Paula Chan Bing

MM, Flute Performance, Indiana University; BA, Music Education, University of Maryland

Flute, Chamber Ensembles

Faculty since 2015

Washington D.C.

Assistant Principle flutist of the Xalapa Orchestra (Vera Cruz, Mexico); performances with the Brooklyn Philharmonic, Philharmonia Virtuosi, Queens Symphony, Harlem Festival Orchestra, Opera Ebony, Dance Theatre of Harlem, Alvin Ailey, and the Chinese Music Ensemble of New York. Solost with the Brooklyn Philharmonic Orchestra, the Vanderbilt Chamber Symphony of Long Island. Flute/piccolo and Asian flute soloist for the Broadway production of Miss Saigon. Performances on western and world flutes for numerous documentaries, and with the World Myth and Music Ensemble. Recordings with Celine Dion, Oud virtuoso Simon Shaheen, and on The Billie Holiday Songbook with composer Terrance Blanchard, as well as on numerous movie soundtracks, including Malcolm X and other Spike Lee projects.

Served as Associate Director of Juilliard’s first interactive CD-ROM project, The Juilliard Musical Adventure, which won two Codie Awards in for “Best Innovative Use of Sound and Music in a Software Program” and “Best Middle School Educational Music Software Program. Teaching activities include creative music education specialist for the Kennedy Center, Los Angeles Music Center, Lincoln Center Institute, Midori and Friends Foundation, New York Philharmonic, and Jazz at Lincoln Center, and Young Concert Artists International. Current faculty, Music Advancement Program at The Juilliard School, Rockland Conservatory of Music; former faculty, Indiana University.

The Latin root of the word “educate”—is“educe,”– to bring forth that which is within. Learning to play an instrument can help bring forth the talents and passions within any child or adult, enhancing their lifelong relationship with all music. For me, one of the greatest joys, and challenges, in playing the flute is the development of a beautiful tone–our musical voice. Our lessons will also focus on the use of the body in tone production and learning about performance practices through many styles and genres of musical repertoire. While a teacher must point out a student’s challenges, she must also guide musical growth to transform those challenges into hope. This includes helping develop practice techniques and clarifying the all-important role of parents. I also encourage communication between myself, the student, parents, the Music Conservatory of Westchester and, at times, the school music teacher. Learning to play the flute can be an exciting journey, but it is also a vehicle through which students can develop commitment and discipline through the joys of creative discovery and self-expression—all of which are transferable to their life skills and development as human beings.