The Piano Conference: NCKP

What to Expect at The Piano Conference: NCKP 2025

Written By Luis Sanchez

From the International Track

The committees of The Piano Conference: NCKP 2025 contribute to the program of the conference by curating topic-based tracks from the call for proposals. These unique scheduling blocks allow attendees to explore a series of presentations that have been thematically grouped for a deep learning experience. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks of conference programming. Keep reading to see what you can expect in the International Track! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.

Submitted by Dr. Luis Sanchez – Director of International Engagement – International Committee Chair.

The Piano Conference  International Committee has expanded its scope from the last two piano conferences to include tracks in Korean and Mandarin to the already existing tracks in English, Spanish and Portuguese. All sessions in foreign languages will include English closed captioning to make it accessible for all.  

The English International Track includes a series of rich and diverse sessions exploring global piano music. Renata Wu and Lisa Wang’s Echoes of East and West delves into the evolution of the Colombian pasillo through piano compositions by Fulgencio García, Adolfo Mejía, Carolina Calvache, and Victor Agudelo, highlighting the fusion of traditional, classical, jazz, and avant-garde styles while celebrating underrepresented voices. George Lopez’s session, African and European Influences on Cuban Salon Piano Music, covers the development of Cuban salon music from the 19th to 21st centuries, focusing on works by Saumell, Cervantes, and Lecuona, and offering practical teaching tips to diversify piano pedagogy. Yoshiko Arahata’s Sounds from Guatemala: Music by Ricardo Castillo showcases the vibrant rhythms and harmonies of Guatemalan composer Castillo’s piano suites, exploring their unique musical qualities. Koeun Grace Liee presents Contemporary Korea on Piano: Texu Kim’s Co.Ko. – un poco Loco (2017), a whimsical exploration of Korean traditions combined with Western styles, offering insights into Korea’s dynamic musical identity. Tsz Hin Lam’s Unveiling the Approaches of Renowned Chinese Educator Dan Zhaoyi explores Dan Zhaoyi’s influence on early childhood piano education, emphasizing cultural understanding and integrating non-Western methods. Alejandro Cremaschi’s Developing a Sense for Rhythm and Timing with Latin American Piano Pieces addresses the rhythmic complexities of Latin American piano music, providing strategies for enhancing students’ sense of rhythm. Finally, Hyrum Arnesen’s Approaching Global Repertoire: Identifying and Interpreting Argentine Folk Songs and Dances immerses participants in the rich musical world of Argentine folk genres, offering pedagogical insights for interpreting these styles in piano repertoire.

The Spanish International Track sessions cover a diverse range of topics in piano pedagogy and music. Melinda Marcos’ Afro-Porteño Composers from 19th-Century Buenos Aires explores key Afro-Porteño composers, blending historical context with their biographical details and music. Marcelo Lian’s The Pedagogical and Artistic Legacy of Vincenzo Scaramuzza focuses on Scaramuzza’s influence as a piano teacher, featuring his rarely heard mazurkas. Karina Glasinovic’s Poetic Pieces for Children examines 22 piano pieces inspired by Gabriela Mistral, presenting technical and interpretative challenges for young students. Daniel Goldstein and Elaine Rusk’s Argentine Panorama provides a historical overview of Argentine music, accompanied by a piano recital. Camila Osses’ Defining the Composer-Pianist in 20th-Century Chile highlights the work of three Chilean female composers through biographical discussions and performances. Jackeline Gutierrez’s Neurosciences, Piano and Pedagogy explores the connection between brain activity and piano performance, emphasizing neuroeducational methods. Alejandro Cremaschi’s Five Sonatinas from Argentina and Brazil discusses the stylistic and pedagogical richness of five sonatinas from Latin American composers. Maria Isabel Benitez’s Lines, Spaces and Notes addresses challenges faced by Spanish-speaking children in learning music. Anamarie Sabbagh’s Music Education Marketing emphasizes the cognitive and emotional benefits of early music education. Carla Salas-Ruiz’s Motivation and Development of Interest in Adolescent Piano Students presents strategies for sustaining motivation in adolescent piano learners. Guillermo Carro’s Ernesto Drangosch—Pianist and Pedagogue reflects on Drangosch’s legacy as a pedagogue and composer. Lastly, Jessica Alarcon’s Resignification of Functional Diversity through the Piano shares her experience teaching piano to children with intellectual disabilities, breaking the stigma surrounding their ability to learn music.

