Music

Faculty

Office:
Dr. Keith Kelly

Degrees:
  • B.M. in Music Education - University of the Pacific Conservatory of Music (2000)
  • B.M. in Performance (Saxophone) - University of the Pacific Conservatory of Music (2000)
  • M.M. in Music Education (Jazz) - Arizona State University (2003)
  • D.M.A. in Music Education (Jazz) - Arizona State University (2013)

Courses Taught:
  • MTC 130 - Jazz Theory
  • MUP 181 - Jazz Combo
  • MUP 163 - Composers/Improvisers Big Band
  • MHL 145 - American Jazz and Popular Music
  • MHL 155 - Survey of American Music (HONORS)
  • MHL 153 - Rock Music and Culture

Teaching/Research Interests:
  • Saxophonist and educator Keith Kelly, a San Francisco Bay Area native, holds a BM in Performance (Saxophone) and a BM in Music Education from the Conservatory of Music at University of the Pacific, an MM in Music Education (Jazz Studies) and DMA in Music Education (Jazz Studies) from Arizona State University. Currently, he the Coordinator of Music Humanities at Paradise Valley Community College and the Director of Education for The Nash, the premier jazz education and performance organization in Phoenix, AZ.
  • As a woodwind specialist, he has toured with the Eels, Darlene Love, The Scorpion Decides, Under The Streetlamp, and his own free-jazz group, Ask Not. Kelly has performed with a wide variety of musical ensembles including: Crossing 32nd St, CONDER/dance company, Boxhead Ensemble,The Stan Kenton Legacy Orchestra, Phoenix Symphony, Natalie Cole, Maynard Ferguson, The Temptations, Glen Campbell, Diana Schuur, and numerous tv/radio/music personalities. Kelly has performed in or supervised over 35 different musical theater productions throughout Northern California and the greater Southwest, including "The Unfortunates" - which debuted at ACT's The Strand Theater in San Francisco in 2016, with his original horn arrangements.
  • As a recording artist, he can be heard on records by: Eels, Califone, Dispatch, The Scorpion Decides, Static Announcements, Max Knouse, Mike Wilkinson, Casey Hurt, Sweetbleeders, and CooBeeCoo. Edgetone Records release many of Kelly's instrumental/jazz/improvised recordings, including the groups: Ask Not, Running From Bears, and Slender Loris.
  • As a researcher, his focus is on creativity/improvisation, jazz ensemble and improvisation pedagogy, jazz education in undergraduate teacher preparation programs, gender and music participation, and the early history of public school jazz education. He has presented research and/or clinics at conferences for: CMEA, AzMEA, NIME, and JEN. He continues to act as a PhD dissertation supervisor for Boston University.
  • As a collegiate music educator, he has taught undergraduate and graduate courses at San Joaquin Delta College, University of the Pacific, Boston University (Online), Arizona State University, and was Assistant Professor/Coordinator of Jazz Studies at California State University, Stanislaus.
  • Dr. Keith Kelly is an Andreas Eastman Saxophone Artist/Endorser.
  • www.keithbkelly.com

Teaching Philosophy:
  • Make Mistakes.

Professional Activities:
  • PVCC Faculty Senate President-Elect: 2016-18
  • PVCC Faculty Senate President: 2018-19
Office:
Brett Reed, DMA

Degrees:
  • BMA, Percussion Performance, University of New Mexico
  • MA, Percussion Performance, University of California, San Diego
  • DMA, Percussion Performance, University of California, San Diego

Courses Taught:
  • Studio Recording I (MUC195)
  • Studio Recording II (MUC196)
  • Studio Recording III (MUC295)
  • Music Business: Merchandising and the Law (MUC109)
  • Music Business: Recording and Mass Media (MUC110)

Teaching/Research Interests:
  • Performance and composition specializing in contemporary and improvised music, audio engineering and production

Teaching Interest/Philosophy: Everything is a collaboration, plan accordingly.


Teaching Philosophy:
  • Everything is a collaboration, plan accordingly.

