The Piano Conference: NCKP

5 Things You Might Not Know About Mélanie Bonis (1858–1937)

Written By McKenna Girdeen

We would like to thank McKenna Girdeen for this article on Mélanie Bonis. Interested in learning more about Bonis? Attend this session at The Piano Conference: NCKP 2025 in-person conference on Thursday, July 24, 2025, 1:30-2:20pm CDT. Learn more and register for the online and in-person conference here.

Mélanie Bonis, a largely underrepresented composer, remains unknown to many musicians  today. However, a revival of her work is currently underway. Bonis (1858–1937) was a prolific French composer and pedagogue, whose children’s collections were popular during her lifetime.  Due to gender-based discrimination in a male-dominated field, her works faded into obscurity  after her death. A handful of researchers are working to resurrect her music, although there is still  a lack of scores, recordings, and scholarly resources available in English. Influences from  Debussy, Ravel, and Fauré highlight how Bonis’ contributions can expand the representation of  early 20th-century French style, offering a more historically informed portrayal that has  traditionally been dominated by male composers.

1. Bonis wrote over 300 compositions across various genres.

Bonis was a prolific composer, writing over 300 works. The majority of these were for  piano, with around 160 specifically intended for pedagogical purposes. Bonis also wrote more  advanced piano pieces, such as Femmes de Légende, a collection of concert pieces each inspired by a legendary female figure. Although she primarily composed for piano and voice, her output also  includes music for orchestra, chamber ensembles, and organ. Notable performance pieces for piano include Ballade, Op. 27, Romance sans paroles en la bémol majeur, Op. 29, and Barcarolle, Op.  41. Go take a listen!

“Mel Bonis,” 1900s. Mel Bonis collection, Association Mel Bonis. Bru Zane Mediabase. Available at: https://www.bruzanemediabase.com/en/node/14745.

2. Her style blends elements of Romanticism and Impressionism.

Bonis’ music blends elements of both Impressionism and Romanticism, characterized by lyrical melodies and colorful, idiomatic piano textures. Her works are tonal yet infused with chromaticism and adventurous harmonies. Her style shows parallels with Debussy’s, particularly in La Cathédrale blessée, Op. 107, which shows similarities to Debussy’s La Cathédral engloutie. Bonis’ music also reflects influences from composers like Ravel, Fauré, and Chopin. These connections highlight how her work can broaden the representation of the early twentieth-century French style to offer a more inclusive perspective that has traditionally been dominated by male composers.

“Mel Bonis,” undated. Mel Bonis collection, Association Mel Bonis. Bru Zane Mediabase. Available at:  https://www.bruzanemediabase.com/en/node/14762.

3. She was a classmate of Claude Debussy.

Bonis studied at the Paris Conservatoire where she studied under César Franck and became  peers with Claude Debussy and Gabriel Pierné. Her parents showed little support for her musical  pursuits, believing that this type of career was unsuitable for a woman. It was Franck who  encouraged her enrollment at the Conservatoire. There, she quickly proved her exceptional talent by winning numerous composition competitions, receiving high praises from her mentors, and  establishing herself as one of the top students in her class. However, despite these successes, Bonis continued to face challenges due to her gender, struggling with internal doubts and encountering prejudice.

“Mélanie Bonis,” c. 1880. Mel Bonis collection, Association Mel Bonis. Bru Zane Mediabase. Available at:  https://www.bruzanemediabase.com/en/node/14750.

4. She used “Mel” to publish her works androgynously.

Bonis faced significant challenges as a woman in a male-dominated field, enduring gender-based discrimination while also adhering to societal expectations of being a housewife and  managing the household. Despite her attempts to challenge these barriers, such as adopting the  gender-ambiguous pseudonym “Mel Bonis,” the cultural landscape of France and expectations of women composers during her time shaped her work output and impacted her lasting success.  Letters exchanged with peers and mentors reveal the psychological toll of these gender  expectations, including a fear of being undervalued, despite the accomplishments and praise she  received. 

