Jaron Gregory Deming
Jaron Deming is a native of Greenville, South Carolina. At the age of 9, he began taking piano lessons while attending Bob Jones Elementary School, and a year later began formal flute lessons with Amanda Barrett. In pursuit of a music education degree, Jaron enrolled at Anderson University in Anderson, SC under the instruction of Leah Wilson. While at Anderson University, Jaron became principal flute in all school ensembles, and went on to win principal flute in the SC Band Directors Association Intercollegiate Honor Band. Jaron also won the Anderson Symphony Orchestra Concerto and Aria Competition. After completing his degree, Jaron served for a season as principal flute of the Anderson Symphony Orchestra, and solo piccolo of the Anderson University Wind Symphony.
Jaron later obtained a Masters of Music Performance from UNC School of the Arts under the instruction of Dr. Tadeu Coelho. Jaron served multiple times as principal flute of the UNCSA Symphony Orchestra, and was a finalist in the 2022 UNCSA concerto competition. Jaron is now actively pursuing opportunities in conducting, and plans to build his own community symphony orchestra program and later pursue a doctorate in orchestral conducting.
My Teaching Philosophy:
Educating the Whole Musician.
I hold the belief that the strongest musicians are people who possess an adaptive and flexible understanding of concepts not only in their genre, but also in concepts that belong to the broader understanding of music as a whole. In today’s world, many students are forced or redirected into avenues of musical practice that diminish the value of individualized musicianship. This is not to say that the technical prowess of students is diminished, but their intellectual maturity often greatly suffers at the expense of spectacle or accomplishments. Without the development of creative potential within each student, what can an instructor hope to change about that individual? To reap the true benefits of a music education, a student must be equipped with the tools he or she needs to fully understand musical context. With musical context comes the development of restraint, discipline, study, and general intellectual thought. These are concepts that are so readily dismissed at the public education level, but are necessities in the development of musicians as self-sufficient entities. Listed below are the four major areas I address in an attempt to education the whole musician.