Teaching
At NYU Steinhardt’s Department of Music and Performing Arts Professions, I have had the privilege of collaborating with program director Sarah Louden and fellow administrator Kevin Laskey to reimagine and overhaul the undergraduate music theory curriculum. Our initiative focuses on creating a more inclusive and globally-minded approach to music theory, addressing diverse musical traditions and ensuring students engage meaningfully with the music of the world. Together, we developed syllabi for Theory & Practice I: Global Approaches to Music and Aural Skills I: Global Approaches to Music. You can learn more about our curriculum redesign here, and access the course texts at the links below.
In my teaching, I aim to foster curiosity, critical thinking, and aural sensitivity by integrating analysis, performance, and creative practices. My courses explore a broad range of musical styles, from Western classical traditions to Turkish makam, Chinese opera, West African drum ensembles, and other global forms. Bringing musicians and traditions into the classroom, I strive to create learning experiences that connect students with music in its cultural context while deepening their analytical skills.
By blending innovative pedagogy with a commitment to cultural diversity, I seek to empower students to hear, understand, and appreciate music in its many forms, expanding their perspective as listeners, performers, and scholars.
At NYU Steinhardt’s Department of Music and Performing Arts Professions, I have had the privilege of collaborating with program director Sarah Louden and fellow administrator Kevin Laskey to reimagine and overhaul the undergraduate music theory curriculum. Our initiative focuses on creating a more inclusive and globally-minded approach to music theory, addressing diverse musical traditions and ensuring students engage meaningfully with the music of the world. Together, we developed syllabi for Theory & Practice I: Global Approaches to Music and Aural Skills I: Global Approaches to Music. You can learn more about our curriculum redesign here, and access the course texts at the links below.
In my teaching, I aim to foster curiosity, critical thinking, and aural sensitivity by integrating analysis, performance, and creative practices. My courses explore a broad range of musical styles, from Western classical traditions to Turkish makam, Chinese opera, West African drum ensembles, and other global forms. Bringing musicians and traditions into the classroom, I strive to create learning experiences that connect students with music in its cultural context while deepening their analytical skills.
By blending innovative pedagogy with a commitment to cultural diversity, I seek to empower students to hear, understand, and appreciate music in its many forms, expanding their perspective as listeners, performers, and scholars.
|
|
Advanced Theory & Practice: Non-Western Music
Explore the course I created, featuring a video review and highlights of student projects on diverse musical traditions.
Explore the course I created, featuring a video review and highlights of student projects on diverse musical traditions.
|
|
|
COURSES TAUGHT
New York University (2021–present)
Advanced Theory & Practice: Non-Western Music
Theory & Practice II: Popular Music
Theory & Practice I: Global Approaches to Music
Aural Skills II: Popular Music
Aural Skills I: Global Approaches to Music
Music Theory I–IV (old curriculum)
Aural Comprehension I–IV (old curriculum)
Graduate Review of Tonal Theory I–II (old curriculum)
Music History II (Baroque & Classical; old curriculum)
Hofstra University (2017–2022)
Turkish Music Ensemble
Form Analysis
Harmony
Intro to Harmony and Analysis
Musical Fundamentals and Species Counterpoint
Advanced Ear Training I, II
Elementary Ear Training I, II
Music Appreciation
Ipek University (2015–2016)
History of Western Music II: Eighteenth and Nineteenth Centuries
History of Rock
Music Theory II: Harmony, Form, Counterpoint
Music Theory I: Rudiments of Harmony and Voice Leading
Cornell University (2008–2015)
Musicianship II: Aural Skills, Keyboard
Musicianship I: Aural Skills Keyboard
Introduction to Tonal Theory
Elements of Musical Notation
History of Western Music II: Eighteenth and Nineteenth Centuries
History of Rock
Survey of Jazz
New York University (2021–present)
Advanced Theory & Practice: Non-Western Music
Theory & Practice II: Popular Music
Theory & Practice I: Global Approaches to Music
Aural Skills II: Popular Music
Aural Skills I: Global Approaches to Music
Music Theory I–IV (old curriculum)
Aural Comprehension I–IV (old curriculum)
Graduate Review of Tonal Theory I–II (old curriculum)
Music History II (Baroque & Classical; old curriculum)
Hofstra University (2017–2022)
Turkish Music Ensemble
Form Analysis
Harmony
Intro to Harmony and Analysis
Musical Fundamentals and Species Counterpoint
Advanced Ear Training I, II
Elementary Ear Training I, II
Music Appreciation
Ipek University (2015–2016)
History of Western Music II: Eighteenth and Nineteenth Centuries
History of Rock
Music Theory II: Harmony, Form, Counterpoint
Music Theory I: Rudiments of Harmony and Voice Leading
Cornell University (2008–2015)
Musicianship II: Aural Skills, Keyboard
Musicianship I: Aural Skills Keyboard
Introduction to Tonal Theory
Elements of Musical Notation
History of Western Music II: Eighteenth and Nineteenth Centuries
History of Rock
Survey of Jazz
TEACHING VIDEOS
|
|
|
|
|
|