.
 
COLLEGE LEVEL:
 
Committee work
 
Secretary, Research Advisory Committee,
Helped plan and fund research activities for faculty and students throughout COTA. 2019–2020.
 
Member, COTA Journal of Undergraduate Research,
Planned for the relaunch of an arts journal. 2018.
 
College of the Arts, College Faculty Council, Member, 
Advised the Dean and fostered transparency between the faculty, staff, and the Dean, 2011–2014.
 
Search Committees
 
Member, Dance Search Committee,
            Helped hire an Assistant Professor of Dance, 2018–2019.  
 
 
SCHOOL OF MUSIC LEVEL: 
 
Committee work
 
Member, School Faculty Council,
            Helped advise Director of School of Music and interview staff position candidates, 2019–present.
 
Member, High-Impact Practices Group,
            Wrote a report on High-Impact Practices in the School of Music, 2013–present.
 
Member, Curriculum Committee,
            Oversaw business as needed, 2013–2018.
 
Tenure & Promotion Committee, Member then Chair,
Am conducting reviews of tenure and pre-tenure portfolios and am writing letters from the committee, chair in 2018–2019. 2017–2020. 
 
Recruiting High-School Students,
            Organized recruitment efforts in the Music B.A. area by contacting area A.P. Music 
Theory teachers, offering them help, and visiting their classes, November 2016–present.
 
 
Curriculum Committee, Member, then Chair,
Conducted regular business and presented proposed curricular changes to School of 
Music faculty meetings. From 2013—2018, I served as chair of this committee, presenting proposals to UPCC when necessary. Overall dates of service, Fall 2010–Fall 2018.
 
History/Theory Committee, Member,
Conducted regular business and helped develop a proposal for a revised B.A. in Music 
program, Fall 2009–present.
 
Assessment Captain for the School of Music, B.A. in Music Program,
Wrote report, developed assessment instruments, and collected assessment data, Spring 2014–present.
 
Recruited high school students,
Met with students in AP Music Theory courses at multiple area high schools, October 2013–present.
 
SACS accreditation report for School of Music programs,
Co-wrote with Dr. Harry Price the SACS accreditation report for our three music degree programs, Summer 2012.
 
Revised B.A. in Music Proposal,
Wrote proposal for revised B.A. in Music degree to be sent to national music 
accreditation body (National Association of Schools of Music, NASM), summer 2011. Met with Susan Grant-Robinson, Dr. Laurence Sherr, and Dr. Edward Eanes to refine proposal.
 
Strategic Planning Committee, Member,
Aligned strategic goals of School of Music with College of the Arts and the University as 
part of the NASM self-study. Pushed for funding for smart classroom technology, Fall 2009.
 
 
Search committees
 
School of Music Director Search Committee, Member,
            Contributed to the search for the long-term Director of the School of Music. Fall 2020      –Spring 2021.
 
Piano Professor Search Committee, Chair,
            Organized the search process and coordinated communication between applicants and 
            administration. The search was successful. Fall 2016–Spring 2017.
 
Theory Professor Search Committee, Chair,
Organized the search process and coordinated communication between applicants and administration. The search was successful. Fall 2015–Spring 2016. 
 
Music Lecturer Search Committee, Chair, 
Reviewed applications, selected short list of candidates, presented recommendation of 
preferred candidate to School of Music Chair, Spring 2013.
 
Piano Performance Position Search Committee, Member,
Reviewed applications, selected short list of candidates, helped candidates audition on campus. Presented recommendations on preferred candidate to School of Music Chair, spring 2010.
 
 
 
PERFORMANCES
 
 
Online All-Bach Recital in Honor of Dr. Cal Johnson,
Recorded performance on piano honoring the long-time organist of First Presbyterian Church, Marietta GA, December 2020.
 
Fundraising Concert,
Collaborative performance on organ with two KSU trumpet majors, Michael Brown and Andrew Olsen, First United Lutheran Church, Kennesaw, GA, November 24, 2019.
 
Fundraising Concert,
Collaborative performance of all soloists and ensembles across the church, First United Lutheran Church, Kennesaw, GA, May 12, 2019.
 
Fundraising Concert,
Collaborative performance with Nathan Munson (tenor) and John Warren (clarinet), First United Lutheran Church, Kennesaw, GA, Sept. 21, 2018.
 
Chamber Music Recital,
Collaborative performance with Nathan Munson (tenor) and John Warren (clarinet), Kennesaw State University, Sept. 18, 2018.
 
Interchange Song Recital,
Collaborative roving recital with Nathan Munson (tenor), John Warren (clarinet), and Heather Witt (soprano) in the Zuckerman Art Gallery, Kennesaw State University, Sept. 5, 2018.
 
Song Recital,
Collaborative performance with Nathan Munson (tenor) on a two-hour program of art songs for his DMA requirements, University of Illinois at Champaign-Urbana, IL, December 8, 2017.
 
Song Recital,
Collaborative performance with Nathan Munson (tenor) of Schubert’s Winterreise and Fauré’s La bonne chanson, Kennesaw State University, September 6, 2016.
 
You Move Me: A Celebration of the Music of Andrea Bocelli,
Crossover-style, popular-classical concert performed with Dr. Edward Eanes, Michael Roberts, and Adam Kirkpatrick, the Velvet Note, Alpharetta, GA, July 2014.
 
Song Recital,
Collaborative performance with Adam Kirkpatrick (tenor) on piano of various art songs, Kennesaw State University, January 2014.
 
All-Bach Recital, 
Played preludes and fugues on piano, played accompaniment to a Bach cantata on organ, First Methodist Church, Hartford, CT, October 2013.
 
All-Bach Recital on Piano and Organ, 
“The Preludes and Fugues of J.S. Bach:” my first full recital on piano and organ, First Presbyterian Church, Marietta, GA, February 2013.
 
Lecture-Recital on Piano, 
“Directional Tonality in Schumann’s Early Works:” a lecture on tonality in Schumann, followed by a performance of Carnival, at Kennesaw State University, October 2011.
 
Lecture-Recital on Piano,
“How Analysis and Performance Inform Each Other in Schoenberg’s Piano Music,” Kennesaw State University, February 9, 2009. Lecture on early Schoenberg’s atonal works, followed by a recital on piano (from memory).
 
Recitals of KSU Composers,
Performed works on prepared and traditional piano by faculty and student composers, 2009—present.
 
NON-ACADEMIC MUSIC POSITIONS
 
Reviewer for Arts Atl,
Was the Atlanta Symphony Orchestra’s regular reviewer. Worked with editors on weekly concert reviews and previews on a Thursday night–Friday morning deadline. 2019.
 
Organist and Choir Director,
First United Lutheran Church, Kennesaw, from January 2018–present. 
 
Organist, Pianist, and Children’s Choir Director,
First Presbyterian Church, Marietta, 2010–2017. 
 
Substitute Organist and Pianist,
Have substituted on organ and piano at many area churches.