Curriculum Vitae


2016-present: Doctoral Fellow in Music Education, New York University. Expected completion in Spring 2020.

2014: M.Mus., Music Technology, New York University, NY. Thesis: “Designing the Drum Loop, a Constructivist Rhythm Interface for Beginners.”

1997: B.A., Amherst College, MA.


Invited and Refereed Book Chapters in Edited Volumes

In press: Hein, E. “Online Communities of Practice: SoundCloud and the Disquiet Junto.” In Waldron, J., Horsley, S. & Veblen, K., Eds., Oxford Handbook of Social Media and Music Learning. New York: Oxford University Press.

In press: Hein, E. “The Groove Pizza: a study in music and HCI.” In K. Wilkie, T. Mudd, A. McPherson & M. Wandeley, Eds., Music and Human Computer Interaction. New York: Springer.

2017: Hein, E. “Playing (in) the digital studio.” In A. Ruthmann & R. Mantie, Eds., The Oxford Handbook of Technology and Music Education. New York: Oxford University Press.

2017: Hein, E. “The promise and perils of the digital studio.” In A. Ruthmann & R. Mantie, Eds., The Oxford Handbook of Technology and Music Education. New York: Oxford University Press.

2014: Hein, E. “Music Games in Education.” In K. Schrier, Ed., Learning and Education Games Volume 1: Curricular and Design Considerations. Pittsburgh, PA: ETC Press.

Refereed Journal Articles

In press: Hein, E. “Reharmonization and Recontextualization in Kanye West’s Famous.” Journal of Popular Music Education.

2015: Bell, A.P., Hein, E., & Ratcliffe, J. “Beyond Skeuomorphism: The Evolution of Music Production Software User Interface Metaphors.” Journal on the Art of Record Production, 9.

Manuscripts in Submission

2017: Hein, E. “Recordings and Resistance: Sampling as a Participatory Culture in a Copyrighted World.” Action, Criticism and Theory for Music Education.

Other Publications

2015: Hein, E. “Five of the most imitated musical grooves that could be lawsuit fodder in the post-‘Blurred Lines’ world.” Quartz.

2015: Hein, E. “Jazz remixes.” NewMusicBox.

2015: Hein, E. “Brahms’s Third Racket.” NewMusicBox.

2015: Hein, E. “Mad fresh.” NewMusicBox.

2015: Hein, E. “Biting breaks: sampling and ownership.” NewMusicBox.

2014: Hein, E. “How Can Traditional Music Theory Mesh With Modern Pop Music?” Slate.


2017: “Re-Inventing Music Education through Technology.” Ableton Loop Conference, Berlin, Germany.

2017: “Ableton Live for Non-Electronic Music Educators.” IMPACT Conference, New York University, NY.

2017: Designing accessible music interfaces.” Department of Music Colloquium, Brown University, Providence, RI.

2017: “Kanye West, Sampling and Intertextuality.” OMEA/TI:ME, Cleveland, OH.

2016: “Designing Experiences for Music Learning and Expression.” ATMI/CMS National Conference, Santa Fe, NM.

2016: “Why Hip-Hop Is Interesting.” International Society for Music Information Retrieval Conference, Columbia University, New York, NY.

2016: “The Song Machine: Pop Songwriting in the Digital Audio Workstations.” IMPACT: Creative Collaboration in Technology and the Arts, New York University, New York, NY.

2016: “Designing the Groove Pizza.” SEMPRE – Researching Music, Education, Technology, University of London, UK.

2015: “Networked Creativity and Musical Shares.” IMPACT: Creative Collaboration in Technology and the Arts, New York University.

2015: “Makey Makey Musical Instrument Design.” New Jersey Music Educators Association, East Brunswick, NJ. Moderator: Rick Dammers (Rowan University). Panelists: Adam Bell (Montclair State University); Ethan Hein (New York University).

2014: “Designing Video Games for Education.” International Game Developer’s Association—Learning, Education and Games Special Interest Group, New York University. Moderator: Karen Schrier (Marist College). Panelists: Elena Bertozzi (Quinnipiac University); Ethan Hein (New York University); Gabriela Richard (University of Pennsylvania).

2014: “Popular Music Pedagogies.” IMPACT: Creative Collaboration in Technology and the Arts, New York University. Moderator: Ethan Hein. Panelists: Adam P. Bell (Montclair State University); Ryan Bledsoe (Arizona State University); Eva Egolf (Brooklyn College); Jared O’Leary (Arizona State University); Jesse Rathgeber (Arizona State University).

2012:Mashup Culture.” The Colin McEnroe Show, Connecticut Public Radio. Moderator: Colin McEnroe. Panelists: Ethan Hein; DJ Earworm.

2010: “Fan Wars: Copyright vs. Mash-ups and Fan Fiction.” Copyright Society of America, New York, NY. Moderator: Jay Kogan (DC Comics). Panelists: Ethan Hein; Sonia Katyal (Fordham Law School); Shaka McGlotten (Purchase College); Martin Schwimmer (Moses & Singer).


2017: Core, C., Conci, A., De Angeli, A., Masu, R., & Morreale, F. “Designing a Musical Playground in the Kindergarten.” In Proceedings of British HCI. Sunderland, UK: BCS Learning and Development Ltd.

2015: Humberstone, J. “Defining creativity for a more pluralist approach to music education.” In J. Rosevear & S. Harding (Eds.), ASME XXth National Conference – Music: Educating for life (pp. 56–63). Adelaide: The Australian Society for Music Education.