Professional Activities:
  • PVCC (Residential faculty since 2005)
Office:

Degrees:
  • BM, Music Theory and Composition, Arizona State University
  • MM, Music Composition, Bowling Green State University
  • DMA, Music Composition, Arizona State University

Courses Taught:
  • All levels of Music Theory (MTC101, MTC105, MTC155, MTC205, MTC255)
  • All levels of Aural Perception (MTC103, MTC 106, MTC156, MTC206, MTC256)
  • Music Composition (MTC240)
  • Songwriting (MTC111, MTC112, MTC113)
  • Electronic Music I (MTC191)
  • All levels of Live Sound Reinforcement (MUC197, MUC 198)
  • Student Rock Band (MUP158)
  • Chamber Music (MUP181)

Teaching/Research Interests:
  • Create engaging opportunities for students, faculty, and community members to collaborate and make music together.

Teaching Philosophy:
  • Updating the pedagogy for teaching music fundaments, music theory, and analysis by incorporating wider styles and genres of music used for academic study, including popular music, and world music.

Professional Activities:
  • PVCC (Residential faculty since 2001)
Office:

Degrees:
  • BM, Music Composition, ASU
  • MM, Music Composition, ASU

Courses Taught:
  • Music Theory 1 - MTC 105 / Aural Perception 1 - MTC 106
  • Music Theory 2 - MTC 155 / Aural Perception 2 - MTC 156
  • Music Theory 3 - MTC 205 / Aural Perception 3 - MTC 206
  • Music Theory 4 - MTC 255 / Aural Perception 4 - MTC 256
  • Music Theory Independent Study - MTC 298
  • Introduction to Music Theory - MTC 101
  • Improvisation Ensemble - MUP 181
  • Openscore Ensemble (contemporary classical music) - MUP 181

Teaching/Research Interests:
  • Microtonality and Tuning Systems
  • Advanced Rhythm Techniques
  • Contemporary Classical Music

Teaching Philosophy:
  • Educational experiences occur in a variety of settings: in classrooms, in nature, and in concert. We gain wisdom through collaboration and discussion, upon traveling to foreign lands and listening to unfamiliar music, through the mysterious and exhilarating act of creation, and upon reflection. As a professional teacher, composer, and performer I often ask myself what it means to be an educated musician in the 21st century.
  • The most inspiring and mind-opening educational experiences I have had involved collaborating with people who come from a background different from my own: playing a Transylvanian dulcimer between an Iranian santour player and an Iraqi qanun player in Phoenix Symphony Hall; playing Hindustani music with an Afghan rabab player in a Sikh temple; playing Ligeti in a jazz band; accompanying a troupe of Karnatic dancers on a piano tuned to just intonation; accompanying an Akimel O’odham shaman on a large pipe organ; composing for Swedish and Australian orchestras; playing Klezmer music with a Holocaust survivor. The meaningful connections I have made with people who speak different languages were made possible by the study of music theory and through the practice of improvisation and composition. I teach these tools to my students so that they can understand and communicate with anyone through the universal language of music. Our global community is becoming more interconnected daily, and peace is made possible through understanding and communication. It is vital that our music students engage with musicians from cultures outside of the European tradition.
  • As a teacher of music theory, I observe that students become focused and engaged when concepts are explored creatively, through composition and improvisation. I strive to make theory fun, creative, and meaningful to my students. In addition to rigorously exploring the structure and mechanics of Western classical music, I integrate contemporary pop and jazz music analysis into my classes. My students and I have improvised new music to public domain film footage from NASA. I strive to make my courses inter-disciplinary through the building of original musical instruments in different tuning systems and through the creation of visual art depicting higher dimensional geometry (a tool used for efficiently illustrating harmonic relationships in different tuning systems). My students and I engage in philosophical discussions about the perception of time, the nature of prime numbers, and the science of measurement when studying the physics of harmony and rhythm. After every semester, I reflect on the strengths and weaknesses of each class I teach, and I revise and improve the class for the next group of students. I continuously strive for clarity, engagement, and inspiration.

