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    • Home
    • About
    • Music and Media
    • Music Theory
    • Lessons/Tutoring
    • Contact
  • Home
  • About
  • Music and Media
  • Music Theory
  • Lessons/Tutoring
  • Contact

Available Tutoring Topics and Teaching Philosophy

Undergraduate Aural Skills/Ear Training

Undergraduate Aural Skills/Ear Training

Undergraduate Aural Skills/Ear Training

  • Sight-Singing
  • Rhythm/Meter
  • Harmonic Dictation
  • Melodic Dictation

Fundamentals

Undergraduate Aural Skills/Ear Training

Undergraduate Aural Skills/Ear Training

  • Rhythm/Meter
  • Pitch, Intervals, and Scales
  • Key Relationships
  • Basic Counterpoint
  • Function

Undergraduate Part Writing and Harmony

Undergraduate Aural Skills/Ear Training

Undergraduate Part Writing and Harmony

  • Voice Leading
  • Harmonic Analysis
  • Harmonic Function
  • Figured Bass
  • Chordal Function
  • Modulation

Non-Traditional Analysis

Non-Traditional Analysis

Undergraduate Part Writing and Harmony

  • Serialism
  • Minimalism
  • Pitch-Class Set Theory
  • Atonal Dictation
  • Impressionism

AP Music Theory

Non-Traditional Analysis

Academic Writing

  • Sight-Singing
  • Fundamentals 
  • Melodic Dictation
  • Harmonic Dictation/Analysis
  • Figured Bass

Academic Writing

Non-Traditional Analysis

Academic Writing

  • Analytical Essays
  • Basic Research
  • Writing to Strengthen Analysis

Form and Analysis

Form and Analysis

Form and Analysis

  • Large-Scale Form
  • Small-Scale Form
  • Model Compositions
  • Analytical Essays

Teaching Philosophy

The traditional music theory sequence can provoke challenges in communicating a present and real connection between harmony and real-world musical experience from the student perspective. I aim to bridge the gap between classroom content and real world applications of music theory by incorporating more diverse music literature and attempting to vary the types of activities and assignments to imply relevant and thought-provoking material while providing support and commitment to all students and learning types.

In my experience, positive attributes of a successful aural skills and theory professor include an undeniable confidence in the classroom while simultaneously providing a sense of support, community, and approachability pointed primarily at student success. These instructors possess a vast knowledge of the material and its related topics, a versatile and diverse method of communication, a well-rounded personality, and, as a bonus, a sense of humor!

My main role as an instructor is largely based on my ability to communicate the material clearly and effectively while holding students to a consistently high standard. I want to convey a sentiment of responsibility, self-discipline, kindness, and compassion towards my students in their development during the tenure of their coursework. One cannot become an instructor without having been the student.

By the end of the undergraduate degree, students should have a strong establishment of music theory and aural skills in regards to traditional, Western-art music, as well as examined 20th century techniques, post-tonal music, atonal music, and written about a multitude of topics utilizing fluent musical and appropriate terminology. Students should also have a firm understanding of aural skills techniques, dictation, voice leading practices, complex harmony, form, and function. In addition to these developed topics, students should reflect a strong and reaffirmed comprehension of the fundamentals of music theory. Successful students would have examined repertoire from a wide variety of periods, genres, and styles. This progression of topics combined with knowledgeable and confident instructors has an undeniable possibility to produce well-rounded and successful musicians.

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