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Since 2006, I have taught philosophy of music, ear training and aural skills, orchestration, and courses in the undergraduate music theory sequence at Stony Brook University, Binghamton University, and the University of Wisconsin-Madison, as well as more specialized courses at the University of Music and Performing Arts Graz, Austria and Maynooth University in Ireland. I have a long record of excellence in teaching with several affirmative evaluations from students who attest to my success as an ambitious educator and a determined musician.

My teaching reflects the interdisciplinarity of my research, ranging many subjects through listening, musical analysis, history, phenomenology, sound studies, the digital humanities, gender and sexuality studies and more. I implement activities and media to sustain student interest while appealing to the diverse learning strategies required for fostering an accessible and inclusive classroom by including wide-ranging modes of presentation (verbal, written, aural, synchronous, and asynchronous) as well as fostering discussions that invite differing perspectives while maintaining an equitable balance between students of varying levels, abilities, and backgrounds.

Most recently, as lecturer in musicology and music theory at Maynooth University in Ireland, I coordinated several courses, including the largest introductory course in the department, “Introduction to Music," with nearly 150 students each semester and several sub-sections that combine musical performance and scholarship. Students in this course acquired knowledge of music’s many subdisciplines as well as research skills and academic training with an ear toward identity. As an example, they received one assignment to create bibliographies using university library resources on such themes as “Gender in Electronic and Electroacoustic Music” and “Afrofuturism.” The assignment required students to (im)prove their knowledge of these terms while also assessing their familiarity with ethical citation practices. I taught a comparable course at the University of Music and Performing Graz, in a smaller setting, which provided students opportunities for hands-on experimentation with aural perception (including Diana Deutch’s illusions), music analysis software, and group work in Music Information Retrieval. My lectures offer a rich and fulfilling place to engage students across many musical traditions. I often encourage first-year students to bring in music they themselves wish to study in aural skills and ear training and select from these suggestions excerpts appropriate to the curriculum, whether we’re learning species counterpoint, functional harmony, formal analysis, improvisation practices, or timbral perception. Inevitably, studying a broad range of examples becomes an implicit invitation for students to intuit connections across musical styles, whether from European classical music, pop, rock, jazz, or experimental traditions. Bringing this intergeneric music-analytical approach into the digital realm, my Music and Meaning module at Maynooth University addressed intersections of phenomenology, sound studies, gender, sexuality, and critical race studies, and concluded with an assignment that required students to reflect critically and analytically on their own surroundings through ethnographic field recordings of a chosen location and to present these reflections in a concise and fully referenced podcast. In another capacity, I contributed to redesigning the core music curriculum, and towards this end solicited peer and student feedback regarding courses in each year, reviewed the educational mission of the combined degree programs in music performance, musicology, music technology, and composition, and compared in detail existing teaching materials and approaches with the anticipated educational objectives proposed for a new academic plan that better reflected the diverse backgrounds and career ambitions of the current and future student population. As a member of the Teaching and Learning Committee of the Faculty of Arts, Celtic Studies and Philosophy I contributed in drafting the University’s Strategic Plan effective 2018-2022, as these relate to student attendance and on-campus facilities.

My work as a music scholar is shaped by my intense desire to understand why people are so affected by musical media, how they forge identity and how, in turn, people’s habits, attitudes, and notions of individual and communal identity invigorate music toward new possibilities. Given these interests, I am prepared to convene seminars on topics I have prior experience teaching, including “music-analytical approaches to 20th- and 21st-century music,” “Music and Sexuality,” and “Aesthetic approaches in 20th- and 21st-century music.” I would also be delighted to design new courses related to my current research and interests, including “Sociotechnical Bias & Inclusion in Music and Sound” and “Sense, Sensation, and Sensuality,” detailed below, and analysis of electroacoustic music.


Euro-American classical

contemporary art


hip hop



Israeli folk



Danielle Shlomit Sofer BA MMus MA PhD


2016                PhD with distinction, Kunstuniversität Graz, Austria, Music Aesthetics

2012 – 3          University of Wisconsin-Madison, PhD Music Theory coursework

2012                MA, Stony Brook University, Music History and Theory 

2008                MMus, Binghamton University, Piano Performance

2005                BA, State University of New York at New Paltz, music performance, honors

1996 – 2001    Music major, Re’ut and WIZO Schools for Arts and Design, Haifa, Israel


Maynooth University


Music Aesthetics of the 20th and 21st centuries (S18)

Thesis supervision: Schenkerian analysis of Schubert’s Gretchen am Spinnrade, Concertos for left hand commissioned by Paul Wittgenstein



Creativity and Techniques II (S18), designed and coordinated sightsinging and eartraining portion

Music and Meaning in Contemporary Western Society, sound studies portion (S18)

Music and Identity (F17), on Race and Sexuality

Introduction to Music (F16, F17), coordinator and lecturer 

Issues in Musicology & Ethnomusicology (F16)

Analytical Methods III (F16, F17)

Capstone project supervision: gender, sexuality, and race in electronic music; intersectionality of gender and race in jazz and popular music; music and conflict, the Boycott Movement; Soviet era music; music and disability (motion reactive technology, autism).


Universität für Musik und darstellende Kunst Graz 

Music Analysis for Musicologists, musicology curriculum (S16) 

Musicological Research Techniques, musicology curriculum (W15)

Aesthetics Projects, oxford tutorials, musicology curriculum (S15)

Music and Sexuality, music history, BA, MA (W14)

Capstone project supervision: Elizabeth Maconchy's The Sofa; Lady Bitch Ray


University of Wisconsin – Madison

Summer Music Clinic: “Singing from a Score” and “String Quartet Study” (S13)

Musica Practica, music theory, Assistant to Brian Hyer (1st year Music Theory curriculum) (F12; S13)


Stony Brook University (SUNY)

Student Assistant, Computer Music Studio. Supervisors: Daniel Weymouth, Margaret Schedel (2011-12)

Fundamentals of Music, non-majors (F11; S12)


Binghamton University (SUNY)

Theory I Assistant to Paul Goldstaub (F07)

Theory II Assistant to Paul Goldstaub (S08)

Beginning Class Piano, non-majors (F06; S07; F07; S08)

Applied Piano,majors, and Secondary Piano,non-majors (F06; S07; F07; S08)

Beginning Voice, co-taught with La Toya Lewis, Elizabeth Duhr, and Abigail Freeman (F06; S07; F07; S08)


2016 – 2019    Lecturer in Music, Maynooth University, Ireland

2013 – 2016    University Assistant, Music Aesthetics, Kunstuniversität Graz, Austria 

2012 – 2013    Teaching Assistant, Department of Music Theory, UW Madison

2011 – 2012    Teaching Assistant, Department of Music, Stony Brook University

2006 – 2008    Teaching Assistant, Department of Music, Binghamton University

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