The members of our faculty are more than teachers. They’ll be your mentors, your collaborators, and your instant list of more than 500 industry contacts. They are experienced and talented professionals in their field—and bring a thorough knowledge of music to the classroom that comes from a rich professional background in the music industry. They also bring an energy that will inspire you to push your talents and thinking beyond what you thought were the limits. You’ll find yourself transferring their influences to your ensemble rehearsals, performances, recording sessions, and gigs.


e.g. "Tuba"

Tsunenori "Lee" Abe

labe@berklee.edu | 617 747-8068
For media inquiries, see Media Relations.

"I'm trying to get students to analyze the music all the time. For instance, if you're a vocalist you probably will not focus on where the snare drum is placed. But if you know what's going on behind you, you can sing better, and you don't have to hire an arranger. 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."

Michael P. Abraham

mabraham@berklee.edu | 617 747-8584
For media inquiries, see Media Relations.

"Many of the technical tools and methods used today in the recording studio are quickly going to become obsolete, and it's important for the contemporary music production and engineering student to have an education that's going to allow them to not only change with the new technologies, but help invent them as well. I think it offers a student the opportunity to create careers in all segments of the audio industry."

Kris Adams

Professor, Harmony
kadams@berklee.edu | 617 747-8447
For media inquiries, see Media Relations.

"As a singer, I can share a different perspective with students. Singers and drummers usually do things by ear. Drummers are dealing with rhythm, and a lot of times they say, 'Why do I need to know this stuff? I'm just a drummer.' But if you talk to famous drummers who write and lead bands and compose, it's a lot more."

Cecil Adderley

cadderley@berklee.edu | 617 747-2426
For media inquiries, see Media Relations.

"Teaching in the Music Education Department, you have to prepare people to do it all. Most state certificates for music educators are not area- and grade-specific like those for English or science. As a public school music teacher in Massachusetts, your certification will be K–12, all ages, all levels. So Berklee students who plan to enter public education need experiences that will help them become proficient in teaching brass, voice, strings, and woodwinds. Plus, if the school where they are teaching has a football team, nine times out of ten they will be responsible for the marching band. So they have to have all of these experiences."

Gustavo Agatiello

Instructor, Percussion
gagatiello@berklee.edu | 617 747-2838
For media inquiries, see Media Relations.

"Growing up in Argentina after the dictatorship, there were not many resources in schools. I had some really good teachers, but music education was very sloppy. That turned out to be a positive, since I had to teach myself a lot of things I'd missed, espectially when I started teaching myself the vibraphone. That process has given me the sensitivity to see my students' missing links. I'm very sensitive to those things because they were in me at one point or another."

Akshay Ahuja

Assistant Professor, Liberal Arts
aahuja@berklee.edu | 617 747-6437
For media inquiries, see Media Relations.

“The main thing that I’d like people to come away from my classes with is the idea that writing is actually fun.”

Jodi Ainsworth

Associate Professor, Voice
jjenkins@berklee.edu | 617 747-8303
For media inquiries, see Media Relations.

"My focus is to give good technique across stylistic genres, even to the more aggressive forms of r&b and gospel where people tend to burn their cords out because they only use the lower half of their register. But I want my students to have longevity and to use their entire vocal range. So I teach a specific concept of mixing 'head voice' with belting that I had to learn to do myself in order to sing these styles and not burn myself out. I tell them that learning to belt in a mix of your head and your chest is not an easy process; it takes discipline and practice and a lot of effort to make this cross happen-and make it sound stylistically appropriate, because that's important, too."

Enric Alberich

ealberich@berklee.edu | 617 266-1400 x3433
For media inquiries, see Media Relations.
  • Master’s degree in education and ICT (e-learning), Universitat Oberta de Catalunya
  • Degree in jazz, Escola Superior de Música de Catalunya
  • Bachelor of music degree in jazz composition, Berklee College of Music
  • Project director or guest conductor of medium to big band ensembles worldwide
  • Former director of L’Aula de Música Moderna i Jazz at the Fundació Conservatori del Liceu in Barcelona, Spain

Jon Aldrich

Associate Professor, Songwriting
jaldrich@berklee.edu | 617 747-8101
For media inquiries, see Media Relations.

"A hit song is actually somewhat formulaic--the repetitiveness, the rousing section that leads us to that ever-so-hooky thing that we call a chorus--those things seem to happen over and over in hit songs, whether we like to admit it or not. It's not necessarily a good song from a musical standpoint, one that uses The Chord That Stops The Planet From Rotating On Its Axis; it's not that at all. I think one of the most difficult things to give students a grasp of is an idea of the dire simplicity of most of the music in a song.

Prince Charles Alexander

Also affiliated with: Berklee Online (available courses)
For media inquiries, see Media Relations.

"I want to create, in my classroom, an environment that closely mirrors my experience in the real world. I'm a former recording artist, a producer, an engineer. . . . I've managed, I've done tour support, I've done live sounds. . . . So I want to teach my students how to survive in the music business and put them in as many realistic situations as possible. If you're going to take advantage of this educational process, you need to investigate as many of those tangents as possible. You never know when one of them might be the one that opens the door."