Berklee Online Faculty

Matthew Ellard

Also affiliated with: Berklee Online (available courses)
mellard@berklee.edu | 617-747-6328

"I bring a depth of technical knowledge in both the analog and digital realms, and a wide breadth of professional music industry experience to the instruction of music production and engineering."

Bill Elliott

Also affiliated with: Berklee Online (available courses)
belliott@berklee.edu | 617-747-2859

"I encourage students to practice on me and think of me as their first client: I want them to let me know who they are and what they have to offer."

Marti Epstein

Professor, Composition
Also affiliated with: Berklee Online (available courses)
mepstein@berklee.edu | 617-747-8167

"You have to develop really good writing skills before the technology will work for you in the way it's supposed to. And live performance, the human element, is so intangible but so necessary and so exciting."

Kathleen Flynn

Associate Professor, Voice
Also affiliated with: Berklee Online (available courses)
kflynn@berklee.edu | 617-747-6259

"Technique is being able to sing freely and with ease so that your body can really obey your artistic ideas."

Ellen Francese

Professor, Liberal Arts
Also affiliated with: Berklee Online (available courses)
efrancese@berklee.edu | 617-747-8157

"My role is to create a safe environment for my students to take risks, open up, share their ideas, and believe that what they have to say is worthy."

Jerry Gates

Also affiliated with: Berklee Online (available courses)
jgates@berklee.edu | 617-747-8411

"It's important to keep searching all your life for new ideas and concepts. The discoveries move you forward to a deeper understanding of the language of music."

Enrique Gonzalez Müller

Also affiliated with: Berklee Online (available courses)

“Every decision we make means something and has definite impact, so we might as well strive to make thoughtful choices and really mean what we do.”

Gabrielle Goodman

Professor, Voice
Also affiliated with: Berklee Online (available courses)
ggoodman@berklee.edu | 617-747-8349

"When you're performing night after night and traveling, it is really important to maintain your instrument. Rest, warming up before you sing, and knowing the music play a vital role in sustaining the voice."

Don Gorder

Also affiliated with: Berklee Online (available courses)
dgorder@berklee.edu | 617-747-2517

"Berklee's core curriculum of harmony, ear training, etc., contributes to the music business/management major's lifelong enjoyment of music. No matter how far our students go in the business realm, being able to relate to music as musicians will add much to their lives. Personally, my musical experience has enhanced my understanding of the tension points in the art/commerce dichotomy, and how to soften the conflict."

Eric Gould

Also affiliated with: Berklee Online (available courses)
egould@berklee.edu | 617-747-2384

"Teaching is a way for me to pass on the information I’ve gotten over time. To function as a jazz composer at any level, you’ve got to be willing to produce your stuff, even if it’s just a demo of what it’s supposed to sound like. As a producer you facilitate everyone else’s ability to fulfill their roles. You have to acquire listening and analytical skills and understand underlying systems of harmony, form, and development. You need be able to communicate both abstract concepts and concrete ideas; to conceptualize what’s going to be on a stage before even thinking about writing for what’s going to be on that stage. You have to learn how to organize sounds, instruments, time (in the musical sense and otherwise), groups of people, and schedules. It takes attention to detail. And—because this is jazz after all—it takes flexibility. You have to plan for improvisation."

Caroline Harvey

Assistant Professor, Liberal Arts
Also affiliated with: Berklee Online (available courses)
charvey1@berklee.edu | 617-747-6006
  • M.A., Dance and Cultural Studies, UCLA
  • B.F.A., Theater Studies, Boston University
  • Vocalist
  • Performances with Alicia Keys, Mos Def, John Legend, Reggie Gibson, Joshua Bennett, and Donna De Lory
  • Recordings include HBO's Def Poetry season 5 and Ever Widening Circles
  • Published in the Legendary, Numinous Magazine, and the Charles River Review
  • Participant in Slam Team San Jose 2004 and Boston Cantab Slam Team 2005

Gaye Tolan Hatfield

Professor, Ear Training
Also affiliated with: Berklee Online (available courses)

"Ear training is an integral piece of the puzzle for the professional musician. Having a good ear means better communication in any musical setting, including stage, recording studio, and teaching studio. If a note, chord, or rhythm is heard that elicits a response (whether good or bad), how cool is it to know exactly what the sound was and why it worked—or didn't! In those circumstances, I feel as if I'm in on a little secret that nonmusicians never get to experience."

Brad Hatfield

Associate Professor, Songwriting
Also affiliated with: Berklee Online (available courses)
bhatfield@berklee.edu | 617-747-8043

"I do my best to help students identify their strengths then challenge themselves to work outside their comfort zone and collaborate. I have found a team-oriented approach to be a fast track to sustained success in the field of songwriting for film and TV."

Russell Hoffmann

Associate Professor, Piano
Also affiliated with: Berklee Online (available courses)
rhoffmann@berklee.edu | 617-747-8432

"Playing the piano has got such a physical component to it. Understanding the gestures, the body motion, the language of each style—then incorporating an intellectual knowledge of the music along with the sound—it all works together. There’s no substitute for just getting in there, experiencing it, and playing, playing, playing."