Additionally, Bonis’ parents forced her to leave the Paris Conservatoire after a fellow student  she became romantically involved with had proposed to her. They arranged a marriage for her to  a 47-year-old man with five children. Expected to fulfill domestic duties as a wife and mother,  she took a break from her musical career for several years.

“Mel Bonis (at the end of her life),” c. 1930s. Mel Bonis collection, Association Mel Bonis. Bru Zane  Mediabase. Available at: https://www.bruzanemediabase.com/en/node/14746.

5. Bonis composed pedagogical works that expose early twentieth-century French repertoire to a variety of levels.

These works offer valuable educational content for students ranging from early-to-late  intermediate levels while introducing them to early twentieth-century French piano music. Some of her collections were specifically written with pedagogical intent, similar to the children’s pieces of composers like Schumann and Tchaikovsky, and these collections were popular during her time. Her Scènes enfantines employs techniques suitable for early-intermediate learners. This collection features a variety of articulation, melodic voicing in both hands, dynamic contrasts,  and hand independence. Further, the descriptive titles and narrative annotations in the score help young students connect personally with the music.

In addition to these pedagogical works, many of her other pieces also provide rich  educational value, such as Cinq pieces pour piano. This late-intermediate-level collection  exposes students to octaves, sixteenth-note passages, and finger independence in multi-voice writing.

“17 Pièces enfantines (Mel Bonis),” 1926. Mel Bonis collection, Association Mel Bonis. Bru Zane  Mediabase. Available at: https://www.bruzanemediabase.com/en/node/14755.

Including Bonis’ works in the intermediate repertoire addresses two deficiencies in the  representation of twentieth-century French repertoire: the lack of female representation and the scarcity of early-to-mid-intermediate-level materials. Students can develop essential technical skills and explore musical styles already represented by key male figures, but through the perspective of a female composer. This not only acknowledges that women were contributors of  the time but also enriches the portrayal of the early twentieth-century French music landscape. Incorporating Mel Bonis into the intermediate repertoire would support the ongoing efforts to revive her works and offer students the opportunity to experience the early twentieth-century  French music through the perspective of a female composer whose contributions were  overshadowed by the gender biases of her era.

Resources

Bonis, Mel. Souvenirs et rèflexions [Memories and reflections]. Edited by Jeanne Brochot. Les éditions du Nant d’enfer, 1974. 

Bonis, Mel and Charles Koechlin, et. al. Correspondance choisie de Mel Bonis [Selected correspondence from Mel Bonis]. Selected with commentary by Christine Géliot. Les Amis de la musique française, 2007. 

Étienne, Jardin. Mel Bonis (1858–1937): Parcours d’une compositrice de la Belle Époque [Mel Bonis (1858–1937): Journey of a Belle Époque composer]. Venice, Italy: Actes Sud/Palazzetto Bru Zane, 2020. 

Géliot, Christine. Mel Bonis: Femme et compositeur (1858–1937) [Mel Bonis: Woman and composer]. Editions L’Harmattan, 2000.

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5 Things You Might Not Know About Abby Whiteside

Written By Stephen Marquiss

We would like to thank Stephen Marquiss for this article on Abby Whiteside. Interested in learning more about Whiteside? Attend this session at The Piano Conference: NCKP 2025 online event on Saturday, June 7, 2025, 1:30-1:55pm CDT. Learn more and register for the conference here.

1. Abby Whiteside (1881-1956) transformed her teaching after admitting only her talented students progressed.

She was history’s humblest piano teacher. This realisation kickstarted a lifetime of open-minded exploration. Whiteside became determined that, given the best tools, the less gifted could play as well as the most talented. She left essays which, whilst brilliant and beautiful, some perceive to be disjointed or abstruse in places. This could be because she continued to revise and refine her ideas literally until her deathbed. It could also be because her audacious innovations present a serious challenge to pedagogical orthodoxy.

Abby Whiteside’s book, On Piano Playing: Indispensables of Piano Playing, Mastering the Chopin Etudes, and Other Essays.

