Bruno Alcalde is an Assistant Professor of Music Theory at the University of South Carolina. His research focuses on musical hybridity, the concepts of style and genre, and music cognition, with a special interest on communicational issues of post-1950s musical experiences.
Sofia Salazar Arguelles grew up in Puebla, Mexico and came to the United States 5 years ago without knowing English. She is currently a sophomore double majoring in music performance and business management at UTSA. She’s excited for the future of the UTSA Music Theory Club and the goals that we are planning to achieve.
David John Baker is a Postdoc with the "Institute for Logic, Language and Computation at University of Amsterdam.” His research investigates how tools from cognitive psychology and computational musicology informs questions related to music perception. He is part of the teaching staff at the University of Cambridge's Centre for Music and Science.
Michael Baker is associate professor of music theory at the University of Kentucky, where he teaches courses on text-music relationships in songs and operas, counterpoint, aural skills, the analysis of musical form, and an Honors seminar on music and interdisciplinary studies.
Nathan Baker is the music theory coordinator at Casper College in Wyoming. He has published on topics ranging from neo-Riemannian theory and atonality to video game music; his recent work has focused on the history and practice of music theory pedagogy.
Sara Bakker is Assistant Professor of Music at Utah State University. Her pedagogy research focuses on practical ways the Scholarship of Teaching and Learning impacts the music theory classroom. She is certified in online teaching by the Association of College and University Educators, is a textbook reviewer for Oxford and Routledge, and an editor for Engaging Students.
Daniel Barolsky is a professor at Beloit College where he teaches a variety of classes in music theory, history, and critical identity studies.
Jennifer Beavers is an Associate Professor of music theory at the University of Texas at San Antonio. In the area of music theory pedagogy, she conducts empirical and qualitative research that has a direct impact on classroom experiences and how students create relevance between music theory and their professional musical lives.
Chandler Blount is a PhD student in music theory at Florida State University, where he studies correspondences between poetic and musical structure in 19th-century Lieder. He is an avid consumer of all things Star Trek and is currently on his 21st run through Deep Space Nine.
Antares Boyle is Assistant Professor of Music Theory at Portland State University. Her research focuses on modernist, experimental, and avant-garde music from the twentieth and twenty-first centuries. Her dissertation, completed at the University of British Columbia, was awarded the Society for Music Theory’s SMT-40 Dissertation Fellowship in 2018.
Jenine Brown is Assistant Professor of Music Theory and coordinator of ear training at the Peabody Institute of Johns Hopkins University.
Patricia Burt is an assistant professor at the University of Delaware where she teaches music theory. Her research in the field of music theory pedagogy includes the use of play in the theory classroom and approaches to large-scale design at the outset of the theory core.
Michael Callahan is Associate Professor and Chairperson of Music Theory at Michigan State University. He has published on a variety of topics in music theory pedagogy and texted music, and is co-authoring, with Steven Laitz, the fifth edition of The Complete Musician, which will be published in 2022.
Taylor Carmona is a Ph.D. Candidate at Texas Tech University. She is currently pursuing a Ph.D. in Fine Arts: Music Theory (ABD). She holds a B.M. in Music Performance from the University of Central Oklahoma and a M.M. in Music Theory from the University of Missouri-Kansas City.
Timothy Chenette teaches music theory and aural skills at Utah State University. His research seeks to improve aural skills instruction through a better understanding of the brain and a quest for broader accessibility. Tim enjoys gardening, hiking, and spending time with his family.
Kent Cleland is a Professor of Music Theory at the Baldwin Wallace Conservatory of Music. Throughout his 21 years there, he has supervised undergraduate theses on topics ranging from the music of Herbert Howells to Dr. Dre. His main research interests involve Bergsonian Temporalism in music and aural skills pedagogy.
Jane Piper Clendinning is a Professor of Music Theory at Florida State University College of Music, where she has served on more than 200 graduate committees, including over 100 doctoral committees. She is a co-author of widely-used music theory textbooks in The Musician’s Guide Series, published by W. W. Norton.