Professional Activities:
  • Faculty Associate at Arizona State University
  • Composer/Performer
Office:

Degrees:
  • BM, Percussion Performance with a Jazz Emphasis, Arizona State University
  • MM, Jazz Performance, Arizona State University

Courses Taught:
  • Survey of American Music (MHL 155)
  • American Jazz and Popular Music Online (MHL 145)
  • Rock Band (MUL 158)

Teaching/Research Interests:
  • Music History, Music Performance, Improvised Music

Teaching Philosophy:
  • Music Ensembles

Professional Activities:
  • PVCC (Adjunct faculty since 2013)
  • SCC (Adjunct faculty since 2014)
  • GCC (Adjunct faculty since 2017)
  • PC (Adjunct faculty since 2018)
Office:

Degrees:
  • BME, Indiana University
  • MM in Violin Performance, Indiana University

Courses Taught:
  • Applied Violin
  • Applied Viola

Teaching/Research Interests:
  • String Pedagogy

Teaching Philosophy:
  • I use a mastery learning, spiral curriculum approach to teaching private music lessons. This is largely from my Suzuki training which believes that everyone can learn.

Professional Activities:
  • PVCC since 2018, GCC since 1996
  • Principal 2nd Violin, Arizona Opera - current
  • 1st Violin section, Tucson Symphony Orchestra
  • Assistant Professor, Calvin College,
  • Instructor, Eastern Illinois University
  • 2nd Violin section, Phoenix Symphony Orchestra
Office:
Josh Bennett

Degrees:
  • BM, Performance, UMKC Conservatory of Music
  • MM, Performance, ASU School of Music

Courses Taught:
  • MHL 143, MHL 145, MHL 153, MHL 155

Teaching/Research Interests:
  • Research interests include Rock/Jazz/Art/World Music history, cultural history, aesthetics, performance, theory, and philosophy.

Teaching Philosophy:
  • I am an Instigator of Investigation. This means that as a teacher I seek to lead the student towards academic pursuit. Via Socratic & Inquiry-Based methods I encourage the student to seek both answers and questions on their own.

Professional Activities:
  • PVCC adjunct professor since 2010
  • Teaching Assistant at ASU for Daniel Bernard Roumain from 2016 - 2018
  • Private instructor at Rosie's House: A Music Academy for Children since 2016.
Office:
Dr. Lee Ann Chivers

Degrees:
  • BM, University of Redlands
  • MM, University of Redlands
  • DMA, Arizona State University

Courses Taught:
  • Survey of American Music - MHL 155
  • Chamber Music/Flute Ensemble - MUP 181
  • Flute Choir - MUP 185
  • Private lessons/Flute - MUP 101, 151, 201, 251

Teaching/Research Interests:
  • Pedagogical practice for flute and for general classroom teaching; teaching tools for all levels of flute instruction, to better assist flutists to improve their skills wherever they are in the process.

Teaching Philosophy:
  • As a teacher, I strive to help students to "learn to fish" rather than to simply "hand them a fish." I believe in an inquiry/answer model for most situations, I also believe people learn in different ways, and pursue different modes of teaching to assist differing modes of learning. I also feel strongly that understanding concepts is more important than individual "facts" in most cases.

Professional Activities:
  • Member of several professional organizations (the American Federation of Musicians; the National Flute Association; Associated Chamber Music Players)
  • Adjunct Instructor on faculties at various Universities and Colleges since 1990
  • Adjunct Instructor at PVCC since 2009
Office:
Michael Ferraro

Degrees:
  • BS Communication
  • MM Music Education

Courses Taught:
  • Rock Music & Culture (MHL153)
  • Song & Melody Forms (MTC112)
  • Songwriting Techniques (MTC113)
  • Private Instruction:Guitar (MUP101)

Teaching/Research Interests:
  • Guitar, music technology, musical creativity, music history.

Teaching Philosophy:
  • Social Constructivism, growth mindset, lifelong learning.

Professional Activities:
  • Private Guitar Instructor
  • Music Performer
  • Beat Lab Facilitator
  • Community Musician
Office:
Dr. Grieser

Degrees:
  • BA Music Education
  • MEd Counseling
  • DMA

Courses Taught:
  • MUP 181 String Ensemble

Teaching/Research Interests:
  • My current research interests include pedagogical content knowledge (PCK) in music education settings and the instructional challenges that occur due to limited content knowledge. Additionally, I am interested in further research in content-specific and pedagogical-specific knowledge as it relates to preservice and professional development curricula for music teachers. My doctoral dissertation was a study of string specialists’ and non-string specialists’ content knowledge and pedagogical knowledge of string-specific techniques. The findings from the research support previous studies that suggest teachers with limited content knowledge might choose less challenging instructional strategies.

