Emily Threinen: Music’s North Star

Often, Threinen makes teaching rather than conducting her priority. “If an ensemble is having trouble hearing and playing with a steady internal pulse, a beautiful stick technique will likely not solve the problem,” she says. “With developing ensembles, I think much less about my conducting and much more about my teaching. Certainly, the two work together, but if the musicians need attention on fundamentals, especially related to hearing beyond themselves, I have to put my own desire to conduct aside to ensure we are achieving what is most important in the moment.”

Threinen has officially gone from student to teacher — full circle at her alma mater, no less — but she’s not done learning. Her style is creating a positive teaching approach, preferring the carrot to the stick.

“I have high standards for my ensembles and for myself, and I try to show this through my enthusiasm, joy and passion for the work and not with disappointment that it doesn’t sound as excellent as it could,” Threinen says. “Certainly, there are rehearsals where I get frustrated, but I try not to use my frustration as a motivator. I have discovered that sometimes this can make the learning process more about my goals and less about the students, the composer or the music. Finding ways to stay positive in my teaching is one aspect that keeps me growing.”

This thinking furthers Threinen’s view of what it means to be a music teacher. “At the core, I believe the role of a music educator, conductor and music advocate is that of a servant,” she says. “We serve those who are in our classrooms, ensembles, community, institutions and beyond.”

Threinen’s passion and overall approach hasn’t gone unnoticed by her peers. “She is tenacious in pursuing, uncovering and unleashing the potential within the players to realize what she has imagined the music to be,” says Threinen’s friend, Dr. Travis J. Cross, the chair of music at the University of California, Los Angeles.

Directional Aid

She is not afraid to tell students when the work isn’t their best. With developing ensembles, she shares how musi­cians can practice to improve and what specifically needs to be addressed instead of just saying that a passage doesn’t sound good or accurate.

“My goal is to create a productive, engag­ing and professional environment,” Threinen says. “I don’t like to have tension in the rehearsal space for me or for the ensemble. I’m quite intentional in my verbal directives, and I try never to make an individual feel bad about themselves. I strive to be positive and encouraging with every group I stand in front of, regardless of ability, age or experience.”

When it comes to working with students with varied capabilities, teachers and con­ductors have a tough decision of where to set the bar. “I try not to set my standard to the lowest or highest denominator; I shoot for three-fourths of the way up,” Threinen says. “I don’t want to make our collective goals unattainable, but I want to push all of my students and ensemble members beyond what they think they can do. People tend to rise when they’re challenged.”

For those students at the top, Threinen encourages teachers to help them find ways to branch out and excel outside of school by taking private lessons, auditioning for competitions and honor ensembles, and performing with regional youth or community ensembles. When she was a high school teacher, Threinen worked with high-achieving students through chamber ensembles and the International Baccalaureate music program, which focused on critical and independent thinking. She also mentored students to use their active listening and other skills to identify composers, cultures, periods and styles in the Minnesota Music Listening Contest.

Threinen knows firsthand the importance of teachers, particularly in the arts. She credits her high school music teacher, Tim Smith, for encouraging her to pursue a career in music. “I can’t thank all of my music teachers enough or express how much they changed my life,” she says. “I wouldn’t be the same person if it wasn’t for each of them. It’s important that all teachers and professors know that they make an incredible impact on students’ lives, often in ways they may never know.”

This article originally appeared in the 2019 V4 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.