Louis Bergonzi

Professor of Conducting & Music Education/Strings, Music Education Division Chair, Conductor of the UI Philharmonia Orchestra

Kodály Musical Training Institute; B.M., cum laude, Boston University; M.M., Music Education, and Ph.D. Music Education, with cognates in Orchestral Conducting and Educational Foundations and Policy Administration, University of Michigan

Music Education, University of Illinois

BIOGRAPHY

Louis Bergonzi was appointed to the University of Illinois faculty in 2005. Prior to that appointment, he was on the faculty of the Eastman School of Music for 16 years, and earlier he held positions in various public school systems in Massachusetts.

A frequent presenter at regional, state, national, and international teachers' conferences, Bergonzi's areas of expertise include orchestra rehearsal technique, conducting, and string teaching, particularly in an urban setting. His extensive experience in these areas include acting as director of the Eastman Summer Music Academy for String Teachers (1995-1999); director of the Rochester-Eastman Urban String Project (1997-2005); conductor of numerous all-state honor orchestras; Melbourne, Australia Summer Youth Music (1999-2005); Hong Kong Summer Youth Orchestras (1997); and All-State Intermediate Orchestra at Interlochen (1985-1990).

Bergonzi's research involves secondary data analysis of large-scale, nationally representative data sets to consider issues in the sociology of music education and arts education policy. His efforts have garnered several research grants and fellowships, including Yamaha Music Education Research Project (1995-); National Endowment for the Arts (1993-95, 1997-); and Bridging Fellowship in Public Policy Analysis, University of Rochester (1995).

Bergonzi is author of several books: Rounds and Canons for Strings: Shaping Musical Independence (Kjos, 2003); co-author, Teaching Music Through Performance in Orchestra, Vols. 1 and 2 (GIA, 2001, 2003); co-author, Americans' Musical Preferences (National Endowment for the Arts, 2001); and Effects of Art Education on Participation in the Arts (National Endowment for the Arts, 1996). He has had articles published in American String Teacher, Journal of Research in Music Education, Bulletin of the National School Orchestra Association, and Bulletin of the International Kodály Society. Among his many affiliations are president, American String Teachers Association (1998-2000) and national chair for its Urban Outreach Program (1993-1996); Music Educators National Conference; New York State School Music Association; Society for Research in Music Education; and the National Editorial Board of the Journal of String Research.

Teaching Philosophy

My approach to teaching centers on taking actions based on core beliefs about music and education as a way of modeling certain professional behaviors and sensibilities for my students. I want them to assess critically my actions and orientation as they increase self-knowledge and grow professionally. The beliefs that guide my music education actions-as-teaching include (1) viewing schools as agencies of social progress; (2) expecting access to sequential, comprehensive music education for all children; (3) cultivating the relationship among performers, school-based teachers, and studio faculty at all levels; and (4) situating teacher preparation courses in school settings. Finally, I try to demonstrate, particularly to my graduate students, how the University’s work and the profession of music education, including its research base, are bettered when the university functions as a resource for addressing issues of critical professional importance. In short, my approach to teaching is one that demonstrates and helps students recognize their own potential for professional leadership and problem solving.