Teaching Philosophy:
  • I have extensive experience as a music educator and have taught a variety of music classes over the past thirty years. Some of the classes have included chamber music ensembles, general music, string orchestra, world of music and theatre. I have developed string orchestra curriculum, curriculum maps and district assessments for music education courses. I have demonstrated exemplary pedagogical skills and knowledge in music education. Moreover, I am passionate about technology-based music instruction. As a music educator, I have integrated a variety of technology-based music instruction into the music classroom.

Professional Activities:
  • PUBLICATIONS/CONFERENCE
    • American String Teachers Association
    • ASTA Research Poster Session 2018
    • Pedagogical Content Knowledge and Preparation of String Teachers
    • Tanglewood Conversation
    • Boston University, 2017
    • Arizona Music Educators Association
    • Teaching Strategies for the Intermediate String Class, 2017
    • Strategies for String Technique: Shifting, Vibrato and Spiccato Bowing, 2016
    • Massachusetts Music Educators Association
    • Strategies for String Technique: Shifting, Vibrato and Spiccato Bowing, 2017
    • Midwest Band and Orchestra Clinic
    • Desert Vista Chamber Ensemble, 2017 SERVICE TO PROFESSION
    • Arizona Band Orchestra Directors Association
    • Vice-President - Junior High Orchestra Activities, 2007-2011
    • Kyrene Music Fine Arts Steering Committee
    • Teacher Representative, 1997-2015
    • American String Teachers Association-Arizona Chapter
    • Secretary, 1995-1997
  • MEMBERSHIPS AND SERVICE
    • American String Teachers Association
    • Kyrene Music and Fine Arts Association
    • National Association for Music Education
    • National Education Association
    • Society for Music Perception and Cognition
    • Technology Institute for Music Education
Office:

Degrees:
  • All in the field experience working with some of the biggest names in the industry. Currently #20 on the Billboard charts

Courses Taught:
  • Digital audio workstation 1, Digital audio workstation2, Live Sound, Introduction to audio mixing techniques, Electronic dance music production.
  • Teaching/Research Interests: Furthering the use of digital modeling to make recording affordable for students

Teaching/Research Interests:
  • Furthering the use of digital modeling to make recording affordable for students

Teaching Philosophy:
  • Appeal to all senses when teaching and never be boring. I teach using visual/TV presentations, they listen to me talk about more than just a book, they hear and physically do what is being taught hitting all the senses. I try to teach how I wish I was taught.

Professional Activities:
  • John Keenan is a famed music producer who has produced, remixed, and mastered releases for top artists such as Beyoncé, Pet Shop Boys, Kelly Clarkson, Missy Elliot, Philip George, Kelly Rowland, Billie Ray Martin, and countless others. With 12 top 25 Billboard charting hits from 2016 until today and several #1 singles on the Billboard Dance Chart, John is highly attuned to current musical trends.
  • John got his start at age 19 as an intern at Clearwater Studios in Seattle, WA. In 1996, John founded JCK Music Productions and formed a partnership with esteemed DJ and songwriter, Mark Picchiotti (owner of Blueplate Records). Since then, Keenan has worked with the industry’s biggest names, producing Frank Stallone’s rendition of “Take You Back” (for the iconic film Rocky Balboa) as well as nearly 2 albums of material for actress Michelle Johnson (Blame It on Rio). John is also a globally renowned remixer, being featured on releases alongside Grammy-winners Babyface and Dave Dave Audé. Recently, his remix of "GLTCHLFE" by actress Taryn Manning (of the hit Netflix series Orange Is the New Black) went #1 on the Billboard Dance Chart.
  • In addition, John Keenan is a supremely skilled mastering engineer with 25+ years of experience and knowledge at his disposal. As he continues to work with acts such as Mary Wilson (of The Supremes), develop upcoming artists, and produce killer remixes that climb the charts and rock the house, Keenan is truly a tastemaker.
Office:
Mrs. Snezana Krstic

