While she was teaching, her harp students won top prizes from many International Competitions, her piano student was two time semi-finalist from the International Competitions, and many of her students won college’s juries, received awards and scholarships for their undergraduate degrees and master’s degrees.
“I have been teaching both instruments – harp and piano – for over 20 years. I believe that a wonderful, considerate teacher can impact and influence many aspects of students’ life in positive ways. Apart from teaching students how to play the instruments, I also want to teach them how to live, how to think as a musician, and how to contribute to the beauty of the overall instruments’ sound.” – Dr. Chaerin Kim, 2020
TEACHING STATEMENT
Do I think teaching students how to read, write, count, and play with good technique is the only way to for them to be successful? While these aspects are important for beginners and intermediate-level musicians, once a student reaches an advanced level, that would imply they have nothing more to learn. I believe that even in the first lessons, a teacher’s approach cannot only focus on those basic elements.
Being a musician is so much more, and the first steps taken together as student and teacher dictate the rest of your shared journey, as well as their future. I want all my students be able to touch people’s hearts with messages delivered through their own musical languages, regardless of instrument or composition.
Over my teaching career, I have grown my studios from a single student to dozens – once breaking a record for fastest growth and demand. I have been honored to watch a student win the top prizes from an International Harp Competitions, another become a two-time semifinalist for International Piano Competitions, and many students pass college juries, receive awards and scholarships for their undergraduate and master’s degrees. However, the joy of teaching does not come just from helping students win awards.
I started teaching harp and piano over 20 years ago. In that time, I have been blessed to witness many talented students who worked hard, but the most important part of teaching for me is when I work with students with the most passion. I have taught students with a variety of physical and cognitive disabilities – whether it was blindness, ADHD, Tourette’s, arthritis, or a prior stroke – these students inspired me with their resiliency and adaptability. I have had students who were self-taught – their financial situation did not allow them to pay for lessons in childhood, but their dedication to music was palpable. All these young musicians touched my heart with their pure passion, and I feel my duty is to help these wonderful jewels be polished.
I believe that a wonderful, considerate teacher can impact and influence many aspects of students’ lives in positive ways. Apart from teaching students how to play the instruments, I want to teach them how to live, how to think as a musician, and how to contribute to the beauty of the instrument’s sound.
10 Rules of Teaching Philosophy
1. Patience
Patience is the foundation of a strong student/teacher bond. A teacher’s goal should be to help students to get what they want from their music performance. All students progress at different speeds, and sometimes teachers do not dedicate their attention to the student who takes longer. This is an obstacle for students looking to achieve their highest potential. They need to have someone who believes in them. A teacher who is not patient needs to teach themselves patience first, and then apply it in their teaching technique. I am happy to work with my students as much as I can in order to help them achieve their goals. Meanwhile, students should practice until they complete their assignment songs and come to lessons prepared to learn.
2. Focus
Individuals who have a very high concentration level often find success, which allows them to achieve many more things than those who are not focused. My approach helps students to focus when they want to perform, practice, take classes, and even helps with the other non music-related tasks. I believe if everyone keeps practicing and continues to push themselves to get better, in the end they will eventually succeed. I encourage my students to not give up easily and help them to persevere until they obtain their personal goals.
3. Health
I believe having good mental and physical health helps students to produce their best work. When people are strong in both mind and body, they channel that energy into their performance. A person with a good heart and positivity can touch others and make an unforgettable impression on another person’s heart. I encourage all students to maintain good mental and physical condition while they practice and perform – doing so can help students to steady their emotions and draw from their inner awareness while they perform and practice, and allows them to give their heartfelt best during their performances. I also make sure students reschedule class time if they are sick, as I want them to learn when they are in their best condition, in order to gain the most from their classes.
4. Solid Foundation
Even if a student has a wonderful musical gift, if they do not know how to play well, it will be of no use. A strong foundation of solid basics in performing technique will make a huge difference as the student progresses through their lessons. It may take more time and commitment to ensure these basic techniques become second nature, but students will realize that it is much more effective and saves them from having to go back to the beginning and relearn the correct way. Therefore, I will teach my students to develop a solid foundation, and I will seek out the best method for each student to develop their best technique.
5. Motivation
I encourage students to find pleasure in their work and practice. However, I also am not afraid of telling students to put down their instrument and find a new passion if they don’t enjoy what they are doing. I do not mind if they do not play well, but I do mind if they do not enjoy what they do, because at some point in their lives, they will realize how important it is to stay committed with joy. I will motivate as much as I can by giving encouragement and by providing them with performance opportunities. For ten years, I have offered students performance opportunities by organizing concerts. Twice a year, I rent 300-500 seat professional halls for all my students (approximately 30-60 students) to perform their solo pieces in front of an audience. Organizing concerts motivates my students to dedicate themselves to their craft, and allows them to enjoy sharing their music with friends and family members.
