Master Classes Enhance Education

Uplifting. Inspirational. Life-changing. All words synonymous with master classes.

They are a valuable addition to any music education, explained Assistant Professor of Clarinet Caroline Hartig. A master class is “a real supplement to applied study,” she continued, “it’s key to the development and growth of a performer.”

Imani Winds members, left to right, Valerie Coleman, flute; Toyin Spellman-Diaz, oboe; Monica Ellis, bassoon; Mariam Adam, clarinet; and Jeff Scott, French horn, performed for students and then offered their comments to students during a master class in February.

Michigan State University’s School of Music holds about 75 master classes in a typical school year, with each area hosting two to four master teachers. Professors in each area of the school are responsible for bringing in well-known musicians and academics to impart new knowledge and skill levels to the students.

“Master classes show different perspectives and approaches to style,” said Curtis Olson, professor of trombone and associate director for undergraduate studies and operations. “Any new experience and perspective is valuable in any situation. A fresh perspective is always helpful.”

Bright Sheng, a recently announced composer-in-residence with the New York City Ballet, came to the School of Music in the spring of 2006 for several events, including a master class. A recipient of the 2001 MacArthur Fellowship “Genius” Award, the Chinese-born Sheng is a composer of stage, orchestral, chamber, and vocal works that have been performed throughout the world. In 2003, he was named the Leonard Bernstein Distinguished University Professor of Music at the University of Michigan, where he has taught since 1995.

Composer Bright Sheng

His master class was a typical composer lecture demonstration. Sheng selected a few of his own pieces, gave some background on them, then played recordings of student composers’ works and gave his critiques.

“What struck me most about Bright Sheng’s presentation was his piano performance of a short piece that demonstrated beautifully some melodic fragments that he had heard in Tibet,” said Professor of Composition Jere Hutcheson. “His shaping of these was truly masterful.”

Imani Winds, an innovative African American/Latino woodwind quintet, visited Michigan State for a performance at the Wharton Center and offered a master class at the School of Music in spring 2006. Members Valerie Coleman, flute; Toyin Spellman-Diaz, oboe; Mariam Adam, clarinet; Jeff Scott, French horn; and Monica Ellis, bassoon, joined forces in 1997 with a mission to push musical and cultural boundaries.

“They have studied the traditional route but have an innovative extension as musicians,” Hartig said. “They think outside the box.” While playing traditional woodwind quintet pieces, they also commission new music and explore other cultures.

Mariam Adam works one-on-one with clarinet major Alexander Vansteel.

Theirs was a different master class because there were five masters on stage performing and teaching, where typically it might be just one. In order for an ensemble to work, the members must “find the right connection with each other, especially to carve out a niche,” said Hartig. “This is extremely important for students to experience first-hand.”

Imani Winds performed a piece for the audience and then invited several students up on stage to perform and to be critiqued. Mary Beth Huttlin, an undergraduate in clarinet performance, was one such student. Her quintet performed for Imani Winds, and clarinetist Adams critiqued her personally.

“Enthusiasm is the most powerful characteristic of a master. If the master is excited to be there, it makes it easier for the performer to be excited,” said Huttlin.

Master classes can be impressive and memorable even years later. Early on in her career, Hartig won a clarinet competition and attended a master class with Larry Combs, the principal clarinetist with the Chicago Symphony Orchestra. She was able to perform for him and be critiqued by him.

Sheng talkswith composition students about Ching-Wen Tu’s work (woman in white blouse) during his master class at MSU.

“It stimulated me to perform more and to gain more knowledge from sought-after players and to grow as a player,” Hartig said. “It was inspirational.”

Huttlin once attended a master class that “gave earth-shattering advice,” she said. “I need to make music first and foremost, despite any and all technical difficulties or problems.” This was knowledge that hadn’t come from any of her lessons but is still advice that she lives by daily, she explained.

Olson attended a master class several years ago run by one of his musical idols, Vincent Chicowitz, formerly second trumpet of the Chicago Symphony Orchestra. “I grew up learning his same philosophy and when I attended his master class, it felt like I was home,” he said.

Master classes are considered an important enhancement to any music education. “They are an opportunity to gain knowledge about techniques and a new approach to performance and to gain experience,” said Hartig.