Degrees:
  • Bachelor in Music, Belgrade University School of Music, Yugoslavia/Serbia
  • Specialization (Stazirovka), Moscow, Tchaikovsky Academic Music College, Moscow State Conservatory, Russia
  • Master Degree in Piano Performance, Belgrade University School of Music, Yugoslavia/Serbia

Courses Taught:
  • Private Instructions: MUP 101, 102, 131, 151, 152, 201, 202, 251, 252
  • Class Piano: MUP 131,132, 231, 232
  • Piano Ensemble: MUP 181

Teaching/Research Interests:
  • In her native Yugoslavia (Serbia) Snezana Krstic was active as a pianist, professor of music, and a member of several chamber ensembles and the recipient of numerous awards for piano solo and chamber ensembles. As a student she received a prestigious City of Belgrade October Award in 1982.
  • For 15 years, she was a professor of piano at the Kragujevac School of Music, where she received the award for best pedagogy results. Mrs. Krstic has performed in Italy, Russia, Germany, France, and Hungary. Since she moved to the United States (1999), she joined the Music Teacher National Association and is an active member of the Phoenix Music Teacher Association. She has been the chairperson of the PMTA Celebration of Music (now Caroline and Dean Elder) Piano Competition (2009-2011) and regularly judges for Arizona Study Program piano examinations and piano competitions. She frequently performs as a soloist, and with chamber ensembles. She is the Founding Director of the Arizona Piano Institute, a one-week summer program designed for aspiring young pianists pre-college and college level. She resides in North Phoenix, with her husband and three daughters.

Teaching Philosophy:
  • "Learning music is a long and meaningful journey, one filled with passion, and devotion. Throughout my long teaching career (since 1985), I've had the pleasure of working with students of wide-ranging musical backgrounds, skill levels, ages and cultural traditions. Many became pianists, pursuing performance careers and raising their own students. Others chose different occupations. But all of my students have one thing in common: a life-long love of and appreciation for music!

Professional Activities:
  • PVCC Adjunct Faculty member since 2004
Office:
Pamela Morita

Degrees:
  • Bachelor's and Master of Music

Courses Taught:
  • Music Ensemble Jazz Combo
  • Private jazz piano lessons

Teaching/Research Interests:
  • Jazz concerts and jams

Teaching Philosophy:
  • Practice is important, but it is also important to go out and play to get experience

Professional Activities:
  • PVCC Adjunct Faculty member since 2011
Office:
Ashley Oakley

Degrees:
  • DMA, Arizona State University
  • MM, Arizona State University
  • BM, The University of Nebraska-Lincoln

Courses Taught:
  • MHL 155
  • MHL 153

Teaching/Research Interests:
  • Music and culture

Teaching Philosophy:
  • Music and culture

Professional Activities:
  • PVCC adjunct faculty since 2013
Office:
Anthony Obr

Degrees:
  • BFA, Digital Art, Arizona State University

Courses Taught:
  • Electronic Music I (MTC191)
  • Electronic Music II (MTC192)
  • Electronic Music III (MTC291)
  • Sound Design I (MUC122)
  • Multi-Media Ensemble (MUP181)
  • Computer Based Sound Synthesis (MTC193)

Teaching/Research Interests:
  • Electronic music and sound design with an emphasis on synthesizers, and specifically modular synthesizers.

Teaching Philosophy:
  • I believe in teaching electronic music as a technique similar to learning any acoustic instrument. I do this primarily through hands on activities in the classroom utilizing a variety of hardware and software synthesizers.

Professional Activities:
  • PVCC (adjunct faculty since 2014),
  • Principal sound designer for echo:system multi-media performance since 2013
  • Various work in sound design and composition

Degrees:
  • BA, Jazz Studies, Arizona State University
  • MA, Jazz Studies & Improvised Music, University of Washington

Courses Taught:
  • MHL 155 - Survey of American Music
  • MTC 101 - Intro to Music Theory
  • MUP158 - Rock Band
  • MUP 101/102 - Guitar Instruction

Teaching/Research Interests:
  • Music Performance, Improvisation, Composing, Songwriting

Teaching Philosophy:
  • I ask all my students to come to class with an open, humble mindset. Through music, I aim to help students dive inward to identify the harmful habits while simultaneously building up a new, healthy routine that will lead to a richer, more efficient, musical life.