The Portuguese International Track will feature eleven presentations on various innovative approaches to piano teaching, with an emphasis on technology, pedagogy, and emotional engagement. Caroline Silva will discuss Guerra-Peixe’s Suíte Infantil No. 1 in her session Why Wait? Exploring Modern Music for Pre-Intermediate Levels. Ana Filipa Neves Ferreira’s The Relevance of Emotional Engagement and Neuroplasticity Principles in Piano Learning explores how neuroplasticity principles, such as repetition and specificity, enhance piano teaching by integrating emotional engagement. This approach fosters a holistic artistic development, strengthening technical, expressive, and emotional skills. Fabiana Bonilha’s Technologies for Transcribing and Reading Piano Works in Braille focuses on tools for transcribing piano works into Braille, improving access to piano repertoire for blind pianists. Fatima Corvisier and Ellen Miyashiro’s Polyphonic Repertoire at Elementary and Intermediate Piano Levels investigates the importance of introducing polyphonic pieces early in piano learning, using historical and modern works to facilitate understanding of this technique.

Fernando Corvisier’s The Sound Universe of Almeida Prado: Cartas Celestes XIII presents an interpretative analysis of the Brazilian composer’s work, examining compositional techniques and pedagogical aspects in contemporary piano literature. Henrique Villela’s Teaching Practice in Piano Bachelor’s Degree Courses discusses how Brazilian piano bachelor programs integrate pedagogical training to prepare students for teaching careers. Isis Natali Cardoso’s Lorenzo Fernandez: Didactic Piano Music as a Pedagogical and Artistic Tool examines Fernandez’s intermediate compositions, highlighting their technical and creative potential for piano education. Gil Peijnenburg’s From Drum to Piano: Adaptation of Congo Capixaba from Barra do Jucu for Solo Piano will share techniques for transferring percussive style to the piano. Lully Benassi and Fernando Corvisier’s Extended Techniques in Teaching Piano Repertoire explores the incorporation of contemporary Brazilian repertoire with extended techniques, encouraging students to engage with new sounds and develop their instrumental skills. Patricia Melo’s Experiential Knowledge in the Construction of Piano Teaching highlights the importance of practical pedagogical experience in undergraduate piano courses at Brazilian universities. Lastly, Rafael Gomes’ Group Piano Teaching: Expanding Harmonic Possibilities presents a group teaching approach to studying harmony through improvisation and harmonization. 

The Korean International Track includes three engaging sessions aimed at enhancing music education. The first session, titled Summer Piano Camp Program that Enhances the Joy of Learning, presented by Chee Hyeon Choi, explores creative ways to make piano learning enjoyable during the summer. It emphasizes group classes, improvisation, and thematic pieces to help students of all levels quickly grasp the essence of piano music. The second session, The Magical Fusion of Different Music: The Encounter Between Korean Geomungo and Piano Music, delves into the fusion of Korean geomungo and piano music, offering an overview of composers and available repertoire, along with live performances to demonstrate this unique blend. The final session, Understanding and Supporting Students with ADHD in Music Classes, discusses strategies for teaching students with ADHD, providing twelve practical methods across three stages—before, during, and after the lesson—to ensure effective learning in music classes.

The Mandarin International Track covers a variety of topics related to piano health, career prospects, and education. Juyang Qi’s lecture explores performance-related musculoskeletal disorders (PRMDs) in pianists, focusing on causes, prevention, and treatment, especially for injuries to the upper limbs, neck, and back, and emphasizes the importance of ergonomic keyboards. Zhenzhen Su’s presentation discusses the role of piano performance in promoting physical and emotional health, drawing from Colette Maze’s philosophy of connecting through music and visual art to foster social interaction and well-being. Yingzhou Hu’s speech addresses the employment prospects for piano majors in American colleges and universities, providing guidance on career planning and the challenges students may face.

These 37 sessions that have been carefully curated by the committee explore not only repertoire from different corners of the world but also delve into the current research on learning and teaching that is carried out beyond the United States’ borders.  

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

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5 Things You Might Not Know About Philippa Schuyler

Written By Sarah Masterson

We would like to thank Sarah Masterson for this article on pianist and composer Philippa Schuyler. Interested in learning more about Philippa Schuyler? Attend her session at The Piano Conference: NCKP 2025 on Thursday, July 24 from 11:30 AM – 11:55 AM in Lilac B. Learn more and register for the conference here.