6. Doing Your Best
I would recommend all my students prepare and expect to do their best. I do not blame them if they do not succeed, or if they feel that they did not succeed. I think the concept of doing your best is one of the most important goals to set for yourself. Aiming for your highest possible potential is very important and will encourage you to work harder and aim for that goal.
Therefore, I encourage my students to do their personal best, and say they should try to focus on improving reading, choosing the correct fingerings, and maintaining the right posture. I pay close attention to how relaxed their shoulders and arms are in order to improve and fix most of their previous habits and guide them in the right direction.
7. Attending Concerts
I encourage my students to attend as many concerts as they can manage with their schedules. I believe attending concerts offers many more valuable lessons that an individual private lesson provides. If students attend a world-class performance, they will experience how beautiful a live performance can be. If they attend masterclasses where they can hear professional critics and get feedback on how to best present on stage, they will learn what they did well, and what they should not do in the future. If they attend smaller concerts, they will learn how to be a respectful audience member without me telling them. Students can learn a lot by attending friends’ concerts, or even by attending a beginner concert – passion for music knows no bounds. No matter their skill level, everyone you meet can teach you something.
8. Chamber Music & Orchestra Music
Besides solo training, I train my students to become very active in chamber music and orchestral music. This helps the students learn to harmonize not just with other instruments, but also with other musicians and create beautiful music together. I will assign chamber music repertoire and orchestral excerpts during lessons.
9. True Love and Passion
Without true love and passion for their instruments, no musician can play with 100% of their heart. I feel this is critical – musicians need to play their instruments with commitment and passion. Passion, or a lack thereof, shows in their performance. When I was young, my mother gave me many private music lessons. I explored a wide variety of instruments, including piano, cello, violin, harp, and voice. However, I found myself mostly attracted to the harp and piano, and my commitment to these instruments kept me going with them through my life. There have been some difficult and challenging times when I was exhausted after so much practicing, but I was always revived by my emotional connection, because I knew I was doing what I love. I want to be able to help my students to find their passion and love for their instruments, and I believe that it will make their musical journey far easier.
10. One thing I always tell my students!
As we all know, “slow and steady wins the race.” In the musical world, this could be stated as a person who is naturally gifted can be beaten by the one who works hard constantly. However, you can never beat the ones who love what they do. Whether a hard worker or genius prodigy, if they don’t enjoy what they do with all their hearts, they can never beat the ones who do. I tell my students to make their own decisions in life. If music is something that makes you happy, follow that path. On the other hand, even if you are very talented and a hard worker, a lack of love will reflect in your playing. If you do not enjoy music, explore other fields of interest or new things that you were never exposed to until you find what you love. With love, all things are possible!
10 Teaching Practices
1. Metacognitive Learning Method
Self-monitoring and correcting your own learning process is a tool that students can use to encourage their personal growth. Many studies show that top students have a habit of reflecting on what they knew and they didn’t know after exams and classes. For students in my group classes, I help them use the metacognitive learning method. Rather than giving them the answers directly and telling students to memorize them, I recommend students be able to approach answers by themselves by testing, searching sources, or asking questions to get to the solution. This method also applies to performers. If they keep practicing same parts they are already proficient at, they will not make progress, but if they quickly figure out where they are lacking, and keep digging patiently, determining why that part does not work, the student will get to solution quicker. Students become active and motivated to move forward in the learning process rather than being passive learners.
2. Multimedia Learning Method
There are many different types of learners, and I do my best to accommodate all learning styles. I frequently teach through the use of pictures and words. In doing so, I have observed students are able to increase their learning ability, showing better focus and stronger retention of material. Using multimedia is essential these days, many students are more engaged with a visual presentation, or even videos along with sound effects. When music is played, I play videos with the score presented via spots marked with colors. Students are able to follow quickly and understand easily. I made these videos while I was teaching music theory classes, presenting various styles of music. Students could see how musical notation style has changed over the time, or differed by composer, and it helped them recognize the differences quickly.