Thomas Collison is currently a master’s student in the music theory program at Michigan State University. His research interests include musical semiotics, Universal Design for Learning within music theory pedagogy, prolongational analysis and tonal structure, as well as the various points of intersection therein.
Andrew Conklin is Assistant Professor and Program Director of Composition and Music Theory at University of the Pacific. Andrew makes and studies music that engages with American vernacular idioms and contemporary classical practices, and as a bassist he earned a 2017 Grammy nomination for Best Bluegrass Recording. He lost.
Jordan Davis is a third-year music studies student, concentrating in tuba performance. He is currently the secretary for the MTC and hopes to gain a deeper of understanding of why music is structured the way it is so that he can teach to the whole musician.
Tyler Dellaperute is a second-year graduate student from Little Egg Harbor, NJ. He is working towards his M.M. in Piano Performance with a Certificate in Music Theory Pedagogy. Tyler’s special interests include jazz theory, figured bass, and topics related to improvisation.
Philip Duker is Associate Professor of Music at the University of Delaware. His current research focuses on repetition in Twentieth-Century music and music theory pedagogy. He has published articles in Perspectives of New Music, Music Theory Online, GAMUT, and the Routledge Companion to Music Theory Pedagogy.
Caroline Dunmire is a music theorist and educator studying at the University of North Carolina at Greensboro. Her research emphasizes meeting the needs of underrepresented learners and celebrating the music of minority composers
Composer Linda Dusman is the former holder of the Clark University Jeppeson Chair in Music at Clark University and is currently Professor of Music at University of Maryland Baltimore County in Baltimore. She currently holds the Berman Chair in Entrepreneurship at UMBC. Complete info at lindadusman.com.
Sam Falotico’s primary areas of interest include form studies, the music of Nikolai Kapustin, linear analysis, and analysis of jazz, specifically the music of Hiromi Uehara and Jacob Collier. He is a current student at Hunter College pursuing his M.A. in Music Theory.
Amy Fleming is a Lecturer in Music Theory at Baylor University. Her research interests lie primarily in the music of the twentieth and twenty-first centuries, as well as theory pedagogy. Her recent research focuses on George Crumb, Scott Joplin, post-tonal pedagogy, and error detection in the aural skills curriculum.
Nikkei Flores is currently a graduate student at Texas State University studying music theory. His academic career overlaps with his time as a jazz musician, having performed at music festivals throughout the state of Texas. As a researcher, Nikkei’s main focus is improvisation and curricular reform.
Christopher Gage holds a Ph.D. in music theory and a D.M.A. in organ performance, both from the University of Kansas. He is Director of Music at Overbrook Presbyterian Church in Philadelphia and teaches at the University of Delaware. Chris’s research includes twentieth-century game show music and seventeenth century church music.
Hayley Garcia is a senior music education major at UTSA with a future goal of becoming a middle school band director. Although her primary instrument is flute, she is also a classically trained pianist and enjoys performing on both instruments. She enjoys analyzing all types of music, because it gives her a deeper understanding of what emotions or story the composer is trying to convey. She hopes to someday integrate her passion for music theory into her teaching, so her students can gain more insight and knowledge about complex music.
Aaron Grant is an Assistant Professor of Music Theory at Missouri Western State University. His research engages issues of form in 19th-century music as well as music theory pedagogy. His work can be seen in the Journal of Music Theory Pedagogy, Engaging Students, 19th-Century Music Review, and Music Theory Spectrum.
Cynthia I. Gonzales, Regents’ Teacher and Associate Professor at Texas State University, is author of the first collection of aural skills exercises published in SmartMusic, titled The Listen-Sing Method. A retired professional singer, Cynthia performed with Conspirare, Santa Fe Desert Chorale, and the San Antonio Chamber Choir. She has been a Reader for the AP Music Theory Exam since 2015 and currently serves on the Test Development Committee, as well as the SMT Executive Board.
