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Patrick teaches courses on Black American popular music, global music cultures, and Caribbean and Latin American music. He was a recipient of the William L. Bucknall Excellence in Teaching Award for his engaging, effective pedagogy, particularly his practiced-based courses Hip-Hop Technology and Production, Groove Haven—an R&B revue performance ensemble—and Deconstructing American Music, a research course in which students produce a video documentary about an American music subject. Patrick has lectured and demonstrated DJing and beat-making at academic conferences (Society of Ethnomusicology, Society of American Music, and others), universities (Amherst College, St. John's University, and others), and The Rock and Roll Hall of Fame.

In the Greater New Haven area, Patrick guest teaches at schools, DJs in the community, and runs CURATE/CREATE, a free music program at the New Haven Free Public Library.

Academic Honors and Awards

Woodrow Wilson National Fellowship Foundation Career Enhancement Fellowship (2017)

Nominated: Barry S. Brook Dissertation Award (2015)

Mellon Mays Foundation Dissertation Completion Grant (2013–2014)

Dissertation Fellowship, The Graduate Center, CUNY (2012–2013)

Brady Education Foundation Grant (2012–2014)

Doctoral Research Grant, The Graduate Center, CUNY (2008 and 2010)

Presidential MAGNET Fellowship (The Graduate Center, CUNY, 2006–2011

Josef Turnau Memorial Prize (Hunter College, CUNY, 2006)

Macaulay Honors University Scholars Program (CUNY, 2002–2006)

"Electro Hop," "DJing," ""King Tim III (Personality Jock),"" "New Jack Swing," and "Ultramagnetic M.C.’s" entries in the St. James Encyclopedia of Hip Hop Culture, 1st Edition, edited by Thomas Riggs. Farmington Hills, MI: Gale, a Cengage Company, 2018.

Uptown Saturday Night, written with Will Fulton. 33 1/3 Series. New York: Bloomsbury Press, 2017.

"Prince’s Last Decade," written with Will Fulton, American Music Review, (Fall 2016).

"From Starlight to Thriller: The Poetics of Michael Jackson’s Defining Recording," American Music Review, vol. 40, no. 1, Spring 2011: 8–9, 15.

"The Relativity of Mariah," a review of E=MC2, performed by Mariah Carey, in the CUNY Graduate Center Advocate, May 2008: 20.

"Still a Thriller, 25 Years Later," a review of Thriller 25, performed by Michael Jackson, in the CUNY Graduate Center Advocate, March 2008: 16.

"Must Be Hip to Feel the Hop: The Development of Hip Hop Rhythms," in Peace in Diversity, Mellon Mays Undergraduate Fellowship 4th Annual New York Regional Conference, edited by Margarite Fernández Olmos and Leah Squires. Brooklyn, NY: Brooklyn College MMUF Program, 2007: 37–43.

Academic Presentations

“The Music and the Machines: The SP-1200, the MPC, and the Evolution of Hip Hop Beat Making,” Lecture-Demonstration co-presented with Will Fulton, American Musicological Society/Rock and Roll Hall of Fame and Museum Lecture Series, Cleveland, Ohio, November 13, 2019.

“The MPC at 30: The Magic and Myth of Hip Hop’s Beat Machine, ” Lecture-Demonstration with Will Fulton, Show & Prove Hip Hop Studies Conference, University of California, Riverside, December 7–9, 2018.

“The Myth and the Magic of the MPC: 30 Years of Hip Hop Beat Making,” Lecture-Demonstration with Will Fulton, Society for American Music Conference, Kansas City, Missouri, February 28–March 4, 2018.

“The Thing About the New Jack Swing: The Shift in R&B's Engagement With Hip-Hop Aesthetics,” Society for American Music Conference, Elizabeth Town College, Boston, Massachusetts, March 9–13, 2016. Served as panel chair.

“Beat Education: Hip-Hop Technology Course at the University of New Haven,” Words, Beats, & Life Annual Teach-In: “Remixing the Art of Social Change, Washington D.C., November 12–14, 2015.

“Teaching Hip-Hop Beat Making: Hip-Hop Tech at the University of New Haven,” Paper-Demonstration with University of New Haven students Eric Robertson and Garrett Kuppelmeyer, Association for Popular Music Education, Sessions NYC, New York City, April 10, 2015.

“A Sonic Historiography of Early Sample-Based Hip-Hop Recordings,” Society for Ethnomusicology Conference, University of Pittsburgh, November 13–16, 2014. Served as panel chair.

““Bring That Beat Back”: The Development of Beat Making Techniques from Turntables to the Sampler,” Lecture-Demonstration with Will Fulton, Society for American Music 2014 Conference, Elizabeth Town College, Lancaster, Pennsylvania, March 6–9, 2014.

“Rockin’ Without a Band: Hip-Hop Music’s Technological History,” The 8th Art of Record Production Conference, Université Laval, Québec,July 12–14, 2013.

“How Do You Get to Summer Jam?: A Prospective Musicianship for the Craft of Beat Making,” Show & Prove Hip Hop Studies Conference, New York University, March 30–April 1, 2012.

“Rumble in the Concrete Jungle: Beat Battles in NYC and Their Impact on Hip-Hop Production,” International Association for the Study of Popular Music – U.S. Branch 2012 Conference, New York University, March 22¬–25, 2012.

“Project Stretch: Technology, CUNY and the Public School Connection,” 10th Annual CUNY IT Conference, John Jay College, CUNY, December 1–2, 2011.

Professional Affiliations

Member of the Society for Ethnomusicology

Member of the Society for American Music

Member of the Music Production Research

Courses Taught

• HNRS 4454 – Deconstructing American Music: Michael, Prince, and Madonna (Honors)
• MIND 4461 – Music Industry Internship
• MIND 4591 – Music Industry Entrepreneurship Capstone
• MUSC 1111 – Introduction to Music
• MUSC 1112 – Music and Global Cultures
• MUSC 1056 – Groove Haven R&B Ensemble
• MUSC 2211 – History of Rock
• MUSC 2212 – Hip-Hop: Culture, History, and Music
• MUSC 2213 – Jazz and American Culture
• MUSC 2214 – R&B: The Soul of American Music
• MUSC 2215 – Caribbean and Latin American Music
• MUSC 4416 – Advanced Performance/Research
• MUSC 4451 – Race, Ethnicity & Music: Black Music in the Americas (Honors)
• MUSC 4454 – Hip-Hop Technology and Production