2015: Stras, L. “Subhuman or Superhuman? (Musical) Assistive Technology, Performance Enhancement, and the Aesthetic/Moral Debate.” In B. Howe, S. Jensen-Moulton, & N. Lerner (Eds.), The Oxford Handbook of Music and Disability Studies (pp. 178–190). Oxford University Press.

2014: Biamonte, N. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online, 20(2).

2013: Thompson, C. Smarter Than You Think: How Technology is Changing Our Minds for the Better. The Penguin Press.


2014: Special Recognition for Innovative Contributions to Music Education, Graduate Music Education Program, Steinhardt School, New York University


2014-present: Steinhardt School, New York University

Music Education Technology Practicum (undergraduate). Designed, sole taught.

Electronic Music Production, Composition, and Performance. IMPACT workshop (undergraduate and graduate). Designed, sole taught.

Music Interfaces and Making. Workshop presented jointly by NYU Steinhardt and PI Arts (undergraduate). Designed, lead instructor.

2014-present: John J. Cali School of Music, Montclair State University

Cultural Significance of Rap and Rock (undergraduate, online). Designed, sole taught.

Advanced Electronic Music Composition (graduate, undergraduate). Designed, sole taught.

Introduction to Music Technology (undergraduate).

2017: Unlocking the Emotional Power of Chords

Lead curriculum designer and instructor for online interactive music theory course created by Soundfly.

2016: Theory for Producers

Lead curriculum designer and instructor for online interactive music theory course created by Soundfly and the NYU Music Experience Design Lab.

2015: Sydney Conservatorium of Music

“Music Education in the 21st Century” module, component of “Technology in Music Education” MOOC series, Dr. James Humberstone, lead developer. Video lecturer. Module is based entirely on a section of my NYU Masters thesis.

2005-present: Private consulting

Music technology consulting services and guest workshops for Williamsburg Charter School, NY; City At Peace, NY; New York University Tisch School.

2000-present: Private studio

Individual guitar, harmonica, mandolin, music theory, recording, production, and composition instruction.


2013-present: Design Lead, NYU Steinhardt Music Experience Design Lab. Design and develop innovative music education resources, including software, hardware, web-based courses and interactive experiences, and instructional videos.


2015-present: Advisory board member for the Disquiet Junto, an electronic music community that organizes weekly composition projects, concerts, gallery exhibitions, lectures, and music education initiatives.


2017: Interviewed by Richardson, J. (April 4, 2017). Ethan Hein: “The copyright situation isn’t going to improve until the hip-hop generation gets into positions of legislative authority.Cyclic Defrost.

2016: Interviewed by McKinney, K. (December 26, 2016). “The music theory principle that unifies 2016’s radio hits.” Vox.

2016: Interviewed by Avins, J. (2016). “Here are the best playlists for your summer road trip. They’re called albums.” Quartz.

2016: Quoted in Brazier, L. (2016, July). “The Disquiet Junto.” The Wire, 17.

2015: Interviewed by Dan Riendeau on At Night, CHQR 770 AM, Calgary, Canada.

2013: Interviewed and quoted in Thompson, C. (2013). Smarter Than You Think: How Technology is Changing Our Minds for the Better. The Penguin Press.

2012: Featured guest on the Colin McEnroe Show, July 17 2012, Connecticut Public Radio.

2009:Michael Jackson Sample Map“—visualization of songs sampling Michael Jackson. Featured on;; MSNBC’s Clicked; Rachel Maddow’s Map Room; The State (Columbia, SC);  Infomuzyka (Poland); Michael Jackson’s official web site. Viewed online over 100,000 times.


2009 – present: Compositions posted to SoundCloud have received over 150,000 listens and 10,000 downloads

2017: Strange Voices

Composition “Auto-Tune Salad” included in a broadcast on Radio Vassiviére, Royère-de-Vassivière, France

2017: A Duck In A Tree

Composition “A Hard Day’s Note” included in a broadcast on Resonance FM, London, UK

2016: CogMap

Created a dynamic and interactive score for a virtual reality experience of place cells within the human hippocampus.

2015: Disquiet Junto—Marc Weidenbaum, founder

Twenty recordings of my prose score “Divergence/Convergence” were created and posted online by musicians in the United States, the United Kingdom, the Netherlands, Switzerland, Canada, Japan, Australia, and Argentina

2015: NYU Laptop Orchestra—Dafna Naphtali, Director

Premiered “Divergence/Convergence” for fifteen laptops.

2014: Studio 360, WNYC. Kurt Andersen (host); Chocolate Genius (guest host).

Green Dog“—remixed piano roll of “The Yellow Dog Blues” by W.C. Handy, incorporating samples of James Brown.

2012: As Real As It GetsMarc Wiedenbaum (music curator); Rob Walker (exhibit curator). apexart gallery, New York, NY.

Premiered “Departure Store” and “Harmonica Figure” for harmonica and Ableton Live.

2006: Hair—Rubén Polendo, director; Todd Almond, musical director. Tisch School, New York University.

Co-created radically new arrangements of the score; sequenced and arranged electronic textures; performed live on laptop and guitar.


2012-2014: Recording engineer, James L. Dolan Studio, New York University, NY. Produced, engineered and mixed recording sessions for diverse ensembles ranging from classical to rock to avant-garde electronic.

2001-present: Freelance music and audio production. Record and produce singer-songwriters, bands, emcees, dance music producers, and film and theater scores. Named by Rob Walker (New York Times, Yahoo News) as “the most pleasing musical discovery of 2013.”

Software: Pro Tools TDM, Logic, Ableton Live, Reason, Recycle, GarageBand, Melodyne, Sibelius, Noteflight, Iris.


Association for Technology in Music Instruction

Society for Education, Music, and Psychology Research

The Mayday Group