![]() North Central College, Naperville, Illinois. Music 741, Introduction to the Analysis of Post-Tonal Music.Duties/services include: advising doctoral dissertations conducting Independent Studies sitting on comprehensive-exam juries teaching doctoral seminars performing in faculty recitals interviewing prospective PhD candidates in Music Theory serving on the Executive Committee of the PhD/DMA in Music programs adjudicating DMA degree recitals. The Graduate Center, City University of New York. MUSHL 221, Black Music in the Americas.MUSHL 361, Rap Music in Hip-Hop Culture.MUS 779, Musical Analysis for Performance (at Queens College).Duties/services include: Serving as Director of Graduate Studies serving on the governing body for the music department, the Personnel and Budget Committee teaching core music-theory classes coordinating the Music-Theory Fundamentals track serving on departmental and college-wide committees developing the music-theory curriculum advising masters theses as primary or secondary advisor restructuring the MA curriculum serving as music coordinator for institutional assessment teaching honors seminars performing on faculty recitals interviewing prospective MA candidates adjudicating degree recitals adjudicating end-of-semester juries coordinating local conferences bringing in outside artists to the Hunter community. Finally, as a teacher I consider mentoring to be of paramount importance, and I was honored to receive the CUNY Graduate Center Award for Excellence in Mentoring, 2020–2021, from the City University of New York. I often consider my students, especially graduate students from whom I consistently learn so much, junior colleagues, which creates a healthy learning environment for everyone in the classroom, and beyond. I am a firm believer that technology, in proper proportions, can greatly help music students, and for this reason I continually seek to harness the pedagogical benefits of the latest technological advances in the classroom. I challenge music theory’s historic whiteness and maleness in my classes, and I often highlight composers, performers, and theorists who are not both white and male, though I certainly include musical figures who were, in fact, white men as well, all of which creates a rich musical backdrop for my classes. Therefore, I use many musical genres such as blues, classical, hiphop, jazz, rap, or rock, among others, to introduce musical techniques. I believe it is crucial to strike a balance among many various genres and styles, insofar as all feature elements of music-dance, embodiment, form, gesture, improvisation, meter, mode, pitch, rhythm, ritual, scale, and timbre, for example-that are crucial to the study of music and music theory. By putting all compositions and music-theoretical concepts I discuss into a cultural and historical context, I expect my students to be able to grasp not only the technical elements of a musical composition, but also the broader trends that may have led to the creation of those elements. In my courses, fun and relaxed yet rigorous and challenging, I strive to make students think profoundly and critically about music, and I make sure to include all students in the learning process. To this end, my goal in the classroom is to maximize my students’ learning potential. ![]() I believe my mandate as a music teacher is to help my students become better musicians.
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