Philippa Schuyler

1. Famous as a child prodigy, Schuyler wrote fifty compositions by age ten.

Composing by age four, Schuyler began performing her own music in concerts at age six. Her childhood works tend to be related to events in her life or books she read. For example, the book 1001 Tales of the Arabian Nights inspired her Suite from the Arabian Nights, while Cockroach Ballet tells the story of the roaches that lived in her kitchen. In1946, at age 15, Time Magazine called her the “brightest young composer in the U.S.”1

Philippa Schuyler

2. She performed in approximately 80 countries on five continents.

When Schuyler was 19, she embarked on her first solo concert tour, without any chaperone, beginning with a performance at the 1950 inauguration of Haitian president Paul Magloire. Traveling nearly continuously, Schuyler went on to visit 35 countries on five continents by age 23. Her first adult compositions arrange folk music heard on her travels.

3. As a journalist, she reported on the 1960 Congo Crisis.

In 1960, Schuyler was invited to perform for the inauguration of the new Congolese president and prime minister on the occasion of the Congo’s independence from Belgium. In the days following, the country descended into chaos. Rather than immediately fleeing the violence, Schuyler stayed several days to try to get the story, only leaving for her next concert engagement in Ghana. In subsequent months, she interviewed survivors in Belgium and returned to the Congo, reporting on the violence resulting from the state of Katanga’s recent secession. She remained there for weeks, investigating politics and possible war crimes.

Philippa Schuyler; Photographer: Fred Palumbo

4. She premiered her piano concerto Nile Fantasy with the Cairo Symphony in 1965.

Schuyler’s piano concerto Nile Fantasy premiered with the Cairo Symphony in December 1965, with Schuyler at the piano and Dennis Gray Stoll at the podium. Its four movements—“Rebellion,” “Inshallah,” “The Terror,” and “The Road to Victory”—orchestrate sections from her White Nile Suite and Seven Pillars of Wisdom. The concerto’s final documented performance occurred at Schuyler’s 1967 memorial.

Schuyler outside the premiere’s venue.

5. She spent months reporting on the Vietnam War, buying fatigues on the black market to “view ACTION.”2

In September 1966, Schuyler traveled to Vietnam to perform at the Saigon Conservatory and stayed to report on the war. On a second trip in 1967, she spent most of her time in Hue. Disguising herself as Vietnamese, she hid with locals to avoid mandatory evacuation, unwilling to leave “at the very moment that Hue [was] becoming interesting.”3 She helped evacuate women, children, and clergy to safer areas, getting them on military flights and, by her count, evacuating over seventy people. It was on one of those flights that she died at age 35, when her helicopter crashed yards from shore.

Philippa Schuyler
Footnotes and Sources

1. “Music: Original Girl,” Time, March 25, 1946. https://time.com/archive/6824347/music-original-girl/.

2. Philippa Schuyler to Josephine Schuyler, September 15, 1966, box 73, folder 4, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, NY.

3. Philippa Schuyler to Father Lyons, n.d., box 22, folder 1, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, NY.

Masterson, Sarah. Snapshots of Forgotten Adventures: Rediscovering the Piano Music of Philippa Schuyler. Pomaria: Tyger River Books, 2024.

“Music: Original Girl.” Time Magazine, March 25, 1946. https://time.com/archive/6824347/music-original-girl

Schuyler Family Audio. Schomburg Center for Research in Black Culture: Moving Image and Recorded Sound Division, New York, New York.

Schuyler Family Papers. Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, New York.

Schuyler, Philippa Duke. Adventures in Black and White. Edited by Tara Betts. New York: 2Leaf Press, 2018.

Talalay, Kathryn. Composition in Black and White: The Tragic Saga of Harlem’s Biracial Prodigy. Oxford: Oxford University Press, 1995.

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What to Expect at The Piano Conference: NCKP 2025
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Last Chance to Participate – The Piano Conference: NCKP 2025

Written By Piano Inspires

Last chance to participate in The Piano Conference: NCKP 2025! The deadline to submit Collegiate Connections, E-Posters, Performances, and Teaching Demonstrations is Monday, March 31, 2025, at 11:59 PM Pacific.

Collegiate Connections


We invite collegiate groups in pedagogy, repertoire, and related performance classes along with their faculty to participate. Projects may cover a wide range of topics such as creative teaching, lecture and musical presentations, community engagement, and business entrepreneurship. We welcome all group proposals; note that proposals by individual presenters will not be considered.

Learn More and submit

E-Poster Proposals


The Piano Conference seeks e-poster presentations from educators, researchers, and performers, and encourages proposals from emerging professionals and students. E- posters can include topics related to general pedagogy or those based upon research.

