Professor Assimakopoulos is extremely skilled at articulating some of the most obscure and difficult components of the technicality of strong flute-playing. In order to achieve a full, resonant, and consistent sound throughout the entire range of the instrument, there are many subtle nuances that must be accounted for. This includes not only a refined ear, but also the ability to be aware, and in control, of a large number of muscles and spaces within the body, some of which cannot consciously be felt. Professor Assimakopoulos is extremely knowledgeable about the subtleties of playing her instrument, and is able to articulate these concepts to her students extremely clearly.

I have had a wonderful experience with Professor Nina Assimakopoulos. Her knowledge of flute repertoire and extended techniques has made it possible for me to become a wonderful flute player and win so many national and international competitions. She is an amazing flute teacher.

Professor Assimakopoulos tailors her instruction to the needs of her students.  She prepares students for their future careers as musicians and teachers.  As I reflect on my four years of flute lessons, I have recognized her ability to constantly refine her art of teaching.  Being an affective teacher is a lifelong learning process, and this teacher fully embraces that challenge.  In the future, I know that I will continue to develop an even deeper appreciation for her work.  

Through my years of study with Professor Assimakopolous, I made great strides in my flute playing, as well as my overall musicianship.  She really connects with her students, and supports them both in and outside of music.  She is great at finding out what her students enjoy and relating it to music, as well as tailoring lessons to what her students would like to do in the future.  Whether it be performance or education, she pushes her students to their highest potential and gives them the tools they need to be successful.

Due to the guidance of Professor Assimakopoulos, I have grown not only as a flute player but as a musician and a teacher.  The effectiveness of her strategies and skills as a teacher excelled my initial expectation.  She is an experienced teacher that understands the needs of her students.  With this understanding, Professor Assimakopoulos constantly challenges students to take advantage of any opportunities that can lead to growth, development, and success.  As I reflect on my four years of flute lessons with Professor Assimakopoulos, I am extremely grateful that I have had the opportunity to learn from this teacher.

Perhaps the best description is that Professor Assimakopoulos actually fulfills all three roles of coach, teacher, and mentor. These are three separate areas, and she excels at all of them. As a coach, she offers insights and ideas into the music making process. She works hard at integrating not only the solo line of music but also fully understanding the piano or accompaniment part. In this respect, she spends lots of time as a chamber music coach.

As a coach, I have found you to be detailed, respectful, positive, explorative, visionary and collaborative. As a teacher, you are intuitive, enthusiastic, positive, firm, and visionary. As a mentor, you are sensitive, not afraid of confrontation, and have the ability to liberate your students from whatever is plaguing them. The learning environment that you have created is positive, safe and fun.

Professor Assimakopoulos’ teaching skills are one of the first things that impressed me about her. She very quickly picks up on the learning styles of her students. One of the challenges I’ve faced as a growing teacher is constantly having a “back-up” plan of ideas to help motivate students and to help them see techniques and the music from different perspectives. No matter what frustrations I tossed at Miss Assimakopoulos in lessons, she always had ideas of how to approach the problem.

You are a very creative, fun, enthusiastic, and supportive teacher. You never fail to let me know when I am doing a good job, and that is very encouraging to me. You expect hard work from all your students, but I don’t mind the hard work because you make me want to work hard. The learning environment has been very positive because of the above reasons. I look forward to my lessons each week because it is so much fun to work with you. Outside of lessons, I know that I can come to you for help if I ever have problems with anything or if I just need to talk.

Professor Assimakopoulos takes her students seriously and never treats them flippantly. She respects each of us as an artist. Respect and intellectual and artistic excitement have always pervaded the atmosphere of our work together.

I would describe you as a teacher who treats her students as individuals and is primarily concerned with the learning process. The environment we learn in is very encouraging, and you are very enthusiastic about our improvements.

One of your teaching strengths is your approach to the whole body as instrument. This was revolutionary for my playing. As a mentor, you are encouraging to your students about your pursuits. Several times I needed to have serious conversations with you and you always listened well and appropriately responded.

