不良研究所

Equally comfortable in a teaching environment as he is performing a solo in front of thousands, Andrew Wan鈥檚 accolades are numerous. In the classroom, Andrew鈥檚 students compliment him for his unwavering and inspiring enthusiasm as well as for his ability to tailor his teaching approach to each student鈥檚 needs. His motto, 鈥渨ith structure comes freedom鈥�, guides his students towards achieving artistic spontaneity and creativity within an organized plan. Current student Elizabeth Hendy writes, 鈥渉is unrelenting ambition for excellence coupled with an unforced sense of humility are what I believe to be remarkable traits in a teacher.鈥�

In celebration of this achievement, we asked Andrew to elaborate on his teaching approach over email.

What is your teaching approach?

My approach aspires to mirror the mentors I had. When I was in Edmonton, I studied with Yoko Oike Wong, who was one of the first people to bring the Suzuki method to Canada. We worked together for nearly 12 years! What made her special was that she consistently had new ideas that she would tell me to have discovered herself. Keeping it fresh, having the humility to try different things, and not be dogmatic - those elements in her teaching kept me interested enough until I realized I was very interested. My next huge influence was the concertmaster of the Edmonton Symphony, a gentleman I idolized and mimicked for years, Martin Riseley. I witnessed on a week-to-week basis his exquisite playing, comportment, professionalism, even how he pronounced certain words. This had a massive effect on me. I wanted very much to be a version of him and before I knew it, simply copying his gestures solved many technical issues I had.

When I transferred to the Juilliard School during my Bachelor of Music studies, I had privilege of working with Masao Kawasaki, who I stayed with for three degrees. A man of few words (this is where we differ, despite my efforts), everything he said had a deep, meaningful impact. The way he could boil down concepts to a phrase, a look on his face, a tiny gesture - I find myself constantly regurgitating those words and conjuring him up. In my Master of Music and Artist Diploma degrees, my time was split between him and Ron Copes, second violinist of the Juilliard Quartet. Mr. Copes is an extremely sensitive man, with enough compassion and patience to change anybody who has the chance to work with him. The overriding theme of his work with me, which I so desperately needed, was: 鈥淲hat is written in the music that inspires you to make that decision?鈥�. This simple, yet profound question fundamentally altered my approach even to works I thought I knew well.

Finally, I find myself constantly asking my wonderful colleagues at Schulich how they address students鈥� issues, be it technical, musical, or behavioural. This is the biggest change in myself I realize I have experienced in the past few years: having the awareness that the teacher/student dynamic is an evolving journey and that I have just as much to learn on the way!

How does your performing career influence your teaching?

I strongly feel the main component that is essential in both teaching and performing is the need to be malleable. I have the pleasure of working with a variety of soloists, conductors, collaborators, and chamber ensembles in my performing life, and with this comes the task of figuring out, in each different set of circumstances, what I need to do and what it is I need to emphasize in order to be a part of an effective performance. I feel my role as a teacher is to help my students realize that, in interpretation, there are many ways to 鈥渟kin a cat鈥�, and that we need to be prepared to navigate the complex and nuanced world of differences of opinions, backgrounds and styles. To do this well enough to be in a position to highlight a composer鈥檚 intention in a meaningful and unencumbered way is our privilege! It goes to follow that I have grown to realize my responsibility as a teacher is to be flexible with students who may have different approaches. Continuing to learn to do that has been a deeply satisfying and worthwhile endeavour, especially at a school with an exceptionally talented and enthusiastic pool of musicians.

About the Schulich School of Music Teaching Awards

Each year the Schulich School of Music recognizes faculty members and student instructors for their outstanding contributions. The Schulich School of Music聽Teaching Awards聽recognize excellence, commitment and innovation in teaching, and the importance of these qualities in the academic experience of students at 不良研究所. Prizes are awarded annually to each winner at Spring Convocation.