e.g. "Tuba"

Larry Bell

Associate Professor, Composition
lbell1@berklee.edu | 617 747-6023
For media inquiries, see Media Relations.

Sergio Bellotti

Assistant Professor, Percussion
sbellotti@berklee.edu | 617 747-8241
For media inquiries, see Media Relations.

"My teaching approach is very practical; I'm not much into intellectualizing the music. I like to put my hands on the instrument with them and act like a sort of a coach on the field. I also believe our best teacher is our own body. Repetition will actually empower your body and teach you the most effective way to do what's best for you. And the drums are very physical, so when we sweat for half an hour, the body is sending messages about what to do and what not to do. It's like learning how to whistle. I wouldn't be able to teach you how to whistle. You have to try to imitate me till you get it."

Kevin Belz

Assistant Professor, Guitar
Also affiliated with: Berklee Online (available courses)
kbelz@berklee.edu | 617 747-2738
For media inquiries, see Media Relations.

"I try to teach the way I learned how to play. I use more ear-type training than music and hand-out sheets. In the real world, on gigs, 90 percent of the time you just get a CD to learn tunes. I have the students transcribe songs, not necessarily writing them down, but a lot of learning by ear, a lot of call and response stuff, transcriptions off records and CDs."

Pratt Bennet

Assistant Professor, Liberal Arts
pbennet@berklee.edu | 617 747-8450
For media inquiries, see Media Relations.

"I can bring to students a long life of experience of rejection and failure and success as completely interconnected pieces of a puzzle to show them that everything they're doing—conversations they're having with their friends, experiences they're having on break, meals they're having with people, strangers they meet—can inform their creativity."

Deborah Bennett

Associate Professor, Liberal Arts
dbennett@berklee.edu | 617 747-2734
For media inquiries, see Media Relations.

"I incorporate music into my Spanish classes. Each student brings in music twice per semester and talks about the music and the artist. My intermediate students write a music review in Spanish; and I use a lot of musical examples in grammar lessons. I try to present music as an aspect of culture, because there is so much Latin music. The music in Cuba is very different from the music in Argentina, which is very different from the music in Colombia. Students get to truly understand the diversity of the Spanish-speaking world through the lens of music."

Mitch Benoff

Also affiliated with: Berklee Online (available courses)
mbenoff@berklee.edu | 617 747-2397
For media inquiries, see Media Relations.

"A good producer needs perspective above all else. You need to be clear about what you've been hired for, what the artist's real goals are, what is possible and what is not within the confines of budget, ability, time, and personalities. And you need to be able to step back and know when to stop."

Catherine Bent

Assistant Professor, Ear Training
cbent@berklee.edu | 617 747-8063
For media inquiries, see Media Relations.

"In my classes we move fast. 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." 

Mili Bermejo-Greenspan

Professor, Voice
mbermejo@berklee.edu | 617 747-2338
For media inquiries, see Media Relations.

"When I'm performing I'm a storyteller, and my compositions are narrations. I'm completely embedded in the creation of the music in the moment. I don't need to have deep meaning in my lyrics all the time, but I like to connect music and words to tell a story."

Kurt Biederwolf

For media inquiries, see Media Relations.

"The Music Synthesis major, particularly at the elective course level, is diverse by design. We are teaching our students to be highly creative with a wide variety of electronic tools. That creativity could take the form of composition, production, performance, sound design for film/television/video games, software design, or a unique combination of several forms. For some musicians, their identity is with their instrument. For us, it is an electronic sound palette put to innovative and musical use."

Michael Bierylo

Also affiliated with: Berklee Online (available courses)
mbierylo@berklee.edu | 617 747-8275
For media inquiries, see Media Relations.

"I developed an elective called Sound Design for Animation. . . . Mass Art students studying animation pair off with Berklee students and collaborate on developing sound design for their projects. It's interesting to watch Berklee students negotiate with Mass Art students, not just about what the music and sound is going to be—there's also timetables and scheduling meetings and the whole idea of the interpersonal relationship you have. How do you talk to a visual artist? How do you listen to what he's saying and parse that into specific musical ideas? That's the kind of stuff I could go into a classroom and do a lecture on, but you really don't learn it until you start doing it with people."