Learn more and submit

Performances


The in-person conference program will include an inspiring main-stage concert highlighting multiple performers from the community. Ideal concert selections will bring awareness to expanding the piano repertoire with music by underrepresented composers and pieces that are lesser known.

learn more and submit

Teaching Demonstration Videos


The Piano Conference seeks to highlight excellence in teaching practice and music learning, and calls for submissions of piano lesson videos for the plenary teaching demonstrations, online and in person. All piano educators, emerging professionals, and students are welcome to submit videos.

learn more and submit

Full conference registration includes four days of engagement, including the Innovation Summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available.

All are invited to join us for the NCKP Innovation Summit on Wednesday, July 23, starting at 9:00 AM. Through dynamic collaboration, bold idea-sharing, and inspiring discussions, we’ll work together to build a forward-thinking vision for teaching and learning. Don’t miss this exciting opportunity to innovate, connect, and help redefine what’s possible—your ideas matter! Take the Pre-Summit survey here.

Not sure if you will attend? Check out our schedule to see everything you can learn at The Piano Conference: NCKP 2025!

Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific.

Register

Missed the special discount on The Piano Conference: NCKP? Subscribers receive an additional 10% off registration. Log in to pianoinspires.com and navigate to ‘My Discounts’ to retrieve your discount code.

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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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What to Expect at The Piano Conference: NCKP 2025

Written By Sara Ernst, Alexandra Nguyen, Alejandro Cremaschi

From the Collaborative Performance and Research Committee Chairs

The Committees of The Piano Conference: NCKP 2025 work to research, compile, or otherwise address issues of ongoing significance to our participants and the piano teaching public in meaningful and substantive ways. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks. Keep reading to see what you can expect from the Collaborative Performance and Research Conference Tracks! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.

Collaborative Performance: Inspiration and Execution

By Alexandra Nguyen, Chair

Sunday, June 8, 2pm-3pm

Friday, July 25, 10am-12pm

The mission of the collaborative performance committee is to promote and support collaborative

music making at every level. By its very nature, the field that is called collaborative piano encompasses a wide range of activities: performing with others, teaching, coaching, working as

rehearsal pianists… the list is diverse, providing an endless list of potential topics for conference

sessions. 

At The Piano Conference: NCKP 2023, the collaborative performance committee hosted a town hall where questions and topics for discussion were collected from the attendees. The session was energizing, interactive, and informative, providing us with first-hand insight into the concerns and issues faced by pianists working in a broad cross-section of settings. This collected information served as the impetus for the design of this year’s online and in-person collaborative performance sessions.

The Collaborative Performance Track will support the dual facets of being a musician: the artistic soul seeking inspiration and the working professional dealing with pragmatic and financial mechanics, as well as to build and nurture a sense of community. Despite the fact that collaborative pianists are constantly working with others, it is not unusual for us to feel solitary – that those we interact with may not have a clear understanding of our work nor be a knowledgeable resource. To this end, a town hall will be held to offer a space for open discourse and exchange.

This track will also address logistic and financial management for collaborative pianists. What constitutes a reasonable workload for a staff pianist? How should salaries, honoraria, and fees be set? How can one establish healthy working expectations and boundaries? In reaction to this, the collaborative performance committee will host Behind the Curtain: Labor Relations for the Collaborative Pianist, with the goal of providing concrete guidelines for the working collaborative pianist, and perhaps for the industry at large.

A highlight of this year’s collaborative sessions is the online forum Iconic Conversations: Insights from Leaders in Collaborative Piano will bring together artist-pedagogues Jean Barr, Anne Epperson, Margo Garrett, Warren Jones, and Martin Katz for a stimulating discussion, offering a rare opportunity to gain insights into the artistry, challenges, and evolving role of collaborative pianists from the perspective of these incredible leaders in the field. It is an event not to be missed!

We hope that all who attend the collaborative performance track sessions will leave with a renewed sense of inspiration, intention, and purpose.

Recent Scientific Research

By Alejandro Cremaschi, Chair

Sunday, June 8, 2-3:30pm

Thursday, July 24, 10:30am-12:30pm

As teachers, students and musicians we often encounter situations that make us wonder about questions such as the root causes of problems we experience, the most effective solutions to those problems, or the effects of our decisions, actions and strategies on our performance and our teaching. At times, we find answers by reading the research others have conducted to answer similar questions. Other times, these questions prompt us to become researchers ourselves, to look closely and systematically at these phenomena. The Research Track presentations and poster sessions will provide attendees with both: opportunities to learn about exciting research projects in a diverse range of areas and the tools to get started and to further develop research skills.

