TEACHING philosophy
We learn as long as we live, and the university is where the journey of lifelong learning begins. Teaching, for me, is the most selfless task, serving our society. My greatest hope is to nourish and inspire the talents of the next generation, guiding them to work on themselves and become the most authentic version of who they are. To coach, support, and mentor my students at the University of Wisconsin is a special honor. Guiding them through their journey of lifelong learning and witnessing their growth is my greatest reward.
My pedagogical philosophy is rooted in a balance of influences: the strict discipline of post-Soviet tradition, the tradition of historical performance practice in Germany, and the innovative spirit of the United States. My curiosity, dedication to people, openness, and adaptability shape me into a thoughtful and empathetic mentor. Daily yoga and meditation practices complement my bubbly personality, fostering calm and focus in both my music and teaching.
In my classes, I encourage students to experiment within a historically informed framework, cultivating a continuous search for truth through primary sources and practical application. In group lessons, I create an open and collaborative environment where students explore the limitless possibilities of interpretation and its historical justification. Alongside this, I emphasize body awareness, mindfulness, tolerance, respect, solidarity, and a supportive classroom atmosphere. My goal is to ignite curiosity and provide the tools needed for growth.
When teaching historical performance with a focus on the transverse flute, I guide students in mastering the instruments of the Renaissance, Baroque, Classical, and Romantic periods. Both individual lessons and ensemble work hold equal importance, with a particular focus on developing listening skills and the dynamic interplay of action and reaction within an ensemble.
For those with curious minds eager to expand their musical horizons and inspire their creativity, I offer a progressive curriculum for the transverse flute in historical order. Students begin by refining the styles of the Renaissance and early Baroque. This foundation is followed by an in-depth study of later periods: first the high and late Baroque, then the Classical period, and finally the Romantic era. Weekly classes emphasize the integration of treatises and original sources, fostering a holistic understanding of historical performance. Friendly discussions of differing interpretations of the same passages encourage constructive dialogue, where everyone learns from one another.
Graduates from my studio will become versatile historical musicians, mastering the techniques of the transverse flute across all periods and gaining a deep understanding of each style’s unique characteristics. They will carry forward the rich legacy of historical performance with skill and insight, striking a balance between trusting their own artistic instincts and remaining open to the perspectives of others.
My pedagogical philosophy is rooted in a balance of influences: the strict discipline of post-Soviet tradition, the tradition of historical performance practice in Germany, and the innovative spirit of the United States. My curiosity, dedication to people, openness, and adaptability shape me into a thoughtful and empathetic mentor. Daily yoga and meditation practices complement my bubbly personality, fostering calm and focus in both my music and teaching.
In my classes, I encourage students to experiment within a historically informed framework, cultivating a continuous search for truth through primary sources and practical application. In group lessons, I create an open and collaborative environment where students explore the limitless possibilities of interpretation and its historical justification. Alongside this, I emphasize body awareness, mindfulness, tolerance, respect, solidarity, and a supportive classroom atmosphere. My goal is to ignite curiosity and provide the tools needed for growth.
When teaching historical performance with a focus on the transverse flute, I guide students in mastering the instruments of the Renaissance, Baroque, Classical, and Romantic periods. Both individual lessons and ensemble work hold equal importance, with a particular focus on developing listening skills and the dynamic interplay of action and reaction within an ensemble.
For those with curious minds eager to expand their musical horizons and inspire their creativity, I offer a progressive curriculum for the transverse flute in historical order. Students begin by refining the styles of the Renaissance and early Baroque. This foundation is followed by an in-depth study of later periods: first the high and late Baroque, then the Classical period, and finally the Romantic era. Weekly classes emphasize the integration of treatises and original sources, fostering a holistic understanding of historical performance. Friendly discussions of differing interpretations of the same passages encourage constructive dialogue, where everyone learns from one another.
Graduates from my studio will become versatile historical musicians, mastering the techniques of the transverse flute across all periods and gaining a deep understanding of each style’s unique characteristics. They will carry forward the rich legacy of historical performance with skill and insight, striking a balance between trusting their own artistic instincts and remaining open to the perspectives of others.