Courses Taught

Publications

*Applied Oboe
*Applied Bassoon
*Oboe Reedmaking
*Graduate Seminar in Bibliography & Research 
*Graduate Seminar in Film Music 
*Graduate Seminar in 20th-century Opera 
*Graduate Seminar in Performing Practices
*Graduate Seminar in Music, Gender, & Sexuality
*Graduate Seminar in 20th-c. Musical Modernism
*Ethnomusicology
*Music Fundamentals for Elementary Education
*Orchestration
*Music Appreciation
*Chamber Orchestra
*Symphonic Band

“Beyond Diversity and Inclusion: Antiracist Teaching and Advocacy in the Music Appreciation Curriculum” in Teaching and Learning Difficult Topics in the Music Classroom, Laura Moore Pruett and Olivia Lucas, eds. University of Michigan Press [Forthcoming/under contract].
 
Introduction to Contemporary Techniques for the Oboe: A Progressive Method. Tallevast, FL: TrevCo Music Publishing [Forthcoming].

“John Cage’s ‘Rock’ Music: Ecocritical and Performance Considerations in Ryoanji for Solo Oboe and Percussion Obbligato (1983).” DMA, diss.: University of Southern Mississippi, 2019.

Literature Review [invited by editor]: “William Cheng, Just Vibrations: The Purpose of Sounding Good.”American Music 36/2 (Summer 2018).
 
Multimedia Review [invited by editor]: “Benjamin J. Harbert, Follow Me Down: Portraits of Louisiana Prison Musicians.” Journal of the Society for American Music 10/2 (May 2016).
 
Literature Review: “Standish D. Lawder, The Cubist Cinema” (New York: New York 
University Press, 1975). Published in “The Exhibition of Clarence Laughlin’s Surrealist Collection” by Louisiana State University.
 
Literature Review: “Amos Vogel, Film as a Subversive Art” (New York: Random House, 1974). Published in “The Exhibition of Clarence Laughlin’s Surrealist Collection” by Louisiana State University.

Conference Presentations

“Music of Outrage: Musical Responses to the Deaths of Michael Brown and Eric Garner”
            University of Southern Mississippi
            26 April 2018; Hattiesburg, Mississippi
 
“John Cage’s ‘Rock’ Music: Ecocriticism and Compositional Process in Ryoanji (1983–85)”
            The Society for American Music Conference
            22-26 March 2017; Montreal, Québec, Canada
 
“Drag, Queer Theory, and the Music Classroom”
            The Society for American Music Conference
            9-13 March 2016; Boston, Massachusetts
 
“Teaching Writing in the Music History Classroom”
            American Musicological Society Conference
            12-15 November 2015; Louisville, Kentucky
 
“Azz Everywhere: Big Freedia and the Queering of New Orleans ‘Bounce’ Culture.”
            The Society for American Music Conference
            6-10 March 2013; Little Rock, Arkansas.
 
“Louis Grunewald As Publisher of Minority Composers in 19th-Century New Orleans”
            The Society for American Music Conference
            15-18 March 2012; Charlotte, North Carolina.
 
“Toward a Surrealist Musical Aesthetic: The Music of Luis Buñuel and Salvador Dali’s Un Chien Andalou and L’Âge d’Or.”
             Music and The Moving Image Conference
             20-22 May 2011; New York University, New York, New York
 
“Madness, Mysticism, and Mother Archetype in Heitor Villa-Lobos’ Opera Yerma.”
             The American Comparative Literature Association Conference
             24-27 April 2008; Long Beach, California
 
“The Musical Collaborations of Luis Buñuel and Salvador Dali.”
             The Salvador Dali Museum’s “Dali and Film” Exhibit
             20-22 March 2008; St. Petersburg, Florida
 
“Mother, Lover, Whore: Femme Fatale and the Destruction of Patriarchy in Alban Berg’s Opera 
             Lulu”
             Women and Gender Studies Conference
             9-10 February 2007; Louisiana State University, Baton Rouge, Louisiana
 
“Excoriated Satellites: Constructions of Gender in Alban Berg’s Opera Lulu.”
             University of Miami Citizen’s Board Research & Creativity Forum
             18-20 April 2006; University of Miami, Coral Gables, Florida