The online June event will feature fascinating studies on how we read music, use peer teaching in group classes,  and use movement to play the piano. Sumi Kwon and Su-Young Bae will discuss their findings about eye movements during the perusal time prior to sight-reading, taking into account the musical structure of the piece being read, and sight-reading ability of the participants. Jinnan Liu will share the results of a quantitative study in group piano teaching. She will explore the ideal approaches for using reciprocal peer teaching in the learning of repertoire, sight-reading, harmonization, and transposition. Paloma Monteiro will then present on her study that used Motion Capture and MIDI technology to analyze the impact of diversifying repetition in practice on synchronization between the pianist’s hands.

The in-person track will open with with presenters Sarah Jenkins, Curtis Pavey, Helena Hyesoo Kim and Carla Salas-Ruiz discussing the findings of project that investigated the evolving definitions of success among American music professionals without full-time academic positions, and essential skill sets for new graduates and recommended curricular modifications. Then, researcher Todd Van Kekerix will discuss how music is making an impact in addressing the elevated levels of stress among healthcare workers, nurses, nursing students, and long-term care workers. His session will share research on the impact of group keyboard music-making sessions on the changes in mood states, blood pressure, and burnout.

The second hour of the in-person track starts with a presentation on pianistic movement and how it communicates artistry. Researcher Carla Cash will focus on recent research from an ongoing collaboration with her university’s biomechanical engineering department using a Motion Capture System to examine the mechanics of piano technique. She will present data tracking the body motions of a professional pianist with over 40 years of playing experience and a college undergraduate pianist with 15 years of experience, demonstrating differences between the players’ use of their upper torsos in performance. Following this, Stephanie Archer will discuss the findings of a research project that polled piano teachers about the order of introduction of technical skills at the beginning level, and their beliefs about the relationship between beginner-level technique instruction and injury prevention. 

We hope that you will join us for these fascinating and informative sessions. They will likely inspire and empower you to seek answers, apply research in your own teaching, and to start your own research inquiries.

Attendees at The Piano Conference: NCKP.

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

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What’s New at The Piano Conference: NCKP 2025

Written By Sara Ernst, Michaela Boros, Megan Hall

We would like to thank Sara Ernst, Michaela Jones, and Megan Hall for this fascinating article on what we can expect at the Piano Conference: NCKP 2025. Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

1. The NCKP Innovation Summit

The Inaugural NCKP 2025 Innovation Summit: Designing the Future of Piano Education represents an exciting opportunity for our community to reflect on and shape the evolving landscape of piano teaching and learning. Held on Wednesday, July 23, from 9:00 a.m. to 5:00 p.m., this event will convene a diverse group of professionals committed to advancing piano education in a rapidly changing world. We invite you to join us for this transformative event and add your voice to the shared vision of the future of piano education.

Designed as a collaborative and forward-thinking gathering, the Summit invites participants to explore innovative teaching models, address current challenges, and chart a course for the future of the field. The Summit’s comprehensive approach aims to foster critical discussion, encourage the exchange of ideas, and inspire meaningful action.

2. Jazz Artists: Concert and PEDx Panel

Jeremy Siskind will host a jazz concert featuring acclaimed jazz artists and PEDx panel on jazz education and the importance of teaching improvisation. To learn more about the jazz concert artists, click here.

3. An expanded online event

The Piano Conference is expanding internationally and now includes tracks in Mandarin and Korean, as well as Spanish and Portuguese.  English subtitles are provided for all presentations in other languages. Additionally, session rebroadcasts will be available for greater accessibility across time zones worldwide.

4. Collegiate Connections at The Piano Conference online event

Collegiate Connections focuses exclusively on highlighting the work of today’s most innovative collegiate groups. Winners present in a Collegiate Connections webinar on April 25, 2025, and at the online event of The Piano Conference: NCKP 2025 on Sunday, June 8, 2025. Interested in submitting your collegiate group’s work to Collegiate Connections? Submit here.

Attendees in a group piano lab at The Piano Conference: NCKP
A presenter speaking at The Piano Conference: NCKP
Attendees at The Piano Conference: NCKP

5. Curated committee programming

Our 15 committees have carefully curated new programs for 2025 based on relevant topics in piano education.  These selected sessions are integrated directly into the conference schedule. Our committee topics include:

  • Advocacy and Community Impact
  • Business and Entrepreneurship
  • Collaborative Performance
  • Creative Music Making
  • Inclusive Teaching
  • Independent Music Teachers
  • International
  • New Professionals
  • Performance Practice
  • Research
  • Teacher Education in Higher Ed
  • Teaching Adults
  • Technology
  • Wellness
  • Young Musicians: Birth to Age 9

We hope to see you at The Piano Conference: NCKP 2025 for four days of learning, connection, and inspiration.