2. Whiteside devised ingenious, unorthodox tools so that all could play.

She identified central tenets in technique, common in the most talented players, which were often overlooked in conventional pedagogy. Chief amongst these are the roles of the upper arm, torso, ears and emotional connection. She was openly critical of any aspects of technical orthodoxy that neglected these. She believed that the fingers must cede control of power and dexterity to the larger levers, the torso and the ears. She devised many ‘set-ups,’ ‘patterns,’ and activities, such as ‘splashing’ on random keys and improvising, to empower all pianists to play to their potential.  

Pianist performing outside

3. Whiteside tested her tools on Chopin’s most notorious études.

She believed these were the ultimate barometer of technique, owing to their idiosyncratic repeated patterns and figurations. If anything impedes the technique, one can barely complete a few bars without tensing up unduly. Whiteside highlighted elephants in the practice room such as the common practice of isolating the hands and fingers from the flowing whole-body coordination and of trying to attain virtuosity without the crucial role of emotional engagement. She believed many to be practising essentially irrelevant coordination. Her tools focus on rebuilding more instinctive, ergonomic practice habits.

Chopin: Etude in G-sharp Minor, Op. 25, No. 2

4. Inspired by dance, Whiteside centralized the ‘emotional rhythm’ in technique.

She coined this term for the flowing state invoked by the performer’s authentic connection to the music, combined with the activity this awakens in the torso. Such activity could be overt swaying or ‘bouncing’ against the sitting bones or simple alertness, as in the tennis player receiving a serve or the ‘athletic tension’ between dancers. She believed attempting to attain velocity and exquisite musical control without activating this central component was akin to trying to perfect swimming technique by playing golf.

A woman gracefully dances by the sea at sunset, capturing emotion and nature's beauty.

5. Inspired by jazz, Whiteside prioritized playing by ear.

She believed this invoked a simpler, more direct, efficient coordination than playing predominantly by sight, rote, or ‘muscle/motor’ memory. Without the middleman of the score, the fingers are directed economically by the ‘aural image’ of the music in the mind’s ear. A central aim in practice thus becomes to take the music ‘off the page’ when starting with the score, such that one can hum it in the inner ear. This can be a journey for pianists who have become accustomed to pushing down keys in response to primarily visual cues, although the rewards are great.

A fashionable musician in a mint green suit plays trumpet outdoors, exuding creativity.

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Campos Internacionais Disponíveis – Inscreva-se Já!

Written By Piano Inspires

A Conferência de Piano expandiu seu escopo para incluir campos em coreano, mandarim, inglês, espanhol e português.* Todas as sessões em línguas estrangeiras incluirão legendas em inglês para torná-las acessíveis a todos.

A inscrição completa na conferência inclui acesso ao evento online e aos arquivos do evento online. Inscreva-se agora para conferir apresentações de especialistas, professores e pesquisadores do mundo todo!

Conferência Online: 7 a 8 de junho de 2025

Cúpula e Conferência Presencial: 23 a 26 de julho de 2025

INSCREVA-SE

*A inscrição para os campos em espanhol e português é gratuita para residentes de países com desigualdades monetárias. Inscreva-se aqui e selecione Evento en línea NCKP: Sección Internacional – Español ou Evento online NCKP: Campo Internacional – Português no momento da inscrição.

Quer saber mais sobre o evento online e o Campo Internacional da Conferência? O presidente do comitê, Luis Sanchez, compartilha o que esperar da Conferência de Piano: NCKP 2025.

Saiba MaiS
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国际会议分会场开放 。 立即注册！

Written By Piano Inspires

钢琴峰会已扩展至韩语、普通话、英语、西班牙语和葡萄牙语分会场。*所有外语会议均提供英文字幕，方便所有人观看。

完整的会议注册包含在线活动和在线活动档案的访问权限。立即注册，聆听来自世界各地教师和研究人员的专家演讲！

在线会议：2025年6月7日至8日

线下峰会及会议：2025年7月23日至26日

注册

想了解更多关于在线活动和国际会议分会场的信息？委员会主席Luis Sanchez将分享2025年钢琴会议（NCKP）的精彩内容。

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국제 트랙 개설. 지금 등록하세요!

