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Cello Study at Hartt

The cello program at The Hartt School provides students with superior conservatory training and prepares them to enter the professional world of music performance and/or pedagogy.

The foundation for a future performance career begins with one-on-one, student-to-teacher relationships; Hartt has a long tradition of great cello training, beginning with the legendary Bernard Greenhouse and Raya Garbusova. Hartt's excellent faculty provides performance instruction that develops the student's technique and musicianship in an atmosphere of creativity, enthusiasm and professionalism. Training in private teaching, orchestral repertoire, chamber music performance and literature, and solo repertoire from Baroque to the music of our times equips students for careers as soloists and recitalists, orchestral players, studio teachers, chamber musicians, and educators.

Weekly studio classes provide a supportive environment for students to play for their colleagues and learn how to improve projection of musical ideas, focus in performance, stage deportment and how to speak to an audience. In addition, they have the opportunity to develop teaching skills by offering constructive impressions and suggestions to their colleagues' studio class performances.

Several times during each academic year the Hartt School cello students have the opportunity to work with guest artists, to give them a variety of perspective in regard to technique, practicing, and music making. Marcy Rosen (Mannes, CUNY), Stephen Balderston (DePaul University), Anthony Elliott (University of Michigan), Julia Lichten Manhattan School), Amir Eldan (Oberlin), Timothy Eddy (Juilliard, Mannes) and Clive Greensmith (Manhattan School, Tokyo Quartet) have recently give master classes at Hartt.

Mihai Tetel's Philosophy of Teaching

I place great importance on teaching my cello students how to practice more efficiently and intelligently, how to solve problems, how to be creative, and how to be of help to others. I strive to produce students who not only play well, but who can teach as well. In addition to the weekly private lessons, I meet with all my students for a two-hour cello class every week, during which time we tackle a variety of topics ranging from purely technical issues to musical, interpretative, and stylistic challenges. In addition, we discuss career topics and other performance-related issues such as stage deportment and projection. I encourage my students to do some research on the composer and the work they perform in front of their colleagues, to therefore be able to speak about what they are going to play. I make my students aware of the realities of our chosen profession, so they can have a good grasp of what is required of them in order to succeed.

Terry King's Philosophy of Teaching

Cello/Chamber Music/Pedagogy

I believe there is little difference between teaching and learning. Though the student-teacher relationship seems one-sided with regard to vulnerability, I see the connection as fluid and equally rewarding. I see myself as an older benevolent guide, eager for students to find their gifts and to reach their dream.

The love of music is forever present and at the core of all good labor. The desire to create something beautiful begins with the belief that it can be done. I therefore begin with the student's strengths as well as their own agenda. The process naturally navigates to core issues in a short time; what transpires in between is the building of trust between student and teacher. Advanced students, of course, have more specific needs. Their agenda is hugely varied and therefore custom-made.

I believe that technical needs cannot be hidden - even when one tries! The path becomes revealed as the student understands what is specifically needed to serve the music and to express oneself completely. What could have been dismantling - by directly attacking a sizeable shopping list of problems - can now be personally empowering, building the musician from within. Far too often students are defeated before they begin.

The spirit of curiosity and fascination with how things work- rather than the suffering of faults and failures, usually fearfully or blindly labored - is a successful way of learning. Problems are opportunities to explore the how and "failing" is our "gift" to discover its message.

I want to help students learn how to teach themselves. This state of mind hopefully makes my role as teacher less important over time. I want to see students become fearless enough to be themselves. Granted, the ideal state takes time, but within a short time it begins to show, however, with others it will take longer, depending upon the level. The materials I use run the gamut of pedagogy as well as the creative use of scales, octaves, 6ths and 3rds and the creation of custom drills for both hands.

Our biggest battle is with time itself. An academic schedule and its consuming life style demand that we feed its relentless hunger on schedule. The mastery of our art must equal its impatience with self-discipline and self-motivation; we must not yield to external demands at the cost of internal neglect.

I love teaching. I am captivated with it, and grateful for all the knowledge students have given me.

Visit Terry King's Web site at www.kingcello.com

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