Undergraduate research, or "signature experiences" as it is sometimes broadened to, is so prevalent in most university mission statements that they can sound like buzz words. Like "marketable skills" and "workplace competencies," the ubiquitous phrase "undergraduate research" seems to be at once a straightforward priority, while also a vague catch-all with uncertain qualifiers and invisible expectations. When it comes to undergraduate research, many of us overworked-music theorists might roll our eyes at the possibility for more work and engagement with undergraduates. And, it's entirely plausible, that as faculty in the humanities, we skim over university correspondence about undergraduate research opportunities, funding, and news, assuming it applies only to those more lucrative, grant-generating STEM fields. In this presentation, I will lead a conversation about the many positive -- and negative -- aspects around undergraduate research in music theory. I will begin with defining different types and scopes of research opportunities. I will then detail resources, approaches, and types of projects, and then discuss some of the rewards and obstacles faculty might encounter. Finally, I facilitate small-group conversations focused around three themes: