Teaching Philosophy
for String Studies

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I believe students fare best when space is for their opinion is open, reserved, and honored.  I have watched each of my own students develop and expand their passion by ensuring my due attentiveness to individual interests.

 

Obviously, there are standard materials to master before any curriculum is considered complete. In music, this broadly comprises works from a, more or less, predetermined list of composers, scale work and études, and new music.

 

Student musical interests may run parallel, or in stead of, those things.  Examples include repertoire of non-classical genres (e.g. Irish fiddle, American jazz, and Indian ragas) versus standard etudes covering extended techniques (e.g. harmonic trills, chopping, and strum pizzicati).

 

Many never voice such curiosities to their mentors unless encouraged to. Reasons often include stereotypical conservatory conformities, the pupil’s concern with encountering elitism, and common intimidation by mentors who did not ensure otherwise. Concordantly, despite even becoming bored of standard routines, said interests often remain silent — secret-like.

 

Therefore, realization of my teaching philosophy involves more than waiting for students to state musical expansiveness. It is rooted in encouraging it.  Try jazz.  Try fiddle.  Try writing your own cadenzas.  Try improvising in this genre you never heard.

 

Friendly discussions regarding their musical curiosities, exemplary performances of intentionally-broad repertoire, and an omnipresent atmosphere of encouragement, I believe to be our three largest responsibilities in this.

 

This pedagogical form supports students in feeling heard and at home in their learning environment. This is the core of my teaching philosophy, and my approach towards its realization.

 

“The private music teacher should listen well, encourage the individual's true interests, and teach these with genuine enthusiasm.”

—Prof. Immanuel T. Abraham, South Dakota State University