Lsns I Non Maj String
Lsns I Maj 1 String
Lsns I Maj 3 String
Lsns II Non Maj String
Lsns II Maj 1 String
Lsns II Maj 3 String
Lsns III Non Maj String
Lsns III Maj 1 String
Lsns III Maj 3 String
Lsns IV Non Maj String
Lsns IV Maj 3 String
Adv Lessons Major 1
Secondary Lessons Maj I
Adv Lessons Major 3
Secondary Lesson Maj
Chamber Music Master
Survey of String Ped
Doctoral Private Lesson
Doc Secondary Lessons
Doc Instr Pedagogy
Chamber Music Doc
- College Music Society. 12/03/2015 - present. Position : Member.
- American String Teacher Assoc. 01/01/2015 - present. Position : Member.
- Music Teachers National Assoc. 01/02/2012 - present. Position : Member.
Teaching is an ever-changing art that requires full attention on the part of the teacher, and – of course – the student. For me, keeping an open mind and approaching each student in an individual manner are cornerstone principles that lead to a finely calibrated balance between incentives and expectations. Being an active and “curious” performer is one of the most important sources of inspiration in my teaching. It keeps me alert, as well as it shows my students that teaching and performing are two sides of the same coin: one cannot exist without the other.
I have, on average, nine undergraduate and four graduate students in my studio. This number of students requires a high level of organization, and I strive to have a clearly organized syllabus describing expectations and defining clear goals for each student. The students are expected to perform in studio class at least twice a semester and be engaged in chamber music to learn how to perform and collaborate with other musicians. I strive to make the student become his or her own teacher, as there is no greater success for a teacher than making him or herself obsolete. One of the first steps in this process is to show the student the importance of being organized: for my undergraduate students, I plan their four-year repertoire trajectory in great detail during their first month of study (two and three year trajectories for MM and DMA students, respectively). This requires extensive review of what they have already covered in order to identify the main areas and styles where their repertoire needs expansion. Each student is therefore required to fill out a detailed Repertoire Assessment Sheet with the repertoire and technical works that they have studied in the past five years. The repertoire selected for study from this point forward is based on making sure that all styles and periods are covered (from Baroque to contemporary), as well as key pieces in the standard repertoire are learned. This procedure enables the student to eventually possess a complete repertoire by the time they graduate: they have become more complete performers and familiar with pieces needed to audition for the top graduate programs nationally, as well as successfully compete in competitions and orchestra and ensemble auditions.
When a student starts his or her studies, I quickly assess strengths and weaknesses in order to “prescribe” a technical and musical program of study that will be both challenging and productive. A typical lesson will start with scales, etudes or other technical studies and evolve into repertoire. My “base-studies” include materials from Secvik (Op. 3 and 8), Schradieck (School of Violin Technics) as well as etudes ranging from Kreutzer to Gavinies. Applying broad principles (both technical and musical) from specific repertoire is an important tool in helping the student become independent. For instance, if the opening octaves in the Beethoven Concerto create problems for a student, a broader investigation into the frame of the hand should take place, so he or she can apply this technique to all octave passages. In the past, I used to ask many questions of the student (what sometimes is known as a “Socratic” approach), but have found that this approach often times leaves the student guessing as to what answer the teacher wants. Rather, I like to display two or more options (i.e., play a phrase two different ways) and letting the student choose. This provides a more efficient way of communicating ideas. Keeping an up-beat and positive atmosphere in lessons is very important to me. I believe that the very intimate setting of one-on-one lessons only works when it is approached as a team-effort.
all under graduate and graduate numbers
Applied Violin Performance
Violin Performance (see syllabus)
- Saarburg International Music Festival. Project Lead: Hasse Borup. Collaborators: Semyon Rozin, Andrew Campbell. Dean's Travel Fund 07/16/2018 - 07/30/2018. Total Budget: $2,000.00.
- University of Utah Chamber Music Workshop. Project Lead: Hasse Borup. Collaborators: Gregory Maytan. FAF Grants 06/09/2018 - 06/14/2018. Total Budget: $12,000.00.
- University of Utah Chamber Music Workshop. Project Lead: Hasse Borup. Collaborators: Lee Trio. FAF Grants, Peter Prier and Sons 06/18/2017 - 06/22/2017. Total Budget: $14,500.00.
- Moab Music Festival Winterlude . Project Lead: Hasse Borup. Collaborators: Michael Barrett. Moab Music Festival, University of Utah 02/06/2017 - 02/11/2017. Total Budget: $5,000.00.
- Saarburg International Music Festival. Project Lead: Hasse Borup. Collaborators: Semyon Rozin. Saarburg Festival, SoM 07/17/2016 - 07/30/2016.
- Moab Music Festival Winterlude Outreach. Project Lead: Michael Barrett. Collaborators: Moab Music Festival. SoM and Moab Music Festival 02/29/2016 - 03/04/2016. Total Budget: $5,000.00.
- Saarburg International Music Festival. Project Lead: Borup. Collaborators: Saarburg Festival. University of Utah College of Fine Arts 07/24/2015 - 08/06/2015. Total Budget: $11,000.00.
- University of Utah Chamber Music Workshop. Project Lead: Dr. Hasse Borup. Collaborators: Dr. Robert Baldwin. user fees, ASUU Funds, Dee Grant 01/01/2013 - present. Total Budget: $12,500.00.
- Guest Artist Timothy Fain, Artist-in-Residence, 2012 Chamber Music Workshop. Project Lead: Hasse Borup. Collaborators: Timothy Fain. Dee Grant 06/30/2011 - 06/30/2012. Total Budget: $3,750.00.
- Chamber Music Outreach. Project Lead: UofU Chamber Music Program. Collaborators: Salt Lake and. Graduate School 01/01/2007 - present.
- The G Major Violin Sonata by Johannes Brahms. UROP Grant funded. Jamie Jackson. 03/18/2015 - 11/10/2015
- University of Utah Graduate Quartet at the Juilliard Quartet Seminar, New York. The quartet was accepted into this highly prestigious and selective program with the legendary Juilliard Quartet. Melissa Combe, Jakob Hofer, Sunny Johnson, Lauren Posey. 05/22/2013 - 05/30/2013
- Sarah Arnesen, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Brecklyn Smith Ferrin, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Mindy Arrington, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Irina Vigil, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Hun Kiu Sung, Doctor of Musical Arts (D.M.A.), Project Type: Thesis. Role: Member.
- Chris Smith, Master of Music (M.Mus.), Project Type: Project. Role: Member.
- Eric M. Burt, Master of Education (M.Ed.), Project Type: Dissertation. Role: Member.
- Sarah Crowther, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Gi Yeon Min, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Rebekah Blackner, Master of Music (M.Mus.), Project Type: Project. Role: Chair.
- Leslie Henrie, Doctor of Musical Arts (D.M.A.), Project Type: Thesis. Role: Chair.
- Leslie Richards, Doctor of Musical Arts (D.M.A.), Project Type: Thesis. Role: Chair.
- Carey Cheney, Doctor of Musical Arts (D.M.A.), Project Type: Thesis. Role: Chair.