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

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What to Expect at The Piano Conference: NCKP 2025

Written By Sara Ernst, Andrew Cooperstock, Jackie Edwards-Henry, Andy Villemez

From the Performance Practice, Teaching Adults, and Business & Entrepreneurship Committee Chairs

The committees of The Piano Conference: NCKP 2025 contribute to the program of the conference by curating topic-based tracks from the call for proposals. These unique scheduling blocks allow attendees to explore a series of presentations that have been thematically grouped for a deep learning experience. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks of conference programming. Keep reading to see what you can expect in the Performance Practice, Teaching Adults, and Business & Entrepreneurship Committee tracks! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.

Performance Practice

By Andrew Cooperstock, Chair

Saturday, June 7, 2:30-4:30 PM

Thursday, July 24, 10:30 AM-12:30 PM

The Comprehensive Musician

Established in 2023, the Performance Practice Committee intersects naturally with many interests in our community. Indeed, we are interested in education at all levels, inclusivity, research, creativity, collaboration, entrepreneurship, technology, and wellness, and we seek to explore all facets of literature, interpretation, technique, preparation, performance, and more. The Performance Practice Track at The Piano Conference: NCKP 2025 will feature exciting sessions on practice, technique, and diverse repertoire. 

The online track offerings include a fascinating look at the connection of creative metronome use to historical theories of tempo and expression, providing tips to help students build their sense of pulse and exploring how tempo might be approached today for greater emotional depth. We also look forward to a timely presentation on teaching piano literature in terms of our current educational landscape, including learning styles of Generations Z and Alpha, the impact of AI, and more. In addition, the online event includes “Abby Whiteside’s Legacy: The Open Secret to Pianistic Wellness?,” to explore this fascinating pedagogue’s “transformational concepts through the lens of a personal journey from frustration to facility.” 

The in-person track will feature two lecture recitals and two presentations on a varied and diverse repertoire. Pedaling will be explored through a focused look at Beethoven’s evolving use of the pedal with suggestions for our modern instrument. What do Florence Price and Pierre Boulez have in common?—a connection with The PianoConference location. “Women of the Chicago Black Renaissance” will explore connections among four significant Black women composers active during a period of intense artistic creativity and community-building in that city beginning in the 1930s. In tribute to his 2025 centenary, “Pierre Boulez at 100” will introduce the Chicago Symphony’s esteemed principal guest conductor by way of a practical analysis of his first published piano piece, 12 Notations. An additional joint session will highlight contemporary works by Pulitzer Prize-winning Cuban-American composer Tania León and influential Chinese composer Lisan Wang.

The Performance Practice committee hopes that these sessions will inspire attendees to explore standard and new literature with fresh ideas on technique and interpretation.

Musicians performing at The Piano Conference.

Teaching Adults

By Jackie Edwards-Henry, Chair 

Sunday, June 8, 2:00 to 3:30 PM

Friday, July 25, 10:00 AM to 12:00 PM

Piano for Life

Whether adults begin piano study or resume it, their goals are specific and often beyond the simple desire to learn to play music for their own enjoyment. 

The programming selected and featured by the Teaching Adults Committee will help attendees learn about the cognitive benefits of piano lessons, group teaching techniques that may also be used in the independent studio, practice strategies for adults, and best practice teaching tips from highly successful teacher/facilitators of adult students. At the in-person event, presenter Lois Svard will share the findings of her research in “Older Adults Gain Cognitive Benefits from Piano Lessons.” Debra Perez, using the conference keyboard lab, will guide attendees through “Three Enjoyable Group Teaching Techniques Your Older Students Will Appreciate.” The techniques presented may also be adapted for use in independent studios. An additional session in the online track explores practice, “‘I’ll Just Start Over’: How to Help Adult Hobbyists Develop Professional Practicing Skills” by Florence Phillips explores practice. 

Best practice teaching videos selected by the Teaching Adults Committee will be featured in the presentation, “‘What and How’ for the Win with Adults.” In this interactive session, teacher/facilitators will describe their teaching videos and address questions/discussion by attendees. This will be presented twice, featuring different lesson videos in both the online and in-person track. Another online presentation from select committee members will provide insights from adult students, “From Their Mouths to Our Ears: Let’s Hear It Directly from Adult Piano Students.”

