Suhhyun Sarah Kwon is a fifth semester student at Berklee, dual majoring in Film Scoring and Contemporary Writing and Production. 버클리에서 Film Scoring과 Contemporary Writing and Production 복수전공으로 다섯번째 학기를 맞는 권서현입니다. 영어로 발음하기 어려운 이름이라 Sarah라는 이름을 사용하고 있습니다.
벌써 3월 말이네요! 4월이면 다음 학기 수강신청 하는 기간입니다. 복수전공을 하다 보니 수업 계획하는데 도움이 필요해서 Film Scoring 부서장 교수님 George Clinton을 만나고 왔습니다.
The guest speaker for the June, 2014 Nashville Berklee Jam was award-winning vocal coach, Judy Rodman. In this in-depth workshop she covers many facets of the most challenging endeavor a vocalist will encounter, singing in the studio. Here are some highlights from her talk (her entire presentation can be viewed here).
“The studio is an odd place to sing, it’s very artificial…it requires perfection, because the mic is really sensitive… and recording is forever.” Continue reading →
Yoshie Nakayama, from Tokyo, is a 5th semester Contemporary Writing and Production major, trombone principal student. She studies arranging, recording/mixing with ProTools, and vocal ensemble. She graduated Kunitachi College of Music in Tokyo with bachelor of music from Music education major. She has license of teaching music in japanese Junior high/high school.
Justin Poon is a sixth-semester guitar principal at Berklee studying performance, and electronic production and design. As a founding member of Affiliated Gallery, a creative design group based in Toronto, Justin is involved in film scoring and sound design. He is also involved in producing and writing for singers and hip-hop artists wherever he can find them. You can catch his genre-free radio show, Innovation Forever on The BIRN on Wednesdays from 7-9PM.
Performing at the 2009 Brubeck Institute Summer Jazz Colony with Ingrid Jensen ’89
Although it feels like yesterday I have changed quite a bit since high-school, it was a time when I was shedding guitar everyday, solidifying vi-ii-V-I’s, learning my way through the scales and standards in all 13 keys. I despised the music on the radio, hated the concept of electronic music, and had a typical jazz musicians’ angst of what I thought real musicianship was supposed to be. It was the only life I knew. Better yet, it was the only life I was content with living. Occasionally listening to Death Cab for Cutie, Bon Iver or John Mayer, the furthest I ever went with “simple” music was listening to old-school hip-hop, like J Dilla, Foreign Exchange, Mos Def, and so on, but mainly because it was acceptable to do so as a jazz musician because these guys had “real talent”.