Madeline Gonzales is a senior violin performance major and president of the UTSA MTC. She is passionate about teaching and performance and hopes to combine these two fields through the deeper understanding of music theory.
Kyree Harrison is completing a B.A in Music Education. Mr. Harrison, an intern of the San Antonio Choral Society, chorus member for SA Opera, and Choral Scholar at St. John’s Lutheran, looks forward to contributing his knowledge and passions to help build a better generation of humans and artists.
Matthew Heap is a composer and theorist with research interests in the pedagogy of music theory and 20th Century analysis. He has articles in the Routledge Companion to Music Theory Pedagogy and the A-R Editions Music Anthology. He is currently an Associate Professor at West Virginia University.
Elizabeth Hermann is an undergraduate student at Lawrence University. She is completing a senior thesis on phrase structure in elementary music education
Matthew Hough is a theorist, composer and performer working on new and popular music. His work has been published in Music Theory Online, Grove Music Online and the journal Guitar Review. He is currently on the faculty at the University of California, Berkeley, where he teaches composition, theory and musicianship.
Samantha M. Inman is an Assistant Professor and the Coordinator of Music Theory at Stephen F. Austin State University. She has advised master’s theses on music ranging from Sibelius to Marvin Gaye. Her publications include articles on form, Schenkerian analysis, and music theory pedagogy.
Ryan H. Jones is a music theorist, composer, and pianist. His research interests include twentieth century analysis, musical meaning, and the intersection of cognition and pedagogy. Ryan is currently pursuing a MM in Music Theory at Michigan State University.
Alexandrea Jonker is a doctoral candidate in Music Theory at McGill University. She is a two-time winner of the Innovative Learning and Teaching in Music award at McGill University and currently holds a Joseph-Armand Bombardier Canada Graduate Scholarship from the Social Science and Humanities Research Council of Canada.
Gary S. Karpinski is Professor of Music at the University of Massachusetts Amherst and has served on the faculties of the University of Oregon, Brooklyn College, and Temple University. His monograph Aural Skills Acquisition is published by Oxford University Press. His textbooks are published by W. W. Norton.
Dr. Matthew Kiple has held professional appointments at Temple University, University of Delaware, Shenandoah Conservatory, and Chestnut Hill College. Matt has presented at annual meetings for the New England Conference of Music Theorists, Society for Music Theory, Music Theory Society of the Mid-Atlantic, and AEMC Conference on Music, Communication, and Performance.
Stanley V. Kleppinger is Associate Professor of Music Theory in the Glenn Korff School of Music at the University of Nebraska–Lincoln. His writings about music theory pedagogy appear in the Journal of Music Theory Pedagogy, Indiana Theory Review, and The Routledge Companion to Music Theory Pedagogy.
Adam J. Kolek is an Assistant Professor at Rowan University where he teaches courses in music theory. His current research focuses on music theory pedagogy, antiracist teaching, and the development of open educational resources.
Hanisha Kulothparan is a first year Ph.D. student in music theory at the Eastman School of Music. Originally a Toronto native, she previously received her B.M. in music history and theory at Wilfrid Laurier University and her M.M. in music theory at Michigan State University. Her research focuses on rhythm and meter in rap music and its intersections with gender studies. She has presented at regional conferences such as the South- Central Society for Music Theory and Music Theory Southeast. Her paper “Flow in the Alter Egos of Nicki Minaj” is the most recent winner of MTSE’s Irna Priore Prize for best student paper. Hanisha has been invited to several schools as a guest lecturer for her work on Nicki Minaj including Northeastern University, Queens University, Wilfrid Laurier University, and Michigan State University.
Alexis C. Lamb is a composer, percussionist, and educator interested in fostering communities of mindful music-making, particularly through the medium of storytelling. She is currently pursuing a Doctorate of Musical Arts in Composition at the University of Michigan. For more information, please visit https://alexislamb.com/.