Business and Entrepreneurship

By Andrew Villemez, Chair 

Sunday, June 8, 4:00-5:30 PM

Saturday, July 26, 10:30 AM-12:30 PM

Building Bridges Between Art and Entrepreneurship

Imagining yourself as both a pianist and a thriving entrepreneur might seem like juggling two different worlds, but the truth is they’re inseparable. Whether you’re teaching, performing, or creating new projects, the skills you need to build a business are the same ones that allow your artistry to flourish. That’s where the Business and Entrepreneurship Committee steps in. We’re here to help pianists discover how embracing entrepreneurial practices can expand their reach, strengthen their careers, and make a deeper impact in their communities.

For pianists—whether just starting out or already established—entrepreneurship isn’t optional anymore. It’s the key to crafting a meaningful career, allowing you to transform your skills into opportunities that are both sustainable and fulfilling. Our curated sessions at The Piano Conference aim to meet you where you are, whether you’re building your first teaching studio, growing your online presence, or navigating the challenges of expanding your brand.

This year, the programming builds on the momentum of the opening summit. During the summit, the entire community will explore the immediate challenges and opportunities in our field. Inspired by this collective work, our sessions will offer attendees tangible ways to take bold steps forward—no matter where they’re starting from. Topics on the track include launching your own music school, practical steps for content creation, tips for increasing studio profits and wages, and leveraging group teaching and business models for student access. 

Entrepreneurship is not about having all the answers but about asking the right questions. It’s about figuring out where you want to grow and being willing to make mistakes along the way. Whether you’re early in your career or navigating a mid-career pivot, the question isn’t “What if it doesn’t work out?” but “What would I learn if I tried?” The Business and Entrepreneurship track encourages attendees to think deeply about their strengths and challenges and offers tools to navigate both.

Here are a few key strategies to guide your journey:

  1. Lean Into Community: Find peers and mentors who inspire you. A strong network not only shares ideas but also reminds you you’re not alone in your struggles or successes.
  2. Define Your Goals: Clarity and specificity about what you want to achieve—both now and in the future—can shape your decisions in ways that align with your long-term vision.
  3. Keep Moving Forward: Entrepreneurship is a marathon, not a sprint. Small, consistent actions will get you further than waiting for the perfect moment.

At its heart, this committee’s work is about navigating inherent tensions and creating bridges—between artistry and business, between ideas and action, and between your dreams and your reality. It’s a reminder that success is not about avoiding failure; it’s about embracing the challenges that help you grow.

We look forward to seeing you at The Piano Conference, where the possibilities are endless, and the tools to realize them are within reach. Let’s explore this next chapter together.

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

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What to Expect at The Piano Conference: NCKP 2025

Written By Sara Ernst, Jason Sifford, Janet Tschida, Jeremy Siskind

From the Creative Music Making, Independent Studio Teachers, and Young Musicians Committee Chairs

The committees of The Piano Conference: NCKP 2025 contribute to the program of the conference by curating topic-based tracks from the call for proposals. These unique scheduling blocks allow attendees to explore a series of presentations that have been thematically grouped for a deep learning experience. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks of conference programming. Keep reading to see what you can expect in the Creative Music Making, Independent Music Teachers, and Young Musicians tracks! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.

Creative Music Making

By Jeremy Siskind, Chair

It happens every time you attend a conference: You leave inspired and motivated to incorporate improvisation into your lessons. But once you get home and start teaching, the reality of the limitation of a 30- or 45-minute lesson sets in.

“Integrating Improvisation into Piano Lessons” is a guided experience designed to help you combat the “30-minute lesson malaise.” These sessions will guide you through three different approaches real teachers use to combat time constraints and achieve the goal of fostering creativity in their studio. The three approaches are: 1) integrating improvisation consistently across lessons, 2) dedicating specific times for improvisation, such as an “Improv Week,” and 3) starting each lesson with a jam session.

The three presenters will first lead a hands-on experiential session in The Piano Conference’s keyboard lab in which attendees will play the role of students, receiving a lesson in improvisation. Then, all the participants will gather together to hear the teachers describe their approaches, reflect on best practices, and explore how they use improvisation to foster creativity and help students develop pianistic skills.

Independent Music Teachers

The Studio Track

By Jason Sifford, Chair 

The work of a music teacher is complicated. On any given day, we may wear the hats of artists, historians, coaches, employees, business owners, psychologists, and mentors. Each of us has their own unique combination of skills, interests, and experiences that make us the teacher we are. What we do have in common, however, is that we each spend our most valuable time with our students, helping them to become the kinds of musicians they wish to be. That’s why this year we’re proud to offer attendees something we like to call “The Studio Track!”

