e.g. "Tuba"

Arnold Friedman

afriedman@berklee.edu | 617 747-8185

"I want to open up more possibilities for my students, more doors for their creativity. The first few weeks of counterpoint seems totally the opposite of that. It's very typical to hear complaints about how there are too many rules. But the result of experiencing that kind of discipline while creating music—having to be creative within a very narrow set of parameters—is that later on when you're free to do whatever you want, you still have this very disciplined method to apply to it."

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 people think about theory as random rules on how notes have to go together. I'm trying to stress that nothing is random, that everything makes sense from point A to point Z, and that everything at point A is the same as everything at point Z, just on a smaller scale. If you look at one phrase of music, everything that happens in that phrase is similar to what happens over the course of the entire piece. And everything that goes into each chord within the phrase is related to the shape of the entire phrase. 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

"The majority of my composition courses often deal with the minutiae of how compositional elements define a style and common practice. Even though we're teaching most of our courses from an essentially historical context, composition is a living art, and the style of music we're studying is the kernel of a musical sensibility that ties into the lineage of Western music."

Isaiah Jackson

Professor, Composition
ijackson@berklee.edu | 617 747-8841
  • B.A., Harvard University
  • M.S., D.M.A., the Juilliard School
  • President of Rhythm, Rhyme, Results, an educational rap music company
  • CEO and creative director of Belvedere Productions, a music production company specializing in educational materials
  • Guest conductor with the New York Philharmonic; the Cleveland Orchestra; the Los Angeles Philharmonic; the National Symphony (Washington, D.C.); the symphonies of San Francisco, Toronto, Houston, and Dallas; and the Boston Pops

Alexandros Kalogeras

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

"Nobody would have written so much music if they had waited for divine inspiration. It is technique. It is logic. Making music is the same as making spacecraft or a pair of shoes or a washing machine. The same human brain that creates music and art also makes all these diverse things. So in music it's not just about having an inspiration; it's coherence in how to put things together."

Vuk Kulenovic

Professor, Composition
  • M.A., Belgrade Music Academy
  • Former professor of composition and analysis, Belgrade Music Academy
  • Compositions include over 100 works for symphony orchestra, solo instruments, chamber ensembles, choral and vocal pieces, ballet, and scores for film and stage music

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.'"

Rosey Lee

Professor, Composition
rlee@berklee.edu | 617 747-2847

"I hope my students understand that music is like a spoken language, and musical events are just like daily life. For example, counterpoint. This term may be scary for a lot of people, so I tell my students, 'You're listening to me, and you're sitting there with your heart beating, and you're still breathing. You have at least three things going on together simultaneously, and they all cooperate by themselves naturally. That's three- or four-part counterpoint.' If Bach can do it without a laptop, you can as well."

Allen LeVines

Professor, Composition
alevines@berklee.edu | 617 747-8256

"I try to help students become aware of how much there is out there in any given field. In the orchestration courses I teach, I have a listening list, and students take an exam based on that listening list at some point during the semester. The list is long; it might be a hundred pieces or more. . . . There is a sense in which it is asking too much—to be able to identify any of the pieces from 30-second excerpts. On the other hand, if students take the assignment seriously and listen to half a dozen to a dozen pieces a day—just getting to know some of the themes in the piece—perhaps they will realize what they may have thought was a lake of music is really an ocean, or several oceans."