"Coming from Russia, I have created my teaching style by blending Russian tradition with what is valuable in American instruction and my own discoveries. I've written a book based on my own discoveries in developing pitch recognition. I have now also practically finished a book, Art of Modulation, which became the basis for a prototype course I am teaching."
"The main thing in teaching composition is to create an atmosphere in which the natural gifts of the students flourish. That atmosphere depends, I think, upon the ability to enter the world of students' compositions—to let go of your own style when you look at your students' compositions. Whenever any composer, no matter what the age, brings me a composition, as I start to play it, I forget about my own musical world and my own musical style. For that moment, I enter the mind of that person to such an extent as to be able to look at this composition as if it is mine."
"One of my goals is to prepare my students very well to continue their education. For me, the main thing, first and foremost, is that you should develop a commitment to what you are doing in music. This I brought from Russia. My teacher told me that you are totally responsible for each note that you write down on paper. What you are doing becomes a sacred thing in your life, something that makes your life worth living. In a way it is as important as your natural talent. This is a sacred service that we have for our art."
"Every time I look at a student, I dream of seeing an all-around musician. We need to make clear to our students that professionalism implies that they know a lot about everything in music. This is of crucial importance. Professionalism is the knowledge and ability to understand every aspect of music and have broad involvement in music."