I currently teach or have taught the following courses at universities in the United States:

Graduate | Developed and Taught:

Stevens Institute of Technology:
Audio Programming (HMU510)
Spatial Music Composition (HMU520)

Undergraduate | Taught & Developed:

American University:
Sound Synthesis II (ATEC-421)

Stevens Institute of Technology:
Music History I (HMU101)
Introduction to Digital Media (HMU205)
Introduction to Electronic Music (HMU210)
MIDI and Electronic Music (HMU211)
Software Instrument Design (HMU260)
Electroacoustic Composition (HMU314)
Electronic Music (HMU405)
Spatial Music Applications (HMU420)
Music Business (HMU450)
CAL Research and Writing Seminar (CAL301)
Thesis Tutorial (CAL498)
Senior Thesis (CAL499)
Sound Recording I & III (HMU231, HMU333)
Sound Design (HMU407)

Masters Theses – MS in Computer Science

A. Wiggins. (Reader). “Classification of Guitar-Playing Techniques.” 2017. The student developed a database for the recognition of guitar performance techniques using machine learning. Andy was recently accepted as a PhD candidate at Drexel in PA.

Senior Design Projects – Mechanical Engineering and Computer Science

Z. Klein et. al. (Advisor). Clear Vibes: The Next Generation Hearing Aid. 2017. Students produced a prototype bone-conduction system using Teensy and DFT to improve the intelligibility of the captured audio signal. 

K. Gonzalez et. al. (Client). “Spatial Audio Visualizer.” 2015.  An Unreal and Pd based CS project. Students built a VR environment to allow a user to spatialize audio using first-order ambisonics. 

Senior Theses – BA in Music and Technology

C. Schmitt. “Auditory Scene Analysis as a Perceptual Framework for the Composition of Experimental Guitar Music.” 2017.

E. Peterson. “Constructing Rhythms using Machine Learning Techniques.” 2017.

Z. Klein. “Trackable Bone Conduction Earpiece for Virtual Reality Environments.” 2017.

A. Post. “Opening the Door to Generating Sounds with Motion Capture.” 2016. The student developed a stick-slip model driven by motion capture data to improve an existing procedural audio algorithm; applied in VR/gaming.

D. Bellman. “Effective Tour Management.” 2016. Dave researched approaches to tour management while on the road with alternative metal band, Sevendust. 

K. Gonzalez. “Sound, Sculpture, Violence: An Analysis of Oneohtrix Point Never and Tim Hecker.” 2015.

A. Wiggins. “Composition of Electroacoustic Music with Evolutionary Algorithms.” 2015. Andy created a spectral-based evolution program in Python to determine the form of a multichannel guitar composition. 

A. Erb. “The Perception of Heaviness in Heavy Metal Music.” 2014. Arthur investigated what constitutes “heaviness” as a qualitative descriptor in heavy metal music by conducting a series of qualitative surveys, listening tests, and spectral analyses of heavy metal music post millennium, building on the work of Cornelia Fales at Indiana University Bloomington. 

J. Friesenhahn. “Music in Motion.” 2014. Jason developed a live performance system for electronic music using Leap Motion and produced a series of original compositions using the resulting system.

M. Malpeso. “The Effects of Electroacoustic Composition on Popular Electronic Music.” 2013. Marco applied electroacoustic techniques to the production of popular electronic music. For example, the spectral profile of environmental sound sources informed the composition of more traditional instrumental parts.

D. Lefcort. “Performance Systems for Augmented Drum Kit.” 2013. David built a live performance system for drum kit using an array of analog sensors to produce control data from physical performance gestures. This included piezoelectric sensors on the snare drum and FSR sensors underneath various cymbals.