Piano, Theory, Songwriting, Music Production & Artist Development | Award-Winning Berklee Alumna and UAL Lecturer

Find out more about Dina

• When did you first develop a passion for music and your favourite instrument?

  When I was 5 years old my favourite game to play was on a Yamaha synthesiser I had back then when I was exploring the options on the keyboard and trying to learn the melodies of songs that were pre-recorded on the instrument. There was an option to play along to the accompanied music and I still remember the feeling when I would play the right notes at the right time with the compositions. It brought me so much joy that I knew I’d do something in music I just didn’t know what exactly because of my broad interests but eventually the passion grew into love and dedication which fuels my work to this day.

• Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  It changes over time but some of my long-term music idols are Jacob Collier, John Mayer, and John Williams. I would say I know their music inside out from countless hours of listening to their songs and compositions that never cease to inspire me.

• Explain to us the most difficult or riveting course you could personally give to a student of music.

  It would have to be composition/production. Purely because it’s so subjective that it’s tough to teach certain aspects of it since there are many angles and ways to create music from storytelling, emotional, and technical stands as opposed to factual knowledge such as music theory, history of music, etc. What I like to do in that case is to give the student all the tools I’ve learned so far to enable them to find their own voice and their own sound which I believe is the most important thing. Being open and curious is the key to it because there is no right or wrong way.

• What do you think is the most complicated instrument to master and why?

  Every instrument is challenging in its own way and depending on your goal (to be a musician in the orchestra or to compose/conduct, produce) the path to mastering it varies. Sitting by the piano or any other instrument for days will not help you improve quicker or better if you’re not focused on what you’re doing. I also believe what the famous cellist Yo-yo Ma said is very true and that is you never get to actually master the instrument in your life because that would mean that there is nothing more left to learn. It’s a life-long school, there’s always space to improve and there is no perfection but all we can do is get closer to expressing our feelings as close as possible to how they appear within us through whichever the instrument that might be.

• What are your keys to success?

  Having a strong sense of why you’re aiming to succeed at something. It can be pure joy or a new skill to develop our minds differently, become a famous guitar player, classical pianist, hit-making producer, or acclaimed conductor. Whatever the goal is, it’s important to know it, own it, and be clear with the intention. If your “why” is sorted, your “how” will follow naturally. Also, a huge part of a success story is to stay with the goal and not give up on the first bump on the road because there will be many, especially in the creative fields but if you’re persistent and believe enough, there’s nothing you can’t achieve. As a real-life experience, that lesson brought me to the Hollywood music scene since my recent award for new/emerging composer at the HMMA in LA, 2022.

• Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  Oscar Peterson, Leonard Bernstein, and Rick Rubin. I would be very eager to hear about their musical paths and how they got there, listen to their life stories and experiences, learn from their advice, and generally see how they are in real-life moments.

• Provide a valuable anecdote related to music or your days at music school.

  The most special moment during my Berklee days was during the last semester when we had to compose a 3-minute piece for chamber orchestra for our Writing for Orchestra subject. I remember coming up with an idea that was quite challenging because of the fast tempo and the teacher was telling me that I was too ambitious since it would be a short 15-minute recording session and we would only have time for 3 takes with the orchestra. I did it anyways and ended up getting the highest score and praise by the principal violinist in the orchestra but the most important thing to me was the magical feeling of flying while I was standing in front of the orchestra and conducting the piece. It’s something I will never forget but also the perseverance I had to complete it despite teachers doubting the final product was a lesson I deeply cherish.

• What are the little touches that make you a Superprof in music?

  I always approach each student individually because I believe we’re all unique in our own way and every student has a different learning style so I try my best to adjust my way of teaching to their personal goals and needs. I’m always humbled and proud by seeing their growth throughout lessons as well as the results that they achieve be it through exams or simply becoming better at what they do.