e.g. "Tuba"

Kurt Biederwolf

"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

"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."

Lin Biviano

Associate Professor, Ensemble
lbiviano@berklee.edu | 617 747-8270

"The Urban Outreach Ensemble—cosponsored by the Community Affairs Office and the Ensemble Department—is a very rewarding part of my teaching at Berklee. It's an educational jazz orchestra that I've led for the past 12 years. Its primary purpose is to travel and present live jazz to inner city schools. We've played several times at Symphony Hall and other venues. Many of the students who have heard us end up joining Berklee's summer program and even getting four-year scholarships to study at Berklee."

Andreas Bjorck

Assistant Professor, Film Scoring
abjorck@berklee.edu | 617 747-8142

"The actual end result—the music—is what you need to be thinking about; whatever tools you use are just tools. Just because you're working with a computer, you're still trying to create art. You have to treat technology as an instrument that's no different from spending six hours a day in a practice room practicing your guitar. Whether it's a computer or a mixing board or a guitar, you have to make it kind of sing and play for you."

Joey Blake

Associate Professor, Voice
jlblake@berklee.edu | 617 747-3124

"I'm all about music and how it works with community—how community helps us, how we help each other. It's a very codependent thing to be an artist. So I tell my students to make use of this campus, which is a musicians' playground. They can make some great relationships, then catch up with each other later and help each other."

Leonardo Blanco

Assistant Professor, Piano
lblanco@berklee.edu | 617 747-3097

"I have seen the excitement on my students' faces when they consciously recognize elements from Africa, Latin America, or the Balkans in the music of other cultures. It can give them the awareness of the transformative power of music and its ability to transport a person to the other side of the world. I also hope to teach my students how to incorporate multicultural elements into their own music. Diverse ethnicity creates endless possibilities."

Sally Blazar

Professor, Liberal Arts
sblazar@berklee.edu | 617 747-8586

"Especially with first-year students, a lot of what I'm doing in addition to teaching English is introducing them to college, to a different way of thinking and interacting with others. I have a background in ESL, as well as literature. This background has led me to approach language—in academic essays, in literature, in speaking—as a means of communicating."

Kevin Bleau

Assistant Professor, Harmony
kbleau@berklee.edu | 617 747-8603

"Arranging music is a very powerful discipline. Arrangers tell performers how to play by the marks they write on the page, so I tell my students to embrace that power. Be clear. Be specific. And insist that performers follow your instructions." 

Chad Blinman

cblinman@berklee.edu | 617 747-2226

"Recording music is taking part in a kind of alchemy—you're transforming intangible, cerebral ideas into something real, something physical. It's a sort of magic. And you're working with material that is personal, emotional. Appreciating that and being sensitive to it is one of the most important things we can teach. Studio work is social. You can't do it without the technical knowledge, but you can't do it well without fostering a good creative environment. That's something I really want to pass along, because it isn't something that books can really teach, but it's the kind of thing that gets you work or not; it's the kind of thing that gets a record made well or not."

Mike Block

Associate Professor, Strings
mblock@berklee.edu | 617 747-6355

"One of the things that I’m interested in exploring with my students is the concept and implementation of group practice sessions. Like improvising chord changes, but instead of a backing track, improvising with someone else who is working on bass lines, and combining all the different components of music so that people can practice together and make practicing itself a social experience. There’s a lot of technical practice that you need to learn how to do in order to learn to play an instrument, and when you’re playing, a lot of these styles, you need to learn how to improvise over chord progressions.  There’s a certain abstraction that happens, where you’re not playing any specific piece of music, but you’re practicing something very focused. The musician, student or professional, generally exists by yourself in a room working on something, and I think there are ways to actually get more out of practice sessions in certain contexts if you have somebody to practice with."