Faculty

e.g. "Tuba"

Joanne Brackeen

Professor, Piano
jbrackeen@berklee.edu | 617 747-8345

"I always ask my students what their favorite piano players are and what their goals are. The school has goals for them, too, but almost everyone has some personal goals. Use the visualization of what's inside you and let that bloom. That provides everything."

James Bradford

Assistant Professor, Liberal Arts
jtbradford@berklee.edu | 617 747-6334

“As a historian, I try to get students to use primary sources. I encourage discussion and debate in the classroom, but I also try to keep it lighthearted and make students feel comfortable in discussing issues.”

Fernando Brandao

Associate Professor, Ensemble
fbrandao@berklee.edu | 617 747-8379

"The most important thing I want for my students is musicality in playing whatever they want to play: expression with rhythm, with pulse, and with movement. To make a beautiful sound, it doesn't need to be one kind of sound, but it does need to be expressive. I also want them to be aware of the culture, to be aware of what they're playing, and feel confidence in it. I try to make students aware—without being self-conscious—of how their body works with the instrument when they're performing."

Kenn Brass

kbrass@berklee.edu | 617 747-2416

"In all the other majors at the college, the academic department determines all the required and elective courses. But professional music students literally dance to their own drummer—their own beat. These are people who tend to want to do things their own way. In the Professional Music Department, the student chooses their course of study, with close guidance. That self-directed approach appeals to a large number of students here. We're the third largest major at Berklee!"

Ross Bresler

Professor, Liberal Arts
rbresler@berklee.edu | 617 747-2799

"Art history is a required course at Berklee, and it's just human nature for students—who are here to study music—to wonder how it's relevant to them. But within a week or two they start to realize that at the core of it, what all these people were doing—whether thousands of years ago or just last week—is exactly what they're doing now: figuring out how to channel their passion and curiosity into creating something."

Michael Brigida

mbrigida@berklee.edu | 617 747-8127

"The technology changes; the concepts do not change. The foundational concepts do not change, but it’s easy to bypass those concepts and get on to the great sounds. It’s easy to go up to a synthesizer and have a lot of fun with it and come away really not knowing what you just did. If you do that, it’s a problem later on. That’s why we’re trying to teach the fundamentals, even though the technology is new every second."

Sarah Brindell

Also affiliated with: Berklee Online (available courses)
sbrindell@berklee.edu | 617 747-2745

"I tell my entry-level students in Contemporary Writing and Production that we'll progress very quickly from 'this is a quarter note' to composing an entire score. I encourage students to bring in the music they love, and we learn how to write it. I have a really eclectic international mix of students with lots of different musical tastes and backgrounds. That's one of my favorite things about the class—it's really fun to delve into so many different styles of music."

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."

Sharon Brown

Associate Professor, Voice
Also affiliated with: Berklee Online (available courses)
sbrown@berklee.edu | 617 747-8128

"I want students to be as free, as open, and as honest as possible so that I can see their true performance rather than something they're putting on. But finding your individual style is a natural part of growth. Our job is to wean students away from the radio in their head and foster their own talent. But I think it's a process, rather than simply saying, 'Don't try to sound so much like so-and-so.'"

Whit Browne

Professor, Bass
wbrowne@berklee.edu | 617 747-8129

"I'm the jazz guy. Most of the students studying with me are coming from a jazz background, or they're interested in learning jazz. We don't have a set curriculum for the lesson. The lesson curriculum is based on the individual students' needs. We work on technique when the student is physically having problems on the instrument. Then there's what I call ear technique, when a student wants to study jazz but has never listened to jazz. I'll give a list of recordings they should listen to—that's a start."