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Professor Sallmen teaches the second- and third-year Materials of Music courses in the undergraduate music theory core curriculum, as well as upper-level undergraduate and graduate seminars in the Theory and Analysis of Atonal Music, Extended Tonal Techniques, and Pedagogy of Music Theory. He has published articles in the Journal of Music Theory Pedagogy, Theory and Practice and Intégral and presented papers at scholarly conferences of the Society for Music Theory,Canadian University Music Society, Music Theory Society of New York State, Music Theory Midwest, Music Theory Southeast and the College Music Society. This work has involved the music of Schoenberg, Webern, Carter, and Debussy, as well as various issues in the pedagogy of twentieth-century music. Prior to moving to Toronto , Professor Sallmen was Interim Lecturer in Music Theory at Wilfrid Laurier University (1994) and Instructor of Music Theory at the Eastman School of Music (1995–97).
Publications:
“Sound Experiments: The Use of Four-Voice Writing in the Study of Twentieth-Century Music.” Forthcoming in Journal of Music Theory Pedagogy 20 (2006).
“Motives and Motivic Paths in Webern’s Six Bagatelles for String Quartet, Op. 9.” Theory and Practice 28 (2003):30-52.
“Composition with a Single Row Form? Webern’s ‘Schatzerl klein,’ Op. 18, No. 1.” Intégral 16-17 (2002-03):139-185.
“No Simple Pieces: Curricular Coherence, Classroom Vocalization, Row Combination, and the ‘Trio’ from Schoenberg’s Suite for Piano, Opus 25.” Journal of Music Theory Pedagogy 15 (2001):1-49.
Review of Philip Lambert, The Music of Charles Ives. Music Theory Spectrum 23/1 (2001):255-263.
Conference Papers:
“Harmonic Dictation Exercises for Use in Extended Tonal and Atonal Music Theory Curricula.” Music Theory Midwest (Oberlin, 2005) and Society for Music Theory (Cambridge , 2005).
“Inter-movement Connections in Barrie Cabena’s Sonata Festiva.” College Music Society ( Quebec , 2005).
“Transposition Schemes in Selected Works of Schoenberg.” Music Theory Society of New York State (Rochester , 2004).
“Large-Scale Continuity in the Music Theory Curriculum: The Use of Four-Voice Writing in the Study of Twentieth-Century Music.” Great Lakes Chapter of the College Music Society (Ann Arbor , 2004).
“Debussy’s Monochromatic Experiment: Harmonic Connections in the Nocturnes.” Canadian University Music Theory Society ( Halifax , 2003).
“Composition with a Single Row Form? Webern’s “Schatzerl klein,” Op. 18, No. 1.” Music Theory Society of New York State (New York , 2002), Canadian University Music Society ( Toronto , 2002), and Society for Music Theory ( Columbus , 2002).
“A Motivic Path through No. 4 of Webern’s Six Bagatelles for String Quartet, Op. 9.” Music Theory Society of New York State (Binghamton , 2000).
“Cycles as Key to Small- and Large-Scale Structure in the Third of Webern’s Five Movements for String Quartet, Op. 5, No. 3.” Music Theory Society of New York State ( Ithaca , 1999), Canadian University Music Society (Sherbrooke , 1999), and Society for Music Theory ( Atlanta , 1999).
Courses Taught:
Materials of Music IIa, IIb, and III
Extended Tonal Techniques
Theory and Analysis of Atonal Music
Pedagogy of Music Theory
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