Faculty

e.g. "Tuba"

Scott Fessler

Professor, Composition
sfessler@berklee.edu | 617 747-8170

"There's a huge universe of possibilities generated from 12 pitches and a few other concepts. It's kind of mind boggling. I try to bring that enthusiasm with me when I walk in on the first day of classes every semester."

Arnold Friedman

afriedman@berklee.edu | 617 747-8185

"I want to open up more possibilities for my students, more doors for their creativity."

Greg Glancey

Assistant Chair, Composition
gglancey@berklee.edu | 617 747-6492

"When we learn how to recognize and comprehend structural elements in music, we can then begin to understand from the inside out how and why a piece of music works, and by extension how it might have been composed, how it might be performed, heard, or even taught."

Jonathan Bailey Holland

Professor, Composition
jholland@berklee.edu | 617 747-2865

"I think a lot of times, especially in theory classes, you just look at the details endlessly and you lose track of what the whole piece is about. I try to keep a balance as much as possible."

Derek Hurst

Associate Professor, Composition
dhurst@berklee.edu | 617 747-8733

"Is Bach 'great' just because people say so? An educated musician should be able to listen to and appreciate music in its context."

Isaiah Jackson

Professor, Composition
ijackson@berklee.edu | 617 747-8841

Alexandros Kalogeras

Professor, Composition
akalogeras@berklee.edu | 617 747-8160

"Music has a lot to do with economy: reusing, recycling, giving new faces to older materials. Music is built out of blocks; nothing goes to waste. Everything is coherently and logically organized and related to each other."

Geneviève Leclair

Assistant Professor, Composition
gleclair@berklee.edu | 617 747-2003

"An orchestral performance requires a community of people to communicate and contribute something of themselves in service of their community's inner life."

Dennis Leclaire

Professor, Composition
dleclaire@berklee.edu | 617 747-8254

"In my Western Music classes, I love to make students aware of music that they've never heard before; they're always surprised when they find out that there's very little new under the sun. When they listen to some of the music from the Middle Ages, they often say, 'Wow—these are the kinds of things we're doing now.'"