Hosted by the Independent Music Teachers committee, this year’s track brings you a variety of sessions to help you establish a musically productive studio culture. We’ll explore studio models and understand the changing ways in which teachers are going about their work in the 21st century. We’ll tackle the world of lead sheets and chord charts in an engaging group class in the keyboard lab. We’ll learn how cutting-edge thinking on habit formation can help students become expert practicers. And for those of us who work with students on the quiet side, we’ll find ways to connect with our more timid students in a world that too often promotes and rewards extroversion.

Regardless of the repertoire, genre, or studio model you work in, we hope you’ll join us in the important work of helping students think of themselves as confident and capable musicians, embracing their artistic souls regardless of wherever else their lives may lead.

Young Musicians—Birth to Age Nine

Connecting the Dots: Holistic Learning from Day 1

By Janet Tschida, Chair 

Implementing a holistic approach to cultivating musicianship in young students can be transformative! Children who learn to listen with their whole bodies develop a lifelong love of music-making. The Young Musicians Committee desires to support The Piano Conference’s  flourishing community of piano instructors by intersecting with holistic music specialists. Accordingly, theYoung Musicians track will feature specialists in Dalcroze, Kodály, Music Learning Theory, and more, who will help us “connect the dots” in developing our students’ inner musician!

During the online event in June, Kodály specialist Megan Hall will present “‘I Know that Song!” At this session, we will learn how traditional melodies can ignite a passion for singing and playing the piano, develop aural skills, and encourage music reading. Hall will share the benefits of teaching through the lens of folk music along with practical tools for applying the power of a folk song in the piano studio.

After Hall’s session, Christina Whitlock’s presentation “The Paradox of Play: Taking Fun Seriously” will challenge us to question what it means to “play” our instrument and how that often contrasts with the traditional lesson experience. In this light-hearted exploration into the art of serious play, Whitlock will help us understand why we learn more effectively through play than any other process, and how true play involves a consistent approach throughout the lesson, not one isolated activity.

“Let’s Get Moving! Eurythmics Applications in the Private Studio” will be our first main conference session in July. Dalcroze specialist Katie Ostrosky will introduce us to the Dalcrozian mindset—students learn through experience, discovery, and use of the whole body. As our students learn to engage their whole body with purposeful movement, they will develop a heightened sense of rhythm, expressiveness, and joy in their music. Come ready to move!

On our second day, Music Learning Theory specialist Scarlette Kerr will demonstrate how piano technique is a natural extension of what musicians embody through movement and rhythmic audiation during her session “‘Musiking’ with the Mind and Body.” Building on Kerr’s presentation, Michael Clark will share his fun and innovative, five-part strategy for making technical instruction effective and engaging through Exercises, Rote pieces, Imagery, Cues, and Activities (“ERICA”). To demonstrate how we can apply the pedagogical principles of ERICA to any aspect of piano technique. Clark will illustrate ERICA with a sampling of pianistic techniques.

We invite you to network with like-minded professionals at our Young Musicians social event, “Connecting the Dots: An Interactive Resource Share.” Finding resources to transition from early childhood music and movement to study on an instrument can be challenging. During this interactive resource share, we will unwind from the day by engaging in activities that develop our students’ inner musician including fun folk dances, movement activities, folk songs sung in canon, and more! Attendees will be given a description of activities and recommended resource list. 

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Save an additional 10% on Early-Bird registration now through Saturday, March 8, 2025 at 11:59 PM Pacific. Use discount code 10EARLY at checkout. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Learn more and register by clicking here.

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The Piano Conference: NCKP 2025 Schedule Announcement

Written By Piano Inspires

We are pleased to announce the schedule of The Piano Conference: NCKP 2025!

Returning to the Westin Chicago Lombard Hotel (Lombard, IL), The Piano Conference features a new, innovative in-person summit. This opening one-day summit engages the full community and provides a gathering for all to collectively share, dialogue, and exchange ideas. The Piano Conference continues with three additional days of selected conference sessions as well as keynotes, concerts, and curated PEDx. The conference will also include an online event on June 7-8, 2025 to facilitate broad and international access.

View the In-Person Conference Schedule here.

View the Online Conference Schedule here.

It’s not too late to be on the program! You can still participate by presenting Collegiate Connections projects, E-posters, Performances, and Teaching Demonstrations.

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Save an additional 10% on Early-Bird registration now through Saturday, March 8, 2025 at 11:59 PM Pacific. Use discount code 10EARLY at checkout. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Learn more and register by clicking here.

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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
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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!

QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
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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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