Aaron’s primary goal as an educator is to curate an environment which fosters critical thinking, curiosity, creativity, and conversation.

Inspired by the philosophies of Paulo Freire, bell hooks, and Lee Sheldon (among others), his teaching engages students with dialogue, narrative, and play in a variety of learning settings. Aaron is devoted to helping students explore music composition, arts administration, entrepreneurship, arts education, and ludomusicology through workshops, courses, guest lectures, masterclasses, Q&As, lessons, and coachings.

Sample workshops are listed below, and Aaron is flexible in planning in-person or virtual presentations. Aaron is happy to coordinate individual sessions or full residencies. A list of current and previously instructed university courses can also be found below.

Please reach out to plan workshops and residencies!


Performance Events

  • Aaron is available to introduce a piece to audiences or students or be interviewed by a staff member about the piece being performed.

  • Aaron is available to attend rehearsals and work with large ensembles, chamber ensembles, soloists, and choirs on his music.

Lectures, Workshops, and Masterclasses

  • An overview of Aaron’s career, musical collaborations, festival work, and video game music study!

  • Aaron can chat with students about his approach to writing music, his career, or any specific pieces in his catalog and research.

  • Aaron can talk about the process behind creating and growing his nonprofit and summer festival, Connecticut Summerfest.

  • Masterclasses for composition students to share their current work and receive feedback and coaching in a welcoming classroom environment. Ideal for both university and private composition studios.

  • Aaron is available to teach composition in-person or via Zoom. He is also available for in-person clarinet, saxophone, and piano lessons.

Video Game Music Talks and Paper Presentations

  • An exploration into the ways that evolving technologies influenced choices in composition, the influences of film music in video game scoring, and the intricacies involved in arranging or licensing music for games. This talk has been well-received by middle and high school students, but can be adapted for adult learners as well.

  • Abstract

    In role-playing games (RPGs) many players repetitively battle enemies in order to advance their characters, a process often referred to as grinding. While grinding, players will hear the same combat music hundreds or even thousands of times. Despite often being highly percussive and energetic, Stephen Armstrong found that the music heard while grinding instills a sense of stasis through repetitive melodic figures and stationary tonal centers. This sense of stasis in the music, which Armstrong calls musicospatial stasis, reflects the gameplay state of being temporarily removed from the exploratory or narrative space until the battle is complete.

    Although musicospatial stasis is extremely common in RPG combat music, the music of Motoi Sakuraba is a notable exception: his combat compositions contain limited repeated material, fast-paced harmonic changes, and varied tonal centers. I investigate how these elements of Sakuraba’s music correlate with scientific studies of groove phenomenology (the subconscious desire for the body to move with music) and how they could create further kinesthetic interaction with the gameplay. Additionally, I examine how Sakuraba’s use of syncopations, appoggiaturas, and suspensions both create and then subvert listener expectation, whereas many other combat themes tend to be more predictable in rhythm and harmony. I then demonstrate how these elements of groove and subverted expectation in Sakuraba’s compositions fit within established theoretical metrics and models for measuring gameplay immersion. This analysis reveals that despite not creating musicospatial stasis, Sakuraba’s combat music is functional in utilizing groove and subversion to create further immersion in the grinding experience.

University Course List

As an Instructor:

  • An exploration of art, drama, and music. An emphasis is placed on the value of play in early childhood development, the creative process, aesthetics, constructivism, and the emergent curriculum.

  • A curriculum and instruction course for the clustered subject areas of Arts: Visual Arts, Dance, Drama and Music with opportunities to examine the pedagogical possibilities of their particular art form. The course explores foundational principles for the study of curriculum, instructional strategies, and assessment in the Arts.

  • Supervised and instructed teaching assistants for MUSC-101.

  • Study of the harmonic practices of the 18th and 19th centuries, through exercises and the analysis of typical works. An intensive course with integrated practicum sessions, which focus on the development of skills in sight-singing, dictation, and keyboard proficiency, and written exercises modeled after those works.

  • An introduction to the melodic, rhythmic, and harmonic structure of tonal music, with the emphasis on the development of a chordal vocabulary equally adaptable to classical and popular music. A required weekly practicum will stress ear-training (recognition of intervals, chords, rhythms, etc.) and its practical applications at the keyboard.

As a TA:

  • Facilitated hybrid remote/in-person classroom environment.

  • Facilitated hybrid remote/in-person classroom environment.

  • Instructed language labs and private tutoring hours.

  • Instructed language labs and private tutoring hours.