Statement of Teaching Philosophy

My approach to teaching music theory and composition emphasizes the distinction between the rules of an established style and the possibilities of the emerging composer. I teach music theory to equip students with the tools to understand styles relevant to their fields as performers, educators, and composers. I teach composition to indulge the students’ interests in styles and — more importantly — encourage contributing their own voice to the living tapestries of new music.

For music theory lectures and percussion lessons, my syllabus begins with prescriptive learning to establish and reinforce the essential fundamentals. These building blocks are attainable starting points for the students to strive for readable notation and functional technique, respectively. This especially applies to how I teach Fundamentals of Music Theory. The rules of notation, engraving, and the aural nuances of the 12-tone equal temperament system are as important as the vocabulary, grammar, and syntax of any language. In the Fundamentals classroom, students memorize these rules while also seeing their applications in the music of Johann Sebastian Bach, The Beatles, and Nina Simone. I preface these prescriptivist lectures by acknowledging that these rules are rules within a specific style of music. My first lecture in Fundamentals asks the big questions: “What are the elements of music?” And, “Does music always need these elements present in order to be ‘good’ music?” To emphasize my point, I also ask the students to compare the transition to the recapitulation in the Waldstein Sonata to the buildup before the bass drop in Kendrick Lamar’s D.N.A.

My favorite lectures in music theory explore the possibilities of stretching our established system of tonal music. This especially is where composition becomes an indispensable learning tool. Smaller assignments that include composition focus on specific harmonies and prolongation techniques in tonal music and give students the chance to write short phrases. Even in these assignments, I offer descriptivist critiques on how the students crafted the shapes of the individual voices in hopes they perceive composition beyond filling the triads. Larger projects where students write full forms are modeled after the existing repertoire. The models give students a reference for the melodic, harmonic, rhythmic, and textural tendencies of the style. Critiques on their creative output center on what the students hear and how it fulfills or thwarts the expectations established by the models. Lessons with this compositional lens in various music theory topics encourages musicians interested in composing, and affirms those who are otherwise afraid of it.

Private lessons in composition work on a similar model. Most of my critique involves comparing what they hope I hear versus what I actually hear. However, if a student is particularly stuck on the harmonic, timbral, or textural aesthetic of a section, I give the student listening examples similar to the passage they are working on to show how other composers confronted similar problems. When one of my students needed help understanding how to create soundscapes in a large ensemble texture, I directed him to Gunther Schuller’s Seven Studies on Themes of Paul Klee, and instructed him to listen closely to Schuller’s innovative orchestration choices. While I share my own views on approaching these compositional roadblocks, this expansive view gives the student more guided listening opportunities to reinforce their sound palette.

Regardless of the classroom or private lesson setting, I make sure I learn who my student is. Connecting with the students is crucial in learning who they are as musicians, and I encourage students to embrace their identities by giving them a space to disclose learning disabilities and any other external factors that may affect their work. I believe a welcoming, inclusive environment allows musicians to connect more deeply with their colleagues and the music they create. By knowing the interests and preferences of my students, I adapt my materials to connect with their lived experiences. When I teach, I acknowledge the accomplishments of the past while guiding and celebrating the accomplishments of my students.