Brian Alegant is Barker Professor of Music, chair of the music theory department at the Oberlin College Conservatory, and the author of The Twelve-tone Music of Luigi Dallapiccola. Research interests include analysis and performance, contemporary music, and pedagogy.
Sara Bakker is Lecturer in Music Theory at Utah State University with a special interest in integrating prose writing in her teaching. Her dissertation, entitled “Playing with Patterns: Isorhythmic Strategies in György Ligeti’s Late Piano Works,” investigates the connection between rhythmic repetition and its large-scale significance. Other research interests include rhythm and meter in modern music, Hungarian text setting, and the music of Béla Bartók, topics she has presented at regional, national and international conferences.
Janet Bourne is a PhD candidate in Music Theory and Cognition at Northwestern University. Her research interests involve the cognition behind musical communication: musical categories (schema theory and topic theory), analogy and music, cultural context of the listener, applying linguistic theories to music, and musical humor, parody and irony. She will serve as a 2014-2015 Graduate Teaching Fellow for Northwestern University’s Searle Center for Advancing Learning and Teaching.
Tim Chenette is head of the music theory area at Utah State University. He has a particular pedagogical interest in the teaching of aural skills. His research projects include analysis of harmony and counterpoint in late 16th-century polyphony and metric analysis of late 14th-century music.
Trevor de Clercq is Assistant Professor in the Recording Industry department at Middle Tennessee State University, where he coordinates the musicianship curriculum and teaches coursework in digital audio technology. He holds a PhD in music theory from the Eastman School of Music as well as degrees in music technology and electronics engineering technology. His research interests include popular music, sound recording, and music perception.
Philip Duker is Assistant professor of Music at the University of Delaware, where he joined the faculty in 2009. His current research focuses on repetition in music from an analytical and meta-theoretical perspective, investigating how this topic is foundational to analysis and can also provide new avenues of exploration in Twentieth-Century music.
Roger Graybill is on the faculty at the New England Conservatory, where he served as Theory Department Chair from 2002 to 2011. His current research focuses on audiation- based theory training in the undergraduate core. In the spring of 2014 he conducted a “grand tour” of music schools in Germany, Switzerland, the Netherlands, and the United States to research innovative and hands-on approaches to music theory pedagogy.
John Hausmann is a PhD student at the University of Cincinnati College-Conservatory of Music. He is currently writing his dissertation on parody, memory, and community in 20th century American music, which will address parody in popular (“Weird Al” Yankovic), classical (P.D.Q. Bach), rock (the Grateful Dead), and film musics (mockumentaries).
Shersten Johnson is Associate Professor at the University of St. Thomas where she teaches courses in music theory and composition. She has published articles on the music by Benjamin Britten in Music and Letters, PsyArt, and the Journal of Music and Meaning, and on the subject of music analysis and blindness in Music Theory Online and the forthcoming Oxford Handbook on Music and Disability Studies.
Erinn Knyt is Assistant Professor of Music at the University of Massachusetts Amherst where she teaches courses in music history. Her research interests include 19th- and 20th-century music, aesthetics, performance studies, and music history pedagogy. Her work is published in American Music, Twentieth Century Music, Journal of the Royal Musical Association, Journal of Musicology, and Journal of Music History Pedagogy. She holds a Ph.D. in Music and Humanities from Stanford University.
David Kulma teaches music theory, aural skills, and music technology classes at Winthrop University as an adjunct professor. He is active as a composer, freelance oboist, and performance artist. His holds bachelor’s and master’s degrees from Kent State University.
Gregory R. McCandless is the Department Chair of Music Composition at Full Sail University. He holds degrees from the University of North Carolina at Chapel Hill and Florida State University. Research interests include theories of rhythm and meter, music theory pedagogy, and the analysis of popular music. His dissertation and related article in Music Theory Online focus on the music of the progressive metal band Dream Theater.
Garrett Michaelsen is Lecturer of Musicianship and Musicology at University of Massachusetts Lowell. His dissertation from Indiana University deals with processes of group interaction in jazz improvisations of the 1960s. He has written and presented on jazz from a variety of perspectives, including topic theory and transformational theory in addition to interactional theory.
