Most of your questions can be answered by reading my studio policy and my teaching philosophy listed below. I encourage you to read testimonials about my teaching and to check out performances of my students. Please contact me with any of your questions or concerns. Best wishes on your musical journey!

Teaching Philosophy and Mission Statement

As a teacher, I am committed to addressing the needs of each student as an individual. Everyone learns in his or her own way. I structure my teaching (either Suzuki or traditional method) to optimally match the student’s own personal learning style.My mission as a teacher is to foster creative and independent learning. My approach is to teach students to exercise logic: analyze whatever challenge is facing them and then break down the problem into achievable components. Ultimately, my goal is to teach my students to think and solve problem for themselves.The best teaching is both productive and fun. I believe in goal-oriented – as opposed to time-oriented—lessons and individual practice. Another important concept in my teaching is the balance of compassion, encouragement, and discipline. Playing (and teaching) a string instrument requires dedication.While not every student will go on to become a professional musician, it is my job to give each student the foundation and the best possible training as if they would choose a career in music.To set up violin or viola lessons with Dr. Schmidt, email: jacqueline.m.schmidt@gmail.com or call 612.224.1115.One of Jackie’s students 

Teaching Highlights

My teaching highlights include designing and teaching a university string class, coaching doctoral students for rigorous exams, and presenting my doctoral lecture.In teaching “Basic Strings” for summer session at the University of Oregon, I took a wildly varied group of university students (which included a professional kick-boxer, a punk rocker, a football player, and a doctoral philosophy student) with almost no prior musical training and prepared them in eight weeks for their “final”: a public recital. While most students felt incredibly challenged, every single course evaluation was extremely positive. Most students not only continued violin, but kept meeting together in groups. More than two years after I taught the class, I am still hearing from former students about their violin progress!Here is one of those students, Robin Zebrowski, in that first recital, after only eight lessons. (Assisted by Jennifer Russell, piano, and Jackie.)Robin Zebrowski, Violin, Playing Perpetual Motion from Jackie Schmidt on Vimeo.Another teaching highlight has been coaching doctoral students through their “core exams” in history, theory, and string performance. After passing the rigorous exams (which included being able to trace any genre of Western music from its inception, and being able to recognize and label any listening example from A.D. 1000 until the present), I wanted to help other students study sanely and effectively for the comprehensive tests. I developed a study plan where I would meet with doctoral students (individually and in groups) and take them through the genres of the Western canon as well as coaching them on how to recognize and describe the different genres for listening examples and score analysis. Every student that I coached has passed the exam.My doctoral lecture, “’Monstrosity’ or ‘Molten Gold’? The Viola Performance Practice of Lionel Tertis (1876-1975)” is another highlight. Lionel Tertis is considered by many to be the “patron saint” of the viola, who brought the viola to prominence as a solo instrument. In my research, I found rave, original reviews for the “Tertis style” of viola performance, which was rich in portamento and featured an extremely slow vibrato, usually while performing concert showpieces that were completely unidiomatic for the viola. I went on to find re-issued recordings of Tertis and contrasted excellent reviews from Tertis’s era with the reaction of modern-day critics, who termed his playing (especially the Tertis-composed cadenzas) a “monstrosity.”I researched Tertis’s writings, editions, and treatises for viola players to determine exactly how to reproduce his sound. I demonstrated the difference by playing pieces in both a modern performance and the “Tertis style.” I also acquired a “Tertis Model” viola for demonstration purposes, in order to re-create the style of viola playing that changed the course of the instrument.This lecture was the most-attended doctoral lecture at the University of Oregon School of Music.