Jonathan Feist

Jonathan Feist
Jonathan Feist (photo by Patricia Gandolfo Mann).

The articles here aim to help all music makers understand the processes of performing, writing, and otherwise facilitating the creation of music. Or sometimes, just to crack you up.


Jonathan Feist is a music educator, writer, and publisher. He teaches at Berklee College of Music’s continuing education division, Berklee Online, where he is author/instructor of Music Notation Using Finale and Project Management for Musicians. He is editor in chief of Berklee Press, Berklee’s book/video publishing division, where since 1998 he has helped to produce hundreds of music education products. Jonathan is author of the books Music Industry Forms (Berklee Press 2014) and Project Management for Musicians (Berklee Press 2013, winner of the 2015 International Book Award), and co-author of The Berklee Practice Method: Teacher’s Guide (2004, with Matt Marvuglio) and Essential Songwriter (2004, with Jimmy Kachulis). As a songwriter and composer, his work is featured on the albums Fantasy Monologue (by the band Fantasy Monologue, 2010), Orchestral Miniatures (with the Slovak Radio and Television Orchestra and Robert Black, Parma Recordings, 2003), and New Lullaby (by guitarist Aaron Larget-Caplan, 2008). Jonathan is married to nonprofit governance expert Marci Cornell-Feist, founder and CEO of BoardOnTrack. To learn more about Jonathan Feist, visit or his Berklee blog. You could also contact him directly via email, friend him on Facebook, or follow his Pinterest boards.


Bachelor of Music in Composition from New England Conservatory, 1990

Master of Music in Composition from New England Conservatory, 1992

Private studies in composition with Arthur Berger, William Thomas McKinley, and Arthur Cunningham. Additional studies in trombone, piano, electric bass, and voice.

Jonathan Feist

What I love most about music is that wherever I am, it’s right there with me. There have been times I’ve gotten so mad at music, I walked away from it “forever.” But eventually, inevitably, I come back, and I always discover that music has reinvented itself and been waiting for me in a brand new way, becoming exactly what I needed. My biggest lesson about music: Don’t be such a damn snob, Jonathan. The quality of music is never good vs. bad. It is good vs. not what I’m looking for at the moment. But every few years, I learn to value some new dimension of music that was initially alien to me. I’ve learned to love music freely, when it’s easy, and otherwise reserve judgment. Because its beauty is full of infinite surprises.

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