In this month’s Faculty Spotlight, Elizabeth interviews Assistant Professor of Music Theory, Robert Wells (who is also Director of Keyboard Studies and Director of UMW Indian Music Ensemble).
You have been involved in some SoTL work, can you tell us a little about what that work entailed and where you currently are in that process?
I’ve been investigating the impact of embodied teaching strategies (things like exploring classroom space, hand gestures, and physical object manipulation) on student learning in the music theory classroom. Many topics in music theory are inherently abstract, so I was interested in how physically grounded strategies might make the material more tangible for students. This research also has potential applications to other academic disciplines, especially those with quantitative components.
I initially developed this project as a member of the UMW Center for Teaching’s 2021-22 SoTL Scholars cohort, which helped me move from knowing very little about SoTL research to running a pedagogical study in my MUTH 181A (Materials and Sources for Music Theory) course. I was able to present the results of this study at the 2022 Society for Music Theory national conference, and I plan to submit an article based on these results to a SoTL journal in the near future. I hope to eventually run further classroom studies to investigate the possible role of embodied teaching strategies in more advanced theory courses, as well.
What does your research agenda look like right now?
In addition to SoTL, I have been juggling a few other research projects. The biggest right now, and the focus of my Jepson Fellowship for this academic year, involves rhythmic performance problems in the piano music of Franz Liszt, and how theory and performance can inform one another. In January ’24, I’ll be giving a lecture-recital at UMW that will summarize my results thus far, followed by a full performance of four major Liszt piano works.
Other research and performance projects include an ongoing collaboration with a scholar in Chennai, India involving computational approaches to South Indian rhythm; a project investigating the work of mathematical music theorist David Lewin and the shifting boundaries between music and mathematics in his writing; and a long list of piano recital programs I’d like to perform at some point.
What stands out to you that has prepared you or continues to prepare you most for effective teaching?
My first job teaching job after grad school—an adjunct position in a program focused on commercial music—certainly stands out. My training in college and grad school had been completely grounded in classical music, so I had to spend several years drastically expanding my musical repertoire for effective theory and piano teaching at that institution. I am now extremely grateful for this experience, though, as the ability to teach pop, rock, hip hop, jazz, etc. alongside Chopin and Beethoven has been invaluable for sharing the power and relevance of music theory with today’s music students.
Who was your favorite teacher?
Every teacher I have had has shaped who I am in some way, so this is a tough choice. If I had to choose, I would probably either say my high school precalculus/calculus teacher (Mrs. Fleck), who encouraged my mathematical curiosity in profound ways, or my grad school piano professor (Dr. Elisi), who continues to influence how I practice, perform, and think about the relationship between scholarship and practical performance issues to this day.
What is your favorite way to start a class?
I like to have music playing when students walk in that relates in some way to what we’ll be studying that day. It’s especially fun when students try to guess how the music will relate to that day’s topic.
8 a.m. class or 4:00 p.m. class?
4 PM, for sure! The class atmosphere feels more relaxed, students are usually happier, and it’s probably the last thing I’m doing that day.
What is your favorite UMW class to teach? Why?
Probably MUTH 391 (Post-Tonal Music Theory), which involves music theory for 20th/21st-century music. It’s a fun course to teach because it applies mathematics to music in a very direct way; it has a lot of opportunities for student exploration; and it encourages students to grapple with some music that is completely outside of their comfort zones (e.g., dissonant atonal music), and other music that they encounter daily that uses contemporary techniques (e.g., film and video game music).
What is your one piece of advice for a brand-new faculty member?
As you dive into all your new classes and responsibilities at UMW, try to find at least a little time each week for something completely non-work-related!
What podcast would you currently recommend?
I would recommend Radiolab and Freakonomics Radio for episodes about science, the economy, and society that will change how you think about the world. If you like listening to scary stories, I also recommend the Creepy podcast.
If you could take any class in the UMW catalog, what would it be?
Definitely MATH 453 (Mathematical Cryptography). Cryptography involves using mathematical methods to encrypt things like credit card information, confidential messages, and so forth so that only the sender and recipient have access to the information. I remember encountering several cryptographic topics in my undergraduate math courses and finding them fascinating, but there wasn’t a standalone course. I’d love to learn more, especially in this day and age.
What were you like as a student in college?
I was a responsible student, but I was also really bad at listening to lectures. I’d usually end up just going home and teaching myself everything from the textbook. I also enjoyed practicing the piano late at night, as the Furman music building was open until the wee hours of the morning. It was a nice way of decompressing at the end of the day!