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Susan S In HomeHome In StudioStudio Teaches OnlineOnline
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Instruments: Piano, Flute, Recorder, Piccolo
Styles: Classical, Jazz, Pop, Rock, Blues, Folk, Country, R&b, Gospel, Musical Theater, Opera, Latin, Funk, Hip Hop, Electronic, Flamenco, Salsa, Showtunes, Spirituals, Reggae, Merengue, Latin Jazz, Swing, New Age, Samba, Bossa Nova, Soul, Marching Band, Punk, Mariachi, Avant-Garde

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Susan S In Home In Studio Teaches Online
Instruments: Piano, Flute, Recorder, Piccolo
Styles: Classical, Jazz, Pop, Rock, Blues, Folk, Country, R&b, Gospel, Musical Theater, Opera, Latin, Funk, Hip Hop, Electronic, Flamenco, Salsa, Showtunes, Spirituals, Reggae, Merengue, Latin Jazz, Swing, New Age, Samba, Bossa Nova, Soul, Marching Band, Punk, Mariachi, Avant-Garde

Where I Teach:
In Your Home My Studio Online
Ages Taught: 10-80
Levels Taught:

EMAIL US OR CALL 877-687-4524

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ABOUT
Degrees / Training / Special Info:
EDUCATION Arts Related -MFA, Academy of Art University, San Francisco, CA, 2016-Minneapolis College of Art and Design, Women's Art Institute, 2005-Florence Academy of Art, 1999-BFA / Music Minor, University of Missouri-Columbia, 1986-Studio Art Centers, International, Florence, Italy, 1984 - 85 -Independent Studies at La Specola Anatomical Wax Museum, 1984 - 85-American International Foreign Studies, 1984 - 85 -Perlman School of Dance, Columbia, MO, 1972 - 1986, full scholarship 1980 -Ballet West Summer Intensive, Aspen, CO, 1980 (ballet, jazz, modern, tap, character)-Missouri Symphony Society Performance Arts Center, Columbia, MO, 1980, full scholarship-
Awards:

-Perlman School of Dance, Columbia, MO, 1972 - 1986, full scholarship 1980 -Ballet West Summer Intensive, Aspen, CO, 1980 (ballet, jazz, modern, tap, character)-Missouri Symphony Society Performance Arts Center, Columbia, MO, 1980, full scholarship-Missouri State and District Solo Competitions and Band auditions, Missouri, 1979- 1981: higjhest ratings; first chair