Professional Activities:
Office:

Degrees:
  • Doctorate of Musical Arts, Arizona State University
  • Master of Arts in Ethnomusicology, Arizona State University
  • Master of Music in Clarinet Performance, Arizona State University
  • Bachelor of Music (clarinet) and Anthropology Minor, University of Miami (FL)

Courses Taught:
  • Survey of American Music (MHL155)
  • Music and World Cultures (MHL143)
  • Rock Music and Culture (MHL153)
  • American Jazz and Popular Music (MHL145)
  • Private Instruction: Clarinet (MUP101AD)

Chamber Music Ensemble (MUP181)


Teaching/Research Interests:
  • Katherine Palmer, clarinetist and educator, enjoys a multifaceted musical career and works as a performing musician, educator, and arts administrator. Katherine performs with the Mill Ave Chamber Players and has appeared with a variety of musical groups throughout Phoenix and Arizona. Currently the Curator of Education at the Musical Instrument Museum in Phoenix, she is in charge of developing, teaching, and training others to deliver educational content. Additionally, Katherine is an adjunct instructor of clarinet and music humanities at Paradise Valley Community College, a Faculty Associate in the Herberger Institute of Design and the Arts at ASU, and maintains a private teaching schedule.
  • Katherine is the Executive Director of Daraja Music Initiative (DMI), a non-profit organization that provides music and conservation education in Moshi, Tanzania during the summer months to primary and secondary students. Aiming to bridge the arts and sciences, DMI promotes sustainability of African Blackwood trees that clarinets – and other instruments – are constructed from.
  • In addition to frequent national and regional appearances, Katherine has also presented papers, workshops, and performances at international conferences for College Music Society (2013, 2017), International Clarinet Association’s ClarinetFest (2014, 2015, 2016, 2017, 2018), and International Society for Music Education (2016). Katherine completed her undergraduate studies at the University of Miami (FL) in clarinet performance with a minor in anthropology and a Masters of Music in clarinet performance at ASU. She holds a Doctorate of Musical Arts in clarinet performance and Masters of Arts in ethnomusicology from ASU, as well. Her primary teachers include Anthony Ciccarelli, Margaret Donaghue, and Robert Spring.

Teaching Philosophy:
  • Katherine is passionate about arts-integrated learning, world music pedagogy, ethnomusicological influences on contemporary compositions, and object-based museum education.

Professional Activities:
  • Member: College Music Society, Society for Ethnomusicology, International Clarinet Association, Early Childhood Music and Movement Association

Degrees:
  • Shepherd University Los Angeles, M.A. in Film Scoring
  • Longy School of Music of Bard College, Master of Arts in Teaching (MAT)
  • Arizona State University, Doctor of Philosophy in Music (Ph.D.) 2018-21

Courses Taught:
  • MUP 181 Latin Jazz Ensemble

Teaching/Research Interests:
  • Multiculturalism and global perspective through engaging students in performing music from different areas in the Caribbean and South America.

