Teaching Statement
I have always had a passion for sharing music. I feel that teaching is one such path in which to realize this passion. Given the current state of music education in our country, I feel that it is more important than ever to approach teaching with a well-rounded background. I feel that the past ten years that I spent working as a freelance composer have helped to prepare me for the classroom in that I am now able to share "real life" experience as well as my academic knowledge. Click here to read a favorable review I received in response to my compositions. Click here to access my CV which encompasses my professional experience as a composer and speaker. I am just beginning a PhD program and have not had any classroom teaching experience, however, I have experience teaching composition lessons privately as well as holding master classes. I currently feel prepared to teach composition, hold master classes and music coaching sessions, teach a music appreciation course, and a music business course.
Composition and Master Classes
As a composer, I understand the importance of teaching technique and not asserting a particular style. I understand that in the composition world, every student will approach the process of musical creation differently. It is for this reason that I feel it is important in teaching composition that I approach each student with the idea in mind that I am able to teach technique, but that I can never assert my own style upon another student. The definition of music is an ever debated issue, particularly as we embark upon the 21st century, however, I believe that what can never be contested is the fact that musical expression is just that. It is a deeply personal expression through sound. Therefore, as a teacher of the technique of composing music, it is vitally important that I approach each student with the understanding that he or she is attempting to express something through sound. It is not my job to dictate in what manner or in what style that particular student should express him or herself, but rather to equip that student with the fundamental practice and understanding of compositional techniques. As the student achieves a stronger grasp of the technique, he or she will continue to build a strong foundation of knowledge upon which to build an architecture of sound that makes up each musical composition.
Music Appreciation
In the year 2008 we are living in the most exciting and varied time every experienced in music history. With the Medieval, Renaissance, Baroque, Classical, Romantic, and 20th Century eras behind us, we now find ourselves in the great mixing pot of the 21st century. In my music appreciation course, I would approach the class with the knowledge that their exposure to "classical" music has most likely been limited to a few Baroque, Classical and Romantic works. First and foremost, I would understand that each student was taking this course to further their own understanding and exposure to "serious" music. With that in mind, my greatest goal in this course would be to foster passion and excitement for music through a brief review of music history as well as select listening examples. Examples would be drawn from the various eras utilizing such resources as the Online Classical Music Library which offers an extensive resource of music examples from nearly every era in music history. In approaching 20th century "serious" music techniques, I would contextualize each work so that the students could glean a better understanding of the reasons behind, for instance, the 12-tone technique. One such tool I would use for this course is my power point presentation, From Bach to Berg. I feel it is important to approach music with an understanding of the social and political climate of the time. I believe it is with a deeper understanding of these contexts which will aid in a better understanding and love of what might otherwise be deemed music which is "difficult to understand." The students would engage in lively discussion regarding each of the works in order to allow each student to verbalize and come to an understanding of why particular works resonate in various ways within them. Particularly in a music appreciation course, it is important for each student to have an understanding within themselves of what draws them, or even what repels them, to a particular work. It is from that position that one is then able to analyze, assess and further understand various compositional expressions and techniques.
Music Business
As a freelance composer I learned firsthand how to build a business around my music. Most musicians are most concerned with perfecting their particular art and may not pay as much attention to the business opportunities that might arise from exposing their gifts. My Music Business course would focus primarily on the profession of composing music. Each student would actively build their own personal "business" throughout the course. In doing this, I would teach the beneifits and necessities of joining a performance royality group such as ASCAP or BMI. We would establish personal publishing companies which allows for greater earnings of royalties. We would work on establishing personal website which would include musical examples. This is an important aspect to marketing oneself as a composer. A website for a composer has the potential to become a powerful tool, one which I like to regard as the ideal international business card. (It was with the creation of my website that I began to receive work as a professional composer). The students would learn how to associate themselves as being a professional composer through developing a consistent marketing "style" (i.e. business cards, letterheads, invoices, etc.). They would learn how to market themselves through these means (website, business cards, networking, concerts, meetings, etc.) as well as how to negotiate contracts and commission payments. Finally, they would learn the etiquette and expectations of a composer during rehearsals. We would do all of these things through practical application as well as in class role-playing which is important in preparing a composer for real-life negotiations.
