TEACHING

As a passionate advocate of performance and pedagogy, my research interests revolve around three distinct but intertwined areas; the integration of analysis and improvisation in a systematic teaching process, contemporary music, and the dichotomy of multi-culturalism and nationalism in music.

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Primarily, the interplay of analysis and performance holds substantial importance due to its ability to shed light on the inner complexities of a musical piece, fostering a deeper and more nuanced interpretation. Nonetheless, practically incorporating these analytical findings into performance remains a contentious topic. I strongly advocate that the fusion of analysis and improvisational exercises within a systematic structure can significantly enhance performance practices. My research contends that an intricate analysis of a piece, complemented by improvisational practices, culminates in an improved grasp of the music, consequently fostering a performance that is more focused on the performer's unique interpretation.

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In this regard, the philosophy of Edmund Husserl, specifically his exploration of temporality and time-consciousness, known as Retention and Protention, harmonizes perfectly with my approach to musical improvisation. As explained by Christian Beyer in the Stanford Encyclopedia of Philosophy, Husserl's perspective revolves around the concepts of retentions (the immediate memory of the just perceived), original impressions (the awareness of the currently perceived), and protentions (the immediate anticipations of the soon-to-be perceived). This philosophy suggests that these elements, collectively, create a continuous flow of time, encompassing the past, present, and future, as perceived by the subject (Beyer, Stanford Encyclopedia of Philosophy). Inspired by this philosophy, I have adopted it in my teaching methodology, both in classroom settings and private lessons, to facilitate an intuitive understanding among students and enable them to respond to their evolving perceptions during the learning process.

At my flute studio, I embrace students of every age, providing them with progressive strategies that not only refine their flute playing techniques but also solidify their understanding of classical, contemporary, and folk music genres. Through custom-tailored exercises, I cultivate various aspects of flute playing, such as tone production, musicality, interpretation, and improvisation, while taking into account each student's distinct learning style and unique abilities. The journey towards enhancing technical skills, fostering musicality, and instilling a deep appreciation for music in flute playing is navigated through a combination of direct and indirect teaching methods. This balanced approach facilitates a comprehensive and insightful understanding of music, allowing each student to immerse themselves in the finer details of flute performance. My teaching philosophy is committed to unlocking the inherent musical potential within each student, nurturing their passion for music, and encouraging a lifetime of learning and enjoyment.