Contemporary Writing and Production Faculty

Tsunenori "Lee" Abe

labe@berklee.edu | 617 747-8068

"I think you can learn the most by analyzing what you like. Why do I like it? Let's try to imitate at first and then make it our own."

Kurt Biederwolf

"Just as influential musicians have defined their unique instrumental or vocal sound, we push our students to define and develop their own electronic signature and use this to gain recognition in the music field."

Sharon Broadley-Martin

Also affiliated with:: Berklee Online (available courses)

"Writing and singing, singing and writing—these are things I've done since I was very young. Now I teach vocal writing in the Contemporary Writing and Production Department. Here is the perfect place to give my students, many of whom are primarily instrumentalists, the inside scoop on writing and arranging for vocalists and vocal ensembles."

Joe Carrier

jcarrier@berklee.edu | 617 747-2403

"I desire to leave my students with a renewed sense of what is possible for their future, armed with the knowledge and tools necessary to 'live the dream,' much as I have had the honor of doing for so many years."

Jon Chase

jchase@berklee.edu | 617 747-8204

"To me, the recording studio is a musical instrument. You need to spend time with it: learn how to caress it to get the right sounds out of it."

Suzanne Dean

Also affiliated with:: Berklee Online (available courses)
sdean@berklee.edu | 617 747-8431

"A lot of the music that I wrote at Berklee as a student in the '80s ended up on my solo albums. I often tell my students that if you put a lot into your time at Berklee, you can get a lot out of it. It's a great place to begin working on your dreams."

Robert Doezema

rdoezema@berklee.edu | 617 747-8449

"The students bring music that's important to them to the classroom, and they bring their ideas about making music to the classroom. It's an incredibly informative experience for me."

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."

Michael Farquharson

"I tell my graduating students, 'In several weeks, you'll be out there, starting your careers. If you're writing film scores, your competition is John Williams, not the person sitting beside you in class.'"

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."

Rich Grudzinski

"I've been in the writing and production business for a long time, and I continue to take projects and challenges on. I still work and do the things I teach, so I can tell students firsthand what's it's like in the business."

Bernardo Hernandez

bhernandez@berklee.edu | 617 747-8321

"Writing music and teaching complement each other. I need to focus on my teaching duties, but at the same time I have to keep producing in order to bring new ideas into the classroom."

David Howard

dhoward@berklee.edu | 617 747-8234

"Conducting a rehearsal, there's a technique to it, going in and being assertive, but being a director, not a dictator."

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."

 

Manuel Kaufmann

mkaufmann@berklee.edu | 617 747-6241

"The ultimate goal is to prepare the students to function effectively at Berklee, but even more in their professional life after Berklee, turning roadblocks and limitations into creative solutions and building life long learning and adapting skills."

Wendy L. Klein

wklein@berklee.edu | 617 747-8476

"Understanding the conventions makes everyone's life easier: people will read your music more accurately and have a more enjoyable time doing it."

Javier Limón

Artistic Director of Mediterranean Music Institute, Contemporary Writing and Production
Also affiliated with:: Mediterranean Music Institute
jlimon@berklee.edu | 617 747-6255

Limón has combined several professional occupations in the worlds of art and communication. Although he has mainly focused on composition and the production of albums, film scores, and television shows, his work as a communicator and teacher is equally impressive.

Gail McArthur-Browne

"I've had some horrible experiences just because I'm a female, but I've never let it tarnish my picture of other musicians, whether they be male or female."

Renato Milone

rmilone@berklee.edu | 617 747-6509

"I really want my students to never forget that music is not only rules, standards, competition, etcetera, but it is above all—a form of art."

Daniel Moretti

Also affiliated with:: Berklee Online (available courses)
dmoretti@berklee.edu | 617 747-8453

"We want Contemporary Writing and Production graduates to be strong enough to work within any professional environment. We would like them to be able to say 'Yes!' to anyone who wants a project written, arranged, or produced in a contemporary music setting. I try to give students the life skills to allow them to do anything in the music world."

Matthew Nicholl

mnicholl@berklee.edu | 617 747-8456

"Professional writers have to listen to what the client is saying and understand it musically, but be able to converse on the client's terms."

Andrea Pejrolo

Also affiliated with:: Berklee Online (available courses)
apejrolo@berklee.edu | 617 747-8437

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). 

Jeff Perry

jperry@berklee.edu | 617 747-8689

"I try to relate the class topics to real-life situations, what I had to go through, what I did professionally. This is the project that I want you to do, these are the guidelines. I'm the client, you're the artist. This is your job."

Mark Poniatowski

"I always encourage my students not to work on what they already know. I tell them, 'You don't want to go out the door just knowing the same thing you came in knowing.'"

Ron Reid

rreid@berklee.edu | 617 747-8331

"Music is about experiencing it—getting to know people personally and learning how they develop their individual sounds."

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