Teaches:

• Pedal Harp

• Lever Harp

• Celtic Harp

• Folk Harp

• Wire-strung Harp

Style:

• Classical

• Celtic

• Folk

• Jazz

• Pop

Instruction Levels:

Beginner, Intermediate, Advanced

Teaching Location:

Mostly in my studio at home, some at students' homes

Maybe

Student recital once or twice a year, students may also participate in the North Shore harp teacher's student recital once a year.

Bachelor's and Master's degree in Music, harp performance, from Northwestern University (Evanston, IL).

While teaching is a secondary to performing for me, I have had students for over 10 years. My youngest student began at age four, the oldest was somewhere near 80 (or at least that was the closest she would admit to). My classical training allows me to provide my students with the technical skills to take them as far as they may want to go, and my philosophy of teaching and musical experience embraces a wide variety of musical styles and repertoire, as well as a wide variety of goals a student may come to me seeking help fulfilling

While I have been performing practically since the time I started music lessons, I currently work as a freelance musician, performing with various orchestras and ensembles throughout the greater Chicago area. Solo work includes playing at folk music festivals, and I am working on a CD. In addition to my solo and orchestral work, I also use my talents to add beautiful music to special events. In addition to the classical pedal harp, I perform on a Thormahlen Swan folk harp, a double-strung folk harp by Gary Stone, and wire-strung harps made by Triplett.

I grew up involved in both the classical and folk music worlds, learning both by ear and reading music. My classical training in music began at the age of 2 1/2, and my earliest memory of folk music was being taught a fiddle tune by an old-time fiddler when I was barely older than that. I do not remember a time in my life without music and striving to improve my musical proficiency. Classically trained, I maintained several music lessons, orchestras, and ensembles a week while growing up and have completed both a Bachelor's and Master's degree in harp performance from Northwestern University, where I studied under Elizabeth Cifani, Lyric Opera principal harpist. Other teachers include Minnesota Orchestra Principal Harpists Joan Mainzer (retired) and Kathy Kienzle (current). The folk music tradition has provided me with a love of improvisation, arranging, and composing, as well as providing me with ear-training and perfect pitch. I am experienced in a variety of musical styles.

I believe that music influences emotions and creates beauty. It involves the musician’s heart, and touches others’ hearts. While facility at the harp obviously increases one’s ability to do that, playing music is not just an exercise in technical mastery of the instrument.

My idea of teaching is to assist each student in accomplishing his/her individual goals. I do not believe that there is one correct template that every harp student must be taught according to, or that there is only one correct result of musical training. In children, studying a musical instrument such as the harp can develop so many other things than just the ability to play notes—self-confidence, self-discipline, memorization skills, etc. It can be an important part of a child developing as a human being, nurtured on activities other than TV and video games. For adults, it’s never too late to try something you’ve always wanted to try whatever your goals are--even if it’s just to play the harp for yourself at home. Whether you think of musical training as opening doors to a child, showing them one in a variety of things the world has to offer; a unique and fulfilling hobby for adults, or training for a career, also consider it as a healthy and positive way to prevent boredom. Not every student must become a professional harpist in order for lessons to be worthwhile. Tibor Scitovsky, a world-renowned scholar, wrote that people have “a daily need for interesting or satisfying activities.” Paraphrasing columnist J. Walker Smith, when a person lacks any way of keeping busy or expressing creativity, that person becomes frustrated and restless, feelings that are often vented in antisocial or violent ways—a sentiment expressed by philosophers dating back to ancient Greece.