Charlie Short

Charlie Short

Percussion

Teaching Days: Thursday

Education:

Master of Education, Carthage College, Kenosha WI, Concentration in Classroom Leadership, Emphasis in Jazz Studies, January 2012.

Wisconsin State Teaching License, K-12 General & Instrumental Music, Aug. 2007.

Masters Research Project: “A Day to Play: Recounting the Three Months and One Short Week of Preparing a Steelband Workshop for Public Performance.”

Bachelor of Music, University of North Texas, Denton TX. December 1996.

College Teaching Experience:

Alverno College, Milwaukee WI, http://www.alverno.edu – Adjunct Instructor of Music, 2010 – 2019.

  • Percussion Methods for Music Therapists, 2 credits
  • Intro to the Arts: Music, 4 credits
  • Private Percussion Lesson Instructor, 1 credit

Carthage College, Kenosha WI, http://www.carthage.edu/ – Adjunct Instructor of Music, Spring 2007.

  • Percussion Ensemble Director
  • Arranger for Carthage Jazz Big Band
  • Jazz History Guest Lecturer
  • Percussion Methods Substitute Instructor

Secondary and Primary Teaching Experience:

Milwaukee Youth Symphony Orchestra (MYSO), https://www.myso.org/programs/steel-bands/ Calypso & Soca Steelbands, Percussion Ensemble, & Jazz Instructor, May 2008 – May 2014.

Kenosha (WI) Unified School District. Percussion Specialist, Sep. 2005 – May 2010.

Paris/Brighton School Districts, Kenosha WI, K-8 General Music Instructor and Band – Director, Sep. 2005 – May 2006.

Hurst/Euless/Bedford, Midlothian, Fort Worth, & Arlington Independent School Districts, (TX). Percussion Specialist and Festival Adjudicator, Sep. 1996 – May 1998.

About: My teaching practices borrow from philosophies which emphasize dialogue in the learning process. This seems natural and a clear rationale since my own discipline of music is, fundamentally, a dialogue of sound. Listening and responding in an atmosphere of respect breaks free of the practice of banking, where the educator makes repeated knowledge deposits into the student.* I believe in providing guidance to students so they are not merely depositories, but rather active participants in the process of rehearsing, performing, and writing music.

* Freire, P. (1970). Pedagogy of the Oppressed. New York: Continuum

Charlie’s Schedule

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