The Piano Conference: NCKP

E-Posters: Why You Should Submit and Tips for Success

Written By Robin Heinsen

With gratitude we welcome one of our NCKP 2021: The Piano Conference Research E-Poster Award Winners, Robin S. Heinsen, to our Discovery Page. Heinsen is Assistant Professor of Music Education at Miami University, and provides helpful insights based on her experience as an NCKP poster presenter. We invite you to submit e-posters, teaching demonstrations, performance videos, and Collegiate Connections projects to our Call for Participation for The Piano Conference: NCKP 2025 by Monday, March 31, 2025, at 11:59 PM PDT. 

How did you decide on your proposal topic?

Our pathway to The Piano Conference: NCKP is probably different from most other presenters because we are not pianists—we are music education professors who became curious about how school music teachers use the piano in their classrooms and wondered whether there were relationships between how teachers learned to play the piano and how they use it in their teaching. We had previously shared our findings in music education circles, and subsequently sought out this conference as an opportunity to share with the piano pedagogy community. We all have a stake in what our students learn and retain from university class piano.

What would be your top three tips on writing a successful e-poster proposal?

First, ask a great question! What are you curious about, what do you wonder about, and how can you design a project that can help answer that question? 

Once you’ve done that, practice condensing your research question, potential findings, and implications into only a few sentences to ensure your own thinking is clear about what you want to propose and why it matters. 

Then, once you start writing, make sure a reader can extract that information from your proposal so the significance of your work stays prominent instead of getting buried. This may be best accomplished by asking someone else to read your proposal and then tell you about the project they think you are describing. 

What was it like using the Kubify platform?

From what we remember, it was a pretty intuitive interface. It was easy to navigate, customize, and upload materials into the platform, and it integrated well with the conference page. We had never used it before this event, but we found it to be straightforward with little to no learning curve.

What advice would you give to someone building their e-poster? Any tips, tricks, or recommendations for effectively communicating their research through the software?

We approached our e-poster as if it was a slide deck (such as in PowerPoint or Keynote) and each square was a “slide” that contributed one piece of information. We titled the squares with short questions so that the reader knew what to look for as they clicked on each one. We frequently utilized charts and graphs to make it easier to visualize the data and answer the title questions, and avoided extensive prose or paragraphs of text when possible. Our introduction and conclusion were larger boxes that bookended the smaller content slides.

Why would you recommend presenting an e-poster at The Piano Conference: NCKP 2025?

As non-pianists, we were hesitant to enter this space and initiate these conversations, but we felt extremely welcomed and enjoyed our time at the conference. We had many great conversations with participants who were interested to learn more about our findings and eager to share ideas and collaborate. It was an important reminder that all of our work can benefit from interdisciplinary dialogue.

We are pleased to offer multiple opportunities for participation in The Piano Conference: NCKP 2025! The deadline to submit is Monday, March 31, 2025, at 11:59 PM Pacific. We seek programming in a variety of formats and are currently accepting submissions of Collegiate Connections projects, e-posters, performances, and teaching demonstrations.

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How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for The Piano Conference: NCKP 2025. Sara is Director of Teacher Engagement for the Frances Clark Center and a member of the Executive Committee for The Piano Conference: NCKP. We invite you to submit your proposals via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

1. Propose a topic that inspires you and aligns with the conference call

A strong conference proposal will be formed from a topic that is ideal for the specific conference, considering both its audience and specific theme or goals. Your topic certainly should grow from your interests and expertise while being relevant to the community at hand. Remember that the review committee will have hundreds of proposals to read, and often, the way to distinguish yours is by demonstrating the significance, relevance, and need for your presentation. Furthermore, convey that you have thoroughly explored and researched the topic, and that you have developed unique and vital ideas, ready to be shared.

2. Clearly state the objectives and organization of your presentation

Within the proposal abstract, give the reader a clear understanding of what will be accomplished during the presentation. Questions to address include: What are your specific goals and outcomes? What ideas and resources will be explored? How will the topic be organized? What examples and visuals will facilitate the flow of ideas? The proposal should demonstrate that the presentation will add depth of content to the conference program and will be effective in its delivery. 

3. Identify how the topic is suitable for the proposed time length and format 

The various presentation formats and durations each have unique characteristics. For example, a panel presentation has a theme that will benefit from the sharing of multiple, individual perspectives, whereas a keyboard lab has to demonstrate purposeful use of the group keyboard format. The 50-minute presentation has a scope and level of detail that necessitates the longest time frame. Alternatively, the 5-minute lightning talk needs to be narrow in its scope, while remaining of interest to the audience. The proposal can therefore clearly reflect and support the choices of format and time length.

4. Write effective prose, in a style that matches the topic

A formal research presentation and an interactive workshop have different styles of communication that are inherent to each format. The proposal can reflect this, ensuring that academic style is utilized where appropriate. A more personal, yet always professional, style can be used in other cases, in alignment with the topic and format. It is recommended that you ask a trusted colleague to review your writing prior to submission. All text—including the title, abstract, short description, and bio—need to be thoroughly edited to facilitate the review and potential programming of your work.

5. Follow the guidelines

Last, but certainly not least, take time to thoroughly review the requirements of the proposal, before the deadline. Note the formats possible, additional requested items (like CVs and headshots), the word count limits, and any additional materials needed (such as recordings). Read the policies and requirements, noting important details like ensuring that the text is suitable for blind review, and that all co-presenters are in agreement with the proposal. If you are including links, double check that these are viewable by others. To avoid last-minute issues, enter your proposal before the deadline, carefully reviewing each item before clicking the “submit” button. After submitting, verify the email confirmation to ensure that your proposal was correctly received.

Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

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The Benefits of NCKP: The Piano Conference and Why You Should Attend

Written By Marvin Blickenstaff

We would like to thank Marvin Blickenstaff for this article about the benefits of The Piano Conference: NCKP. Want to learn more about The Piano Conference: NCKP 2025? Click here to read about next year’s conference and submit a proposal. Want to hear more from Marvin Blickenstaff? Join our book club beginning September 10, 2024! Learn more and register here.

Marvin Blickenstaff at NCKP 2019.

If memory serves me correctly, I have attended every NCKP since its founding by Richard Chronister some 25 years ago. The memories of those conferences remain vivid in my mind, and I am a better piano teacher for having attended those events. The presentations have been informative and inspiring. The performances have been spine-tingling. And the teaching demonstrations have changed my teaching in many ways. I am confident that those who have attended would agree that NCKP is the best of its kind. 

Every piano teacher who can possibly manage to attend this summer’s outstanding program should do so. The variety of sessions offers something for everyone, whether you are a teacher just beginning your career or are a seasoned professional. We all need the stimulation of meeting with like-minded professionals, hearing inspiring performances, learning from the best in our field, and having our horizons widened through outstanding lecture presentations. We often feel isolated in our own studios, and NCKP offers the opportunity to dialogue with teachers from around the country and profit from that professional connection.

I guarantee that you will find your time at NCKP well worth the effort. You will come away from the conference with a new perspective on the importance of your role in the lives of your students. You will approach your teaching with renewed vigor and ideas on how to improve your work with your students. You will be inspired by the performances you hear and the information gleaned from the lecture presentations. You will learn!

A bit of advice: attend each session with equipment for taking notes. There will be so much information shared that you cannot retain it all in your memory. Take notes. You need those notes to remind you of what you have experienced. A Conference Proceedings will be published, but your notes are the most important documentation of what you have experienced.

I look forward to seeing you this summer at NCKP in Chicago. You’ll find me sitting in the front row (with my pen and notepad!)

I guarantee that you will find your time at NCKP well worth the effort. You will come away from the conference with a new perspective on the importance of your role in the lives of your students.

Marvin Blickenstaff
More by Marvin Blickenstaff
A Tribute to Marvin Blickenstaff and his Pedagogical Legacy
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How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for The Piano Conference: NCKP 2025. Sara is Director of Teacher Engagement for the Frances Clark Center and a member of the Executive Committee for The Piano Conference: NCKP. We invite you to submit your proposals via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

1. Propose a topic that inspires you and aligns with the conference call

A strong conference proposal will be formed from a topic that is ideal for the specific conference, considering both its audience and specific theme or goals. Your topic certainly should grow from your interests and expertise while being relevant to the community at hand. Remember that the review committee will have hundreds of proposals to read, and often, the way to distinguish yours is by demonstrating the significance, relevance, and need for your presentation. Furthermore, convey that you have thoroughly explored and researched the topic, and that you have developed unique and vital ideas, ready to be shared.

2. Clearly state the objectives and organization of your presentation

Within the proposal abstract, give the reader a clear understanding of what will be accomplished during the presentation. Questions to address include: What are your specific goals and outcomes? What ideas and resources will be explored? How will the topic be organized? What examples and visuals will facilitate the flow of ideas? The proposal should demonstrate that the presentation will add depth of content to the conference program and will be effective in its delivery. 

3. Identify how the topic is suitable for the proposed time length and format 

The various presentation formats and durations each have unique characteristics. For example, a panel presentation has a theme that will benefit from the sharing of multiple, individual perspectives, whereas a keyboard lab has to demonstrate purposeful use of the group keyboard format. The 50-minute presentation has a scope and level of detail that necessitates the longest time frame. Alternatively, the 5-minute lightning talk needs to be narrow in its scope, while remaining of interest to the audience. The proposal can therefore clearly reflect and support the choices of format and time length.

4. Write effective prose, in a style that matches the topic

A formal research presentation and an interactive workshop have different styles of communication that are inherent to each format. The proposal can reflect this, ensuring that academic style is utilized where appropriate. A more personal, yet always professional, style can be used in other cases, in alignment with the topic and format. It is recommended that you ask a trusted colleague to review your writing prior to submission. All text—including the title, abstract, short description, and bio—need to be thoroughly edited to facilitate the review and potential programming of your work.

5. Follow the guidelines

Last, but certainly not least, take time to thoroughly review the requirements of the proposal, before the deadline. Note the formats possible, additional requested items (like CVs and headshots), the word count limits, and any additional materials needed (such as recordings). Read the policies and requirements, noting important details like ensuring that the text is suitable for blind review, and that all co-presenters are in agreement with the proposal. If you are including links, double check that these are viewable by others. To avoid last-minute issues, enter your proposal before the deadline, carefully reviewing each item before clicking the “submit” button. After submitting, verify the email confirmation to ensure that your proposal was correctly received.

Do you have research you want to share with the piano pedagogy community? Submit a manuscript to the Journal of Piano Research by clicking here.

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5 Steps for Successfully Incorporating a Sight-Reading App into Your Studio

Written By Anna Beth Rucker

Check out Anna Beth Rucker’s presentation at the NCKP 2023: The Piano Conference online event, How to Choose and Use Sight-Reading Apps to Enhance Student Learning Experience, on June 11, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!

