Bruno Alcalde is Visiting Assistant Professor of Music at University of Richmond, where he teaches courses in music theory, popular music, and music cognition. His research interests include musical style and genre, hybridity in music, and communicational issues of 20th-century music. Bruno is also a guitarist and composer, and has performed with rock, jazz, and Brazilian music groups throughout the years.
Damian Blättler is Assistant Professor of Music Theory at Rice University, where he teaches courses in analysis and the music of Ravel. His research interest in the expanded tonal practices of the 20th and 21st centuries includes projects on the music of Ravel and Andriessen and publications on additive harmony in Music Theory Online and Theoria.
Jenine Brown teaches aural skills at the Peabody Conservatory of the Johns Hopkins University, where she joined the faculty in 2015. Her research interests include music theory pedagogy and the perception of post-tonal music. She holds a Ph.D. in music theory from the Eastman School of Music (2014), and her research appears in Music Perception (2016) and Music Theory Spectrum (forthcoming).
Dr. Timothy Chenette is Assistant Professor at Utah State University. He researches both music theory/aural skills pedagogy and the analysis of early music; his articles have been or are being published in Music Theory Online, Early Music, College Music Symposium, Journal of Music Theory Pedagogy, and past volumes of Engaging Students.
Trevor de Clercq is Assistant 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.
Martin Norgaard is Associate Professor of Music Education at Georgia State University in Atlanta where he is collaborating with faculty in music theory, mathematics, computer science, psychology, and physics to investigate the cognitive processes underlying improvisation. His research appears in the Journal of Research in Music Education, The International Journal of Music Education, Brain Connectivity, and the interdisciplinary journal Music Perception, among others.
Gilad Rabinovitch is assistant professor of music theory at Georgia State University. His research interests include galant schemata and historical improvisation. His publications have appeared in (or are forthcoming from) the Journal of Music Theory, Music Theory Online, Music Theory and Analysis, and Theoria.
Jennifer Salamone is a Visiting Assistant Professor of Music Theory at the Oberlin College Conservatory, where she teaches music theory and aural skills. Her research interests include rhythm and meter, pedagogy, and humor in tonal music. Jennifer holds a Ph.D. in music theory from the University of Kentucky.
Jennifer Shafer is an Assistant Professor of Music Theory at the University of Delaware, where she teaches courses in undergraduate and graduate music theory. Previously, Jennifer was an adjunct faculty member at Temple University and a teaching associate and lecturer at Ohio State University, where she was named the finalist for the Outstanding Graduate Associate Teaching Award by the College of Arts and Sciences Student Council. Her two main research interests are mathematics and music (with the purpose of applying mathematical and computational tools as analytical aids) and music theory pedagogy.
Cara Stroud is Assistant Professor of Music Theory at Michigan State University, where she teaches courses in the undergraduate core curriculum as well as graduate courses in popular music, music after 1900, and musical narrative. Her current research focuses on narrative strategies in music by Libby Larsen, John Corigliano, and Alfred Schnittke. She also studies form in recent Top-40 pop music.
Reba Wissner is on the music history faculty of Montclair State University, New York University, Westminster Choir College of Rider University, and Ramapo College of New Jersey. She received her MFA and PhD in musicology from Brandeis University and her BA in Music and Italian from Hunter College of the City University of New York. She is the author of articles on seventeenth-century Venetian opera, Italian immigrant theater in New York City, music in 1950s and 1960s television, and music history pedagogy and has presented her research on these topics at conferences throughout the United States and Europe. She is the author of A Dimension of Sound: Music in The Twilight Zone (Pendragon Press, 2013) and We Will Control All That You Hear: The Outer Limits and the Aural Imagination (Pendragon Press, 2016) and is currently working on both her third book, Music and the Atomic Bomb in American Television, 1950-1969 (under contract with Peter Lang International Academic Publishers, forthcoming in 2020) and a collaborative book and database project called Cues and Contracts: Music and the American Television Industry that examines music cues and their reuses, as well as administrative documents related to American television music production. She is also co-editing a volume on the music and sound design in Twin Peaks. Dr. Wissner is the recipient of numerous awards and grants including a travel grant to Venice for dissertation research from the Andrew W. Mellon Foundation and a Sight and Sound Subvention from the Society for American Music.
Brent Yorgason is an Associate Professor of music theory at Brigham Young University. He is the Managing Editor of Music Theory Online and the moderator for SMT Discuss. He is the developer of Audio Timeliner, the digital author of Inquizitive for Aural Skills (W.W. Norton) and co-author of OnMusicFundamentals, 3rd ed. (Connect4Education). Brent’s research interests include film music studies, expressive asynchrony and meter, Schenkerian analysis, machine metaphors in music, post-minimalism, technology in music pedagogy, and hymnology.