麻豆官网首页入口

Courses Taught Most Recent Academic Year

• MUSI 3630

  AU Orchestra

• MUSI 1102

  Aural Skills II

• MUSI 3350

  Music History II

• MUSI 2320

  Rock n' Roll and Society

• MUSI 1212

  Theory II

• MUSI 1101

  Aural Skills I

• MUSI 4690

  Chamber Music Ensemble

• MUSI 3340

  Music History I

• MUSI 1211

  Theory I

Teaching Interests

In every class I teach - whether it鈥檚 applied viola, chamber music, freshmen music theory/ear training sequence, or a course in music literature 鈥� my primary goal is to equip music students with tools to 鈥渓isten better.鈥� This can mean different things depending on the situation. In applied viola lessons and chamber ensembles, "better" listening may mean increased participation and engagement, while in academic courses such as music history and theory, it may involve a more profound understanding of musical style and structure. Beyond the confines of the classroom, it could simply involve maintaining attentive silence.

As a violin and viola teacher I am particularly enthusiastic about working closely with students to develop practical performance and career skills necessary for modern string players. These include not only technical proficiency and musical sensitivity, but also versatility in a number of performance contexts, and knowledge of different styles, genres, and their historical backgrounds. In line with the different performance skills required nowadays of professional musicians, I encourage and help my students to seek out as many opportunities to collaborate in ensembles as possible. In particular, I believe that playing in string quartets and piano trios is an especially good venue for violinists and violists to develop skills of musical leadership, coordination, and the ability to negotiate creative decisions. To that end, I am keen on coaching student chamber groups, and introducing them to a wide range of repertoire from different historical periods.

While at AU I have implemented a teaching approach that creates a learning environment designed to support student collaboration, the so-called flipped classroom method. In my lecture-style classes, which have included the freshmen music theory/ear training sequence, courses in music history, rock n鈥� roll and society, and form and analysis, I avoid lecturing to a passive audience whenever possible, instead letting students prepare for each class in advance through reading and homework assignments, allocating time for group work, and encouraging them to consider the classroom as a safe space for dialogue and development of their ideas.

I believe that there is not a single, ideal way of teaching music. One must approach each student differently, considering not only the student鈥檚 level of proficiency, but also his or her physical and mental abilities, and sensitivity. From this perspective, I am also keenly attentive to the fact that not every student will go on to become a professional musician, which is why my philosophy emphasizes teaching skills 鈥撯�� such as leadership, discipline, accountability, and collaboration 鈥撯�� that have a wide applicability in life.