In recent years, sight-reading apps have quickly populated app stores and captured the minds of young learners. Not only are children more adept at using technology than ever before, they are drawn to interactive learning experiences. As teachers, this presents a motivating opportunity; however, effectively incorporating a new software into your studio can be overwhelming. With a tight teaching schedule, a flood of apps to choose from, and a studio of unique students to consider, where do you start? This post will provide a step-by-step guide for successfully incorporating a sight-reading app into your studio.

Step 1: Choose the Right App

The first step is to choose the app that is right for you and your students. To simplify this process, Irem Ozay and I are presenting a session titled, “How to Choose and Use Sight-Reading Apps” at the NCKP 2023 online conference. During the session, we will provide a breakdown of the six most useful sight-reading apps that will include their pros, cons, and features. In just twenty minutes, we will share everything you need to know to make an informed decision in choosing an app that aligns with your teaching goals and studio needs. You can register for the conference here.

Pro tip: If you aren’t able to make our session live, it will be archived until September 10, 2023 on the conference platform.

Step 2: Implement the App

1. Download and Test the App

While the initial steps of choosing and downloading the app may seem obvious, don’t overlook the significance of thoroughly exploring the app yourself. It’s crucial that you develop a complete understanding of the app, such as:

  • All the settings options
  • How it sequences lessons or exercises
  • What the student experience will be while using the app (and therefore what are reasonable expectations of use for the student)
  • The means of teacher involvement
  • If there are extra requirements for use (such as a MIDI-enabled keyboard) and how to set those up within and outside of the app
  • Billing procedures (where applicable)

Conducting thorough due diligence at this stage will make the rest of the implementation steps much easier.

2. Determine How You Will Use It in Your Studio

Next, it’s important to think about the logistics of incorporating the app into your studio. Will your students have a copy at home, or will you only have a copy at your studio? Further, determine when students will be expected to use the app: throughout the week, before lessons, during lessons, or at group classes. If you plan to use it in a group setting, will you need the app downloaded on multiple devices or will students each need to bring their own device? Plan to verify that your students have devices that meet the minimum device requirements for the app, and develop a contingency plan for any students who do not. 

Deciding how you plan to use the software within your studio will enable you to make efficient decisions for a quick implementation and to allocate time within your curriculum and lessons that utilizes the app to its full potential.

3. Decide How to Manage Costs

Regardless of the payment structure within the app, you will need to decide how to manage the fees. You may choose to consider it part of your students’ tuition, add it into your yearly studio book fee, or have the parents pay for it directly through the app.

Make sure parents are aware of the fee associated with the app, as well as how adding the app to your instructional plan will add long-term benefits and trackable progress to their child’s piano education.

4. Communicate with Parents

Clear communication with parents and students is the key to maximizing app effectiveness. For parents, make sure they understand the benefit of the sight-reading app and how it will serve to enhance their child’s learning experience. You can do this by explaining how the app integrates into your teaching philosophy and why you have determined it is a beneficial addition to your curriculum. Inform them of the billing information, the expectation of use throughout the week, and a few instructions on how to technically support their child while using the app. You may also provide for them a written version of these instructions, with links to appropriate app support pages for additional technical assistance. Remember to regularly update parents on their child’s progress—many apps make this easy through gamification and milestone settings. And, of course, address any questions or concerns parents may have throughout the process.

5. Communicate with Students

Lastly, dedicate time to familiarize your students with the app and clearly communicate your expectations. While this may initially take time away from other lesson activities, it is absolutely critical students understand the app and your expectations of use in order for them to receive the maximum benefits. The progress they will make will far outweigh the time invested in the initial setup. During this onboarding process, explain how you plan to use the app in their lessons or home practice, how often they are expected to use it, how to navigate the app, and how and when you will be tracking their progress. Encourage them to explore the app and to have fun! Your enthusiasm and support during these early stages will influence their attitude as they adapt to this new learning tool.

If you take the time to implement a sight-reading app into your studio following these steps, you will experience a seamless addition of a powerful new teaching tool in your studio and will be well on your way to seeing the objective, trackable progress sight-reading apps are able to provide. Happy sight reading!

QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
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5 Reasons You Should Include Asian Repertoire in Your Studio

Written By Shuk-Ki Wong

Don’t miss Shuk-Ki Wong’s presentation at NCKP 2023: The Piano Conference online event, Embracing Diversity in Your Studio: A Pedagogical Exploration of Underrepresented Chinese Keyboard Literature, on June 10, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!

1. Only 1.77% of scheduled pieces in concert halls were composed by Asian composers.

Despite efforts to diversify music and concert programming, works of long-deceased white male composers still make up 76.4% in 2021-2022 season programming in concert halls around the globe.1 While there is marginal improvement in the representation of Black and women composers (with 3.39% and 7.7% of the 20,400 works performed respectively), Asian composers only comprise 1.77%––a total of 361 works were presented on stage last year. Such data shows the urgency to accelerate change by actively boosting diversity and inclusion in our studio and programming.

Fig. 1. Total number of scheduled pieces in 2021-2022 concert halls.
Data from Equality & Diversity in Global Repertoire, a report published by Donne––Women in Music in 2022.

2. Learning diverse repertoire is an enriching musical experience that sparks creativity and collaboration with students.

