We recently connected with Naomi Stoodley and have shared our conversation below.
Hi Naomi , thanks for joining us today. When did you first know you wanted to pursue a creative/artistic path professionally?
When I was thirteen, my cello teacher revisited the dreaded question: “What do you want to be when you grow up?” I responded, “I want to do what you do.”
If you had known my teenage self, you would understand that, until that day, I had never prioritized music. Instead, I focused on earning good grades. As a beginning player, I skated by in the middle school orchestra and, to my surprise, received principal chair by a narrow margin each quarter. I assumed genetics predetermined musical talent, and I wasn’t raised by musical parents.
But the answer I gave my teacher was sincere, and only now do I recognize the factors that influenced my career trajectory.
Like most teenagers, I felt like an outsider. Orchestra was my sanctuary. I was fortunate to attend schools in districts that received funding for performing arts electives. I enjoyed traveling with my class and performing in local and national competitions. These experiences helped me realize my potential as a musician and my appreciation for the craft. Even during my first orchestra rehearsal, the unifying resonance of the string instruments and my modest contribution to the sonic landscape was rewarding. I could feel an invisible thread weaving the different sections together, creating a blended tapestry of conversation as we played.
The sacred space that cello lessons offered me additionally contributed to my professional ambitions. My cello teacher’s unwavering kindness, patience, and support were fundamental to my development as a human and musician. When I succeeded, she was proud of me. When I didn’t perform to my standards, she was still proud, ultimately helping me gain the confidence to persevere and the maturity to grow from my mistakes. I hoped that one day I could replicate that same inspiring environment for others.
Naomi , love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
I am a cello teacher and performing artist based in San Francisco, California. In a moment of serendipity, I joined my sixth-grade music class hoping to play the clarinet, but there were no open spots. My music director handed me a cello and laughed, remarking, “There’s no such thing as too much cello.” A few years later, I discovered my love for teaching and performing through outreach. I volunteered as the cello coach at the local middle school and performed for holiday concerts at retirement homes. The connection and joy that music sparked for students and audience members alike motivated me to pursue a degree in cello performance.
Having graduated with honors, I hold a Bachelor of Music and Master of Music degree from the University of California, Santa Barbara. As a student, I served as the teaching assistant for the cello and music appreciation courses. I also performed as a member of the distinguished Young Artists String Quartet and participated in masterclasses led by renowned artists, such as Steven Isserlis and the Danish String Quartet. As a chamber musician and orchestral cellist, I have experience performing across various genres and ensembles, including the Lompoc Pops Orchestra, San Luis Obispo Symphony, Santa Maria Philharmonic, Symphony of the Vines, and Sutro Quartet. Additionally, I am regularly hired to perform at corporate events, weddings, and other special occasions.
Alongside performing, I teach students of all ages and skill levels to hone their craft. I offer both in-person and remote lessons and have over a decade of private teaching and coaching experience. I am also a dedicated member of the American String Teachers Association (ASTA), Music Teachers’ Association of California (MTAC), and Suzuki Association of Northern California (SANC). My students have received principal chair in their advanced school orchestras and earned outstanding scores on MTAC Certificate of Merit® performance evaluations and theory exams. Throughout the year, my students have the opportunity to perform in numerous MTAC competitions, masterclasses, and recitals, as well as studio events.
My teaching philosophy revolves around patience, persistence, and positivity, as well as tailoring my curriculum to each student’s age, goals, and learning style. I base my curriculum on Suzuki principles, Dalcroze eurhythmics, and Kodály concepts, resulting in comprehensive and engaging lessons that enable students to develop excellent technique, a sophisticated musical palette, and a thorough understanding of music history and theory. During lessons, I focus on building my students’ practice “tool kit” and eliminating tension to ensure that they are prepared to play with confidence and ease.
What do you think is the goal or mission that drives your creative journey?
My goal is to make learning music an enriching and fun experience. I believe students learn best when they are engaged, and by teaching with enthusiasm and integrating play into lessons, I strive to ensure that music is not a chore but an emotionally fulfilling and intellectually stimulating journey. While I am inspired by the positive and persistent nature of the Suzuki method, I also incorporate Dalcroze eurhythmics into my curriculum, using movement to help students internalize musicality and rhythm. By emphasizing collaboration and singing, Kodály concepts further enhance my students’ connection to and enjoyment of the lesson material.
A number of Dr. Shinichi Suzuki’s beliefs resonate with my own views, particularly the idea that musical talent is not innate but is instead developed through a supportive environment, as well as energy and patience. The “every child can” perspective guides my teaching philosophy: I firmly believe that every child can flourish when the teacher leads with compassion, curiosity, and engagement. Ultimately, my mission is to provide students and their families with a productive creative outlet, unwavering encouragement, and effective practice tools to demystify musical achievement and foster a lifelong love of music.
Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?
Early in my college career, I developed chronic back and neck pain that left me unable to stand or walk for days at a time. This experience prompted me to challenge hustle culture. To heal, I had to unlearn the mindset that I once believed defined my worth: sacrificing my health for academics, cello, and work. Unfortunately, the pervasive grind culture impacts many creative spaces, including the music world. From a young age, we are rewarded for isolating ourselves in practice rooms, drilling technical exercises and repertoire for hours on end. Additionally, many freelance artists feel compelled to accept every gig that comes their way, fearing that declining may limit future opportunities. However, the overwork and pressure to say “yes” can lead to burnout and serious health issues.
There has been significant progress in how musicians openly discuss mental and physical wellbeing, and I hope this conversation continues to grow. I am forever grateful to my mom, a Certified Hanna Somatic Educator®, for introducing me to the transformative method of somatic movement. Through these exercises, I learned not only how to release muscle tension to alleviate my pain, but also how to slow down, be present, and listen to my body’s needs.
Contact Info:
- Website: https://cello.naomistoodley.com
- Linkedin: https://linkedin.com/in/naomi-stoodley-b74586159