NANCY MARIE ROGERS Professor of Music Theory Florida State University College of Music Tallahassee, Florida ACADEMIC EMPLOYMENT Florida State University College of Music Tallahassee, Florida Professor 2016 - present Associate Professor 2008 - 2016 Assistant Professor 2002 - 2008 Graduate courses: pedagogy of music theory, atonal theory and analysis, music cognition, doctoral seminar, survey course for non-theory majors. Undergraduate courses: first- and second- semester theory, nineteenth-century music, Broadway musicals. Coordinate the first-year theory program; responsible for all aspects of the curriculum, including supervision of four to six teaching assistants. Advise students in the M.M. Theory program; direct independent studies (both graduate and undergraduate); serve on graduate and undergraduate degree committees. Lawrence University Conservatory of Music Appleton, Wisconsin Assistant Professor 2000 - 2002 Taught freshman and sophomore written theory and ear training. Solely responsible for developing and implementing intensive theory sequence (new for 2001-2002 school year) geared towards students entering with relatively weak theory and/or aural skills. Supervised the theory tutoring program. Established a program for a minor in music theory. University of Iowa School of Music Iowa City, Iowa Visiting Assistant Professor 1997 - 2000 Graduate courses: seminar in music cognition, pedagogy of theory class, independent study projects. Undergraduate courses: independently responsible for first-year musicianship and theory. This included lecturing three times per week (primary focus: written theory), coordinating lab sections two times per week (primary focus: aural skills), and overseeing four to six teaching assistants. Northwestern University School of Music Evanston, Illinois Lecturer 1994 - 1996 Independently responsible for freshman aural skills curriculum, including lectures and supervision of four to six teaching assistants. Taught sophomore theory as part of a comprehensive musicianship program coordinated with music history (Medieval, Renaissance, Romantic, and twentieth-century music). Eastman School of Music Rochester, New York Teaching Assistant 1989 - 1994 Taught freshman, sophomore, and junior (twentieth-century) theory. For two years, independently taught intensive theory, a class that met five days per week for students who entered Eastman with particularly weak backgrounds. By the end of this course, students were prepared to enter regular sophomore theory. I was responsible for all aspects of the course: content and pace, tests, assignments, grading, etc. Nancy Marie Rogers Page 2 EDUCATION Degrees: Eastman School of Music Ph.D. in Music Theory 2000 Dissertation: “The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns” (Elizabeth West Marvin, advisor) Minor in Musicology University of Michigan M.M. in Music Theory 1989 Musicology cognate; received honors pass on Master’s examination Northwestern University B.M. in Music Theory and Composition 1987 Graduated with distinction Northwestern University B.A. in Linguistics 1987 Graduated with highest distinction Other: Mannes Institutes for Advanced Studies in Music Theory Institute on Music and the Mind, Mannes College 2009 Institute on Chromaticism, Yale University 2006 PUBLICATIONS Books: Music for Sight Singing, tenth edition (copyright 2019) 2018 Music for Sight Singing, Chinese language edition (copyright 2014) 2015 Music for Sight Singing, ninth edition (copyright 2014) 2013 Music for Sight Singing, eighth edition (copyright 2011) 2010 Music for Sight Singing, seventh edition (copyright 2007) 2006 Co-written with Robert W. Ottman (Pearson) Book Chapters, Articles, and Conference Proceedings: “Small-Scale Improvisation in the Music Theory Classroom” 2020 in The Routledge Companion to Music Theory Pedagogy, ed. Leigh VanHandel (Routledge, 2020), 87-95 “The Relative Importance of Math- and Music-Related Cognitive 2019 and Affective Factors in Predicting Undergraduate Music Theory Achievement” (co-written with Connie Barroso, Colleen Ganley, Sara Hart, and Jane Clendinning), in Applied Cognitive Psychology (2019), 1-13 “Hearing an Old Story in a New Way: An Analysis of Loewe’s 2017 Erlkönig,” in Intégral 30 (2016), 31-40 “Specific Mathematical and Spatial Abilities Correlate with 2016 Music Theory Abilities,” in Proceedings of the 14th International Conference on Music Perception and Cognition (2016), 537-543 Invited contribution to Research and Publication Column of 2015 Mosaic: A Journal of Music Research 3 (2015) Nancy Marie Rogers Page 3 PUBLICATIONS, continued Foreword to Engaging Students: Essays in Music Pedagogy 2 (2014) 2014 <http://www.flipcamp.org/engagingstudents2/essays/rogers.html> “Modernizing the Minuet Composition Project,” in Journal of 2013 Music Theory Pedagogy 27 (2013), 71-110 “Engaging Musical Expectation Research in Pedagogy of 2012 Musical Form and Phrase Structure,” in Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music, ed. Cambouropoulos, Tsougras, Mavromatis, and Pastiadis (School of Music Studies, Aristotle University of Thessaloniki, 2012), 853-856 “How Structured Improvisation Can Improve Sight-Singing 2008 Performance (and More),” in AP® Music Theory: Teaching Sight Singing (part of the Special Focus series), ed. Ken Stephenson (New York: The College Board, 2008), 49-58 “Interpreting and Harmonizing Melodies: Some Formulas 2008 for Success,” in AP® Music Theory: Building AP Music Theory Skills from the Ground Up (part of the Curriculum Module series), ed. Melissa Cox (New York: The College Board, 2008), 32-38 “Solmization Expertise Correlates with Superior Pitch Memory,” 2007 Em Pauta 18/30 (2007), 131-152 “Teaching Tonal Sight-singing” in AP® Music Theory Teacher’s Guide, 2007 ed. David Lockhart (New York: The College Board, 2007), 154-161 “Judgments of Distance between Trichords” (co-written with Clifton 2006 Callender), in Proceedings of the 9th International Conference on Music Perception and Cognition, ed. Baroni, Addessi, Caterina, and Costa (Bononia University Press [publishing house for University of Bologna], 2006), 1686-1691 “Reinforcing Written Theory with Aural Skills,” AP® Central Teaching 2005 Resources, an online publication of The College Board (October 2005) “Conference Report: Eighth International Conference on Music Perception 2005 and Cognition,” Journal of Music Theory Pedagogy 18 (2004), 147-155 “Verbal Labels Affect Memory for Musical Timbre,” Actes du 2005 Colloque interdisciplinaire de musicologie: Le timbre dans la composition, l’interprétation, la perception et la réception de la musique, ed. Traube and Lacasse (Observatoire international de la création musicale, 2005) “Square Dance Moves and Twelve-Tone Operators: Isomorphisms and 2003 New Transformational Models” (co-written with Michael Buchler), Music Theory Online 9/4 (October 2003) <http://mto.societymusictheory.org/issues/mto.03.9.4/toc.9.4.html> Book Review: Review of Gary Karpinski’s Aural Skills Acquisition 2003 Indiana Theory Review 22/2 (Fall 2001), 83-93 Nancy Marie Rogers Page 4 PUBLICATIONS, continued Unjuried: Vice President’s Report semi-annually, 2018 - 2019 SMT Newsletter (Vice President’s report to the membership of the Society for Music Theory) Professional Development Committee Report semi-annually, 2013 - 2015 SMT Newsletter (Chair of Professional Development Committee’s report to the membership of the Society for Music Theory) Music Theory Southeast Report semi-annually, 2008 - 2010 SMT Newsletter (Music Theory Southeast President’s report to the membership of the Society for Music Theory) “Actions of the Executive Board” semi-annually, 2005 - 2008 SMT Newsletter (Society for Music Theory Secretary’s report to the membership) Book manuscripts in progress: Music for Ear Training Ear training materials for undergraduate core aural skills courses, coordinated with Music for Sight Singing; under contract by Pearson A Concise Guide to Tonal Harmony and Form (working title) Textbook and ancillary materials for undergraduate core music theory courses; under contract by Pearson JURIED CONFERENCE PRESENTATIONS “Mathematics and Music Theory: Assisting Music Theory 2019 Students with Math-Related Learning Disabilities” (joint research with Jane Clendinning, Colleen Ganley, and Sara Hart) Pedagogy into Practice conference (Santa Barbara, CA) “Exploring Links between Mathematics and Music Theory: 2018 Investigating Pattern Processing Using Eye Tracking” (joint research with Jane Clendinning, Sara Hart, and Colleen Ganley) College Music Society annual conference (Vancouver, BC) “Links between Music Theory and Mathematics: 2017 Visual Processing and Strategies” (joint research with Jane Clendinning, Sara Hart, and Colleen Ganley) Conference on Music and Eye-Tracking (Max Planck Institute, Franfurt, Germany) “Specific Mathematical and Spatial Abilities Correlate with 2017 Music Theory Abilities” (joint research with Jane Clendinning, Sara Hart, and Colleen Ganley) Society for Music Theory annual conference (Washington, DC) Also presented at the Music Theory Southeast annual conference 2017 (Fort Myers, FL) Also presented at the Fourteenth International Conference on 2016 Music Perception and Cognition (San Francisco, CA) Nancy Marie Rogers Page 5 JURIED CONFERENCE PRESENTATIONS, continued “The Development of the Music Theory Anxiety Scale” 2016 (joint research with Colleen Ganley, Sara