As the student population continues to become more diverse, it is critical to support our learners by providing an enriching musical experience that connects students’ upbringing, as well as their rich, unique musical cultures. The perpetual foreign stereotype of Asian Americans has not only caused identity denial in Asian students, but also contributes to the invisibility of such a student body. Being open-minded and accepting of Asian repertoire can transform our studio into a creative space for interactive music activities while embracing diverse cultures. For instance, imitating Asian musical instruments on the piano and experimenting with simple music writing with non-Western notation systems are great ways to (re)introduce the richness and significance of Asian musical cultures to our students.

3. Asian student-musicians may face more barriers in classical music than you think.

The deep-rooted model minority stereotypes of Asian and Asian-identified students create a number of obstacles in music learning. In addition to emotional distress, invalidation of achievements, and conflicts with peers and family members, such misconceptions may also lead to the neglect of musical development and limitations to resource access. For instance, students may be falsely assumed to understand musical concepts faster, come from a background with economic advantage, and face less systemic racism and discrimination.2 An initial step to embracing Asian repertoire is a powerful agent for social change while elevating Asian and Asian-identified students.

4. Diversifying standard repertoire does more beyond connecting minority students.

While we witness the power of introducing refreshing repertoire in the connection and growth in students, such endeavors foster belongingness in our students, especially pianists in the historically marginalized community. All young musicians need a safe musical space that embraces their backgrounds and identities. They also need to see themselves in this deep-seated, white-centric classical music world. Not only can diversifying standard repertoire reaffirm the uniqueness of our diverse students, but also uplift and empower students of color while enabling other learners to recognize the artistic values of musical works beyond tradition.

5. Yes, we really can make a difference in our students!

Never underestimate the impact an inclusive and comprehensive teaching approach can have on our students––it is far beyond just learning new and diverse repertoire. We expose our students to diverse music, equip them necessary skills to navigate this fast-growing multicultural society, and create awareness of diverse cultures while advocating for marginalized populations through our studio. We can and we are making a difference!

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SOURCES
  1. “Equality & Diversity in Global Repertoire,” Equality & Diversity in Global Repertoire (Donne, Women in Music, September 2022), https://donne-uk.org/wp-content/uploads/2021/03/Donne-Report-2022.pdf.
  2. Angela Kim and Christine J. Yeh, “Stereotypes of Asian American Students,” Stereotypes of Asian American students (The Educational Resources Information Center, February 2002), https://files.eric.ed.gov/fulltext/ED462510.pdf.
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5 Things You Might Not Know About Colombian Composer Jaime León

Written By Felipe Calle

Don’t forget to check out Felipe Calle‘s presentation at NCKP 2023: The Piano Conference, The Piano Works of Jaime Leon: A Pedagogical Approach, on June 11, 2023 from 4:30-4:55PM during our online event. Register now for NCKP 2023!

1. Jaime León was born in 1921 in Cartagena, Colombia, a colonial city on the Caribbean coast.

His father, an executive for an American company, brought the young León and his family to the U.S. León was raised between San Francisco, California, and New Jersey, where he took his first piano lessons. During his early years and young adulthood, he studied at The Juilliard School under the guidance of Carl Friedberg, once a student of Clara Schumann.

Jaime León in 1928.
Carl Friedberg (1872-1955)
Jaime León in 1948.

2. León’s music was influenced by American music from the first half of the twentieth century.

While working at Tin Pan Alley and Broadway in the 1940s, León was fond of the rhythms of other styles such as swing, blues, and boogie-woogie. Moreover, his music developed a deeply lyrical quality inspired by his appreciation of Gershwin’s songs. He started writing music in 1946 when he composed a theme and variations work inspired by Brahms’s Variations on a Theme by Schumann, Opus 23. His output includes many art songs, which are widely regarded as examples of his excellent craftsmanship.

3. León’s career in the US was varied and extensive.

He worked as a freelance repetiteur and conductor of ballet, opera, and music-hall in New York and Texas. His achievements included being the Assistant Conductor of the American Ballet Theater in Washington D.C. where he premiered Duke Ellington’s ballet The River in 1971. In 1948, he assumed the role of Director at the National Conservatory in Colombia, but political unrest forced him to leave the same year.

Jaime León as a conductor in the pit, 1950.
“Blues” from Made in USA , Jaime León

4. León’s piano music remains unpublished and is seldom performed.

Despite his brevity, his output skillfully blends American vernacular and academic languages, influenced by composers such as Gershwin, Copland, Piston, and Cole Porter.

5. The Five Preludes “Made in U.S.A.” were premiered by the dedicatee, Teresa Gomez, the first Afro-Colombian pianist.

Despite confronting racism in the early stages of her career, Gomez has been hailed as one of the most renowned South American pianists and was chosen to play in the last presidential inauguration in July 2022.

Colombian Pianist Teresa Gomez (b. 1943)
Jaime León circa 1980.
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5 Things You Might Not Know About Career-aged Adult Piano Learners

Written By Pei-Chen Chen

Check out Pei-Chen Chen‘s presentation at NCKP 2023: The Piano Conference, It’s Never Too Late – Lived Experiences of Amateur Adult Piano Learners, on June 11, 2023 from 3:00-3:25PM during our online event. Register now for NCKP 2023!

1. They take lessons to fulfill a long held-dream.

Fulfilling a long-held dream is one of the most common motivations for adult piano students (P. J. Jutras, 2006; Kim, 2015; Parker, 2006; Polischuk, 2019; Uszler et al., 1999). Many career-aged adult piano learners delay piano study for different reasons, and they will often wait patiently until their life is ready. Common factors that affect their decision to learn include finding enough time to practice, having the physical space for a piano, and mental readiness.

