Lori Hennessy, a 2023-24 University Fellow, is on a path to becoming a leading voice in shaping inclusive cello pedagogy. Her journey is as intricate and compelling as the music she plays.
As a doctoral student in cello performance at the University of Arizona School of Music, Hennessy combines her passion for music with a deep commitment to making music education accessible and inclusive.
Her musical journey
Her musical journey began with a BM in cello performance, followed by an MM in cello performance and Suzuki pedagogy from the Cleveland Institute of Music. Her rigorous training laid a solid foundation for her career, and her decade-long experience as a cello instructor in the San Francisco Bay Area honed her skills in nurturing young talent. Teaching children as young as three, Hennessy developed an interest in body ergonomics and the evolution of cello pedagogy.
Lori’s decision to pursue her doctoral studies at the University of Arizona was influenced by Dr. Theodore Buchholz, her primary instructor at the School of Music and a prominent figure in cello pedagogy. Dr. Buchholz’s involvement in the American String Teachers Association and his publication record inspired Lori to envision a future where she, too, could contribute scholarly work to the field.
University Fellows
“Dr. Buchholz’s nomination was a big impact in my decision to come here,” Lori shares. “The University Fellows is hugely supportive, not only financially, but we meet at the Graduate Center every other week, and it’s been supportive in terms of meeting other doctoral students in other fields.”
Buchholz, associate professor and director of the Arizona String Project, said, “Lori Hennessy brings an exceptional teaching tradition to the School of Music that is a huge asset not only to the university, but also to the Arizona music education community. She is the embodiment of inclusive, open, and engaging pedagogy and we are so lucky to have her as a doctoral student at the School of Music.”
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A mentor to younger cellists
She served as the Suzuki Program Coordinator at the nationally renowned Crowden Music Center, a guiding light organization in Berkeley, California. Lori also served as director and instructor at her own Suzuki-based program in San Francisco. She has taught in El Sistema programs in Cleveland, has been active in leadership at national teaching associations.
“In the last year, she has grown as a pedagogue and has been instrumental as a mentor to younger cellists in our program,” said Buchholz. “It has been a joy mentoring her because she shares her passion not only with the university, but beyond, receiving invitations to speak at national conferences, workshops, and more.”
Singing from the Spine
This spring, Hennessey gave an invited presentation, “Singing from the Spine,” at the American String Teachers Association national conference. Buchholz called the presentation “engaging, funny, and filled with valuable content.”
- In June, Hennessy taught at the Intermountain Suzuki String Institute. “An invitation to teach there is a fantastic opportunity and outstanding achievement,” said Buchholz.
- In July, she co-presented a conference session titled “Harmonizing Work-Life Balance: A Sustainable Work Week for Private Teachers.”
- In the fall Hennessy will assume a new position as Studio Teacher Coordinator and Mentor for the String Project. This outreach program provides 70 Tucson children the opportunity to student music at low or no cost. Hennessy will oversee the private lessons, while guiding the School of Music student teachers on how to effectively teach this curriculum to the young students.
Pedagogy with Purpose
Hennessy’s academic and professional pursuits are driven by a desire to rethink traditional cello pedagogy.
“I came here specifically to write about pedagogy. I’ve spent time thinking about the history of Western Classical music and the history of the cello, considering what cello technique looks like when we aren’t centering grown white men. I want to make it more accessible to everybody, every person of every gender and ethnicity.
Women Pedagogues
“The cello is over 400 years old, and for the vast majority of that history the most prominent pedagogues have been men. It wasn’t until white women entered the workforce in the latter half of the 20th century that we started getting female pedagogues. Those women tended to enter the workforce at the bottom of established institutional hierarchies.
“Additionally, they entered the workforce during a time when there was a big push to extend the education of stringed instruments to young children who aren’t strong or large with varying body proportions. These pedagogues responded to this challenge by building streamlined pathways to advanced playing that centered around balance, flexibility, and utilizing the natural weight of the body instead of strength. They also started engaging in asset-based pedagogy (what the student knows is valuable to the learning process) instead of deficit-based pedagogy (the student knows nothing, and the teacher knows everything).”
Her approach prioritizes techniques that lead to comfort and success for all players.
Centering the student’s lived experience
“I am lucky to have trained with Suzuki teacher-teacher trainers like Rick Mooney, Pam Devenport, and Avi Friedlander. They have studied the pedagogy of people like Margaret Rowell and Irene Sharp. Asset-based pedagogy is a framework that allows us to ask if we are centering the student’s lived experience and natural anatomy/physiology as valuable. It’s a way to evaluate the many teaching techniques for success and it helps me make advantageous choices in my teaching.
“Black feminist pedagogy is great for understanding systems of power and influence and identifying injustice. It may be more present in the way I structure my studio or speak about the professional establishment with students and peers.”
That vision aligns with her experience in the Suzuki teaching program, emphasizing body ergonomics and holistic teaching methods.
“There’s a quote by Robert Brault, “The average teacher explains complexity, the gifted teacher reveals simplicity.” My favorite teaching methods involve activities for beginners that … honor a natural system of movement in the body, because ease is an underlying component of consistency.”