Thaddeus Hogarth

Associate Professor, Guitar
Also affiliated with: Berklee Online (available courses)
thogarth@berklee.edu | 617-747-2830

"As a thriving independent recording artist, I think of my job as not only to disseminate information but to give a strong basis of context for this information and a method for incorporating it into the student's own identity as a musician, whether as a performer, a composer, or both."

George Howard

Associate Professor, Music Business/Management
Also affiliated with: Berklee Online (available courses)
ghoward@berklee.edu | 617-747-8540

"Having worked in the music industry as long as I have, I don't want to necessarily just bring war stories. You've got to back it up with some good science and theory. One of the challenges is with new media. The tools are new. So I try to balance those with some real time-tested marketing strategies. You begin to realize that it's all sort of been done before, but now we have an opportunity to recontextualize things. I do try to find a balance of things, but the music business is changing every second."

Yoron Israel

Assistant Chair, Percussion
Also affiliated with: Berklee Online (available courses)
yisrael@berklee.edu | 617-747-2703

"Drummers don't play an instrument where we're consistently called upon to play pyrotechnics and get paid for it. We have to blend with other musicians around us and make them feel good. So one of the things I emphasize in my teaching is sound and touch, which is very subtle and somewhat of a lost art in a lot of ways. But it's so important in the real world because you have to be able to play any given room, whether it's a tiny club or a festival amphitheatre."

Scotty Johnson

Associate Professor, Guitar
Also affiliated with: Berklee Online (available courses)
sjohnson@berklee.edu | 617-747-8494

"My main message is that there's work out there for musicians—gigs and paychecks. I've brought students into the pit with me and they are glad to see that there are many attainable avenues for music other than being a rock star. There are other ways to do things creatively and work as a professional musician with a guitar in your lap. I tell students, 'Here's what you have to know, here's what you'll get paid, here's the person who will hire you, etc.' It's not always about music theory; it's experience. In my theater lab, they're seeing the actual chart that I read in the pit from shows like The Lion King or Spamalot, for example."

Andrea Johnson

Associate Professor, Music Business/Management
Also affiliated with: Berklee Online (available courses)
arjohnson@berklee.edu | 617-747-3170

"I have an undergrad degree in vocal performance, and I actually started in music business because I wanted to make sure that I understood my own contracts. I think that helps me the most, because we have a lot of dual majors. I can be empathetic with them and tell them today's business is really about being an entrepreneur. I'm giving them a scope of the entire industry, so they can pick a good business manager. I think every student should take at least an intro to music business course. If you're an informed performer, think of how much further you can go."

Michael Johnson

Also affiliated with: Berklee Online (available courses)
mjjohnson@berklee.edu | 617-747-6050

"In CWP, students get some of the writing and some of the technological things, and you really need both of those nowadays. Gone are the days when you could just be a writer and not worry about the technology at all. The kind of versatility that we have built in to our program, I had to learn on my own through all the gigging I was doing and also working as a recording engineer. If I had come here and learned all that stuff then, it probably would have saved me a lot of time."

 

Jimmy Kachulis

Professor, Songwriting
Also affiliated with: Berklee Online (available courses)
jkachulis@berklee.edu | 617-747-8240

An accomplished composer, arranger, and conductor, Kachulis has worked with legendary artists such as George Coleman, Jon Hendricks, John Lewis and Martha Reeves.

John Kellogg

Assistant Chair, Music Business/Management
Also affiliated with: Berklee Online (available courses)
jkellogg@berklee.edu | 617-747-3179

"The reason why I think music business/management programs are growing all across the country is because I think that young people get it. They know that they can actually have some form of ownership in the growth, in the development of the new music industry. They understand music, but they don't want to get ripped off, and they don't have to deal with those music companies. They think, I can do something else on my own, and I need to know how to protect myself within that whole framework of the new music business."

Lori Landay

Professor, Liberal Arts
Also affiliated with: Berklee Online (available courses)
llanday@berklee.edu | 617-747-2747

"In Language of Film I give students a three-part project. Their first assignment is to write an original screenplay of a scene or short-short film, and write a paper about it. Next they storyboard their screenplay and write a paper about that. In the third assignment, we improvise a scene and shoot some footage, which they edit together on their laptops; then they write a paper about editing. Students learn about how people make choices, and film scoring students gain insight into the directors with whom they have to communicate. It's probably the most exciting thing I've done at Berklee."

Brian Lewis

Professor, Ear Training
Also affiliated with: Berklee Online (available courses)
blewis@berklee.edu | 617-747-8257

"Ear training is all about becoming a literate musician—mastering the fundamentals, covering everything musicians might encounter in their career. Acquiring a good ear doesn't happen by turning a magic key. It happens through performing experience or a systematic progressive approach that slowly builds and reinforces musical concepts through performance-related and recognition activities."

Dave Limina

Assistant Professor, Piano
Also affiliated with: Berklee Online (available courses)
dlimina@berklee.edu | 617-747-8436

"One of the biggest lessons I give my students from my own real-life experience is that a gig usually isn't about highlighting yourself; it's more about functioning in an ensemble and playing your part."

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