2. They are self-motivated.

Adult learners are self-motivated and self-directed in their learning. While many young learners have extrinsic pressure and expectations from their parents and others (Fisher, 2010; Polischuk, 2019; Uszler et al., 1999), adults are more intrinsically motivated. Adult piano learners want to improve their piano playing with different goals in mind. Most of their motivations are internal, including the desire for a better quality of life, greater self-confidence, and self-actualization.

3. They like to make conscious and meaningful decisions in their learning.

Career-aged adult piano learners like to learn at their own pace, preferring an individualized curriculum with repertoire that they want to learn. They learn better when the lesson style is customized to fit their needs (MacKeracher, 2004). This means it is important for teachers and students to discuss method books and repertoire choices to create an engaging learning environment (Coutts, 2018; Mizok-Taylor, 2008).

4. They acknowledge the challenges of being an adult learner.

Career-aged adult piano learners acknowledge their mental and physical difficulties while learning and practicing the piano. Feeling mental frustration and discomfort in practice is a common issue for them. However, they are also able to recognize that frustration comes from their own self-judgment. They often hear their own “inner critic,” feel self-conscious, and have negative self-judgments while learning the piano. (Bissell, 1984; Fisher, 2010).

In addition to mental discomfort, career-aged adult piano learners may also experience physical challenges, including feeling a lack of coordination when playing the piano. Many piano educators also believe adults need more time to transfer theoretical knowledge into physical playing energy (Fisher, 2010; Kim, 2015; Polischuk, 2019; Uszler et al., 1999). Hand-eye coordination and the cognitive process of learning to read music are also common challenges adults may experience (Kim, 2015). This lack of coordination can cause career-aged adult piano learners to feel self-conscious and frustrated. The discomfort for adult piano learners is both mental and physical, and often mental aspects will influence physical aspects and vice versa.

5. They feel joy and make meaningful connections between music and life.

Despite the challenges of learning piano, career-aged adult piano learners enjoy playing music and having music in their lives. They find that being able to play music is meaningful and gives them a sense of joy. Sharing music with others and making social connections can also bring them joy. Many educators believe that music is a leisure activity, and adult students enjoy the social opportunity to interact and share music with others (Fisher, 2010; Kronish, 2005; McQueen, 2013; Polischuk, 2019; Uszler et al., 1999).

SOURCES
Bissell, P. M. (1984). “Group Keyboard and the Adult Market.” American Music Teacher, 34(1), 12–17.

Coutts, L. (2018). “Selecting Motivating Repertoire for Adult Piano Students: A Transformative Pedagogical Approach.” British Journal of Music Education, 35(3), 285–299. https://doi.org/10.1017/S0265051718000074.

Fisher, C. (2010). “Group Piano and the Adult Hobby Student.” In Teaching Piano in Groups (pp. 189–211). Oxford University Press.

Jutras, P. (2006). “The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students.” Journal of Research in Music Education, 54(2), 97–110. https://doi.org/10.1177/002242940605400202

Kim, K. R., Peter Jutras, Seon Joo. (2015). “Adult perspectives of learning musical instruments”— Kathryn Roulston, Peter Jutras, Seon Joo Kim, 2015. International Journal of Music Education, 33(3). http://journals.sagepub.com/doi/10.1177/0255761415584291

Kronish, N. B. (2005). “Social, cultural, and psychological influences on three promising piano students’ decisions to continue taking piano lessons” [Ph.D., McGill University (Canada)]. http://search.proquest.com/docview/305364045/abstract/173826EAF88C45AEPQ/12

MacKeracher, D. (2004). Making Sense of Adult Learning. University of Toronto Press Incorporated.

McQueen, M. V., Susan Hallam, Andrea Creech, Hilary. (2013). “Different ways of experiencing music-making in later life: Creative music sessions for older learners in East London” – Maria Varvarigou, Susan Hallam, Andrea Creech, Hilary McQueen, 2013. Research Studies in Music Education, 35(1). http://journals.sagepub.com/doi/10.1177/1321103X13478863

Mizok-Taylor, R. J. (2008). “Promoting self-directed learning in adult piano instruction” [D.M.A., West Virginia University]. http://search.proquest.com/docview/304448652/abstract/B327D2A3DC5F4856PQ/1

Parker, E. (2006). Piano Pedagogy: A Practical Approach. Longbow Pub

Polischuk, D. K. (2019). “Teaching Adult Pianists.” In Transformational Piano Teaching (pp. 21– 35). Oxford University.
Uszler, M., Gordon, S., & McBride-Smith, S. (1999). “The Adult Student.” In The Well-Tempered Keyboard Teacher (2nd ed. edition, pp. 147–179). Schirmer.

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How to Teach like Kodály in 5 Easy Steps

Written By Megan Hall
Image of Zoltan Kodaly, piano pedagogy, piano teaching, piano technique, singing, music education, aural skills, piano teaching exercises, learning rhythm at the piano

Don’t miss Megan Rich‘s Lightning Talk at NCKP 2023: The Piano Conference, Singing in the Piano Lesson: Zoltán Kodály’s 333 Elementary Exercises in Solfège Singing, on July 26, 2023 from 4:00-4:50PM during our in-person event. Register now for NCKP 2023!

1. Sing!

Zoltan Kodály said that “To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.”1 To develop singing and reading, Kodály wrote a book of sequential solfege exercises titled 333 Elementary Exercises in Solfege Singing.2

2. Use Folk Music

Kodály educator Jean Sinor said that “Content [of music education] should be generated by the music: initially by the folk music of the people and later by the folk music of other peoples and the finest examples of composed music.”3 Folk music is effective because of its familiarity and simplicity, and the use of varied folk music from different regions can greatly enhance piano lessons.

“Children learn effectively from the act of play.”

~ L. S. Vygotsky

3. Speak

Kodály educators use rhythm syllables and chants as a kinesthetic tool to help students internalize a steady beat and rhythm. The Kodály Music Education Institute of Australia published their helpful Rhythm Syllable Chart4 in 2003.

4. Play

Children learn effectively from the act of play.5 Music lessons that incorporate games and music are not only more fun, but often more effective. The following three websites have resources for Kodály-inspired music games:

1.       Kodaly Center – Collection (hnu.edu) https://kodaly.hnu.edu/collection.cfm

2.       Free Resources – Kodály Australia (kodaly.org.au) https://kodaly.org.au/resources/

3.       Action Songs and Games Level 1.pdf (beaconmedia.com.au) https://beaconmedia.com.au/bm/images/docs/Action%20songs%20and%20games%20Level%201.pdf

5. Make beautiful music together!

Provide an opportunity in every lesson for beautiful music-making. Whether playing or singing, students need the opportunity to participate in ensemble music and in music for music’s sake. As Kodály said, “If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well.”6

Other resources you might enjoy

SOURCES

  1. Zoltán Kodály, The Selected Writings of Zoltán Kodály (New York: Boosey & Hawkes, 1974), 196.
  2. Jean Sinor, “Musical Development of Children and Kodály Pedagogy,” Kodály Envoy 40, no. 3 (March 2014): 17–20. RILM Abstracts of Music Literature. 
  3.  Zoltán Kodály, The Selected Writings of Zoltán Kodály (New York: Boosey & Hawkes, 1974), 196; Zoltan Kodaly, 333 Reading Exercises (New York: Boosey & Hawkes, 2004), https://www.boosey.com/teaching/sheet-music/Zoltan-Kodaly-Choral-Method-333-Reading-Exercises/2097. 
  4.  Kodaly Music Education Institute of Australia, “Rhythm Syllable Chart,” Kodaly Music Education Institute of Australia, 2003, https://kodaly.org.au/wp-content/uploads/2015/12/rhythmguide.pdf.
  5. L. S. Vygotsky, “Play and its role in the mental development of the child,” Journal of Russian and East European Psychology 5, no. 3 (1967): 6-18. 
  6. Zoltan Kodaly, Visszatekintés; összegyüjtött írások, beszédek, nyilatkozatok (Budapest: Zenemükiadó, 1964),  117, Organization of American Kodály Educators records, 0160-SCPA. Michelle Smith Performing Arts Library.
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Five Principles to Help you Prepare and Practice Orchestral Reductions

Written By Cecilia Lo-Chien Kao

Don’t miss Cecilia Lo-Chien Kao‘s presentation at NCKP 2023: The Piano Conference, Piano as Orchestra: Creating Artful Orchestral Reductions, on June 11, 2023 from 2:00-2:50PM during our online event. Register now for NCKP 2023!

1. Listen to a Recording

When you are learning a new orchestral reduction, it is very important to listen to the original orchestral version of the piece. You want your ears to absorb and be familiar with the orchestral sonority and its characters.

2. Play What You Hear, Not What You See

Remember that an orchestral reduction is the composer or arranger’s piano realization of the piece and not a complete reproduction of the original score. This requires a different approach than playing an instrumental sonata! After listening to the recording and studying the full score, try to focus on the bigger musical picture of the piece and play what you hear as the most important musical elements.

3. Keep the Rhythm (Consider Orchestral Timing vs. Pianistic Timing)

An orchestra can create a lot of rhythmic drive and energy. Remember that a pianist also represents the conductor when playing a reduction. No matter how complicated a passage is, it is important to prioritize rhythmic integrity. If you are playing with a fluctuating tempo to accommodate the difficulty of the reduction, you may consider simplifying or rearranging the reduction

4. Interpreting Orchestral Dynamics vs. Piano Dynamics

The dynamics in the reduction are relative to the full score. In order to maintain the sound and character of the orchestra, it is important to consider the orchestration when interpreting dynamics. 

5. Rethink Orchestral Sonority and Clarity on the Piano

The orchestra can have a very rich and resonant sonority when the entire ensemble is playing at a strong dynamic. In order to replicate that kind of sonority on the piano, you may use the sustain pedal to help give resonance or to “moisturize” the sound in addition to playing fuller or stronger. No matter how you are using the pedal, it is important to maintain clarity and good voicing on the piano since each individual instrument has clarity in the orchestra, even when playing at a loud dynamic.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
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A Quick Look at Teaching Adults: What Pianists Should Know

Written By Jackie Edwards-Henry, Mary Sallee

Special thanks to Jackie Edwards-Henry (JEH) and Mary Sallee (MKS), members of the NCKP 2023 Teaching Adults committee, for this post.

Why is teaching adults important for pianists today?

