Linda J. Chase

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  • Career Highlights
    • Teachers include Ran Blake, Michael Gandolfi, and Peter Row
    • Teaching assistant, Harvard University and New England Conservatory of Music
    • Pre-concert lectures for Wynton Marsalis and Dave Brubeck
    • Composer/performer for the score for Tartuffe, American Repertory Theatre, Cambridge, Massachusetts
    • Publications include the review "Betty Carter: 'She Could Be Painting Sound'" in Sojourner: The Women's Forum
    • Concert producer/manager for Sheila Jordan, Illinois Jacquet, and Steve Swallow
    • Copyist for Steve Lacy and J.J. Johnson premier scores
    • Instruments include flute, alto flute, bass clarinet, and guitar
    • Band leader, Wild Garden Chamber Ensemble
    • Performances with Jane Hirshfield (poet), Ray Santisi, Klezmer Conservatory, Itzhak Perlman
    • Recordings include Hope Is the Hardest Love We Carry, Presences Inside Poems, Another Realm, The Blue Inside My Head, and Speaking with Angels
    • Artist in residence at the Grand Canyon, summer 2012
  • Awards
    • Recipient of American Association of University Women grant
    • Winner of composers prize for composition "Tanabata Star Festival," based on poetry of Japanese poet and artist, Kaji Aso
    • Recipient of a Japan Foundation Fellowship in 2011 to explore the relationship between sound and silence
  • Education
    • Diploma, Berklee College of Music
    • B.A., Evergreen State College
    • M.M., New England Conservatory of Music

In Their Own Words

"My teaching style is interactive. I see myself much like a mountain guide pointing out things that are beautiful, intriguing, or challenging. I believe in education that goes beyond collecting information to engagement, experimentation, and acknowledging intuitive ways of knowing. My approach to teaching is based on creative learning designs and explorations. In my courses we consider the importance of context, analysis, and reflection in order to ask difficult questions about artistic intent, purpose, and social responsibility.  My philosophy is based on the process of listening to music you find compelling, and then seeking to find your own voice, rather than imitation. I believe a great musician listens to life and integrates it into their music, making connections that are true and sincere."

"I want my students to come away with open minds and a desire and commitment to seek innovation, integrity, and truth. I hope that my students will keep redefining what it means to be an artist and seek a music that can make a positive difference in the world. Most of all I hope that their compassion will grow."

"My musical education was in jazz, classical contemporary improvisation, nonwestern musics, and composition. Professionally my interdisciplinary work as a composer and performer informs my teaching by offering experience in broad and nonmainstream approaches. My pursuit of ecomusicology brings context, content, and creativity together so that students may musically apply their visions and principles to their musical expression."

"In my woodwinds composition course, I want my students to develop the ear for writing for these instruments. We do this through listening and analysis of examples from 20th and 21st–century contemporary classical music, the jazz and improvisational models of these instruments, and related instruments from India, Japan, and the Middle East."

"My Interdisciplinary arts class is about the big picture: how all the arts are expressions of our human experience on earth. Understanding visual art, dance, and poetry—and incorporating aspects of them—enables our music to reach new levels of communication and expression."