Sara Bakker
Sara Bakker is Assistant Professor of Music at Utah State University, where she is actively involved in curriculum design, course development, and creative approaches to teaching and evaluating learning. Her pedagogy research focuses on practical ways the Scholarship of Teaching and Learning can impact the music theory classroom, including how to use evaluation as a motivational tool and how to incorporate writing into the music theory curriculum. She serves on USU's Empowering Teaching Excellence Program, is a textbook reviewer for Oxford University Press, and an editor for Engaging Students.
Owen Belcher
Owen Belcher is Assistant Professor of Music Theory at the University of Missouri-Kansas City Conservatory, where he teaches undergraduate theory and musicianship and graduate courses on advanced theory topics. His research interests include the vocal music of J.S. Bach, transformational approaches to 19th- and 20th-century theories of harmony, classroom applications of public music theory, and the music of Caroline Shaw. He holds a PhD in music theory from the Eastman School of Music.
Timothy K. Chenette
Dr. Timothy Chenette is Associate Professor at Utah State University. His current research focuses on aural skills pedagogy. His articles on music theory/aural skills pedagogy and the analysis of early music have been published in Music Theory Online, Early Music, College Music Symposium, Journal of Music Theory Pedagogy, and past volumes of Engaging Students.
Trevor de Clercq
Trevor de Clercq is Associate Professor in the Department of Recording Industry at Middle Tennessee State University, where he coordinates the musicianship curriculum and teaches coursework in audio theory and music technology. His research focuses on the ways that contemporary popular music departs from traditional theoretical frameworks developed primarily within the context of common-practice-era music, especially as shown through computational methods. He holds a Ph.D. in music theory from the Eastman School of Music.
Jeremy Day-O'Connell
Jeremy Day-O'Connell is an Associate Professor of Music at Skidmore College, where he teaches music theory and has served as Chair. He is the author of Pentatonicism from the 18th Century to Debussy as well as articles and essays on 19th-century music, scales and harmony, and music and language. His contributions have appeared in Music Theory Spectrum, Journal of Music Theory, Music Perception, and The New Grove Dictionary of Music and Musicians. His current research focuses on the commonalities of musical and linguistic structures.
Andrew Gades
Andrew Gades is an Assistant Professor of Music and Associate Dean of the Faculty at the College of Idaho where he teaches the undergraduate theory core and other music electives. His research considers the intersection of music and other media, including art song, music and art, and film and game soundtracks. His pedagogical work is informed by his administrative duties, which focus on curriculum and assessment. He holds a Ph.D. from Florida State University and received an M.M. and B.M. from the University of Nebraska–Lincoln.
Cynthia I. Gonzales
Cynthia I. Gonzales is a Texas State University System Regents' Teacher and Associate Professor. The Listen-Sing Method, her first volume of sight singing and aural skills exercises, was released by SmartMusic® in 2019. She is currently on the editorial board for the College Music Society's Symposium and for the Journal of Music Theory Pedagogy. A retired professional soprano, she performed with the Santa Fe Desert Chorale for four seasons and with Grammy®-winning Conspirare for 16 seasons, serving as Soprano Section Leader for both. She is Music Director at First Lutheran Church in San Marcos, TX, and composes sight reading pieces for Texas UIL Choir Contest. Additionally, she has been an AP Music Theory Reader since 2015.
Aaron Grant
Aaron Grant is an Assistant Professor of Music Theory at Missouri Western State University. His research primarily engages issues of form, narrative, and meaning in 19th-century music, and his pedagogical research focuses on the teaching of musical form and finding ways to connect the music theory classroom to other disciplines and the public sphere. He holds a Ph.D. from the Eastman School of Music as well as an M.A. in Music Theory and a B.M. in Flute Performance from the Pennsylvania State University.
David Heinsen
David Heinsen is a Ph.D. student in Music Theory at the University of Texas at Austin. He has presented at several national and regional conferences, and has an article published in the international journal Bibliotheca Dantesca. His research interests include semiotic theories of musical meaning and postcolonial approaches to analysis. He holds an M.A. in Musicology and an M.M. in Euphonium Performance from the University of Georgia, as well as a B.M. in Music Education from James Madison University.
Robin Heinsen
Robin Heinsen is a Ph.D. student in Music and Human Learning at the University of Texas at Austin, where she teaches woodwind and brass methods, assists undergraduate music education courses, and supervises student teachers. Her research interests include cognition and attention allocation in expert and novice teachers, learner-centered pedagogy, and lifelong music learning. Prior to the University of Texas, she taught middle school band in Gwinnett County, Atlanta, Georgia, and received her B.M. and M.M. in Music Education from the University of Georgia.
Kristina Knowles
Kristina Knowles is an Assistant Professor of Music Theory at Arizona State University, where she teaches undergraduate and graduate courses on music theory and music cognition. An interdisciplinary scholar, her research draws from the fields of music theory, cognitive psychology, and philosophy to investigate questions of rhythm, meter, and time, with an emphasis on the perception and experience of time in music. Her pedagogical work is informed by critical discussions around the role of music theory in the twenty-first century as well as current and ongoing work on curricular reform at her institution. She holds a Ph.D and M.A in Music Theory from Northwestern University and a B.M. in music theory from Nazareth College.
Megan L. Lavengood
Megan Lavengood is an Assistant Professor and Director of Music Theory at George Mason University, where she teaches undergraduate core theory and graduate courses in advanced theory topics. Her research primarily deals with popular music, timbre, synthesizers, and recording techniques, and has appeared in the Journal of Popular Music Studies and Current Musicology. She is an active performer, as a soprano in the St. Gregory Choir in McLean, Virginia. She holds a Ph.D. from the City University of New York, M.M. from The Florida State University in Tallahassee, Florida, and B.M. from Ohio University in Athens, Ohio.
Garrett Michaelsen
Garrett Michaelsen is Assistant Professor of Musicianship and Music Theory at University of Massachusetts Lowell, where he coordinates the "Musicianship and Analysis" sequence and teaches theory and history. He researches topics surrounding the theory, analysis, and pedagogy of improvisation. His work has appeared in Music Theory Online, GAMUT, Engaging Students, and Analyzing the Music of Living Composers (and Others).
Crystal Peebles
Crystal Peebles is an Assistant Professor of Music Theory at Ithaca College. Along with undergraduate core theory, she also teaches courses for non-music majors, including a first-year seminar on music, movement, and emotion. Her research includes work in public musicology, theory pedagogy, and relationships between dance choreography and music. When not on the dance floor, Crystal also performs a fiddle player in local contra dance bands. She holds a Ph.D. and M.M. in Music Theory from The Florida State University and a B.M. in Music Education from East Carolina University.
