Teaching

Currently, I serve as a Teaching Fellow at Yale University. Beyond the academy, I've applied my pedagogical practice to workshops and lecture series with arts festivals and in my work with the Midnight Oil Collective.

McDougal Teaching Fellow

Yale Poorvu Center for Teaching and Learning, 2022 - present

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As a McDougal Fellow, I support the teaching of my fellow graduate and professional school students both in my department and beyond. I work with a cohort of Fellows to develop teaching resources, lead intermediate and advanced workshops on instructional skills, and provide classroom observations and individual consultations.

Workshops Led:

Fundamentals of Music
Fundamentals of Equitable Teaching
Mental Health in the Classroom
Preparing and Delivering Effective Lectures (delivered virtually)
Politics in the Classroom
Building the Anti-racist Syllabus
Anti-racist Pedagogy

Courses Taught

American Opera Today: Explorations of a Burgeoning Industry

Co-Instructor of Record, taught with Prof. Gundula Kreuzer, Yale University Fall 2024

This upper-level undergraduate seminar is designed for majors in music and/or theater studies. The seminar introduces students to the rich and vibrant world of American contemporary opera, addressing the broad socio-political and economic currents underlying these recent changes in the American opera industry. Covering a range of performances that challenge stylistic and generic boundaries and the widening spectrum of creators have been reaching to opera as a medium to center and (re)present stories of historically marginalized communities, the seminar explores the aesthetic, political, and technological issues of creating and performing opera in the contemporary climate.

1000 Years of Love Songs

Teaching Fellow for Prof. Anna Zayaruznaya, Yale University Spring 2023

This non-major music appreciation course is a survey of the history of musical style and form told through love songs. The class includes both music of Western art traditions and popular American forms, with a focus on textual and musical expressions of love. This course took the format two weekly lectures with written and listening assignments. Students ranged from first years to seniors with varying degrees of musical experience. As a Teaching Fellow, I was responsible for leading one optional review session a week and grading all assignments. I also delivered two 75-minute lectures.

Music in European Court, Church, and Theater, 1600-1800

Teaching Fellow for Prof. Jessica Peritz, Yale University Fall 2022

This major course is a survey of Western musical practices from c1600-c1800. Though the focus of the class was on notated European music, sessions also situated Western music in the broader global context of colonialism and empire. The class format included two weekly lectures and a discussion sections, with listening and terminology quizzes and two written assessments. Students ranged from first years to seniors.

As a Teaching Fellow, I was responsible for leading two discussion sections of 3-10 students and grading assignments. I also delivered two 75-minute lectures.

Introduction to the History of Western Art Music, 1800 - present

Teaching Fellow for Prof. Gundula Kreuzer, Yale University Spring 2022

This non-major survey course introduced students to musical practices, institutions, genres, styles, and composers in Europe and North America from 1800 to present. The course format included two weekly lectures and a discussion section, with written assignments and two major assessments. Students ranged from first years to seniors with varying degrees of musical experience.

As a Teaching Fellow, I was responsible for leading two discussion sections of 12-14 students and grading assignments. I also delivered one 75-minute lecture on American musical traditions at the turn of the 20th century.

Elements of Musical Pitch and Time

Teaching Fellow for Prof. Ian Quinn, Yale University Fall 2021

This non-major introductory course covered the fundamentals of musical language (notation, rhythm, scales, keys, melodies, and chords), including writing, analysis, singing, and dictation. This was the first iteration of a new curriculum based on the singing-school tradition that was taught entirely without the use of the keyboard. Incorporating pedagogies from South Indian Carnatic music and shape-note traditions, Prof. Quinn developed a new system of notation for this pedagogical approach, before introducing students to notation systems of Western Art music.

As a Teaching Fellow, I was responsible for leading two discussion sections of 11-13 students and grading final assignments.