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Hi, I’m Bruce Gremo!
I am a teacher at Laurier Academy of Music and Arts in several subjects.
I tutor flute students from grade 3 to adulthood in flute, including juvenile C Flute (flutes for younger children), Alto and Bass flute, and #Shakuhachi. I have expansive experience in music composition, performance and education. I am ‘musically multi-lingual,’ being equally adept in traditional classical performance, world music, improvisation, and cutting-edge high-technology based composition. I also teach composition and music technology, and I offer classes in Found Sound Ensemble. Found Sound is a novel music pedagogy that focusses on listening skills, musical socializing, problem solving and musical leadership skills.
I have 4 decades plus of teaching experience, mentoring students in musicianship rudiments, and assisting them at all levels to discover and achieve their goals. I currently play flute with the #guelphsymphonyorchestra, curate the Musical Flora concert series at St John’s Church DownTown Kitchener (DTK), and perform in several chamber music ensembles. I was a professional flutist based in New York City for 20 years, then based in Beijing for 16 years. I was soloist at venues such as #lincolncenter, #royalalberthall, National Centre for the Performing Arts in Beijing aka #theegg. I am an experienced international performer, but having said all that, have roots in this area and relocated back to K-W 3 years ago.
Education
- 1979. Honors Bachelor of Music in Composition – Wilfrid Laurier University
- Composition with Owen Underhill, orchestration with Barrie Cabena
- 1981. Master of Music in Composition – University of Victoria
- Composition with Martin Bartlett and John Celona, theory with Rudolph Komorous.
- 1991. Master of Arts in Philosophy – New School for Social Research
Thesis title: The Topology of Music – Advisor: Reiner Schurmann - 1993. Eugene Lang Fellowship – Eugene Lang College at the New School for Social Research
- 1995-2006. Sustained Shakuhachi Study, Kinko style Honkyoku with Ralph Samuelson (NYC), Yokoyama style Honkyoku with Kinya Sogawa (Tokyo).
- 2009-2010: Sustained Bansuri/Raga study with Bmippa Bhajantri. Indian Consulate, Beijing.
Awards
- 2004: Interactive Technology Artist in Residence Award at Harvestworks, NYC.
- 2003: Creative Artist Exchange Fellowship, a Japan/US Friendship Commission and NEA sponsored award that enables Fellows to study and work in Japan for six months.
- 2003: Composer in Residence at Civitella Rainieri Foundation in Italy.
- 2002: New York Foundation for the Arts ‘Fellowship in Music Composition.’
- 2002: Artist in Residence at Steim in Amsterdam
- 2002: Artist in Residence at Engine 27, NYC
- 2000: Artist in Residence Award at Harvest Works, NYC
- 1991, 1995, 1996 Meet the Composer grants, NYC.
Video and Animation
Please visit vimeo.com/brucegremo.
Papers Published
- April 2012. “Tele-Media and Instrument Making.” Organized Sound Volume 17 (Issue 01, Networked Electroacoustic Music), published by Cambridge University Press.
- Patented Invention. Digital flute controller instrument. – June 2010. Cilia: a flute controller driven dynamic synthesis system. (US Patent 7,723,605 B2).
Recent Professional History
- 2012-2022: Primary and Secondary School Music Teacher. Daystar Academy, Beijing. (Head of Music, ES and MS music teacher, 2014-19, MS and HS music teacher 2019-22).
- 1987-present: Self-employed composer; improvising, classical, studio session musician; educator.
- 2013-2018: Chamber musician. G-Musica Flute Quartet, Beijing Mozart Quartet, Multiple Flutist Duo.
- 2013-2017: Principal Orchestra Flutist and orchestra soloist. Beijing International Chamber Orchestra.
- 2008-14: Principal flutist. International Festival Chorus Orchestra, aka Peking Sinfonietta.
- 2008-16: Composer, performer. Syneme Telemusic Ensemble. Central Conservatory of Music, Beijing.
- 2008-15: Multiple flutist and improvisor. Muse Ensemble and Multiple Flutist Duo.
- 2010-16: Event contractor and performer, Beijing. Clients have included German, American, Argentine and Indian Embassies. Events have included performances for the German Chancellor Angela Merkel, Former German Ambassadors Michael Schaeffer and Michael Clauss, and Former American Ambassador Gary Locke.
- 2010-16: Fashion show composer and performer, haute couture designer Kathrin Von Rechenberg, Beijing.
Professional Highlights
- 2019: Computer and multiple flute soloist at National Centre for Performing Arts (aka The Egg), Beijing.
