education and teaching


2021–             Harvard University, Department of Music, Lecturer

2019–2021    Harvard University, Department of Music, College Fellow

2015–2018    McGill University, Schulich School of Music, Lecturer


2020               Ph.D., McGill University, Music Theory

* Dissertation: “Sounds, Signals, Signs: Transductive Currents in Post-Spectral Music at IRCAM” (co-advised by Robert Hasegawa and Jonathan Sterne)

** Awarded McGill’s K. B. Jenckes Convocation Prize as “the most outstanding graduate receiving a Ph.D. degree in any discipline in the social sciences and humanities”

2012               Dual M.M., University of Colorado at Boulder, Music Theory and Violin Performance

* Thesis: “Grundgestalt Hierarchy in Alban Berg’s String Quartet, Op. 3” (advised by Keith Waters)

2003               B.A., University of North Carolina at Asheville, Music

2000              A.A., Pensacola Junior College, General Studies


contemporary music analysis; popular music culture; timbre; electroacoustic techniques; spectralism; microtonality; experimentalism; critical organology; sonic archives; sound, media, and software studies; machine listening

TEACHING EXPERIENCE (at Harvard unless noted)

Graduate Courses

Popular Music Analysis, MUS 230 (Fall 2021, seminar). Topics: methods for analyzing rock, hip hop, electronica, and other genres of popular music, covering theoretical topics such as form, harmony, rhythm timbre, groove, flow, affect, hermeneutics, intermediality, and studio production practices. Special attention paid to how popular music analysis can fit into a broader disciplinary redress aimed at “reframing music theory.”

Timbre at the Crossroads, MUS 230 (Fall 2020, seminar). Topics: cross-disciplinary study of timbre as it relates to orchestration, historical treatises on organology, Klangfarbenmelodie and other 20th and 21st-century compositional techniques, analysis-synthesis technologies, psychoacoustic “timbre space” models, ecological and embodied approaches, and social-affective significations of cultural identity.

Analyzing Musical Media, MUS 230 (Fall 2019, seminar). Graduate theory seminar on interdisciplinary approaches to the analysis of music and media, encompassing methods from science and technology studies, media archaeology, and critical organology.

Graduate Musicianship, MUS B (Spring 2020, 2021, 2022). Topics: analytical methods and aural skills for Classical, Romantic, and 20th-century concert repertoire, as well as coverage of popular and non-Western theoretical systems depending on student research interests (e.g., gospel harmony, Turkish makams, electronic music).

Undergraduate Courses

Sound Studies in Theory and Practice, MUS 159 (Fall 2021). Topics: engagement with sound studies discourse paired with hands-on practice making critical-creative projects in various sound-based genres, including field recording, soundscape, sound art, DJ sampling, podcasting, and sonic ethnography. Course coordinated with Harvard Sound Lab to provide students access to professional mics, recorders, and software tools.

Theory I, MUS 51b (Spring 2021, 2022). Topics: musical texture, harmonic prolongation, sequences, chromatic alterations, tonicization vs. modulation, voice-leading and part-writing rules, partimento, phrase grouping and formal function, hypermeter.

Tonal Analysis, MUS 151 (Fall 2019). Undergraduate course offering intensive study of tonal theory and analysis through a detailed examination of music from the late eighteenth and nineteenth centuries. 

Past Experience as Instructor of Record (McGill University)

The Art of New Music (Winter 2018, co-designed and team-taught with composer James Rubino). Topics: genealogy of techniques and styles in contemporary art music (post-1968); cross-disciplinary approaches to understanding the technological, social, and political conditions of new music.

Popular Music after 1945 (Fall 2017, team-taught with Eric Smialek; Winter 2017, sole instructor). Topics: historical survey of popular music artists, genres, and institutions; intersections of popular music culture with broader social, political, and economic contexts.

Basic Materials of Western Music (Fall 2015, Winter 2017). Topics: ear training, sight singing, notation, rhythm and meter, pitch intervals, scales, modes, harmony, phrase structure, and popular song forms.

Introduction to Research Methods in Music (Fall 2016, Fall 2017). Topics: bibliography research, citation formatting, grant proposals, program notes, and concert reviews.