Berklee Online Faculty

Matthew Ellard

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

"With more than 24 years of music industry experience in London, Los Angeles, and Boston as a recording engineer, mixer, and producer, and more than 7 years of teaching audio, 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

"In the real world, particularly in film scoring, you're always struggling to get many minutes of music recorded in a short amount of time, so it's essential to use the time efficiently. You have to make your intentions clear—to answer players' questions before they have to ask them and take away from your precious time. You also have to write for the situation; so much professional work involves writing music that is easy to rehearse, easy to sight-read, easy to play, and easy to record. You can write something brilliant, but you might need three hours to rehearse it."

Ellen Francese

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

"My role as teacher is to be a facilitator. I don't lecture; I don't like it, and I can't imagine my students would like it, either. My role is also 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. To start a discussion I'll show them something as a catalyst, maybe lead them off with a word or two, then say, 'Here you go; wrestle with it,' and sit back and watch. And that's really how it should be."

Jerry Gates

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

"My students are composing on notation software. There's immediate feedback, of course, from using the computer, but the music's not going to sound that way with live players. That's often eye-opening for students used to hearing their work on the computer. So I tell my students to write every day and find a way to get some players to play it so they'll get to know what their music is really supposed to sound like."

Enrique Gonzalez Muller

Also affiliated with: Berklee Online (available courses)

“As far back as I can remember I always knew I would end up doing something music-related, but it wasn't until I discovered music production and engineering that I truly found my voice. It fits like a glove, since it blends a highly creative and philosophical endeavor with a highly precise, tangible, and technical craft, and the convergence of those elements go totally in line with my personality and passions. I’m drawn to understanding people, emotions, and things, to figure out how to use and combine elements for an emotional outcome. That’s what I do in this profession: I communicate with musicians as human beings, try to really understand the emotional connection that moved them to make music, and figure out how to capture and bring out 110% of their message (and in doing so, also my own).”

Gabrielle Goodman

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

"A good singer has beautiful tone quality, a good sense of pitch, rhythm, phrasing, and stylistic interpretation. A good singer also has a clear understanding of how to deliver the meaning of the song and an emotional connection to the music. Singers must be sensitive to what is going on around them harmonically, rhythmically, and melodically. Things aren't just going to happen by osmosis. And of course, they must have tenacity, the willingness to work to become better."

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

Associate 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

"There are no other songwriting majors in the world. We're the only show in town. If you want to study songwriting full time, you have to come to Berklee College of Music. If anybody else teaches songwriting, they usually teach the business of songwriting, the publishing side. A couple places that I'm aware of have a songwriting course and a course in how to write lyrics. Lyrics are something that most people can relate to because a lot of them have either read or written poetry or short stories. Most of them have written some lyrics before they've come into class. So it's not that big of a leap to become a better lyric writer. But a lot of people don't really know what's going on musically in a song."

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."

David Limina

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

"I like to stress practical skills like playing the right thing for the right situation, and I also teach different styles because being able to cover a wide range of styles will make you marketable as a player. I stress playing with good time, good phrasing, and not overplaying. One of the biggest lessons I give them 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. They have to learn how to play in a band, and Berklee's a great place to do that."

Alizon Lissance

Associate Professor, Harmony
Also affiliated with: Berklee Online (available courses)
alissance@berklee.edu | 617 747-8496

"I want my students to leave my classes with a heightened awareness of the inner workings of music, an embracing of the left-brain stuff, a desire to explore harmony and color. For the writers it's a no-brainer. There are a lot more singers here at Berklee now, and I really encourage them to play the piano. I hope my students come away with an openness to use the tools that we give them in their own writing and arranging."

Valerie Lovely

Assistant Professor, Music Business/Management
Also affiliated with: Berklee Online (available courses)
vlovely@berklee.edu | 617 747-8013

"I teach Legal Aspects and Advanced Contract Negotiation, and I just try to break it down into plain English so that students understand what I'm talking about. And I draw a lot of diagrams. When they get a contract and are skimming through it, I want them to know when they need to talk to an attorney. I don't want them to feel like, 'I took Legal Aspects; I don't need a lawyer.' I want them to have enough knowledge to know when something doesn't feel right, and I want them to be able to have a more informed conversation with their attorney."

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