JEH: Teaching adults shows us that we’re never too old to learn and experience the joy of music-making at the piano. So many adults say, “I wish my mother had never let me quit piano!”  And they think the ship has sailed—it’s too late to learn to play.  As teachers of adult students, we know this is a fallacy. Watching our adult students succeed at piano also teaches us life lessons—that we can still learn in the Third Age of adulthood, and that learning new skills provides physical and mental benefits.

What is something you wish every pianist knew about working with adult students?

JEH: How much shared joy is experienced by adult piano students and their facilitators! Adults are not being forced to take lessons and come to them because THEY want to learn. Once they relax into the role of learner and enjoy the process, joy is a natural bi-product. When teacher/facilitators include no-fail activities such as black-key improvisation and simple ensemble experiences, shared joy can be experienced from the very first lesson.

What is one free resource about teaching adults that you would recommend?

MKS: I will have a handout at our session, “Yes to Lead Sheets” A-chording to Adults!” that demonstrates how to turn a lead sheet of “Greensleeves” into a duet. Secondo of the duet will play their part based on the chord symbols. Teachers can see how to get their students reading chord symbols to create a free, easy duet that is perfect for friends, siblings, or family members.

What makes your track at NCKP 2023 special? Why should people attend?

MKS: Members of our committee are excited to share their heartwarming experiences of working with their adult students. They hope to inspire any novices or teachers that have not had good experiences to try some new ideas. There will be something for everyone because good teaching can be applied to any student at any level. The more ways you have to explain/present a concept to a variety of different learners, the better equipped you will be as a teacher of any student. Regardless of experience or success, we can all learn from each other.  We invite participants to bring their questions and share their experiences as they join in the discussions.

What are you most excited for at NCKP 2023?

MKS: (1) To see friends and great teachers from around the country and abroad once again—IN PERSON!  (2) To get some time away for “R and R” that is also tax deductible.  (3) To get inspired about teaching and learn from great pedagogues—like I have for more than 35 years!

Interested in learning more about teaching adults? Attend NCKP 2023: The Piano Conference! View the NCKP 2023 schedules to explore all the Teaching Adults track sessions: online and in-person, and register for the conference.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
OTHER RESOURCES YOU MIGHT ENJOY
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A Quick Look at Technology: What Pianists Should Know

Written By Stella Sick

Special thanks to the Stella Sick, chair of the NCKP 2023: The Piano Conference Technology committee, for this post.

Why is technology important for pianists today?

The last three years have expanded everyone’s base-level of technology usage. This newly found familiarity opened doors to immersive music experiences, exciting collaborations, reaching new audiences, and expanding repertoire. The technology committee continues its mission to push the envelope and encourage and support music teachers in their journey to incorporate technology in the most organic and helpful way.

What is something you wish every pianist knew about technology?

Technology may touch nearly every aspect of modern teaching and performing, but we are all still creative spirits at our core. The goal will always be finding the right tools for delivering an expressive and meaningful message through music.

What are three tips you would give a pianist interested in incorporating technology?

  1. Be open to new ideas.
  2. Begin with creative goals—let your imagination guide you.
  3. Build a community of collaborators.

What is one free resource about technology that you would recommend?

There are many groups on social media that are a great source for information and support. YouTube can also be a great resource.

What makes your track at NCKP 2023 special? Why should people attend?

The NCKP Technology committee has brought cutting edge technology to the teaching community since the very beginning, demonstrating distance learning and creating multimedia programming before the internet could handle video. The committee’s collective experience represents a treasure trove of useful information. This year’s program is both reflective and progressive with a wide range of topics. We’re excited!

What are you most excited for at NCKP 2023?

We are excited to see colleagues and friends who we have not seen in a long time.  We always cook up the most outrageous ideas when we are together in Lombard!

Interested in learning more about technology for pianists? Attend NCKP 2023: The Piano Conference! View the NCKP 2023 schedules to explore all Technology track sessions: online and in-person. Register before May 8, 2023 for extended early bird pricing.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
OTHER RESOURCES YOU MIGHT ENJOY
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A Quick Look at Teaching Young Musicians: What Pianists Should Know

Written By Janet Tschida

Special thanks to the Janet Tschida, chair of the NCKP 2023: The Piano Conference Young Musicians: Birth to Age 9 committee for this post.

Why is working with young musicians important for pianists today?

The Young Musicians Track’s theme of “Learning Music from the Inside Out” endeavors to support teachers aspiring to implement an aural/experiential approach as the pathway to literacy for young musicians. Many of the musical and technical challenges young students face during lessons can most effectively be addressed by engaging in research-based activities such as singing, chanting, moving, and improvisatory activities. These practical strategies for training the ear and body, although associated with teaching young children, are applicable and effective at every level.

What is something you wish every pianist knew about young musicians?

The Young Musicians Track’s theme of “Learning Music from the Inside Out” involves a whole-body experience “music is conceived by our brains, played through our bodies, perceived through our sensory organs, and then interpreted by our brains” (Trainor, 2008). Thus, an “inside out” approach builds a critical foundation for musical thinking. Research indicates that our brains develop more and faster during the first five years than at any other time in life. Thus, an “inside out” approach to learning music at this age is crucial for what can be accomplished musically later in life. For example, when a pianist owns a variety of musical ideas before playing them (whether read or improvised), effective self-assessment ensues, leading to efficient improvement in musicality and technique.

What are three tips you would give a pianist interested in your teaching young musicians?

