TEACHING

A Creative Presence

As a lifelong enthusiast of performance and pedagogy, I have been focused on three areas of research; Analysis and improvisation in systematic teaching procedure, contemporary music, and Multi-culturalism versus Nationalism in music.

The topic of analysis and performance has always been considerable; highlighting how and why having an analytical point of view can lead performers to a better interpretation of a piece. In addition, there has always been the debate about how to put analytical interpretations into practice. I believe that applying analysis to performance needs systematic procedure and exercises. In my researches I argue that a formal analysis of a piece –paired with improvisational exercises – yields a better comprehension of the music and a more performer–centered interpretation. The concept of music improvisation resonates well with Edmund Husserl’s philosophical study of temporality and time-consciousness named Retention and Protention. Husserl’s point of view in a nutshell is best described by Christian Beyer in Stanford Encyclopedia of Philosophy,

“…retentions, i.e., acts of immediate memory of what has been perceived “just a moment ago”, original impressions, i.e., acts of awareness of what is perceived “right now”, and protentions, i.e., immediate anticipations of what will be perceived “in a moment”. It is by such momentary structures of retentions, original impressions and protentions that moments of time are continuously constituted (and reconstituted) as past, present and future, respectively, so that it looks to the experiencing subject as if time were permanently flowing off.”

I utilize the same approach in my classroom and private lessons to guide the learners in a clear yet innate procedure of comprehending and then responding to what they have perceived in the learning process.

My private flute studio provides students of all ages with innovative approaches towards flute playing as well as fundamentals of classical, contemporary, and folk music. Creative exercises for tone production, rhythm, interpretation, and improvisational skills are introduced to students considering their individuality and their specific learners' types. Learners' exposure to technique, musicality, and music appreciation in flute playing happens through direct and indirect teaching methods which results in the thorough perception of the music.

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