Teaching Philosophy:
  • As music theory and ensemble instructor, I feel joy in teaching music theory through comprehensive musicianship to my community college Latin jazz ensemble. In my class, I have the opportunity to share different topics related within music theory such as form, key signature,
  • time signature, modulation, sight reading, melodic, and harmonic analysis within the pieces.
  • Teaching music theory in this context allows the students to apply what they instantly learn in class. I remember one time, my students asked me why the baritone sax was repeating the same melody and rhythm during the piece, and I explained them the concept of “Ostinato “a composition technique where a musical phrase or rhythm is frequently repeated. Consequently, I exposed them to different examples of ostinato within different styles, genres, and periods. I believe it was a fascinating moment to see the students learned music theory in context as part of their comprehensive musicianship learning process. I seek a balance in my classes between concepts and skills as a crucial strategy to reinforce not just lecture but also listening activities as an important part of developing musical intuition.
  • As part of my class, I like my students to sight-read and analyze a variety of musical styles such as South American, The Caribbean, and Middle Eastern folk music as part of their world perspective education. It allows the students to have a different worldview through music, understanding of other cultures, and develop important professional skills such as adaptability and communication to seek understanding of other cultures’ music. I feel that each class is a transformative moment of learning and teaching. Therefore, what we hear, learn, and teach is a result of what we think about music (Schippers 2010). I aim to select world and pop music as part of my curriculum because sometimes these types of music have an interesting harmonic progression, melodic shape, and a distinctive rhythmic pattern.
  • Another activity in my classroom is to encourage my students to work in small groups analyzing music pieces and gaining skills such as collaboration, problem-solving, and ethics. This allows me to shape their learning process in context and using a growth mindset approach, believing in each students’ true potential is unknown (and unknowable) (Dweck 2016). Further, during the group work activity, students could be assessed through formative assessment.
  • An inclusive learning environment is crucial for a cultural and diverse classroom. I aim for each of my students to share their musical experiences in their home countries or cities. I found this really helpful because it allows a reflective moment on the importance of the global perspective as part of a multicultural classroom. As a music instructor, it is my responsibility to empower each student to bring what they know to then classroom and facilitate a welcoming and safe environment for them. When I work with my students in a class, I can get a sense of a mutual learning space. It also allows me to express my expectations and the importance of learning as an enduring life skill.

Professional Activities:
  • Learning and Engagement for Adjunct Development (LEAD) conference
Office:

Degrees:
  • D.M.A. Saxophone Performance, Arizona State University
  • M.M. Saxophone Performance, University of Oregon
  • B.A. Music, University of Northern Iowa

Courses Taught:
  • MHL 145 American Jazz & Popular Music
  • MHL 155 Survey of American Music
  • MHL 153 Rock Music & Culture
  • Private Saxophone Instruction
  • Jazz Improvisation

Teaching/Research Interests:
  • Saxophone performance, American music history, African-American music, jazz improvisation

Teaching Philosophy:
  • As a saxophonist and woodwind player, Scott Zimmer has performed and recorded in a variety of musical styles ranging from commercial to jazz to classical.  Performances include a West Coast in April 2001 tour with the brass and percussion group Proteus 7, and a jazz performance in July 2000 at the World Saxophone Congress in Montreal, Quebec.
  • Dr. Zimmer maintains a busy performance schedule with a variety of Phoenix, AZ-based groups such as Jiggle, The Hamptons Band, The Santan Swing Band, and The Cal Tjader Project, along with guest performances with The Noodles, The Great Gig in the Sky, and various other musical projects.
  • As an educator, he currently teaches courses in music humanities at Paradise Valley Community College, music humanities at the University of Arizona North Valley, and saxophone at Grand Canyon University.  Previously, he has served on the faculty at Glendale Community College, Arizona School for the Arts, Eastern New Mexico University, and the University of Oregon. He is also a freelance musician and educator in the Phoenix area.
  • Dr. Zimmer has appeared on a number of commercially available recordings including Jazz with the Marohnic, Pilafian, Hopkins Jazz Nonet (Summit Records DCD-227), and Meltdown with The Pilafian Project (Summit Records DCD-229).   Dr. Zimmer has also performed with such artists as Bob Berg, Gene Bertoncini, The Coasters, The Del Vikings, Jon Faddis, The Four Tops, Dick Hyman, Mel Martin, Bob Mintzer, Dick Oatts, Sam Pilafian, Don Rickles, Diane Schurr, Bobby Shew, Paul Smoker, Marvin Stamm, Michael Jeffrey Stevens, The Temptations, Steve Turre, Frank Vignola, Bill Watrous, and James Williams.
  • Dr. Zimmer holds a Doctorate of Musical Arts degree in Saxophone Performance from Arizona State University.  He also holds a Masters degree in Saxophone Performance from the University of Oregon and a Bachelor of Arts degree in Music from the University of Northern Iowa where he performed with the award-winning UNI Jazz Band I.

Professional Activities:
  • Professional musician locally and regionally performing in a variety of styles.
  • Member of the American Federation of Musicians
  • Instructor of Music Humanities at University of Arizona North Valley
  • Instructor of Saxophone at Grand Canyon University