Teaching Philosophy
One of my greatest skills as a teacher is the wide range of musical subjects which I have previously taught and studied and am able to call upon. I have taught music theory at various levels, aural skills, composition lessons, orchestration, music appreciation and music history after 1900. While teaching, I have worked with students of varying ability, from performance majors who have gone on to prestigious graduate programs, to non-majors whose focuses were on attaining basic musicianship and musical literacy. These experiences have taught me how to successfully teach those who have severe difficulty with subject material while still making the learning experience stimulating for the more advanced students. I try to focus on creating a meaningful dialogue about subject material, rather than simply presenting information.
It is the duty of public universities to provide meaningful opportunities to students of many different socioeconomic backgrounds. Among other reasons, this is why I have always felt at home in public university music programs. There is no one-size-fits-all career path or teaching method, and we as educators have to focus on each individual student’s needs and trajectories. When students come to college with relatively little music background, it is important to instill a sense of exploration. By doing this, we are encouraging our students rather than intimidating them. If the student is enthusiastic about the material, a good work ethic and self-improvement will follow.
I am endlessly enthusiastic in my teaching. I pride myself on having a lot of energy, and having the ability to consciously direct it towards keeping students engaged and invested in the learning process. I firmly believe in positive reinforcement, and do my best to instill confidence in my students. College students will often preface intelligent statements with “I don’t know anything about this but…” or “I’m bad at music theory but…”. This is, more often than not, their biggest hurdle to success. I always make sure to encourage students in these instances, pointing out that either they are making a thoughtful point or inquiry, or by reminding them that learning is a process and that they are on the road to success.
When teaching composition students, it is important to teach both creativity and basic musicianship. Some students need a push to think outside the box, whereas others need help to shape their big ideas into something practical. While doing this, I always ensure to make the students into the best versions of their compositional selves, rather than trying to push them into a certain aesthetic. Many features such as gesture, pacing, notation, and texture apply to all kinds of written music, and therefore can be useful in guiding composition students regardless of their personal style.
I am not content with being only a performer, only a teacher, or only a composer. All three are intertwined within my musical worldview, and are not clearly separable in my mind. I use this mash-up of abilities to relate to students with a variety of different viewpoints towards music, whether they are practicing musicians with professional aspirations or interested dilettantes wanting to learn more about music.
-Adam Har-zvi