Overview:
I began taking piano and ballet lessons at age ten, and flute at age eleven. I poured myself into practice and competitions in these fields, earning scholarships and recognition in all. From 1979 - 1981, I was a member of the Missouri Symphony Society Performance Arts Center combined student-professional orchestra, on full scholarship. I also participated in Missouri State and District Solo Competitions and Band auditions, and was awarded highest ratings and first chair flute. -- When I am in the zone, the dialogue between notes I have played and notes yet to come is rapid and coherent. I actively listen to myself as I play, while simultaneously holding a desired sound in my mind's ear, essentially matching the creative real-time activity to my intended outcome. Often my initial plans are improvised and amended mid-phrase, leading to pleasant discoveries and novel and creative musical expression.
EXPERIENCE
I began teaching flute and piccolo in high school, with dance following soon thereafter. I bring to this role many years of extensive and germane teaching experience. I teach beginning to intermediate level private lessons, and preparation for solo, duet and flute choir competitions. In my years of service, I have been told repeatedly that one of my greatest assets is my emotional intelligence, as demonstrated by my ability to adjust my approach to every student, across a broad range of experience and learning styles. To say I am passionate about teaching the arts would be a gross understatement; I am, without any doubt, an educator at heart. With teaching a priority in my life, a close second is my own creative life as an artist, dancer, and musician.
METHODS USED
I firmly believe that the most important ingredient in any creative process is a real sense of involvement, for which genuine interest is an absolute prerequisite. Motivation and emotion share the same Latin root: movere, which means to move Thus, it all starts with what moves you. I consider my primary responsibility as a music educator to be the active engagement of each student in an individualized approach to their learning of music. In short, it is my job to figure out how best to genuinely motivate them: before, during and after our classroom encounter. There are many concepts and techniques I have to share with all my students, but before this happens, I must forge a reliable connection with each.- - Before I meet any new student, I carefully plan specific approaches, based both on my past experience and the current goals at hand. My first interaction with each new student is designed to acquire and sustain their attention, since my primary goal is to pique curiosity: the mother of all thinking. And, according to Einstein, it is Play which is the highest form of research. Playing the flute is the specific form research I furnish, here.- - From here, I encourage as much autonomy in the learning process as possible. The point is not that I know the answer; the point is that students recognize, understand, learn and remember the what, the how and the why, for themselves. Instead of telling them what is amiss in their music playing, I guide them towards comprehension of these issues on their own. Once rapport and consensus is established, I use cognitive science, classical pedagogy and other systems of problem-solving to help students develop effective thinking in the very moment / act of music -playing. I foster critical thinking, elicit technical mastery through both constructive review and real-time instruction, and I encourage discovery and exploration in all my students. Experimentation is the root of growth. But its cultured soil is intelligent preparation (Burne Hogarth). - - I have used the Trivium of Classical Pedagogy to improve the various curricula I have built over the years. Grammar is the art of letters, (here: notes), Logic, or how we come to know is arrived at through both the analytical study of the relationship between things (such various notes on the page), as well as the mindful combination of these things through synthesis (forming a coherent phrase). Rhetoric is the final third of the Trivium. It is all about effective expression, and takes form when the student matures a bit and is ready to share some of what has been learned. The public speaker (and the musician, alike) persuades the audience through reasoned discourse (Logos: for musicians that would be articulation), appeals to emotion (Pathos: for musician that would be expressive phraseology), and a display of moral character (Ethos: for musicians that would be peformance with creative, expression. The means by which all this is achieved, involves the employment of the five canons of rhetoric, which neatly double as the natural steps of creative problem-solving. My more advanced students follow this systematic approach, when polishing a professional piece for performance and/or competition:---xe2x80xa2x9Inventio xe2x80x93 (research: learn about the piece and the composer) -xe2x80xa2x9Disposito xe2x80x93 (outline: with my guidance, create a strategic template for practice sessions) -xe2x80xa2x9Elocutio xe2x80x93 (technical mastery: development of musical skill, specific to the instrument and piece/s) -xe2x80xa2x9Memorio xe2x80x93 (practice: commitment to memory / internalization- individual expression of piece/s)-xe2x80xa2x9Pronuntiatio xe2x80x93 (performance)- x9--- After presenting initial problem-solving tasks to entice students, I then engage them in deeper and more meaningful creative learning of their instrument and the possibilities contained in the studies and piece/s at hand. Along the way, I explain that we can all learn to play music, and that we all have different and valuable ideas about how. I teach them that music is a language which all can gain fluency in, and that the processes behind becoming a musician involve problem-solving which everyone can engage in. I am a guide on this path of many.--
LESSON STYLE
I firmly believe that the most important ingredient in any creative process is a real sense of involvement, for which genuine interest is an absolute prerequisite. Motivation and emotion share the same Latin root: movere, which means xe2x80x98to move.xe2x80x99 Thus, it all starts with what x22moves you.xe2x80x9d I consider my primary responsibility as a music educator to be the active engagement of each student in an individualized approach to their learning of music. In short, it is my job to figure out how best to genuinely motivate them: before, during and after our classroom encounter. There are many concepts and techniques I have to share with all my students, but before this happens, I must forge a reliable connection with each.- - Before I meet any new student, I carefully plan specific approaches, based both on my past experience and the current goals at hand. My first interaction with each new student is designed to acquire and sustain their attention, since my primary goal is to pique curiosity: the mother of all thinking. And, according to Einstein, it is Play which is xe2x80x98the highest form of research.xe2x80x99 Playing the flute is the specific form research I furnish, here.- - From here, I encourage as much autonomy in the learning process as possible. The point is not that I know the answer; the point is that students recognize, understand, learn and remember the what, the how and the why, for themselves. Instead of telling them what is amiss in their music playing, I guide them towards comprehension of these issues on their own. Once rapport and consensus is established, I use cognitive science, classical pedagogy and other systems of problem-solving to help students develop effective thinking in the very moment / act of music -playing. I foster critical thinking, elicit technical mastery through both constructive review and real-time instruction, and I encourage discovery and exploration in all my students. xe2x80x9cExperimentation is the root of growth. But its cultured soil is intelligent preparationx22 (Burne Hogarth). - - I have used the Trivium of Classical Pedagogy to improve the various curricula I have built over the years. Grammar is xe2x80x98the art of letters,xe2x80x99 (here: notes), Logic, or xe2x80x98how we come to know,xe2x80x99 is arrived at through both the analytical study of the relationship between things (such various notes on the page), as well as the mindful combination of these things through synthesis (forming a coherent phrase). Rhetoric is the final third of the Trivium. It is all about effective expression, and takes form when the student matures a bit and is ready to share some of what has been learned. The public speaker (and the musician, alike) persuades the audience through reasoned discourse (Logos: for musicians that would be articulation), appeals to emotion (Pathos: for musician that would be expressive phraseology), and a display of moral character (Ethos: for musicians that would be peformance with creative, expression. The means by which all this is achieved, involves the employment of the five canons of rhetoric, which neatly double as the natural steps of creative problem-solving. My more advanced students follow this systematic approach, when polishing a professional piece for performance and/or competition:---xe2x80xa2x9Inventio xe2x80x93 (research: learn about the piece and the composer) -xe2x80xa2x9Disposito xe2x80x93 (outline: with my guidance, create a strategic template for practice sessions) -xe2x80xa2x9Elocutio xe2x80x93 (technical mastery: development of musical skill, specific to the instrument and piece/s) -xe2x80xa2x9Memorio xe2x80x93 (practice: commitment to memory / internalization- individual expression of piece/s)-xe2x80xa2x9Pronuntiatio xe2x80x93 (performance)- x9--- After presenting initial problem-solving tasks to entice students, I then engage them in deeper and more meaningful creative learning of their instrument and the possibilities contained in the studies and piece/s at hand. Along the way, I explain that we can all learn to play music, and that we all have different and valuable ideas about how. I teach them that music is a language which all can gain fluency in, and that the processes behind becoming a musician involve problem-solving which everyone can engage in. I am a guide on this path of many.-
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1 REVIEW
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Julie Otto

5

Really great at getting the kids interested & excited!

Review posted on Aug 29, 2017
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