Jan MIyake is Associate Professor of Music Theory, Associate Dean for Academic Affairs at Oberlin College & Conservatory, and author of the blog teaching matters, which chronicles and reflects on development of classroom activities and general pedagogical issues. Miyake holds a Ph.D. in music theory from the Graduate Center at the City University of New York and has additional research interests in Schenkerian analysis, form, and the viola music of Paul Hindemith.
Brian Moseley is Assistant Professor of Music Theory at the University at Buffalo, SUNY. He specializes in contemporary music and geometric models of music. He has published and presented on music by Anton Webern, George Crumb, and John Harbison; the intersection of improvisation and innovation as captured in musical sketches; and features of dialogue in Gustav Mahler’s music. He holds a Ph.D. in music theory from the Graduate Center at the City University of New York.
Meghan Naxer is a doctoral student in music theory at the University of Oregon. Her research interests include pedagogy, late-nineteenth-century music, the music of César Franck, rhythm and meter, and form. She has presented papers on some of these topics at regional, national, international, and interdisciplinary conferences. Meghan is also an active flutist and performs with the Asculta! woodwind quintet. She holds degrees from the University of Akron and Kent State University.
Deborah Rifkin is Associate Professor of Music Theory at Ithaca College. Her research interests include 20th-century neo-tonal music, aural skills pedagogy, and narrativity in music. She recently served as Faculty-in-Residence and Associate Director of HERS-Denver, a two-week leadership institute for women in higher education. She earned her Ph.D from the Eastman School of Music (2000).
Nancy Rogers is an Associate Professor of Music Theory at The Florida State University, where she supervises first-year music theory and recently received a university-wide undergraduate teaching award.
Peter Schubert teaches at McGill’s Schulich School of Music and conducts VivaVoce. With Massimiliano Guido, he recently organized conferences in Venice and Montreal on historical improvisation. His “From Improvisation to Composition” will appear shortly in the Collected Writings of the Orpheus Institute Series.
Kris Shaffer is instructor of music theory at the University of Colorado–Boulder. Kris’s research centers around the music of twentieth- and twenty-first-century composers, computational analysis, and the pedagogy of music theory and aural skills. His research appears in Hybrid Pedagogy and Digital Humanities Now. He holds a Ph.D. in music theory from Yale University (2011).
Yona Stamatis is Assistant Professor of Ethnomusicology and Associated Faculty in the Department of Sociology/Anthropology at the University of Illinois, Springfield. Her research interests and publications focus on rebetika music of Greece, music and social justice, and student-centered music education. She holds a Ph.D. in ethnomusicology from the University of Michigan (2011).
Anna Stephan-Robinson is Assistant Professor of Music and Director of Theory and Ear Training at West Liberty University, where she teaches all levels of theory and ear training as well as applied horn. She holds degrees from the Eastman School of Music, the University of Georgia, and the Aaron Copland School of Music. Current research interests include popular music analysis, the music and writing of Marion Bauer, and postsecondary music pedagogy.
Daniel Stevens is Assistant Professor of Music Theory at the University of Delaware, where he teaches core theory courses, keyboard harmony, and graduate seminars. As an Assessment Fellow at the University of Delaware, he designed and implemented a music ePortfolio used by all undergraduate majors. His research focuses on performance analysis, Brahms studies, and music theory pedagogy.
Scott M. Strovas is Assistant Professor of Music History at Wayland Baptist University, where he coordinates the history sequence and teaches American music and aural skills. He has published or presented papers on a range of subjects including contemporary American music, film and television music, music and American poetry, jazz, and writing pedagogy.
Aaron Ziegel is Assistant Professor of Music History and Culture at Towson University. His primary research explores American operas from the early decades of the twentieth century, and he has published articles on film music and on the compositional style of Vernon Duke. At Towson, he teaches courses on American music and Western music history. He holds degrees from the University of Illinois at Urbana-Champaign and the University of Cincinnati, College-Conservatory of Music.