3. Emphasizing Equality
We are all equal, no matter anyone’s background. Different countries, ages, ethnicities, or years of musical study – in my classroom, I do not treat them differently. Some might say that learning speed is based off a student’s musical background, which means individuals will differ broadly based on their prior opportunities, but I feel that teachers must strive to make their classrooms equitable, and do their best to bring everyone up to equal footing. For students with physical and cognitive disabilities, this also applies. All students attend classes with a desire to learn. We can accommodate any barrier with extra time and effort. As an educator, I keep myself available to help anyone until they have the answers to broaden their knowledge. After taking my classes, it is my hope that all students feel they have gained deeper layers of musical background, as that is what I consider to be my duty.
4. Sincere Approach
If someone is so generous and gentle to us, but not sincere, would their kindness be a comfort? I think this applies not only in life between acquaintances, but also to a teacher/student relationship, and even to working with musical scores as we study and dig. Our approach should be sincere, and I teach my students the importance of that. When we study composer’s scores, we do not assume. There are clear markings, and from them, we can work through what makes sense logically and musically. All these efforts will eventually give the true answer.
5. Dynamic Usages for Speed and Voice Tone
In class, no student comes in with the mindset of “I want to have a good nap.” However, if a teacher speaks in the same tone, at the same speed, students can easily lose interest, and nod off momentarily, despite their best efforts. I vary my speaking speed and tone to be different, sometimes mixing with silence, and ask questions to students to invite them to get involved between lectures, and to continue their focus. I do this not just when I play music, but also when I give lectures. I believe the dynamic contrast keeps tension and focus very well.
6. Humor vs Strictness
Consider a lecture with a wonderful subject. If the teacher spent the entire time making jokes, or only giving the facts with no commentary, the lecture might not be the most effective or interesting. I try to balance between humor and strictness, so in my classroom, students look forward to coming to class, and enjoy their time there, but also walk away having gained more knowledge. If my students can learn, and have fun doing it, I consider the lesson a success.
7. Assignments, Quizzes, and Exams
As I believe we all need some tests to confirm we are progressing in our studies, I give my classes all three types of check-ins: Assignments, Quizzes, and Exams. I try to have frequent tests, so if students do not feel they did well on one, they have plenty of additional chances to make up for the poor grade if they commit to their studies. Without these, students can fall behind and not show any signs until it is too late.
8. Discussion Setting
To ensure students are active in class, I make some lessons a “discussion setting.” I present a subject to discuss, and let everyone participate freely. I moderate, give feedback, and share my opinion as needed. This allows students to significantly contribute to the lessons, allow their opinions to be heard, and, depending on their level of interaction, lead the discussion. Historically, this has been a very successful and engaging class format.
9. Extra Textbooks
I prepare extra textbooks in my office to lend to students for class if they arrive without theirs. However, this should be only for emergency cases. I expect every student to attend classes with the required textbooks, but I am aware that sometimes things can happen in life unexpectedly. I would like to be understanding and support those who need help for the day.
10. Encourage Students to be Great Colleagues
When I was a student, I learned so much, not only from my wonderful teachers, but also from my great colleagues. Healthy relationships between colleagues create a better learning environment, so I encourage my students to see colleagues not as competitors or rivals, but as a good motivator for each other. When a teacher encourages these relationships, and even helps foster them, they will be more than just classmates. Man is not an island – we are all sharing this earth together. I will continue to make sure my students learn how to blend with, help, and encourage each other. This will not only make their academic and musical background stronger, but together they will make a better world for future generations.
TEACHING POSITIONS
- Piano and Harp Faculty, InterHarmony Music Festival in Millan, Italy | July 2025
- Piano and Harp Faculty, International Music Festival in Tallin, Estonia | July 2024 – Present
- Piano and Harp Faculty, International Music Festival in Bucharest, Romania | July 2024
- Piano Faculty, Shepard’s Heart School of Music, Florida | 2023
- Piano & Harp Faculty, Schlossakademie, Germany | January 2021 – Present
- Artist at TTF Entertainment Company in China | Dec 2020 – Present
- Piano Faculty, University of Massachusetts Boston | January 2014 – Present
- Harp Faculty, University of Massachusetts Boston | January 2012 – Present
- Full-time Faculty: Music History, Music Theory, Harp & Piano Faculty, Eastern Nazarene College, Massachusetts | January 2012 – August 2018
- Orchestra and Choir Conductor, Composition, Piano & Harp Teacher, Artist-in-Residence at Beechwood Knoll Elementary School, Massachusetts | 2011 – 2013
- Harp and Piano Instructor through the Office of Arts at Harvard University | Sep 2010 – Present
- Artistic Director of the USA International Music Competition | Sep 2009- Sep 2010
- Harp Department Chair, South Shore Conservatory, Massachusetts | 2009 – 2013
- Harp Faculty, Youth & Muse International Music Festival, Massachusetts | August 2012
- Educational Consultant, Musical Journey II | 2009 – 2010
- Artist Collaborator, projectSTEP, Boston Symphony Orchestra, Massachusetts | 2009
- Head of Harp Department, Piano Faculty, Adagio Music Academy, Massachusetts | 2009
- Teaching Assistant, Boston University, Massachusetts | 2008
- Teaching Assistant, Yale University, Connecticut | 2005
COURSES AND SEMESTERS TAUGHT
University of Massachusetts Boston – Lecturer
Applied Music Lessons – offered multiple courses depending on need and background of students for that semester. Courses were structured by student type: Piano, Music Majors; Harp, Music Majors; Piano, Music Minors/Elective; and Harp, Music Minors/Elective.
