The most important job of a music performance teacher is to cultivate an enthusiasm for music and its interpretation while teaching the technique, literature and pedagogy of the instrument. During lessons, my approach includes teaching students a comprehensive musicianship by incorporating music theory and ear training with solo and chamber repertoire. I strive to adapt to students' specific needs by varying methods as I help each student find her/his own "voice". Research is also an important element of a teacher's life, particularly as it applies to teaching and learning, such as exploring new literature, contemporary performance practices, and new pedagogies. More than ever before, performers and teachers must be up-to-date on literature and its interpretation as well as looking for new venues for musical expression. To enjoy productive artistic lives, we must explore new opportunities for performance, new literature, and new techniques of expression, as well as perform the established masterworks in traditional settings.

I bring the same commitment to excellence in teaching that I bring to cello performance. I approach all my teaching, regardless of subject area, from an holistic perspective. Whether teaching basic musicianship or the history of music, coaching ensembles, or giving string instrument lessons, my goal is to engage students in multi-dimensional learning processes and skill development. In other words, to the degree appropriate for the student and the course, I apply the concepts of comprehensive musicianship in all my teaching.

In teaching cello performance, it is not enough to instruct students in the techniques and literature of the instrument. To develop musicianship, students must understand the general structure of the music, the historical performance practices, and the harmonic and rhythmic implications of the phrases. Afterall, the goal of applied music is not to develop technicians but to develop musicians who have the ability to express their musicianship through at least one performing medium and to develop future music educators who have a complete understanding of music.

In teaching music theory or musicianship, the emphasis cannot be only on the mechanics of the subject area (e.g., interval labels, chord names, etc.); teaching must focus on the functional aspect of theory. Students must learn the mechanics of the subject area and one or more of the methods of analysis. These are especially important when applied to score analysis, performance, arranging and composing.

Numerous examples of comprehensive musicianship in teaching can be cited, but these few illustrate the philosophy that I bring to instruction. Music is a very complex subject that has been traditionally divided into sub-disciplines that students often have difficulty integrating. Through a comprehensive musicianship approach to teaching, I address the needs of the sub-disciplines and help students become more complete musicians.

2005-2006: Applied Cello Instructor
Dulwich College, Shanghai, China

2002-2004: Earlham College Music Department.
Ashley Sandor Sidon was the Instructor of Cello and Chamber Music at Earlham College from 2002 to 2004.

For more information about the music department at Drake University, prospective students may visit the Drake site at: www.drake.edu