Courses

Theses/Capstones Advised at Kennesaw State (2017–present):
 
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):
 
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
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)