Dickie Lee is Assistant Professor of Music Theory at the University of Georgia’s Hugh Hodgson School of Music. His research areas focus on music and meaning and agency in popular music and video game sound art. Dr. Lee currently sings baritone in the Athens Cowboy Choir in Athens, GA.
Chantal Lemire is a violinist, violist, and music theorist. She received her PhD in music theory from Western University in 2021 and holds a master’s degrees in performance from McGill University and in music theory from the University of British Columbia. Chantal is a performance faculty member for the School for Music Arts in London, Ontario and the Head of Music Development for Anima-AI, a software company that specializes in music-generating artificial intelligence.
Jordan Lenchitz is a PhD candidate in music theory at Florida State University. His research interests include musics as sounds, (extended) just intonation, computational music cognition, post-postmodern music pedagogy, and the music of Stephen Sondheim. In his spare time Jordan enjoys walking and creating experimental sound and video art.
Zachary Lloyd is a PhD student in music theory at Florida State University. He has presented numerous papers across the United States and Canada on topics ranging from form in musical theatre, rhythm and meter studies, and music theory pedagogy.
Gerardo (Gerry) Lopez (he/him/his) is a PhD student in Music Theory at the Ohio State University (OSU). Before his time at OSU, he earned an MM in Music Theory from Michigan State University. Current research interests include music cognition, film music, and intersections of music and technology.
Chris Madden is Assistant Professor of Piano Pedagogy at the UMKC Conservatory, where he teaches piano pedagogy, applied piano, and oversees the keyboard skills curriculum. He has published articles in American Music Teacher and The Piano Magazine, and he regularly presents workshops for national, state, and local music teachers’ organizations.
Matthew Louis Mauriello is Assistant Professor in the Department of Computer and Information Sciences at the University of Delaware. His work in Human-Computer Interaction (HCI) focuses on applying user-centered design and computer science techniques (e.g., information visualization, machine learning) to challenges facing health, education, environmental, and computing systems.
Elizabeth West Marvin is the Minehan Family Professor and Professor of Music Theory at the Eastman School of Music. She is the 2013 recipient of the Gail Boyd de Stwolinski Prize for Lifetime Achievement in Music Theory Teaching and Scholarship and co-author of The Musician’s Guide textbooks (W.W. Norton).
Dr. Paul Miller is an Assistant Professor of Musicianship at Duquesne University. He has held previous positions as a Mellon Postdoctoral Fellow at Cornell University and at CU-Boulder. Miller is an active performer as well as a music theorist and composer. He holds degrees from the Eastman School of Music and Vassar College.
Cullyn Murphy studies Composition & Theory at the University of Pittsburgh, where he has taught creative musicianship, theory, electronic music, and serves as Assistant Conductor to the University Orchestra. Murphy received his MM in Music Composition at the University of Louisville (2018) and degrees in Music Composition and Choral Music Education at Illinois State University (2016). He is currently completing his dissertation titled, "The Musical Complication of Objects in the Musical Anthropocene" which restructures the role of objects in the New Discipline through affect and media studies, and "[/-/]" a series of interlinking original compositions and accompanying objects.
Kevin O’Brien is a PhD candidate in Musicology specializing in Humor, Improvisation, and American Popular Music. He received his BA from James Madison University and his MM from the University of Tennessee, where he completed a master's thesis on comic song performance in the 19th- and early 20th-century American parlor. In 2013 he received a Dietrich School of Arts and Science's Research Fellowship from the University of Pittsburgh. He has presented papers on vaudeville, Jamaican hip-hop, troubadours, gender, and methodological issues at numerous historical, ethnomusicological, and medievalist conferences. His current research intersects with his performance career in musical improvisation and comedy song writing. He regularly performs at various Pittsburgh theaters and national comedy festivals, as well as teaching and directing musical comedy groups.
