TEACHING
How does this faculty member’s work demonstrate that he is someone the university should retain indefinitely?
Since beginning employment at SUNY Fredonia in September 2016, I have initiated and developed a number of projects for the benefit of the institution and the university's students. Below is a list of these accomplishments, which I believe demonstrate my unwavering commitment to the faculty and students of the School of Music, as well as to the university as a whole.
The Claudette Sorel International Piano Competition, celebrating its 7th anniversary at the university, was started by me with the help of several colleagues shortly after my arrival in Fredonia
The Sorel Fellows Program, which began in November 2019, was designed as an important recruitment tool for fostering relationships between potential students and the Piano Area's faculty
The Robert Jordan Piano Festival, which debuted in February 2020, is a week-residency workshop that brings world-renowned experts in piano pedagogy and performance to the students of the School of Music
The Ekstasis Duo is a piano and cello duo in residence at SUNY Fredonia with performances and workshops at the university and a debut album recorded in Rosch Hall at the School of Music
The Ekstasis 2.0 Concert Series, founded in September 2019 is a community outreach program that creates local performance opportunities for students of the School of Music
A Merkin Hall Concert in New York City was produced by me and brought together the talent of Fredonia's music faculty as a special event for recruitment and fundraising
As co-chair of the 2024 New York State Music Teachers Association (NYSMTA) Conference, I was successful at bringing this important recruiting and public relations event to SUNY Fredonia
Development of a new course, MUS 375, to address stage performance anxiety
Spearheaded the commissioning and premiere of a newly composed Double Concerto by internationally acclaimed composer, Avner Dorman; the work will premiere with the orchestra of the School of Music in Spring 2022
These projects are a testament to my commitment to bringing national attention to SUNY Fredonia while creating strong recruitment events for the School of Music and the Piano Area, in particular. I possess both the passion and skills to organize large projects and strongly believe that successful recruitment efforts are dependent upon the continuation and expansion of these types of events. Of course, because projects of this nature are complex, they require ongoing collaboration with a talented team of faculty and administration of the School of Music, and I am deeply grateful to have found such committed colleagues here in Fredonia.
I very much believe in the unique and flexible curriculum tracks we offer at the School of Music. Students are encouraged to attain a multitude of skills that will help them to create a satisfying path that will allow them to thrive in the music world. I'm also very proud of the high performance standards we uphold for ourselves and our students. And I believe this combination of curriculum flexibility and exacting performance standards is a unique feature of our school and one that should be regularly stressed in the recruitment of new students.
Both the world and the field of music are dramatically changing at a rapid pace. These shifts are occurring in social, geopolitical, and technological realms, and our students must be educated in a multi-cultural environment that respects all people. In particular, we must commit to the teaching and performance of the music of historically underrepresented composers. Additionally, it is critical our students have the technological skills necessary for creating and sharing music using a multitude of 21st century online platforms. A new day has dawned for the world at large and we are called to ensure that our students possess the musical, social, and technological skills required for successful interaction with global audiences.
On a personal note, of the many artistic projects I have engaged in this past year, I am particularly proud of the solo piano recital I performed on January 3, 2021. Because of unexpected complications associated with the coronavirus pandemic and revised jury dates, this event had been rescheduled twice. I was thrilled to finally share my Fredonia solo performance debut with an online audience. I very much look forward to more solo recitals exploring new repertoire and some of my own original arrangements.
Regarding the Ekstasis Duo, the coming year is going to be a very exciting one for the duo. In addition to premiering Avner Dorman's Double Concerto with the university orchestra, we will also perform a new project titled From the Shadows featuring two grand sonatas, one by unknown Dutch composer Henriëtte Bosmans and another by the underrepresented Black composer, George Walker, the first Black composer to win the Pulitzer Prize in Music. Included in the program are shorter works by Alexander Zemlinsky, Alma Mahler, Lili Boulanger, and an original jazz arrangement of Nina Simone songs.
My exploration of music by underrepresented composers for personal performances as well as for the 2020 Robert Jordan Piano Festival, caused me to confront some core beliefs about music performance. Specifically, I now realize I was inculcated with two fundamental tenets of success: "If the music is good, people will know about it" and "Real talent always rises to the top." Recent research has repeatedly revealed to me that these statements are false. I now understand that many magnificent works have been ignored and that a multitude of talented composers are still waiting to be included in the canon of great works. In all my years of education at The Juilliard School, I neither ever heard the name of George Walker nor a note of Henriëtte Bosmans’ glorious music. Further, I recall Alma Mahler as being mostly referred to as "Gustav's wife." I have now come to realize that the music of these composers is no less worthy of performance than that of their very well-known contemporaries. Though it is perhaps too complex to ponder the why of it all, at least I now understand that the onus is on me as a performer and educator to bring this music to the foreground. We must insist on the celebration of these composers and the inclusion of their compositions in the canon of regularly performed music.
I also feel that the recent social upheaval associated with the global pandemic and the Black Lives Matter movement has radically changed my role as an educator and mentor. Now, in addition to the teaching of technical proficiency, music analysis, emotional expression, technological advances, and a clear artistic vision for the future, we are also called to assist our students in developing coping strategies for a rapidly changing society. This is a mighty and ever-evolving task.
In my last reappointment letter, I noted the commonly occurring issue of student anxiety, both in performance and in life in general. In particular, I mentioned the importance of offering tools that could be employed to ensure students' emotional health as performing artists and even more importantly as people. As a practical step towards addressing this issue, I am happy to report that I am teaching a Fall 2021 class that will teach some of these tools. As of this writing, there are twenty-seven students registered for the course. I take this as a sign that a course of this nature was needed, and my hope is that the course will be extended eventually to students across curricula. I am excited to embark on this new adventure with our Fredonia students.
Being surrounded by talented, intelligent, and caring faculty and staff has allowed me very much to feel at home in the School of Music. My students have shown growth emotionally and musically, which has brought me tremendous pride. I hope to be given the opportunity to continue doing this work for many for years to come in Fredonia and appreciate your support for my tenure candidacy.
Sincerely,
Eliran Avni, DMA
Private studio teaching (Syllabus)
Coaching chamber music groups (Syllabus)
Coaching recital seminar class
Coaching piano ensemble class (Syllabus)
Teaching MUS 375: The Musician's Tool Kit (Syllabus)
Preparing graduate recitals (Including recital adjudication, run-through, and performance)
Chairing orals exams for master students
Jury and audition adjudication
Concerto competition jury member
Offer workshops on: stage fright, time management, memorization, and hand injuries
Work with international students on general music terminology
Videotaping individual lessons/coaching and dissemination to students.
Career consultations sessions with students
Keeping attendance at MUS120 events
"Honestly don't even know where to start with this evaluation. There are no words to describe my gratitude that I have Dr. Avni as a teacher. I have had several different piano teachers throughout my lifetime, and not a single one of them could even compare to him. I've been playing piano for 17 years, and have made more progress in the past year than I have in my entire life. Dr. Avni is not only an amazing piano teacher, but he's also a mentor to my colleagues and I. He is not only interested in what happens in my lessons, but he very clearly cares about my well-being and does anything he can to help. One of the things that makes him different than any other teacher I've had, is that when I step out of his office door after a piano lesson, I know that I can always go to him for advice even if it has nothing to do with music. He is so passionate about everything he does and it has been such a great influence on how I live my life. I can honestly say that I wouldn't be at this school if Dr. Avni wasn't here. Being a music student is really hard, with all the rehearsals/performances, homework, CCC's, hours upon hours of practicing, getting very little sleep, and constantly feeling pressured because of what's expected of me. But Dr. Avni makes it all worth it." -Student evaluation