Ear Training Faculty

Catherine Bent

Assistant Professor, Ear Training
cbent@berklee.edu | 617-747-8063

"I love to animate the concepts with musical examples from all over and to relate the techniques as much as possible to the situations you'll encounter." 

Allan Chase

aschase@berklee.edu | 617-747-2853

"Ear training is a tool that allows you to express what you hear, what you want to play, and what you want to sound like."

Corinne Sloan Chase

Associate Professor, Ear Training
cchase@berklee.edu | 617-747-8588

"My mission is to help the students find a comfort zone within themselves so the sharing of their music is a blissful experience."

Paul Del Nero

Associate Professor, Ear Training
pdelnero@berklee.edu | 617-747-8403

"I do think that Berklee is in a position to give students the information they need to steer the industry, instead of accommodate the industry. I think Berklee can change the industry."

Scott deOgburn

Professor, Ear Training
sdeogburn@berklee.edu | 617-747-8155

"The goal is to be able to look at a piece of music and know what it sounds like without having to listen to it; or conversely, to listen to a piece of music and be able to notate it."

Jorrit Dijkstra

Associate Professor, Ear Training
jdijkstra@berklee.edu | 617-747-6005

"In my classes I try to give my own twist to the curriculum and always make sure the students create music, rather than drill exercises."

Rick DiMuzio

Professor, Ear Training
rdimuzio@berklee.edu | 617-747-8589

"Developing one's ear is a lifelong endeavor and one that I continue to work on as I strive to add new sounds to my aural vocabulary."

John Funkhouser

Professor, Ear Training

"Ear training is such a fundamental thing. It's a feedback system involving several factors: reading, writing, and listening to and imagining music."

Robin Ginenthal

Professor, Ear Training
rginenthal@berklee.edu | 617-747-8191

"Berklee uses the movable do system. With the movable do system, once students learn the scale, that can be applied to any scale. Once you know how to sing in C major, you know how to sing in F major. Once the students learn the pitch relationships in one key, they can do them in any key."

Richard Greenblatt

Associate Professor, Ear Training

"Being a musician is a combination of teaching, writing music, conducting, and rehearsing a group, as well as playing."

Nick Grondin

Assistant Professor, Ear Training
ngrondin@berklee.edu | 617-747-6434

"I want students to be able to recognize the relationship between the skills in the class and then the real-world skills that they’ll need when they go out and play with real people, or record people, or use music therapy."

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."

Kaye Kelly

Associate Professor, Ear Training
kkelly@berklee.edu | 617-747-8513

"I love to watch the wheels turning and then the light bulb go on when a student is learning to read music or learning how to hear something new."

Peter Kenagy

Associate Professor, Ear Training
pkenagy@berklee.edu | 617-747-6805

"To function today, you must be able to move easily in a continuous cycle of listening, imagining, singing, reading, writing, and performing. It is my hope to help create this foundation within my students."

Lefteris Kordis

Associate Professor, Ear Training
Also affiliated with:: Berklee Global Jazz Institute
ekordis@berklee.edu | 617-747-6724

"My goal is to share with students the tools and concepts which will help them build a solid foundation with respect to ear and rhythm in connection with notation and the instrument."

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."

Daryl Lowery

Professor, Ear Training
dlowery@berklee.edu | 617-747-8263

"Music, in my mind, is the best expression of what it means to be a human being."

Yumiko Matsuoka

Professor, Ear Training
Also affiliated with:: Berklee Online (available courses)
ymatsuoka@berklee.edu | 617-747-8415

"If people want to continue as professional musicians in any way, ear training will be essential for their growth. People who write have to be able to express what they hear in their heads in an efficient way. Sometimes it takes time for students to find out what ear training can do for them and their career. But once they do, they go, 'Oh, wow—this is what I have to do to achieve my goals.' It might be a long road, but I'm hoping that it's a fascinating discovery. I'm still learning myself. I learn as I teach. And I love it."

Berke McKelvey

Associate Professor, Ear Training
bmckelvey@berklee.edu | 617-747-3041

"If you really love music, it's like you would love somebody else in a personal relationship; you want to find out everything there is to know about them."

Cercie Miller

Assistant Professor, Ear Training
cmiller@berklee.edu | 617-747-6237

"For the musician interested in a range of contemporary music, Berklee is the place where all types of contemporary music come together. I don’t know of any program that more effectively brings the elements of contemporary music together. "

Giovanni Moltoni

Professor, Ear Training
gmoltoni@berklee.edu | 617-747-8594

"I always approach the teaching from the professional aspect of it, because otherwise it becomes too theoretical."

Lydia Okumura

Associate Professor, Ear Training
lokumura@berklee.edu | 617-747-8298

"I love it when a student who has been doing poorly finally comes to my office and allows me to explain the material in way that he or she will understand. And then to have a student who was doing poorly all of a sudden understand and start doing really well—I enjoy the spark of understanding on their faces."

Robert Patton

Associate Professor, Ear Training
bpatton@berklee.edu | 617-747-8309

"I never teach exactly the same way. I'm always evolving. I'm always getting surprised."

Phil Person

Assistant Professor, Ear Training
pperson@berklee.edu | 617-747-8735

"It's an essential element of a musician to have good ears. If they're not necessarily born with good ears, it's important for them to at least expand what they're capable of hearing. "

Jane Potter

Professor, Ear Training
jpotter@berklee.edu | 617-747-8596

"It's not just singing a Marvin Gaye song; it's learning what Marvin Gaye did, copying it, and then making it your own."

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