teaching.html

<h1>Courses taught</h1>
<br>
<h5>University of Illinois</h5>
<br>
<h5>Seminars</h5>
<table>
  <tr>
    <td>Music 507T</td>
    <td>Tuning and Temperament: History, Theory, and Practice.</td></tr>
    <tr>
      <td>Music 507B</td>
      <td>Types of Musical Ambiguity, laying the groundwork of a theory of musical ambiguity, with readings from medieval philosophy, New Criticism, the phenomenology of listening, and traditional music theory.</td></tr>
      <tr>
        <td>Music 507A</td>
        <td>German Contemporary Music and Music Aesthetics since 1970, developing analytical techniques for the music of Lachenmann, Spahlinger, N.A. Huber, and composers of the younger generation in Germany.</td>
      </tr>
      <tr>
        <td>Music 206</td>
        <td>Sophomore Composition Seminar</td>
      </tr>
      <tr>
        <td>Music 106</td>
        <td>Freshman Composition Seminar</td>
      </tr>
      </table>
      <h5>Composition and Theory courses</h5>
      <table>
        <tr><td>Music 506/406</td> <td>Private Composition Studio. Graduate and undergraduate pupils.</td></tr>
        <tr><td>Music 499R</td> <td>Music Theory Review for Graduate Students</td></tr>
        <tr><td>Music 499R1</td> <td>Post-Tonal Theory Review for Graduate Students</td></tr>
        <tr><td>Music 400</td> <td>16th- and 18th-Century Counterpoint and Fugue</td></tr>
        <tr><td>Music 408A</td> <td>Form and Analysis for music before 1750</td> </tr>
        <tr><td>Music 408B</td> <td>Form and Analysis for 18th-century music</td></tr>
        <tr><td>Music 408C</td> <td>Form and Analysis for music of the 19th-century</td></tr>
        <tr><td>Music 408D</td> <td>Form and Analysis for music of the early 20th century.</td> </tr>
        <tr><td>Music 201</td> <td>Music Theory III</td> </tr>
        <tr><td>Music 101/107</td> <td>Music Theory and Aural Skills I</td> </tr>
      </table>
      <h5>at UC Berkeley</h5>
      <table>
        <tr><td>Music 50</td> <td>first-semester harmony for music majors: diatonic harmony and principles of voice leading. Daily written exercises.</td> </tr>
        <tr><td>Music 25A-B</td> <td>Introduction to Music Theory: strict chorale style, diatonic harmony, secondary and borrowed chords, modulation, harmonic and formal analysis, chromatic harmony.</td> </tr>
        <tr><td>Music 20A</td> <td>Honors-level Musicianship: solfège, ear training, keyboard proficiency, intervals, Renaissance modes, rudimentary score reading.</td> </tr>
      </table>

      <h5>Doctoral supervision (selection)</h5>
      <ul>
        <li>Pei-I Wang (DMA Candidate in Piano Performance) “The Operatic Sources of Michael Finnissy’s Verdi Transcriptions, Book III”</li>
        <li>Waejane Chen (DMA in Piano Peformance) “Piano Music of Helmut Lachenmann”</li>
        <li>Petra Music (DMA in Flute Performance) “Nicolaus A Huber’s Chamber Music with Flute”</li>
        <li>Ian Gindes (DMA in Piano Performance) “Rhetoric and Improvisation in Liszt”</li></ul>