Zoom Room Link: uncg.zoom.us/j/3827900643 Email: email@example.com Institutional Affiliation: University of North Carolina at Greensboro Areas of specialty: Fundamentals, Rhythm (notation, performance, dictation; familiar with Gordon syllables), Sight-singing, Chromatic harmony, Form, Post tonal analysis, Basics of Arabic maqam. Primary textbooks: The Musician's Guide series, Clendinning and Marvin; Open Music Theory Year: Masters- Second Year Availability: Wednesdays, 3–5pm
Caroline is a second-year student in the MM Music Theory program at the University of North Carolina at Greensboro. She holds an MA in Music Education through which she completed research on harmonic dictation in first year college courses. She also has earned a BM in Instrumental Education with teacher licensure.
Caroline has tutored and instructed undergraduate music theory and aural skills courses since 2014 and regularly engages with the music theory pedagogy community through attendance at regional and SMT graduate workshops as well as the 2019 Workshops in Music Theory Pedagogy.
Caroline's current research examines musical borrowing and feminist theory in the string quartets of composer Caroline Shaw. Her other research interests include Messiaen's music, neo-Riemannian theory, and rhythm and meter. When not teaching or theorizing, she enjoys playing her violin--particularly in pit orchestra, watching German-language television, and backpacking through the Appalachian Mountains.
Skype name: ethan_lustig Email: firstname.lastname@example.org Institutional Affiliation: Eastman School of Music Areas of specialty: Sight-singing, dictation, keyboard skills, analysis and composition of tonal music (from fundamentals through chromatic harmony), jazz, rock, electronic dance music production Primary textbooks: The Musician’s Guide to Theory and Analysis (Clendinning/ Marvin), The Musician’s Guide to Aural Skills (Phillips/ Marvin/ Clendinning), The Complete Musician (Laitz), Music for Sight Singing (Rogers/ Ottman), Melodia (Cole), Modern Reading Text in 4/4 (Breines / Bellson). Year: Doctoral- beyond second year Availability: Thursdays, 5-7pm EST
Zoom Room Link: https://uoregon.zoom.us/j/3992095964 Email: email@example.com Institutional Affiliation: University of Oregon Areas of specialty: I am available to assist with many aspects of the undergraduate music theory/aural skills curriculum, including sight singing, melodic and harmonic dictation, harmony (scales, chord construction, modes), form analysis (harmonic and melodic analysis within tonal and post-tonal music), pop music composition and the analysis of improvised music (jazz and modern pop music). Primary textbooks: The Musician's Guide series, Clendinning and Marvin; Music for Sight Singing, Ottman/Rogers; Manual for Ear Training and Sight Singing, Karpinski Year: Doctoral- Beyond Second Year Availability: Thursdays, 1–3pm (10am-noon PST)
Micheal Sebulski is a PhD candidate in music theory at the University of Oregon. He has previously completed a master's degree in music theory from the University of Colorado-Boulder, and three undergraduate degrees (in philosophy, music education, and guitar performance) at West Liberty State College, just outside of Wheeling, West Virginia.
Micheal has tutored and instructed undergraduate music theory, aural skills and keyboard skills courses since 2012. He served as a Lead Coordinator for the University of Colorado Boulder's Graduate Teacher Program, assisting his peers through in-class observation and seminar training. He has also served as an advisor to the Dean of the School of Music and Dance at the University of Oregon. He is also a certified K-12 public school music teacher and has designed courses in music theory and aural skills for high school music programs in Pennsylvania and West Virginia.
Micheal's research interests include analyzing the idiosyncratic phrases within the solo piano works of Johannes Brahms (Micheal loves a good sentence), all things music theory pedagogy, and popular music improvisation. His dissertation, in process, provides an analytical methodology for live-performance jamming through a case study centered on the music of Dave Matthews Band.