Professor Assimakopoulos’ teaching style, as a whole, focuses on self-teaching techniques.  For example, the practice of creating etudes out of the pieces in the repertoire is one that students can take and apply to works beyond study in lessons.  The teaching also places each work in its place in art.  This often includes the literal connections the work and composer have to other genres including art and literature.  However, the students are encouraged to bring their works to life with their own story lines, if one is not readily apparent from the context.  Last, her flexibility in teaching must be emphasized.  She is very sensitive to the learning styles of each individual student.  Several students may study the same piece and work on completely different elements with a different focus in mind; this focus is determined by what the student needs at present.  The comfort of the student and collaborative artists are of great concern.  The attention to the detail of the ensemble is extremely high, not only from a musical standpoint, but also a thorough understanding of what leads to a quality piece of art.

The amount of work we have gone through this year shocks me! I can’t believe how much I have accomplished with my vibrato and air support to name a few. I believe I have learned so much due to the learning environment which surrounds me. Your methods of teaching me, understanding me and relating to me have all helped me to become a better player.

I leave every lesson feeling inspired and challenged. Your really know what you are talking about and can show it by example.

The mentorship of Professor Assimakopoulos is beyond the bounds of many teachers with whom I have worked.  She is ready and willing to dedicate time outside of the assigned lesson time to put finishing touches on recital and competition repertoire.  More importantly, she wants to share her experiences as an artist and prepare her students to set foot in their career paths in the right direction.  This includes sincere conversations about what the students would like to accomplish and what steps should be taken to meet their goals.

The learning environment is open, free, and relaxed.  This is to say that the students have latitude to discuss their repertoire and goals.  Questions are welcome and encouraged about musical and non-musical issues that affect a students’ experience in the music program as well as potential career options.

Professor Assimakopoulos is a very strong teacher for me. She always shares all the issues related to my playing, performance, and even daily practice. She listens to me about what I think about my playing, her teaching, and how my activities including work and other classes are going. In terms of music, she teaches not only technique, but also the various ways of interpretation of music. She gives me the general, and typical idea of the music I learn, and her own idea as well. Moreover, she always gives me room to think about my own ideas and lets me experiment with these ideas. Whenever I learn new pieces, I combine general theoretic materials, Professor Assimakopoulos’ suggestions, and my personal ideas, and I think I successfully have learned my new repertories in this way. I also like her way of teaching stage experience. She encourages me to sign up for as many college recitals as possible, and do competitions and master class auditions. These activities have made me confident on the stage, and made my resume stronger as well.

Professor Assimakopoulos has demonstrated what it means to be a master teacher. How she approaches her students, her instructional time, her personal time, and her business time has impressed upon me significant educational values. Miss Assimakopoulos never addressed me as “just another student.” Rather, she was interested in my progress as a whole human. This is significant in the educational process. She also recognizes the value of the journey of education, rather than just the end performance goal. This is huge as a life value, not just a musical value.

You incorporate all kinds of experiences into your learning environment that develop well-rounded musicians and artists ready to contribute to the art world. By sharing with me the reasons why you love being an artist has encouraged me to answer those questions myself-and my love for what I do has been solidified.

On one level flutist, artist, musician, and educator are terms that have been combined into one genre of being.  The most important aspect of this bonding of elements has been to learn that performing is educating.  Performances are no longer venues to regurgitate practice room accomplishment, but an experience for the performer and audience to learn and grown as individuals. 

The impact has been phenomenal in my work as a musician. Part of it has been the work of synthesis. It was always easy to tell Professor Assimakopoulos what I was learning in my conducting and vocal studies, and she was eager to hear about those learning processes and integrate them into my flute learning. I do feel that I have gone from flute player to more of a flute artist in my time with Miss Assimakopoulos. Rather than just learning good technique or musicianship skills, she has taken me to the next level of learning to “paint” the music. This is still a learning process, obviously, and I am but an amateur. However, the idea of artistic taste and choices within in me has grown greatly in my two years with Professor Assimakopoulos.

It has been amazing. That’s the only word that can begin to describe how much I’ve learned from you. You have helped me improve all aspects of my playing in so many ways.

I have learned that there can be freedom, rather than fear, in learning.

The value placed on the breath and the whole body being involved with the breath greatly changed my playing. Finally, the other major value and method I was exposed to involved collaboration with my pianist. I have had an accompanist many times, but this was my first experience of true collaboration: two artists, not one.

