I view my teaching as an equal and essential counterpart to my research and creative musical activities. I strive to foster a lively, student-centered classroom atmosphere with a high level of interactivity and participation. My role in the community of learners is to help my students to explore and refine the musical knowledge and intuitions that they already possess; to encourage them to think profoundly about compositions and music-theoretical concepts; and to frame interesting musical and intellectual questions about the material. I aim to help students cultivate strong aural and musicianship skills to forge connections between “classroom” knowledge and creative work such as performance and composition. I strive to challenge students by presenting “either/or” situations that defy common assumptions and that may be interpreted multiple ways. Frequent class discussions and prose-writing assignments at all levels of study invite students to hone their critical-thinking and communication skills. My classes’ companion websites, with enrichment materials and discussion boards, allow students to engage with the course materials and with one another in between class sessions.
I endeavor to provide the broadest possible context for examining theoretical and analytical questions, emphasizing wherever possible the interstices between historical, cultural, critical, and aesthetic perspectives.
I feel I have achieved my teaching goals when, at the end of the semester, students report that they feel more interested in, curious about, and confident in their mastery of the subject matter as a result of our work together. My highest goal as an educator is to foster life-long learners who are curious about the world around them, articulate about their ideas, critical in their thinking—and above all, who are sensitive, engaged listeners, performers, and composers of music.
See below for information about my current and recent courses.
Graduate Seminars
This course surveys Bach’s music for solo violin, cello, and flute, with special analytical attention on the concepts of “imaginary” basso continuo and implied tones for the analysis of sparse textures. Additional topics include notions of style (French, Italian, and mixed), the relation of this repertoire to other music by Bach and his contemporaries, the relation of composed music to improvisational practices such as partimento and diminution, traditions of transcription and accompaniment, and studies of the manuscript sources.
As a performance-oriented course, students frequently play in class and participate in critical listening to a range of recordings, dating back to those of Joachim and Sarasate, through Casals and the “golden age” violinists, to recent recordings in both historical and modern instruments.
An analytical and historical study of the metaphor of “conversation” as it applies to late-eighteenth-century chamber music. The course examines historical source documents relating to the intertwining of music and sociability, and analyzes aspects of form, phrase structure, and hypermeter with attention to interplay among the instrumental parts.
Teaching Music Theory
A hands-on practicum in teaching undergraduate music theory, including discussions of textbooks, teaching methods, homework assignments, and musicianship. Students teach mock-lessons for their peers and visit actual undergraduate classes as guest instructors. Upon completing the course, students will be eligible for Teaching Fellowship positions in the Music Theory and Analysis department at The Juilliard School.
Undergraduate Courses
Honors Music Theory I (newly developed course)
This course offers an advanced review of diatonic tonal harmony, with an emphasis on integrating the vertical and horizontal perspectives and interpreting ambiguous, “either/or” passages. Studies in harmony include application at the keyboard. Analytical studies focus on formal procedures in two-reprise compositions of the baroque and classical periods, culminating in a model composition project. A central goal of the course is developing college-level skills for writing, speaking, and reading about music. Required for composition majors and open to others by advisement.
Honors Music Theory II (newly developed course)
Studies in harmony include common chromatic techniques of the late-eighteenth and early-nineteenth centuries, including their application at the keyboard. Analytical studies focus on classical forms (especially sonata), including perspectives drawn from recent theories of form by Caplin, Hepokoski/Darcy, and Schmalfeldt. Major projects include model compositions and analytical-writing projects. Required for composition majors and open to others by advisement.
Performance Courses
Applied Viola Lessons (Queens College; and as assistant viola faculty at Juilliard)
Click here for information about my background as a viola performer and teacher.
Click here to download my Viola Fundamentals materials (adapted from Heidi Castleman’s pedagogy)
Chamber Music Coaching (Queens College and Juilliard)