- Spring 2012 – 2 courses
- Summer 2012 – 2 courses
- Fall 2012 – 2 courses
- Spring 2013 – 2 courses
- Summer 2013 – 4 courses
- Fall 2013 – 2 courses
- Spring 2014 – 2 courses
- Summer 2014 – 4 courses
- Fall 2014 – 4 courses
- Spring 2015 – 4 courses
- Summer 2015 – 2 courses
- Fall 2015 – 2 courses
- Spring 2016 – 2 courses
- Summer 2016 – 4 courses
- Fall 2016 – 2 courses
- Spring 2017 – 2 courses
- Summer 2017 – 4 courses
- Fall 2017 – 3 courses
- Spring 2018 – 2 courses
- Summer 2018 – 4 courses
- Fall 2018 – 2 courses
- Spring 2019 – 2 courses
- Fall 2019 – 4 courses
- Summer 2020 – 4 courses
- Fall 2020 – 3 courses
- Spring 2021 – 4 courses
- Fall 2021 – 1 course
- Fall 2022 – 1 course
- Spring 2023 – 1 course
- Fall 2023 – 1 course
- Spring 2024 – 2 courses
- Summer 2024 – 2 courses
- Spring 2025 – 2 courses
Group Keyboard Lecture
- Fall Semester: 2016, 2017
- Spring Semester: 2017, 2018, 2019
Substituted for Music Theory, Sight Reading, Ear Training classes as needed during other colleague’s sabbatical in 2016
Eastern Nazarene College – Full-Time Professor
Music History I & II, split across two semesters
- Fall 2013 – Spring 2014
- Fall 2014 – Spring 2015
- Fall 2015 – Spring 2016
- Fall 2016 – Spring 2017
- Fall 2017 – Spring 2018
Music Theory I & II, split across two semesters
- Fall 2013 – Spring 2014
- Fall 2014 – Spring 2015
- Fall 2015 – Spring 2016
- Fall 2016 – Spring 2017
- Fall 2017 – Spring 2018
Applied Music Lessons, Piano
- Spring 2012 – Spring 2018
Applied Music Lessons, Harp
- Spring 2012 – Spring 2018
Harvard University –Piano and Harp Instructor through the Office of Arts
Applied Music Lessons, Harp
- Fall 2010 to Present, as requested
Applied Music Lessons, Piano
- Fall 2010 to Present, as requested
Schlossakademie – Piano and Harp Faculty
Applied Music Lessons, Harp
- Spring 2021 to Present, as requested
Applied Music Lessons, Piano
- Spring 2021 to Present, as requested
Shepherd’s Heart School of Music – Piano Faculty
Applied Music Lessons, Piano
- Spring 2023
South Shore Conservatory – Harp Department Chair
Applied Music Lessons, Harp
- Fall 2011 – Fall 2013
Quincy Public Schools – Orchestra and Choir Conductor, Piano & Harp Teacher, Artist-in-Residence
Music Theory
- Fall 2011 – Fall 2013
Piano
- Fall 2011 – Fall 2013
Harp
- Fall 2011 – Fall 2013
String Orchestra
- Fall 2011 – Fall 2013
Choir
- Fall 2011 – Fall 2013
Adagio Music School – Head of Harp Department, Piano Faculty
Applied Music Lessons, Piano
- Spring 2009 – Fall 2009
Applied Music Lessons, Harp
- Spring 2009 – Fall 2009
Boston University – Teaching Assistant
Applied Music Lessons – taught undergraduate students, graded papers
- Spring 2008 – Fall 2008
Yale University – Teaching Assistant
Applied Music Lessons – taught undergraduate students, graded papers
- Spring 2005 – Fall 2005