1. What courses or areas of expertise do you specialize in within the music department, and how do they benefit our students?

During the 1980's and early 1990's, as head of PhD studies in MPAP, my primary teaching focus was on graduate and doctoral students.  However, as the Chair of the MPAP department for 16 years from 1995-2011, I made efforts to involve more senior level professors in teaching undergraduate courses. By way of example, every semester I taught an undergraduate class. Over the last 40+ years at NYU, my specialties have included music history, music theory, music copyright, research methods, and philosophy of music and the arts.

In addition to teaching music history courses, I currently teach an undergraduate course on music copyright, exploring the intersection of musicology and copyright law. This music copyright course, inspired by my lectures at Harvard Law School over the last 14 years and experiences with high-profile copyright cases like the Ed Sheeran trial last Spring, offers students a unique blend of music and legal education. We limit the class size to 20 students to facilitate in-depth study groups, focusing on notable cases such as the Andrew Lloyd Webber Phantom of the Opera and Led Zeppelin Stairway to Heaven trials, at which I testified as a forensic musicologist. This class and approach not only provide a practical understanding of copyright law but also prepare students for real-world legal challenges in the music industry.

2. How do you approach teaching and mentoring students in the music program to ensure their success academically and artistically?

My teaching philosophy centers on making historical and theoretical connections that resonate with contemporary popular music, for example, drawing parallels between the songs of Schubert and Schumann and those of singer songwriters like Billy Joel and many others in my music history courses. By illustrating how musical trends in current popular music "rhyme" with those of the 19th and early 20th centuries, I aim to make my music history classes relevant and engaging for students. This approach helps students understand the practical applications of their studies, preparing them for professional careers in music. The MPAP department's success in professional preparation is a key differentiator, ensuring our curriculum is directly aligned with the demands and opportunities of the professions that our students are preparing to work within.

3. Are there any unique opportunities or resources that our music program offers that you believe students should be aware of?

MPAP's alumni network is a significant resource, with former students holding important positions at many music labels and publishers and professional activities related to film companies. These connections provide invaluable opportunities for internships, mentorship, and employment within the industry, showcasing the practical outcomes of our programs' focus on professional readiness.

4. Can you describe any ongoing research or creative projects you're involved in that might be of interest to students looking for extracurricular opportunities?

My ongoing work involves the continuous development of my music history courses as well as my copyright course which offers students a unique opportunity to engage with real-world legal battles in the music industry. This not only enriches their academic experience but also provides practical insights into the complexities of copyright law, litigation, and music analysis.

5. How do you stay updated on the latest developments and trends in the music industry, and how does this knowledge benefit your teaching and advising?

I stay updated with industry developments by providing analyses of songs before they are released and at the other end of the spectrum, my research and analysis in music copyright litigations.  My involvement in high-profile cases, including current litigations on behalf of Dua Lipa and Ed Sheeran, informs my teaching by incorporating current issues and trends into the curriculum. This real-world knowledge not only enriches classroom discussions but also ensures that our students are well-prepared for the challenges and opportunities they will face in their professional careers. My many presentations in forums like Harvard Law School, other law schools, copyright organizations, and major media companies further enhance my understanding of the intersection between music, business, and law, benefiting students across multiple disciplines within our department.