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2019—2016: Graduate Excellence Award, McGill University, Schulich School of Music
2017:The Mobility Award, McGill University, Schulich School of Music
2013—2014: AGBU Performing Arts Fellowship Award, NYC
2009: Paul-Marcel Gelinas and Verna Marie -Gelinas Bursary, University of Montreal
2018—2015: The Canada Council for the Arts Musical Instrument Bank
My name is Dr. Nuné M. As a performing artist, I played at Carnegie Hall, Disney Hall Lincoln Center, and Place des Arts, among others. In the capacity of a soloist and chamber musician, I toured in the United States, Canada, Russia, and Europe. My work was featured in The Strings Magazine, Huffington Post, Armenian Mirror-Spectator, LaScena Musicale, McGill Tribute, to name a few.
I am a devoted advocate of diversity in classical music. In 2010, I founded the Hidden Treasure Project© dedicated to diversifying the established repertoire by the inclusion of lesser-known music. As a specialist of the music of the Caucasus, I not only performed but also lectured at the Wayne State University, Columbia University, Arizona State University, and the University of Alberta. The Hidden Treasure© CD, launched in 2017, features the unknown gems of Armenian composers. It was labeled a “love letter to Armenia” by the CBC radio and was included in the “Best Albums of 2018” by violinist.com blog.
In 2019, Hidden Treasure ©, in the form of a comedy play, toured in twelve cities in the North of Canada, reaching the most isolated communities of the country. In May 2019, I defended what became the first comprehensive dissertation in English about the scarcely-known in Western countries composer, Arno Babadjanian. Throughout the research process, we faced numerous challenges, the most important being a complete lacuna of the previously written material about the composer available in English. In January 2019, I was appointed a North American Representative of the Arno Babadjanian Foundation. This position and the fact that I speak fluently five languages granted me exclusive access to the recourses unavailable to the performers and researchers in North America. I am also a passionate representative of the gender-inclusivity of the music of the Caucasus.
I graduated with a Doctorate Degree from McGill University. I speak fluently 5 languages.
I always enjoyed performing, yet I fell in love with teaching very early, at the age of sixteen. A professor asked me to give a lesson to a fellow student of mine. A week after, the teacher called, saying that she could not recognize her student’s playing. The feeling of being able to make an impact was sensational. Teaching immediately became a crucial part of my professional activities. To successfully teach the art of performance practice, one needs a systemized knowledge of the technical basics and constant improvement of the ways of practicing. Ever since I taught a variety of students from all over the world, from very beginners to extremely advanced with some incredible results! I post tutoring videos online, make a part of the Online Tutoring Application. I have given a series of master-classes. I teach in 4 different languages, in private and online. My students get enrolled in the universities, pass the exams, and overall exceed everyone else's expectations!
A teacher who is not implementing his own skills or who does not experiment and search for different forms of practice will soon become very limited and limiting.
As a kid, I was raised in the so-called Russian tradition, took lessons with European professors in my teenage years, and immigrated to North America at the age of nineteen. A by-product of cross-culturalism, I simultaneously learned the principles of different violin schools, researched their traditions, particularities, and distinctions. Extensive touring gave me an advantage to eventually offer my students diverse teaching methods from various schools of thought. I accumulated a set of best values that these traditions provided: rigid practicing discipline, sturdy violin technique, creative thinking. My students, besides the specific instrumental skills, are always studying general music history, learning alternative violin methods, and playing a diversified repertoire.
Having worked with a variety of musicians, I now know that a real teacher needs to be a human of great discipline and compassion. I sincerely believe in a healthy and holistic approach to teaching. This is why I am always concentrating on the mental and physical well-being of my students first. I pay particular attention to mental readiness, self-confidence, and stage-fright control. For instance, I offer my students some breathing exercises or ask them to write a good self-critique as homework. These practices immediately result in visible positive changes.
In the learning process, defining the goals is crucial. Depending on a particular case of the student, I proof-check the competition or audition demos, find people who could help my students’ aspirations. I make sure to articulate my critique in the most constructive way possible and to listen. I am convinced that to educate an individual efficiently, one needs to understand the student’s background, psychological profile, temperament, and character.
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