Brian Alegant is Professor of Music Theory at the Oberlin College Conservatory.
Kevin R. Burke is Assistant Professor of Music at Franklin College, where he teaches courses in music history, music theory, and world music. He has presented research on early 19th-Century German opera reception and on pedagogy at regional, national, and international conferences and his work is published in Music Research Forum and Ethnomusicology. He holds a Ph.D. in musicology from the College-Conservatory of Music at the University of Cincinnati.
L. Poundie Burstein is Professor of Music Theory at Hunter College and the Graduate Center of the City University of New York.
Carla R. Colletti is Assistant Professor of music theory and Director of the Bachelor of Arts program in Music at Webster University in Saint Louis, MO. Her research interests include music theory pedagogy, the music of Francis Poulenc, fin de siècle Europe, and connections between art, music, and poetry. She is also a freelance oboist.
Trevor de Clercq is currently Assistant Professor in the Recording Industry department at Middle Tennessee State University. He holds degrees in music theory (BA, Cornell; MA/PhD Eastman), music technology (MM, NYU) and electronics engineering (AAS, CIE). His research encompasses popular music, sound recording, and music cognition.
Philip Duker is Assistant professor of Music at the University of Delaware, where he joined the faculty in 2009. His current research focuses on repetition in music from an analytical and meta-theoretical perspective, investigating how this topic is foundational to analysis and can also provide new avenues of exploration in Twentieth-Century music.
Anna Gawboy is assistant professor of music theory at Ohio State University, where she coordinates the first-year theory curriculum, supervises graduate student instructors, and teaches music theory pedagogy.
Stephen Gosden is an Assistant Professor of Music Theory at the University of North Florida. He previously taught at the Oberlin Conservatory of Music.
Bryn Hughes is Assistant Professor of Practice at the Frost School of Music at the University of Miami, where he teaches undergraduate and graduate courses in music theory. His research interests include music cognition, popular music, and music theory pedagogy. He holds the Ph.D in music theory from Florida State University (2011).
Enoch S. A. Jacobus, Ph.D. (University of Kentucky, 2012) holds interests in music theory pedagogy, neo-Riemannian theory, sixteenth-century polyphony, and the music of film, television, and video games. He has presented papers on some of these topics at the local, regional, and international levels, but his enthusiasm for learning transcends any single topic or discipline. He is currently applying for teaching positions in higher education.
Timothy A. Johnson is professor of music theory at Ithaca College. He is the author of three books, John Adams’s Nixon in China: Musical Analysis, Historical and Political Perspectives (Ashgate 2011); Foundations of Diatonic Theory: A Mathematically Based Approach to Music Fundamentals (Scarecrow 2008); and Baseball and the Music of Charles Ives: A Proving Ground (Scarecrow 2004), winner of the Sporting News-SABR Baseball Research Award.
Alexander R. Ludwig, Ph.D. (Brandeis University, 2010) teaches courses in music history at Boston College. His research interests include the development and evolution of sonata form, music theory and popular music. He currently serves as the secretary of the Haydn Society of North America, and he is an active cellist and pianist.
Crystal Peebles is an instructor of Music Theory at Northern Arizona University and holds a Ph.D. in Music Theory from Florida State University. Crystal has presented research at a variety of conferences including the International Conference for Music Perception and Cognition, the Annual Meeting for the Society for Music Theory, and numerous regional conferences. Her research interests include music cognition, specifically the perception of musical form and the influence of motion on the perception of music, the analysis of formal processes in post- 1945 music, and the influence of performance practice on the perception of musical structure.
Deborah Rifkin is Associate Professor of music theory at Ithaca College.
Colin Roust is an Assistant Professor of Music History at Roosevelt University’s Chicago College of Performing Arts. He holds degrees from the Universities of Missouri and Michigan, and previously taught at the Oberlin Conservatory. His teaching and research interests focus primarily on issues of music and politics, and on the relationship of music and other arts in multimedia works (song, opera, dance, film, etc.). He is a co-editor of The Routledge Film Music Sourcebook and a forthcoming translation of William Ritter’s Etudes d’Art Etranger.
Barbara Sawhill is Director of the Cooper International Learning Center and Lecturer of Hispanic Studies at Oberlin College.
Peter Schubert teaches at McGill University’s Schulich School of Music. He has published articles and textbooks on counterpoint, and conducts VivaVoce, a professional ensemble in Montreal.
Kris Shaffer is instructor of music theory at the University of Colorado–Boulder. Kris’s research centers around the music of twentieth- and twenty-first-century composers, computational analysis, and the pedagogy of music theory and aural skills. His research appears in Hybrid Pedagogy and Digital Humanities Now. He holds a Ph.D. in music theory from Yale University (2012).