Dr. Radio Cremata is an Assistant Professor of music education at Ithaca College. He earned his doctorate degree in music education from Boston University, his master’s degree in music education from Florida International University and his bachelor’s degree from the University of Miami. With a diverse teaching background from K-Graduate School, his experience encompasses public, private, charter, and online settings. He holds state, national, ESOL and Orff-Schulwerk music education certifications. He has developed both traditional and progressive programs that have earned him teaching and grant honors from the Roland Music Corporation, Berklee College of Music, PBS and the Henry Ford, Univision, Grammy in the Schools Foundation, and the Fender Music Foundation. Prior to joining the faculty at Ithaca College, Dr. Cremata resided in Miami, Florida.
Professionally, Dr. Cremata is a teacher, keyboardist, composer, producer and recording engineer. His interest in studio production and “real-world” music playing has deeply impacted his music teaching philosophy. He is involved in organizations associated with technology in music education, including the Association for Technology in Music Instruction, the Florida Music Educator’s Association, and the Technology Institute for Music Educators. He has served as a reviewer for a number of music education publications, including Oxford University Press and the Malaysian Music Journal. He regularly collaborates with academic programs seeking his perspectives in music education such as the Institute of Contemporary Music Performance, Berklee College of Music, University of California Los Angeles, Southeastern University, University of North Carolina at Wilmington, the University of Miami and the University of South Florida.
Dr. Cremata’s research interests reflect his belief that music education should be available to greater numbers of students. He has written articles, given master classes, and presented at national and international conferences on such topics as the effective use of various technologies in music education, urban and at-risk music education, popular music education, integration of technology in music education settings, music technology for special learners, the evolving role of the music educator in progressive music education settings, understanding vocational music programs, and music learning in “informal” contexts. In addition to his work in pedagogy, he is an active composer, performer, recording engineer, producer, conductor and accompanist.