- 2018: Chamber music performance; Haydn Mozart and Beethoven at La Plantation, Beijing.
- 2017: Guest principal flute with the Pacific Ocean Orchestra and solo recitalist, Vladivostok, Russia.
- 2015: Beijing Concert Hall solo flute recital with pianist Shen Yue.
- 2014: Solo interactive computer music concert at Roulette, NYC.
- 2009: First Cilia (patented flute controller instrument) performance at D-22, Beijing.
- 2000: Flute soloist under Ornette Coleman’s direction. Knitting Factory Jazz Festival, Skies of America.
- 1994: Flute soloist with Butch Morris. Conduction #44: Ornithology. Charlie Parker Jazz Festival, NYC.
- 1998-99: Synthesist, programmer, multi-instrumentalist. Peter Sellars and Tan Dun. The Peony Paviliion.
- 1999: Xun soloist in Orchestra Theater 1. Tan Dun. Wien Modern.
- 1996: Flute soloist with Chamber Music Society of Lincoln Center, Alice Tully Hall. Conductor Tan Dun.
- 1993-95: Multi-instrumentalist. Muna Tseng and Tan Dun. The Pink (tour).
- 1995: Xun soloist in Orchestra Theater 1. Tan Dun. Proms Concerts, Royal Albert Hall.
- 1989-91: Drone bowl Performer. Raphael Mostel’s “Tibetan Singing Bowl Ensemble.” NYC.
What is my philosophy of teaching, my pedagogical values?
I have spent the past decade developing music curriculums at a private school, for Elementary and Secondary school age groups. It was a privilege and an extraordinary opportunity to work and re-work what musical rudiments mean, and also classroom efficacy and efficiency. It was also my opportunity to hone administrative and leadership skills. For a time, I had two other teachers under my direction. The kids taught me more than I can say.
They taught me – the teacher who teaches listening – to listen more effectively.
General Points
Most beginner and intermediate students learn more effectively in groups. I prefer to teach in small groups of three or four. Twelve students in a class (four groups of three) is my preferred maximum.
I use computer in class for recording, listening, play-along, ear training. This can all be taken home for practice. Directed listening assignments are often required.
Peer approval and public participation are crucial incentives in musical development. If the objective is not clearly to become a professional musician, then the more traditional exam orientation is not the best way to encourage incentive, practice and enthusiasm. On this point, there is a huge adult population, aspiring musicians with no special interest to become professionals, who have much more to gain in groups.
Younger students can easily focus for longer sessions (45 minutes) when in small groups.
Producing quality sound quickly is important to enthusing entry level students about music in general. Further more it is also a way to encourage capable students with a waning interest to reinvest in music making.
Listening skills and exposure to the wealth and diversity of music is a surer way to engendering a sustainable interest in music. That is very true with adult students as well.
Small groups of three or four, are cost effective; four student classes cut the fee for each participant to 25% of a fixed hourly rate. Advanced students are of course most welcome for individual paced lessons; weekly lessons may be too frequent.
Achieving musical goals together is fun! An important word! In groups, other skills are also developed; leadership, problem solving, and socializing.
Inquiry Oriented Education
The first thing I do with a new class, is discover who the students are. It is an ongoing process, but at first a priority. What am I like as a teacher? Personable and available. In the classroom as in the performance world, I am both improviser and composer; prepared both for spontaneous problem solving, and to be the source for received learning, prepared both to be a resource for the unexpected, and to be a guide for anticipating expected outcomes. I typically generate my own class and teaching materials, aspiring to demonstrate through personal command of the topic at hand. Scores are my main primary source, as I endeavor to stay close to listening work. Intelligent listening is ever the root skill. Seminars are different, especially when topics engage readings from history or a current field. My expectation is that students hone existing critical skills and develop new ones for engaging scholarly communities. In all classrooms, the expected outcome is that the student acquire greater independence and discipline as a creator, problem solver and scholar. My intention is to excite their critical faculties. Whether or not they end up teaching, students need to be able to do so to optimally contribute to their respective communities. Teaching is the greatest learning experience, perhaps next to failure. Peer review starts in the classroom.
An effective teacher always seeks balance; between facilitating received learning and encouraging critical skill; between individual creativity and collective initiatives; between personal gratification and social generosity; between uproar and quietude; between control and it’s absence; between scheduled time management and time management oriented to task completion. The mood I hope to sustain; the repose that comes with balance.
Then the teacher can be said to have taught the student how to effectively continue teaching themselves.
Contact Info:
E: LAMA@wlu.ca