Your passion and enthusiasm get me excited to grow and develop as a flutist and musician. Your ideas are so psychological, which will be very helpful for me in the future, and as a teacher.

As a mentor you have influenced my growth as a musician by giving me some control over what I learned and experienced. It felt like a collaborative experience as a whole. I feel free to experiment, to experience the “process” of learning, to make mistakes and learn from them. As a mentor, you have nurtured a holistic approach to music and art as a whole.

As a coach you have demanded a lot out of me-widening my understanding of what I could actually accomplish. I found your instructions to be practical and tangible-something that I could see and then accomplish.

Every time you teach me something, you immediately ask me how I would teach this new topic. This helps me tremendously. Not only does this method secure my grasp on the subject, but it helps me to remember how I could teach in the future. Your influence on me has been tremendous. I have learned how to enjoy everything I play. I also have begun to look at the small minute details of my playing.

You helped me realize that playing music is not always so strict, it doesn’t all have to be about what’s on the page. I think that I have improved greatly since last year and I probably wouldn’t have as much as I did without your help.

Specifically speaking about my growth as a flutist, the work on tone and body technique has yielded amazing results.  My finger technique has always been strength of mine.  However, to be able to receive compliments from clinicians about a favorable tone is experience that I would not have without the work and attention to my needs as a flutist. Again, artistry comes forth with presenting whole works are art including the accompaniment-ensemble connections as well as sharing this experience with an audience. Specifically as an educator, having the opportunity to work as a teaching assistant has allowed me to grow tremendously.  Taking the concepts learned in my own work and applying them to my students, with limited turnover time, was invaluable.  Having the model of an adaptive teacher, sensitive to learning styles, is an essential part of learning how to teach a large studio of diverse students.

Professor Assimakopoulos helped me to realize how of a strong player I am, and what problems I need to focus on. Even though I had been a strong player before I met her, and the same problems I still have from before I met her, she has helped me to narrow down my strong points and weak points. I think that saves me a lot of energy and time, and I am figuring out how to make it better through many performance opportunities and her continuous coaching. As a flute player, she surprised me as well. More specifically, her breathing, vibrato, and incredible stage presence are very ideal and models in my thought. I also learn how to connect music to the other genres of art such as architectures, sculptures, dances, and paintings. Her new approach to relate other genre of art and music is interesting and educationally advanced I think.

As a result of our studies, I have begun to look for the stories and artistry within a piece of music. I have realized my most significant weaknesses and am more aware when they appear in my playing.

Professor Assimakopoulos is definitely one of the best teachers I have ever had. Since studying with her I have noticed a significant improvement in my playing. For years I felt as though I could not reach the next level in my playing. She has helped me go beyond what I thought I could do, get a taste for the next level, and understand what I need to do and can do to achieve success at that level

Studying with Professor Assimakopoulos has been an absolutely wonderful experience. Never have I had a flute teacher with whom I connected intellectually so easily. She has a true gift for teaching. She is energetic and eager to work with a student. She is vivid and imaginative in her teaching style. She is easy to talk to and is always interested in and respectful of the student’s ideas and opinions…I am basking in the enjoyment of having such an incredible teacher

Professor Assimakopoulos is one of the best teachers I have ever had. Her love for the flute and her students is clear, and she communicates that love consistently and well. She inspires her students to work in a positive way, through her excellent teaching and her own example.

Professor Assimakopoulos has helped my body technique and finger technique immensely. She has given me insight into technical problems that other teachers have neglected. She is also a very fun a creative person to work with and an incredible motivator and inspirer.

Professor Assimakopoulos is very picky musically, which is one of the best things about her teaching. She is one of the most musical players and teachers I’ve ever heard. Her ideas are unique and amazing. She has an incredible breathing and breath-support techniques which have transformed my playing and teaching. Her angle on artistry is unlike anything I’ve ever seen before.

Professor Assimakopoulos is an amazing teacher who has excellent musical instincts. I am impressed with her dedication to helping students make a guided and wise choice about what to do after graduating. Her career council has been incredibly valuable. I appreciate the fact that she has so many contacts in the professional music scene and seeks to put us in touch with them.