Rebecca Perry is an assistant professor of Music Theory at Lawrence University. She received her Ph.D. from Yale University in 2017.
Marcelle Pierson teaches at the University of Pittsburgh, where she offers courses in music theory, noise, and heavy metal. She has previously taught at the University of North Carolina, the University of Notre Dame, and Harold Washington College in Chicago. She holds a PhD in Music History and Theory from the University of Chicago with a minor field in composition (2015), and also graduated from the Oberlin Conservatory of Music with a double major in composition and music theory (2007). Her research interests include modernism, voice and vocality, noise, texture and timbre, new music, and heavy metal.
Sam Reenan is Assistant Professor of Music Theory at Miami University where he teaches courses in theory and musicianship for undergraduate and graduate students. He earned his PhD in Music Theory at the Eastman School of Music. His primary research centers on symphonic form and genre.
Molly Reid is a doctoral student in Music Theory and Piano Performance at Florida State University, where she is a Legacy Fellowship recipient. She holds BM and MM degrees in Piano Performance from Appalachian State University, and the MM degree in Music Theory from the Cincinnati College-Conservatory of Music.
Brian Riordan is a composer, performer, improviser, producer, and sound artist originally from Chicago, IL. He is currently a PhD candidate in Music Composition and Theory at University of Pittsburgh, where he teaches a class he designed called “Programming Environments in Music: An Introduction to Max/MSP”. His research interests are in live-processing, temporal discontinuity, delay-based performance, real-time digital signal processing, data sonification, and laptop performance aesthetics. As an avid collaborator, he has performed in numerous ensembles ranging from rock, jazz, classical, and experimental throughout North American, Europe, and Asia. His compositions have been performed by The JACK Quartet, The Callithumpian Consort, Wet Ink Ensemble, andPlay, Anna Elder, The Meridian Arts Ensemble, Kamraton, Alia Musica, Wolftrap, and his compositions have been featured at STEIM, SEAMUS, SICPP, New Music On The Point, and SPLICE. As a member of the Pittsburgh ensemble “How Things Are Made,” he produced and performed on over 70 albums for the group and have commissioned 52 compositions.
Angela Ripley is Lecturer in Music Theory at Baylor University. Her research focuses on music theory pedagogy, with a specialization in pedagogical games. Her articles appear in the Journal of Music Theory Pedagogy, Music Theory Pedagogy Online, and HAYDN: The Online Journal of the Haydn Society of North America.
Charlene Romano serves as Adjunct Associate Professor of Musicianship at Shenandoah Conservatory and continues to actively perform and teach flute in her home studio. She haspublished numerous chapters and articles in the fields of flute and theory pedagogy. Romano is currently Secretary of the National Flute Association.
Micah Rosenstein is an undergraduate student in music composition at the University of Texas at San Antonio, where he studies business administration and pursues a multifaceted compositional career in both educational band and advanced-ensemble literature. He is currently employed as a graphic designer on the marketing team of the UTSA Department of Music and has been appointed the position of Teaching Assistant for the Music Theory Area.
Katrina Roush is an Assistant Professor of Music Theory at the University of Texas Rio Grande Valley. She holds a Ph.D. in music theory from Indiana University. Her pedagogical collaboration with librarians has led to several conference presentations and a forthcoming chapter in Bringing DEIA to Critical Music Information Literacy.
Sophie Rymarowicz is a second-year graduate student from Alamogordo, NM. She is pursuing her M.M. in Composition with a Certificate in Music Theory Pedagogy. Sophie’s specialties include applied chords and 21st century techniques.
Olga Sanchez is an Assistant Instructional Professor at the University of Chicago, where she teaches the Harmony and Voice Leading sequence and coordinates the musicianship labs. Her research interests include topic theory, schema theory, and music theory pedagogy. In 2020, Sanchez received the Janel M. Mueller Award for Excellence in Pedagogy.
