I have a collection of other sites at JHMedu.org.
There you will find links to courses generally related to education, and especially my use of contemplative methods in teaching.
Music of that emerged from my analytical technique, the Sound-Energy Aggregate (SEA), which I have come to realize is very much akin to the Zen form of meditation known as Shikantaza, or Just Sitting. For a number of years, I have taught classes using the technique, principally a set of four courses under the general rubric of Topics in Analysis.
As I realized the kinship of meditation and SEA analysis, I developed a course called Contemplating Music, in which we put the technique to the test. Also named Contemplating Music is my blog, which I struggle to write for regularly. In the spring of 2018, I taught a class, Investigating Musical Affect, which tested some tenets of the SEA theory. If you follow the link provided, you will find the entry page that leads to the experiment itself, which is still active as of summer 2018.
The most important outcome of the long development of the analytical method and my realizations on its nature is my workshop, Just Listening. I give more background and insight into SEA, my research into it, and Just Listening elsewhere on this site.
The final link related to my use of contemplative methods in teaching is the most practical of all, a link to my course, Graduate Theory Review of Aural Skills (GTR-A). We begin every class with a short contemplative exercise, hoping to establish a pathway for students to reduce the negative thoughts that hinder successful performance on aural skills. At the site are materials that assist in that quest, including guided meditations.
Other sites using the jhmedu portal include one for the class, Composition for Performers, and a site that holds an entire theory text for young students that I wrote in conjunction with my colleagues in the preparatory theory faculty when Longy had a Community Programs division. One last site relevant to music education is the annual call for participation in the Young Composers Festival produced yearly by the Community Music Center of Boston.