As Instructor of Record

  • Great Works Seminar | Listening as Expressive Practice (Emory University, 2021). Development in progress. Rather than orient our attention to “greatness” and “great works,” this seminar re-imagines Emory’s Great Works seminar by turning to listening, in order to investigate how greatness often rests in the bodies of the beholders. As we interrogate listening itself, we think through the ways identities, privileges, and structures of oppression shape techniques of listening that we bring to musical experiences.
  • Great Works Seminar | “I Felt Strange, as I Always Do in Georgia”: The Interdisciplinary Humanism of Jean Toomer’s Cane Taught for a non-academic audience in collaboration with the other Postdoctoral Fellows at Emory, this seminar explored this important work, particularly focused on its connections to the Harlem Renaissance, Black art in the United States, and the history of racism in the U.S. South. I focused on the music inherent in Cane, emphasizing spirituals, blues, and jazz.
  • Musical Communities of Boston (Northeastern University, 2020). By exploring historical and contemporary practices, this course examines enduring structures of oppression in the city, and we will also highlight practices that have subversively and boldly challenged these systems, by using music and sound.
  • Music and Disability Justice (Northeastern University, 2020) Our course is guided by the question: How can music help achieve disability justice? Engaging with the framework of disability activists, Sins Invalid, we think about the role music plays in shaping many aspects of disability: ableism, normalcy, identity, stigma, neurodiversity, cultural narratives, and embodied knowledge.
  • World Music (Northeastern University, 2019) This survey of world music offers an overview of music in Africa, Europe, the Middle East, Indonesia, Australia, India, Central Asia, East Asia, North America, and many virtual worlds. Students develop research projects that involve a particular political event or issue and its relationship to music, in order to gain knowledge of and an investment in a particular struggle for justice—all while exploring the power of music to bring about cultural change.
  • Music of Asia (Northeastern University, 2019) Our course focuses on cultural values, aesthetic preferences, and sound practices in Asia. In the first unit, students examine historical traditions in China, Japan, India, Pakistan, Central Asia, and Southeast Asia. In the second unit, we turn to contemporary practices, including gamelan, punk music in Myanmar, virtual idols in Japan, and indigenous Taiwanese music online. Our final unit brings our themes together with an extended study of K-Pop.
  • Music, Technology, and Digital Culture (Tufts University, 2017) I designed a course on historical and contemporary developments in music and technology, with case studies including the phonograph, radio, electric guitar, synthesizer, music video games, and the mp3 format.
  • East Asian Popular Music (Brown University, 2016) Bringing together theoretical work on identity and transpacific cultural production, I developed a course on the circulation, consumption, and production of popular music in North and South Korea, mainland China, Taiwan, and Japan, with case studies on K-Pop, karaoke, Japanese hip hop, noise music, and Chinese rock.
  • The Meaning of Mashups (University of Alabama, 2013) Highlighting the way digital technologies raise new and longstanding questions related to culture and identity, I created a course that would situate musical themes—remix, remediation, sampling, copyright, theories of ownership, and historical distinctions between art and entertainment—within U.S. cultural shifts in the twentieth and twenty-first centuries.

As Graduate Teaching Assistant

  • Digital Media and Virtual Performance (Brown University, 2019, Main Instructors: Kiri Miller and Sydney Skybetter) This seminar drew upon theoretical and historical scholarship in performance studies, media studies, ethnomusicology, critical race theory, and gender studies. We explored the intersection of physical and embodied performance with digital media and virtual worlds, focusing on themes including play, performance, pedagogy, and participatory culture. Specific case studies included digital games, viral videos, lip syncing apps, online music lessons, surveillance, interface theory, and liveness.
  • Computers and Music (Brown University, 2018, Main Instructor: Erik DeLuca) This course featured an historical overview of music and sound technology, as well as a creative component that allowed students to record and compose electronic music. I taught three sections of the course, showing students how to produce music using digital audio workstations and workshop compositions with their peers.
  • American Roots Music (Brown University, 2018 & 2015, Main Instructor: Kiri Miller) In both iterations of the course, I assisted in teaching, organizing, and leading discussion in this upper-level exploration of the construction of regional, national, and ethnic identities, and the course featured case studies in African American, Mexican American, and Anglo American traditions/repertoires in Appalachia, the city of Chicago, and the state of California.
  • Music and Modern Life (Brown University, 2016, Main Instructor: Marc Perlman) This upper-level survey of music in the 21st century focused on industry, technology, regulation, and identity, by drawing on case  studies and theoretical texts. I assisted with class discussion, grading, and a student mixtape project that allowed students to swap music and explore ideas related to taste and identity.
  • World Music (Brown University, 2015, Main Instructor: Sheryl Kaskowitz) This survey of non-Western music emphasized the connection between global music practices and local music practices in the Providence community. I assisted with teaching, grading, planning readings, and organizing this entry-level course, as well as facilitating multiple fieldtrips and guest speakers.
  • Contemporary Music in America (University of Alabama, 2012, Main Instructor: Eric Weisbard) This upper-level course aligned musical shifts with important cultural shifts in the United States in the late 20th and early 21st centuries. I graded papers, organized readings, facilitated discussion, and taught class.
  • American Experience I (University of Alabama, 2012, Main Instructors: Eric Weisbard, Edward Tang, Michael Innis-Jiménez, Jeffrey Melton, Stacy Morgan, Lynne Adrian, and Jolene Hubbs) I assisted in grading, tutoring, and organizing this large lecture-style introduction to American studies and the cultural and political history of the United States. The course emphasized race and nationality from colonial North America to the Civil War. 
  • American Experience II (University of Alabama, 2013, Main Instructor: Eric Weisbard, Edward Tang, Lynne Adrian, Michael Innis-Jiménez, Jeffrey Melton, Stacy Morgan, and Jolene Hubbs) I assisted in grading, tutoring, and organizing this large lecture-style introduction to American studies and the cultural and political history of the United States. The course emphasized regional identity and gender from the Civil War to the 21st century.  
  • Football in American Culture (University of Alabama, 2013, Main Instructor: Michael Wood) I assisted in grading and designing tests for this large lecture-style course. The course analyzed the political, economic, psychological, and cultural dimensions of sports culture in the United States, emphasizing connections between football and Manifest Destiny, neoliberalism, and the corporatization of universities.   
  • Introduction to Southern Studies (University of Alabama, 2013, Main Instructor: Jolene Hubbs) This literature-focused course presented an analysis of southernness, emphasizing theoretical and historical approaches to regional identity. I assisted in teaching and organizing this course, tutoring students, and developing a procedure for online office hours via a chat interface in order to interact with students remotely who could not come to in-person office hours.