I have consulted with teachers across disciplines on their pedagogy, during a fellowship at Harvard University's Derek Bok Center for Teaching and Learning. I also completed an intensive Instructional Skills Workshop on learner-centered teaching for faculty at The University of British Columbia.
Below are courses I have designed delivered as sole instructor.
Graduate seminar, McGill University, Fall 2026
Course Description:
“Schenker and Sets” famously laid the foundation for institutional music theory in the US and Canada, the former addressing tonal repertoire, the latter addressing works of atonal modernism. In this seminar, we’ll take a fresh look at set theory and the atonal music that it was designed to explain. As we discuss the theory’s principles and applications, we’ll also interrogate its ideological background in the mid-century US; its historical precursors across Russia, Europe, and the Americas; and its mutations and alternatives in the present day. You’ll come away from the seminar with a rich understanding of atonal theory and analysis, as they coalesced in the twentieth century, and as they continue to be challenged and expanded today.
Undergraduate course, McGill University, Fall 2026
Course Description:
In this course, you’ll learn to analyze European concert music of the Common Practice Period (c. 1770–1840) through the lens of form. Before Thanksgiving break, you’ll analyze musical phrases—normatively eight measures long—to get a deep sense of their structure and stylistic conventions. After the break, you’ll situate musical phrases in the context of larger formal units. By the end of the course, and for the final exam, you’ll have all the tools to analyze an entire sonata-form movement.
Undergraduate course, Harvard University, Spring 2024
Course Description:
What kind of a thing is music? What are its limits, its novel forms, its untapped resources? Questions like these flourished in the twentieth century, under the auspices of an intellectual and artistic movement called modernism. In this course, we'll come to an understanding of modernism by tracing its major musical flashpoints, examining a range of innovative writings and pieces that emerged after 1900. We’ll also put increasing pressure on the geographical and cultural boundaries of modernism, exploring examples of the movement that have traditionally been excluded from Western histories and canons. Over the course of the semester, you’ll build a toolbox for analyzing and describing some of the most challenging music of the last 124 years, across a range of cultures and perspectives.
Undergraduate course for non-majors, Univeristy of Massachusetts Amherst, Fall 2022
Course Description:
In this course, you'll develop vocabularies for talking and thinking about music across the domains of sound, history, and media. In addition to gaining familiarity with the Classical canon, you'll engage with popular musics, soundscapes, new media, and non-Western music. The terms and frameworks you acquire in this course will prepare you for further study of music at the university level.