"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."
"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."
"I want you to be educated, to understand what you're signing, and make an informed decision about what's right for you and what's not."
"Using the technology is the thread that holds the ensemble together, often with fascinating results!"
Dean of the Professional Performance Division,
"I would imagine that performance is at the core of any musical experience."
"I try to impress upon students how important it is to take charge of your own actions—not only for ear training, but for life in general."
"Having someone speak to students honestly about those expectations, how to prepare musically (and emotionally), sets them up for a more empowered and rewarding introduction when the time comes."
"You have to realize that teaching, at its more fundamental level, is communication."
"The fact is whether you are a performing artist exclusively or moving rapidly into a music business/management career, you've got to have an understanding of both sides of the house."
"I want to try to expose the player's own voice if at all possible."
"I want my students to take away a sense of confidence after studying with me—trusting themselves as players."
"I try to give students the life skills to allow them to do anything in the music world."
"It's a mindset that involves attention and just recognizing that at times, simplicity is what it's all about. It's not the notes; it's how you play each of those notes."
"There's a consequence to every note you play. And even when you don't play, such as when there's a rest, there's a consequence, because when the bass comes in, it's going to be huge."
"It's one thing to be an expert in your chosen style; it's something very different to be able to grow over a lifetime as a musician and renew yourself."
"I think it's not necessarily about natural talent; it's about working hard and having your basics together. If you have a strong foundation, you can pretty much go anywhere from there."
"It may not be the most financially rewarding career that I could have chosen, but it really is a great thing to be able to go off to work every day looking forward to what I'm about to do."
Odgren, a 1976 Berklee graduate, is an alto saxophonist who doubles on tenor and soprano saxophones and flute.
"My feeling is that it's never too early to start making mistakes and seeing what you like to do as far as a mix engineer or a recording engineer."
"To me, the musician's responsibility is not only to get the sound out of your head and to the instrument, but actually into the mind of the listener—and there are a lot of things between your mind and the listener's."
"Whether it's music they have written or pop and R&B music, students will find a home in Berklee's Voice department in a way that they wouldn't find it at any other college of music."
Andrea Pejrolo is a MIDI programmer, composer, bassist, and author of Creative Sequencing Techniques for Music Production (2005) and Acoustic and MIDI Orchestration for the Contemporary Composer (2007).
"At Berklee, students come inspired and they already have something to say musically. I see my job as helping them develop the tools to say that more effectively."
"I want students to have the 'joy of ear training'—to see it as something that has personal rewards."
"When you come here, everywhere you turn you're going to have something else that you haven't heard that may be really eye-opening to you."