Teaching
Liora is a teaching artist dedicated to bringing the joy of music-making to everyone through high-energy classes and performances. Liora is currently on the faculty at Marymount School of New York as a clarinet and violin teacher and previously served as an adjunct professor with NYU’s Clarinet faculty, where she taught private lessons and led a monthly studio class. She is a teaching artist with Third Street Music School's Partners Program, through which she teaches woodwind group classes at PS 99. Liora also teaches group exploratory music classes to children aged 2-5 at Just Accessible Music in Astoria, Queens. In the Fall of 2024, she served as a teaching artist with Musical Mentors Collaborative's Explorers program, leading group introductory music lessons including drum circle, recorder, keyboard, and ukulele to students at PS 2 and PS 164. Liora maintains a vibrant and growing private studio with clarinet, violin, and viola students of all ages in NYC.
Resume available upon request.
Teaching Philosophy
As a teaching artist, I believe that music-making should be an accessible, joyful, and empowering experience for all. My goal is to foster a lifelong love of music in my students by creating an engaging and supportive learning environment that encourages curiosity, exploration, and creative expression. I incorporate elements of the Suzuki, Kodály, and Dalcroze methods into my teaching to provide a holistic and well-rounded musical education. Beyond technical proficiency, I believe in nurturing the whole musician—physically, mentally, and emotionally, through strategic work on injury prevention and performance anxiety coaching. My work with diverse ensembles and educational programs has reinforced my belief that music is a collaborative and communal art form, and I incorporate this philosophy into my teaching by emphasizing ensemble playing, active listening, and shared musical experiences.
Drawing from the Suzuki Method, I emphasize learning by ear, developing strong foundational technique through repetition, and creating a nurturing environment where students build confidence and musical fluency. I believe in the importance of parental involvement, particularly for younger students, to foster consistent and positive musical experiences at home.
The Kodály approach informs my work in group settings, particularly in my introductory music lessons. I integrate singing, solfège, and movement to develop strong internal rhythm and pitch awareness before applying these skills to an instrument. This method is especially effective in ensemble teaching, where students develop aural skills and musical literacy in an intuitive and engaging way.
Inspired by Dalcroze Eurhythmics, I incorporate movement-based learning into my teaching, using body awareness and kinesthetic exercises to help students internalize rhythm, phrasing, and musical expression. Whether through guided improvisation, conducting exercises, or rhythm games, I encourage students to feel music physically before translating it to their instruments. This approach is particularly useful for young musicians, helping them develop coordination, musical responsiveness, and a deep connection to their playing.
Injury prevention is a key component of my teaching, and I emphasize healthy posture, efficient playing techniques, and body awareness to help students develop sustainable habits. I incorporate elements of Alexander Technique and Feldenkrais-inspired exercises to encourage relaxed and natural movement while playing, reducing tension and the risk of overuse injuries.
I also address performance anxiety, helping students develop confidence and resilience on stage. Through mindfulness practices, breathing exercises, and mental preparation strategies, I teach students how to manage nerves and channel their energy into expressive, focused performances. I encourage a growth mindset, emphasizing progress over perfection and helping students develop self-compassion and confidence in their musical journey.
As a performer dedicated to amplifying underrepresented voices, I also encourage students to explore a wide range of repertoire, introducing them to composers and styles beyond the traditional classical canon. By exposing students to diverse musical perspectives, I aim to broaden their artistic horizons and inspire them to find their unique voices as musicians.
Ultimately, my teaching is centered around the idea that music is for everyone. Whether my students are beginners in a group class, advanced players refining their craft, or young musicians discovering the clarinet, violin, or viola for the first time, my role is to provide them with the tools, confidence, and inspiration they need to make music a meaningful part of their lives.