91ÉçÇø

Currently a PhD student in musicology, Michael has been teaching at Schulich for the past two years. His enthusiasm for the material is obvious and contagious and even students who were not in his class have reached out to him based on their friends’ recommendations. With his passion for teaching so easily seen within his thoughtful preparation of lesson plans and syllabi, classroom engagement, and student rapport, it’s no wonder Michael is being honoured for this award.

In celebration of this achievement, we asked Michael to elaborate on his teaching approach over email.

What is your teaching approach?

As a teacher, I primarily work as a facilitator of learning, keeping in mind two primary objectives that specifically emphasize student-centered outcomes. My first objective is to get my students to think about how music is motivated by social and cultural agents and events, and how our telling of history is constantly shaped by gatekeepers; concert organizers, music institutions, university programs, historians, the list is endless. My second objective is to encourage students to think more deeply about the role that music – and art more generally – plays in their everyday life. In short, how do we engage with music? Are we listeners, performers, or somewhere in between?

Given the diverse makeup of my classes, a central concern of my teaching is to create an environment that is inclusive and mindful of varied learners. In order to achieve a more level playing field, I often bring music into dialogue with other artistic and literary disciplines, thus allowing students to engage with music through multiple points of entry. Beyond engagement with course materials, students are encouraged to discuss their findings. However, one of the challenges in larger classrooms like the Art of Listening is creating a space that is intimate enough for students to freely share their ideas without feeling overwhelmed. In such instances, I find smaller group activities to be the ideal venue where students can test out ideas and concepts that may be challenging or confusing. I also adopt this workshop approach for my Introduction to Research Methods class, where students create artistic research project proposals on a wide variety of topics based on their unique musical research interests, in the hopes that they will apply for granting agencies in the future. Ultimately, creating an environment where collaborative thinking is privileged allows students to take risks and experiment with ideas, and also express themselves as specialists on certain issues, fostering an environment that esteems listening, accepting diverging viewpoints, and engaging in respectful and informed debate.

As an active pianist, I also think it is vitally important for students to engage with course concepts by encouraging creative and participatory learning. Whether I am demonstrating a concept at the keyboard, or having my students participate in collective performances – these hands-on approaches help promote investment in the course materials. What better way of understanding the distinctions between rhythm and meter than by acting it out in real time? Soliciting participation in this way creates an environment where students feel more inclined to contribute, take risks, and feel unconstrained by the fear of making mistakes.

Ultimately, my approaches to teaching evolve as I learn more about myself and the students that I encounter in the classroom. Upon each new experience, I think about what I have learned and try to use it to develop my own teaching strategies going forward. Whether lecturing an undergraduate class of primarily non-music majors or teaching graduate-level performance majors, sharpening my teaching acumen requires constant engagement with students, in the hopes of encouraging them to be motivated and inspired to learn, and to take these lessons and apply them in the wider world. It is my distinct hope that I am able to inspire students to become teachers in their own right.

What does this award mean to you?

I am thrilled to be receiving this award, and I am incredibly appreciative to the students who took their time and efforts to nominate me. At 91ÉçÇø, I have been privileged with remarkably inspiring students, and it has been a distinct honour to watch them develop their own ideas on a variety of issues important to them, as well as seeing them come to terms with music of the past and present. Although I remain mindful that I am not yet the teacher I strive to become, this award encourages me to constantly improve in front of the classroom, becoming a more conscientious teacher and most importantly, a consummate listener: listening to my students, facilitating discussions, and creating an inclusive environment that encourages student-centered outcomes.

About the Schulich School of Music Teaching Awards

Each year the Schulich School of Music recognizes faculty members and student instructors for their outstanding contributions. TheÌýSchulich School of MusicÌýTeaching AwardsÌýrecognize excellence, commitment and innovation in teaching, and the importance of these qualities in the academic experience of students at 91ÉçÇø. Prizes are awarded annually to each winner at Spring Convocation.

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