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I am a violinist and teacher whose work combines conservatory-level training with Suzuki pedagogy, Alexander Technique, ethnomusicology, and folk traditions. My teaching is grounded in attentive listening, physical awareness, and thoughtful musicianship. As both a teacher and a parent, I value creating a supportive and encouraging environment for students and families.
Teaching PhilosophyMy goal is to help students find ease and freedom on the violin by releasing unnecessary tension and developing efficient, balanced movement. I want students not only to play well, but also to feel comfortable and confident in their bodies while making music.
My experience with the Alexander Technique strongly shapes my teaching. Through this work, students learn how posture, balance, and coordination affect sound and technique. I study with Kay Hogan, whose approach integrates the vestibular system and visual awareness to support natural alignment and ease of movement. I am also trained in the Suzuki Method, which has given me a rich toolbox for helping students build skills step by step in a positive and supportive environment. Suzuki philosophy emphasizes that every child can learn, that small steps lead to mastery, and that parent involvement and joyful learning are essential—especially for young children. |
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I continue to study with a mentor through the American String Teachers Association (ASTA), which keeps my teaching thoughtful, current, and continually evolving.
In addition to violin, I study voice and take regular voice lessons. Singing deepens my understanding of listening, phrasing, breath, and tone production, and it keeps me connected to the experience of being a student—working through challenges, building skills, and learning from the inside.
In addition to violin, I study voice and take regular voice lessons. Singing deepens my understanding of listening, phrasing, breath, and tone production, and it keeps me connected to the experience of being a student—working through challenges, building skills, and learning from the inside.
Musical Training
My violin training began in Israel as the youngest pupil of Lydia Mordkovitch while also studying at the Jerusalem Academy of Music and Dance. I later majored in music at Smith College, where I received awards in both composition and performance.
During college, I performed on Baroque violin and sang in an early music choir. One of my early teachers, Walter Reiter, is now a leading Baroque violin specialist in London.
I hold Master of Music degrees in violin performance from the UMKC Conservatory and the Cincinnati College-Conservatory of Music. At UMKC, I won both the Concerto-Aria Competition and the Graduate String Quartet Fellowship.
My conservatory training also included extensive study in music theory and history, which I incorporate into lessons to help students develop deeper musical understanding alongside technical skills
During college, I performed on Baroque violin and sang in an early music choir. One of my early teachers, Walter Reiter, is now a leading Baroque violin specialist in London.
I hold Master of Music degrees in violin performance from the UMKC Conservatory and the Cincinnati College-Conservatory of Music. At UMKC, I won both the Concerto-Aria Competition and the Graduate String Quartet Fellowship.
My conservatory training also included extensive study in music theory and history, which I incorporate into lessons to help students develop deeper musical understanding alongside technical skills
Performance Experience
As a freelance violinist, I have performed with the Kansas City Symphony and toured Europe with Camerata Lawrence. I have also led my own ensembles, including Meadowlark Strings and Trio Fontana.
Performing professionally gives me practical experience that I bring directly into my teaching: how to prepare music efficiently, collaborate with others, adapt under pressure, and communicate musically with audiences.
I especially enjoy performing solo strolling violin for weddings and events, drawing from a repertoire that includes classical music, pop, folk, movie themes, and traditional tunes. Because of this experience, I am often able to help students explore the styles and songs they are personally excited about learning.
Performing professionally gives me practical experience that I bring directly into my teaching: how to prepare music efficiently, collaborate with others, adapt under pressure, and communicate musically with audiences.
I especially enjoy performing solo strolling violin for weddings and events, drawing from a repertoire that includes classical music, pop, folk, movie themes, and traditional tunes. Because of this experience, I am often able to help students explore the styles and songs they are personally excited about learning.
Academic Work
I hold a PhD in Ethnomusicology from University of California, Berkeley, where I studied music across cultures and explored the relationship between music, identity, and society.
My dissertation, Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society, examines the performance of identity as the intersection of gender, ethnicity, and religion. The skills I developed in musical transcription and analysis continue to shape my approach as a teacher and musician.
After completing my doctorate, I served as a lecturer at UC Berkeley, teaching sight-singing and music theory. I also taught college-level research and writing. These experiences strengthened my ability to communicate clearly, organize material effectively, and guide students through the learning process.
My dissertation, Singing as an Israeli Woman: Musical Personae in a Cosmopolitan Society, examines the performance of identity as the intersection of gender, ethnicity, and religion. The skills I developed in musical transcription and analysis continue to shape my approach as a teacher and musician.
After completing my doctorate, I served as a lecturer at UC Berkeley, teaching sight-singing and music theory. I also taught college-level research and writing. These experiences strengthened my ability to communicate clearly, organize material effectively, and guide students through the learning process.
Folk Music & Improvisation
I grew up listening to my parents’ bluegrass band and have always been drawn to a wide range of musical traditions.
Over the years, I have performed in an international folk dance band, explored Old Time fiddle music, and studied jazz
improvisation. I also enjoy partner dancing, including tango, Lindy hop, contra dancing, and international folk dance, which continues to deepen my sense of rhythm, phrasing, and musical communication.
I often incorporate fiddle tunes and folk repertoire into studio recitals and lessons, helping students experience music as something living, social, and creative.
I currently perform with the Shir Hadash band at my synagogue and continue expanding my work in fiddling and improvisation, with particular interest in Scottish fiddling and Western Swing.
Over the years, I have performed in an international folk dance band, explored Old Time fiddle music, and studied jazz
improvisation. I also enjoy partner dancing, including tango, Lindy hop, contra dancing, and international folk dance, which continues to deepen my sense of rhythm, phrasing, and musical communication.
I often incorporate fiddle tunes and folk repertoire into studio recitals and lessons, helping students experience music as something living, social, and creative.
I currently perform with the Shir Hadash band at my synagogue and continue expanding my work in fiddling and improvisation, with particular interest in Scottish fiddling and Western Swing.