Three tips for teachers interested in the Young Musician’s Track theme of “Learning Music from the Inside Out:”

  1. As we endeavor to build a toolkit of strategies for implementing an “inside out” approach, we want to maintain an open mind to new ideas from a variety of approaches such as Dalcroze, Music Learning Theory, Feierabend’s Conversational Solfege, Kodaly, Orff, Laban Movement, etc. 
  2. Being willing to experiment with our own voice and body and actively participate in the learning process will help us grow as musicians and teachers.
  3. Changing the focus from “making pianists into musicians” to “helping musicians become pianists” will more effectively guide us as we facilitate music learning activities for our students.

What makes your track at NCKP 2023 special? Why should people attend?

Early Childhood Music and Movement is a research-based field, and NCKP may be ground-breaking among music conferences in its support for networking skilled piano teachers with early childhood music experts. What a unique opportunity! Many teachers feel uncomfortable teaching young children, but our Young Musicians Track can help them build skills and confidence for facilitating music learning from the “inside out” beginning at birth! Furthermore, the practical strategies for training the ear and body, although associated with teaching young children, are applicable and effective at every level. 

What are you most excited for at NCKP 2023?

Our Young Musicians Committee is so excited to connect and network in person this year! Developing a network of professional connections will provide valuable support as we prepare for another year of growing young musicians. We highly applaud the 2023 NCKP staff for planning an absolutely amazing conference consisting of diverse topics and experts, and we can’t wait to learn and revitalize ourselves as teachers and musicians.

Interested in learning more about teaching young musicians? Attend NCKP 2023: The Piano Conference! View the NCKP 2023 schedules to explore all Young Musicians: Birth to Age 9 track sessions: online and in-person. Register before May 1, 2023 for early bird pricing.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
OTHER RESOURCES YOU MIGHT ENJOY
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Five Ways to Improve Your Website

Written By Clinton Pratt

Don’t miss Clinton Pratt’s presentation at NCKP 2023: The Piano Conference, From Solo to School, on July 26, 2023 from 1:30-2:20PM. Register for NCKP 2023 before May 1, 2023 to receive the early bird discount!

1. Have a clear call-to-action.

Don’t confuse prospective clients with too many things to do. Should they call you? Email you? Fill out the form? Book a lesson? Go to your Facebook page? Have one thing you want them to do, make that clear, and put it on every page.

 2. Less is more!

French Designer Antoine de Saint-Exupery said “a designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.” Don’t overwhelm potential clients with too many things to read and look at. Have only 3-4 pages, with minimal text on each page.

3. Photos of happy students making music.

Photos of pianos and cozy waiting rooms are great, but people want to see other people! They want to know that your students are having a good time, so show smiling faces of happy customers.

4. “About” page: not a lengthy academic bio!

Honestly, most people don’t care about your credentials and lengthy resume. They just want to know that you’ll give them a good experience.

A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.

Antoine de Saint-Exupery

On your about page, instead of a long boring biography, tell a story that people can relate to. Keep it personal, write in first person, and focus on what they will get.

5. Reviews!

Social proof and credibility are important! If people see lots of positive reviews about your studio, they are much more likely to take the next step.

Other resources you might enjoy
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A Quick Look at Creative Music Making: What Pianists Should Know

Written By Bradley Sowash

Special thanks to the Bradley Sowash, member of the NCKP 2023 Creative Music Making committee, for this post.

Why is creative music making an important topic for pianists today?

Today’s students benefit from instruction in reading and generating music. Why? Because students that read well, play by ear, and/or create music can play a wider range of styles, are motivated by personal expression, and from revisiting fully-notated classics to winging it on pop songs with friends, versatile pianists are more likely to continue to enjoy playing as adults.

What is something you wish every pianist knew about creative music making?

Any piano teacher with a basic understanding of music theory and willingness to explore alongside their students can integrate creative music making into their curriculum.

What are three tips you would give a pianist interested in creative music making?

  1. Talent is overrated. Just like traditional musical skills, creative music making is developed through study and practice. 
  2. While off-page skills may intimidate seasoned adult musicians due to omissions in their training, many students enjoy improvising, composing, and/or playing by ear uninhibitedly. Start your students early and it becomes a fearless, natural way to make music. 
  3. Choosing one’s own notes and rhythms does not need to be difficult. While master composers and improvisers often deal with complex musical ideas and techniques, anyone can improvise with just a scale and a few chords or perhaps even less with guidance.

What is one free resource about creative music making that you would recommend?

Many of the planners and presenters for the Creative Music Making track publish free blog posts and how-to videos online. Take advantage of those that match your experience level and interests.

What makes the Creative Music Making track at NCKP 2023 special? Why should people attend?

Interest in teaching creative music making has changed and grown significantly in the past 20 years. When thought-leaders first began advocating for teaching off-page skills alongside a traditional curriculum, it was a new and not always welcome idea for many educators. Today, teacher attitudes about this topic have shifted from less about “why?” to more about “how?” Learning tips, strategies, and observing demonstrations firsthand from fellow teachers experienced in this area are some of the best opportunities that NCKP provides.

What are you most excited for at NCKP 2023?

Speaking personally, my favorite part of attending NCKP is reconnecting with friends and colleagues as well as fostering new relationships. Since many piano teachers work alone most of the time, it’s great to feel viscerally part of a large community of dedicated music educators.

Interested in learning more about creative music making for pianists? Attend NCKP 2023: The Piano Conference! View the NCKP 2023 schedules to explore all wellness track sessions: online and in-person. Register before May 1, 2023 for early bird pricing.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
OTHER RESOURCES YOU MIGHT ENJOY
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