Teaching
Teaching

Teaching

Triadic Transformations

I made a short analysis video on Carlo Gesualdo‘s Miserere from his Responsories for Holy Saturday. The chord progressions at the beginning, enriching modal harmony with chromaticised voice-leading, can be regarded as transformations according to Neo-Riemannian theory, and made visible as triadic relations in an Eulerian Tonnetz. This is a rather simple yet fascinating example that suited me well for a first approach to teaching transformational theory.

Also, for those of you who are interested in my compositions, there are some new recordings available on SoundCloud: a folk song duet from my Lyric Diptych for two voices and piano, and two excerpts from the suite At the Forest Verge for guitar and marimba duo.

 

Panacademic Teaching

A challenging hybrid semester at Robert Schumann Hochschule Düsseldorf has begun. There is a sustainable hygiene concept which allows most of my classes in analysis, basic elements of composition, and aural skills to be held face-to-face. In addition, I offer an elementary music theory seminar which features a dual approach. Some 70 freshmen in the musicology minor at Heinrich Heine Universität Düsseldorf will either attend classroom teaching in three groups of 15, or take part in an asynchronous online lecturing programme with a choice of Teams and Moodle coursework and an additional OER tutorial. This construction will enable everyone to earn the desired credits during this term. However, should the governmental measures of infection prevention be extended to universities once again, we might be obliged to move all classes online—I am confident that there will be appropriate solutions for all courses and exams.

Teaching, Examining, and Diversity

A challenging summer term at Robert Schumann Hochschule Düsseldorf is over now. After an intense period of designing classes and tutorials, online teaching, and examining with an unexpectedly high workload, I’m glad to have some less busy times ahead of me. This is the written music theory test I devised and assigned to my second-year students, covering music by female and male composers from France and Germany in equal parts. It’s so easy to enhance the repertoire canon and create a bit of diversity at least in teaching, even though this will not change anything in the classical music business. Yet I assume it is the will that matters.

Composing with Students

My participation in the music theatre education project YOUR_Street.Scene at Magdeburg Theatre has come to a successful conclusion. It was fun to supervise the creative process which resulted in a collaborative composition by a number of students of International School Pierre Trudeau in Barleben. We ended up with a four-minute score for six instruments, originally intended as an overture for an outdoor scenario in loose reference to Kurt Weill’s opera Street Scene. Due to the current circumstances we were unable to present a live performance of the music. Instead, two video trailers have been produced as a documentation of the musical and choreographic work.

Diversity at Composition Faculties

Today’s reading recommendation: The journal of the Gesellschaft für Musiktheorie (ZGMTH) has published an intriguing survey on the underrepresentation of female and non-binary faculty members at the music theory and composition departments of German music universities. The authors Irene Kletschke and Kirsten Reese highlight basic problems and causes of this misbalance and, most notably, give a list of recommended actions to improve the situation. In doing so, they would not simply postulate a women’s quota but make a series of suggestions how to tackle this issue on the structural level of academic administration. I hope that some deans, principals, and educational policymakers will take notice of these considerations.