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Friday, June 6
Friday, June 6
3:30–4:15 PM | Welcome & Registration
Location: EDUC 307
4:15–5:45 PM | Keynote Panel: Reflections on Curricular Change & Next Steps
Panelists: Paula Maust (Peabody Conservatory of the Johns Hopkins University), Jocelyn Neal (UNC Chapel Hill), and Sarah Louden (NYU Steinhardt). Moderated by Clifton Boyd (NYU FAS)
Location: EDUC 303
5:45–7:30 PM | Break for Dinner
Workshop participants are on their own for dinner. See some recommendations here.
7:30–9:00 PM | Workshop 1: “Unwritten Sounds: Transmitting Nuance and Gesture in Korean Traditional Music”
Performer/Workshop Leader: Soo Yeon Lyuh (Princeton)
Location: EDUC 303
Description: This workshop examines the limitations of Western notation in capturing the nuanced ornamentation (sikimsae), pitch inflections, and embodied gestures central to Korean traditional music performance. Participants will engage in hands-on exploration through guided haegeum demonstrations, discussing strategies for teaching and transmitting these expressive elements in diverse educational and intercultural contexts.
Saturday, June 7
Saturday, June 7
8:15–9:00 AM | Breakfast & Registration
Location: EDUC 307 (additional seating in EDUC 306)
Saturday's breakfast is sponsored by Auralia
9:00 AM–12:00 PM | Workshop 2: “Harmonizing Melodies and Melodizing Harmonies in the Style of Popular Music”
Workshop Leader: Trevor de Clercq (Middle Tennessee State University)
Location: EDUC 303
Description: This workshop discusses strategies for teaching students how to harmonize and reharmonize a melody in the style of popular music as well as how to write melodies in the style given a chord progression or chord loop. Participants will be asked to write their own harmonizations of melodies and their own melodies to chord progressions, with a focus on how the approach differs from traditional model composition exercises.
12:00–1:15 PM | Catered Lunch & Poster Session 1
Location: EDUC 306 and 307
Posters by Workshop Participants:
Alex Sallade, “Scaffolded Improvisation Through Voice-Leading Charts in Aural Training”
Fred Hosken, “Enhancing Aural Skills with Technology-Driven, Musically Authentic Practice”
Gerardo Lopez, “Engaging with Computer-Assisted Vocal Timbre Analysis”
Olga Sánchez, “Hearing Harmony in Popular Music with the Background Singer Workshop”
Panzhen Wu, “From a Music Theory Tutor’s Eyes: Students' Confusion When Learning Global Music in the US Music Education Setting”
1:15–2:45 PM | Workshop 3: “Analysis and Application of Japanese Concert Music”
Location: EDUC 303
Workshop Leader: Tomoko Deguchi (Winthrop University)
Description: This workshop introduces Japanese and other Asian composers’ music from the early 20th century to recent days as well as some historical and cultural backgrounds of their compositions. Participants will engage in discussions on how these works can be applied to the Western-centric courses in music theory and will be provided with additional teaching materials with the understanding of their historical context.
3:00–6:00 PM | Workshop 4: “Bridging Worlds: Teaching Music Theory Through a Global Lens”
Location: EDUC 303
Workshop Leader: Adem Birson (NYU Steinhardt)
Description: This workshop equips educators with practical strategies for exploring diverse musical traditions in the theory classroom. We'll tackle the challenges of approaching unfamiliar repertoires, navigating limited resources, and fostering respectful engagement with global music. Discover methods for analyzing music beyond traditional harmonic frameworks and learn how to effectively incorporate the invaluable perspectives of culture bearers.
6:00–7:30 PM | Dinner Reception
Location: Pless Lounge (1st floor, Pless Hall, 82 Washington Square E. )
Directions: Pless Hall is just around the corner from the Education building (2 min walk, Google Map directions here). The lounge is on the first floor, directly to your right after you pass through security.
7:30–9:00 PM | Workshop 5: “Manipulating Time: Hypermeter and Phrase Rhythm in Pop Music Analysis”
Location: EDUC 303
Workshop Leader: Jocelyn Neal (UNC Chapel Hill)
Description: A solid sense of time, timing, and phrase rhythm is one of the skills that our undergraduate theory curriculum aims to develop for all our students. In our course sequence that is built on popular repertory and non-notated traditions, however, these skills require different pedagogical approaches and communication strategies than ones used in conventional tonal theory courses. This workshop will explore both groove patterns and hypermeter in contemporary pop and country, and experiment with lesson plans and exercises that foreground meter, hypermeter, and phrase rhythm in aural analysis and pop analysis in particular.
Sunday, June 8
Sunday, June 8
8:15–9:00 | Breakfast
Location: EDUC 307 (additional seating in EDUC 306)
9:00 AM–12:00 PM | Workshop 6: Teaching Meter through a World Musics Classroom
Location: EDUC 303
Workshop Leader: Lina Tabak (Indiana University Bloomington)
Description: This workshop discusses strategies for organizing a class primarily around rhythm and meter. While strategies will be transferable to a class that uses a wide variety of musical styles from around the world, this workshop will primarily focus on folk music from the southern Pacific region of Colombia. Participants will be asked to do short analysis, transcription, and model composition exercises.
12:00–1:00 PM | Catered Lunch & Poster Session 2
Location: EDUC 306 and 307
Posters by Workshop Participants:
Hannah Percival, “‘Give me an observation!’ Discovery-Based Strategies for Teaching Aural Skills”
Peter James Shelley, “Teresa Carreño in the Core Classroom”
Samantha Bassler, “Trauma-Informed and Universal Design Approaches to Aural Skills”
Zachary Lookenbill, “Replacing Traditional Exams in Music Theory with Project Based Assessments”
1:00–2:30 PM | Workshop 7: “Expanding the Music Theory Canon in the Undergraduate Classroom”
Location: EDUC 303
Workshop Leader: Paula Maust (Peabody Conservatory of the Johns Hopkins University)
Description: This workshop focuses on incorporating common-practice-period repertoire by composers from underrepresented groups into undergraduate music theory courses. Participants will engage with examples of repertoire that could be used in fundamentals, harmony, form, and counterpoint courses. Additionally, we will discuss best practices for incorporating this repertoire into the curriculum and the available resources for finding musical examples by underrepresented historical composers of Western classical music.
2:40–4:10 PM | Workshop 8: “Rhythmic Navigation: Aural Skills Through Dance and Drama”
Location: EDUC 303
Workshop Leader: Kevin Laskey (NYU Steinhardt)
Description: Notable recent music theory scholarship has explored alternative means of musical analysis. Analyses can be danced and played as well as written. Jumping off from that idea, this workshop will present varied “navigations” of folkloric rhythms from Scandinavia, the Balkans, and the Caribbean. Rhythms will be danced and played to develop an embodied understanding, followed by a transcription exercise that connects this understanding to dramatic storytelling. The workshop presents strategies for rhythmic explorations that are both rigorous and accessible to students of varied notation experience.
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