My teaching encompasses a variety of musical skills, including composition, performance, theory and history. As a composer, I believe that without the merger of all these media, the language of music is unbalanced and can potentially sway toward the overly intellectual or creatively unchallenged. Some curricula separate these elements; however, as musicians, we draw on these various musical experiences in tandem, recognizing how each subject reinforces the others.
To prepare students for what is required of musicians and critical thinkers, I provide students with tools to think about these seemingly separate aspects of music simultaneously. In addition to following the more traditional music curriculum where the student takes theory and ear training, history, piano, and their primary instrument and/or specialty, I synthesize these “independent” subjects into each class or lesson by taking various slants using each musical skill depending on what the student needs.
By actively practicing what I encourage my students to do, students discover a fundamental skill for music and scholarship: how to learn through doing. Teaching students how to ask questions and find solutions is more valuable then teaching textbook facts. In creative fields, the answer is most always found in the question. If a sincere answer is to be discovered, the student can be the only one to ask the question. I help promote asking questions by explaining to students why I give them certain assignments, by discussing solutions I have found and by encouraging students to work and communicate together. Teaching demands dedication similar to that of writing music and playing an instrument. I believe that a balance between being a musician and a teacher strengthens knowledge and encourages inquiry on behalf of both student and the teacher. The most successful atmosphere for the student and teacher exists when both parties are thinking, creating and being stimulated by one another’s ideas and artistic solutions.
My job as a teacher is to structure learning experiences that challenge students to pursue wisdom, growth in judgement and the ability to discern their musical choices. I aim to inspire in students a sense of purpose; I aim to stimulate them to work hard and make critical appraisals of themselves, their peers and the community around them. Students have an undeniable right of empowerment, and my job is to facilitate their development into aware, thoughtful, and principled musicians who take charge. I tell my students, “I am here to help you achieve your goal of becoming an effective and creative composer. I will guide you, but you assume personal responsibility for the quality of your experiences.” Excitement about learning must be generated by creating a nurturing environment in which students have trepidation, thrill and the satisfaction of thinking and acting by themselves.
A few principals I find help me to be a better teacher and artist include:
- Directly engage and challenge the student, treating them as a valued colleague and an active participant rather than a member of an audience. The student receives by giving. The teacher gives by asking, encouraging, and exhorting. The same goes for composing music.
- Give learners something memorable on which to hang the most important point. I liberally employ vivid examples and humorous stories from my collage of musical experiences to help them retain their ideas. Likewise, I draw upon experiences that other composers have shared through not only listening but reading and interviewing. We also deeply analyze and critique craft which includes a variety of techniques actively and passively.
- It is learning, not teaching that matters. The best teaching is transformational: it affords a surprising “Aha!” to the student that makes a lasting difference. Such teaching transforms the teacher as well. The aspect I find most rewarding is observing and participating in human and musical development.