Nuné Melik

I have been teaching for since for more than 14 years now.  A performer with credits from Carnegie Hall, UN, Lincoln Centre, I hold a PhD degree. A by-product of cross-culturalism, I simultaneously learned the principles of different violin schools, researched their traditions, particularities, and distinctions. Extensive touring gave me an advantage to eventually offer my students diverse teaching methods. I accumulated a set of best values that these traditions provided, and my students, besides the specific instrumental skills, are always studying the general music history, learning alternative violin methods, and playing a diversified repertoire.

Having worked with a variety of musicians, I am always concentrating on the mental and physical well-being of my students first. I pay particular attention to mental readiness, self-confidence, and stage-fright control. For instance, I offer my students some breathing exercises or ask them to write a good self-critique as homework. These practices immediately result in visible positive changes.

My students get to the best Universities and schools with full scholarship, become more confident and event start gaining more followers.

During one of my residencies abroad, I was giving a series of masterclasses to the players of the local orchestra. One particular student, I will call her Amanda, was very shy and tense while playing. A talented individual with solid technique, she seemed to be self-conscious and timid in expressing her musical thoughts. I could see immediately that she has a strong character and quite some temperament, so my goal was to make sure I could let it shine

One of the by-products of her shyness was restrained movements which seemed to limit her artistic expression. So, at one of our lessons, I asked her to start playing while walking on the stage. Her assignment was to walk from one end to another, while playing, in order to “take up space” and feel the whole stage. Then, I asked her to come out on the stage like a “diva.” She would go backstage, come out, and I told the audience to be enthusiastic about her appearance, i.e. applaud, make happy noises, and so on.  Amanda had to bow like she is playing at Carnegie Hall and cue to an imaginary orchestra behind her. In the sections of Sibelius, I insisted on her showing the nuances and rits. and crescendos to the conductor. We had to do this exercise a couple of times. At first, she was very uncomfortable and could barely move on the stage. However, at some point, she seemed to enjoy the audience's attention, and collaboration with that “orchestra.” Immediately, her sound became brighter, movements more confident, and technique more brilliant. At the end of that lesson, she had that “winner’s” smile on her face, and that was absolutely precious.

That was one of the most rewarding moments during that residency. Following up with Amanda online and via videos, I noticed that the shyness in her playing disappeared, and she grew into a confident violinist and beautiful artist.