Jennifer Shafer is an assistant professor of music at the University of Delaware; her research interests are mathematics and computation in music and music theory pedagogy. She has presented her work at various regional and national conferences, and has published in and served on the editorial board of Engaging Students.
Rachel Short is currently Assistant Professor of Music Theory at Shenandoah Conservatory in Winchester, VA. She received her Ph.D. from UC Santa Barbara, and her M.A. from QueensCollege, CUNY. Her interdisciplinary research specialties are choreomusical analysis, rhythm and meter, music theory pedagogy, and American musical theatre.
Anna Stephan-Robinson is Professor and Director of Music Theory and Ear Training at West Liberty University in West Virginia, where she teaches all levels of Music Theory and Ear Training. Besides pedagogy, her research interests include analysis of twentieth- and twenty-first-century concert and popular music and music of women composers.
Daniel B. Stevens is Professor of Music at the University of Delaware. His research interests include performance analysis, tonal analysis, improvisation, music theory pedagogy, and community engaged teaching and learning. He currently serves as the resources editor for the Journal of Music Theory Pedagogy.
James Sullivan is Assistant Professor of Music Theory at Michigan State University, where he teaches undergraduate aural skills and graduate courses on rhythm and meter, post-tonal music, and other topics. His publications appear in Music Theory Spectrum and the volume Twentieth and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance.
Daphne Tan is Assistant Professor of Music Theory at the University of Toronto.
David Thurmaier is Associate Professor of Music Theory and Chair of the Music Studies Division at the UMKC Conservatory. He has published on Charles Ives, the Beatles, and Czech rock music in various journals. He is currently co-editor of the Journal of Music Theory Pedagogy.
Stephanie Venturino is a Ph.D. candidate in music theory at the Eastman School of Music, where she also received a B.M. in classical saxophone performance. Her research focuses on twentieth- and twenty-first-century French music, the history of music theory, and music theory and aural skills pedagogy.
Emerson Voss is an educator and multimedia artist based in Pittsburgh. He’s interested in the total experience of both performer and listener. He teaches courses in music fundamentals and digital songwriting at the University of Pittsburgh. Emerson’s music has been performed by the Da Capo Chamber Players, Julia Den Boer, Miranda Cuckson, Dolce Wind Quintet, Duo Cortona, TAK Ensemble, Peter Bloom, and many others. Emerson’s film installation WINDOWS was premiered at the Irma Freeman Center for Imagination in Pittsburgh in Fall 2021. He’s currently a PhD candidate at the University of Pittsburgh in music theory/composition. He holds an MM in theory/composition from East Carolina University and a BA in piano and music theory/composition from Campbell University.
Samantha Waddell is a first-year PhD music theory student at Indiana University and holds a master’s in music theory from Michigan State University. Her research interests include rhythm and meter in pop and rock music, music cognition, and music theory pedagogy.
Evan Ware’s scholarship primarily focuses on musical reinterpretation as well as on film and television music. His co-edited volume Music in Star Trek: Sound, Utopia, and the Future will be published by Routledge in Spring 2022. Evan is Assistant Professor of Music Theory and Composition at Cal Poly Pomona.
Jason Wise is a junior Music Theory and Composition Major from Pinehurst, NC. He plays the bass trombone and specializes in aural skills and harmonic analysis.
Reba Wissner is assistant professor of musicology at Columbus State University. Her pedagogical interests include active learning, Universal Design for Learning, equity and diversity in teaching, and syllabus design. She has published in College Music Symposium and the Journal of Music History Pedagogy and several edited collections.
Yi-Cheng Daniel Wu completed his Ph.D. at the University at Buffalo. He taught at Wesleyan University as the Visiting Assistant Professor. He is currently the Associate Professor at Soochow University School of Music (Suzhou, China). His articles appear in Indiana Theory Review, Music Analysis, Music Theory Spectrum, among others.
Yiheng Yvonne Wu is a composer and professor at Beloit College where she teaches classes in composition, theory, and directs the InterArts Ensemble.