Written By Piano Inspires

피아노 컨퍼런스는 한국어, 중국어(만다린어), 영어, 스페인어, 포르투갈어 트랙을 포함하도록 그 범위를 확장하였습니다.* 모든 외국어 세션에는 영어 자막이 제공되어 누구나 쉽게 접근할 수 있습니다.

전체 컨퍼런스 등록 시 온라인 행사 및 온라인 자료 아카이브에 접근할 수 있습니다.

지금 등록하셔서 전 세계의 교사들과 연구자들의 전문적인 발표를 직접 경험해 보세요! 

온라인 컨퍼런스: 2025년 6월 7-8일 Online Conference: June 7-8, 2025

현장 서밋 및 컨퍼런스: 2025년 7월 23-26일 

등록

*환율 불균형이 있는 국가의 거주자는 스페인어 및 포르투갈어 트랙에 무료로 등록할 수 있습니다. 등록 시 Evento en línea NCKP: Sección Internacional – Español 또는 Evento online NCKP: Campo Internacional – Português를 선택해 주세요.

온라인 행사 및 국제 컨퍼런스 트랙에 대해 더 알고 싶으신가요? 국제 위원회 위원장 루이 산체즈 박사가 NCKP 2025: 피아노 컨퍼런스에서 기대할 내용을 소개합니다. 

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Programación internacional disponible ¡Regístrate ahora!

Written By Piano Inspires

La Conferencia de Piano ha ampliado su alcance para incluir programación en coreano, mandarín, inglés, español y portugués.* Todas las sesiones en idiomas extranjeros incluirán subtítulos en inglés para que sean accesibles para todos.

La inscripción completa a la conferencia incluye acceso al evento en línea y a sus archivos. ¡Regístrate ahora para disfrutar de presentaciones de expertos, profesores e investigadores de todo el mundo!

Conferencia en línea: 7 y 8 de junio de 2025

Cumbre y conferencia presenciales: 23-26 de julio de 2025

REGÍSTRATE

*La inscripción a las pistas en español y portugués es gratuita para residentes de países con desigualdades económicas. Regístrate aquí y selecciona “Evento en línea NCKP: Sección Internacional – Español” o “Evento en línea NCKP: Campo Internacional – Portugués” al registrarte.

¿Quieres saber más sobre el evento en línea y la Pista de la Conferencia Internacional? El presidente del comité, Luis Sánchez, comparte qué esperar de la Conferencia de Piano: NCKP 2025.

LEER MÁS
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5 Reasons You Should Learn “Arirang”

Written By Kowoon Lee

We would like to thank Kowoon Lee for this article on the Korean song, Arirang. Interested in learning more about Arirang? Attend this session at The Piano Conference: NCKP 2025 on Thursday, July 24, 2025, 1:30-1:55pm CDT. Learn more and register for the conference here.

A view of Seoul, South Korea. Photo credit 라성민.

1. Cultural Understanding

As Korean culture continues to gain global influence through K-pop, Korean cinema, TV shows, and dramas, learning the quintessential Korean folk song Arirang can serve as a bridge to a deeper appreciation of Korean art, language, and traditions. Arirang is more than just a song; it embodies the culture, history, and spirit of Korea. It represents Korea––our emotional and cultural identity. In the Korean language, the word “we”—“우리” [Uri]—is commonly used in daily language. We say “our country” instead of “my country” and “our mom” instead of “my mom.” Arirang expresses Han, an internalized feeling of deep sorrow, resentment, grief, regret, and anger. We sing Arirang not only in moments of sadness, but also in moments of joy and longing. Do you have Korean piano students? Are you friends with Koreans? Learning about and connecting with this song offers a unique opportunity to appreciate Korean traditions and cultural heritage. It also shows your appreciation for Korean culture to those around you.

The 2017 Jeongseon Arirang Concert by the Jeongseon Arirang Art Troupe in Taipei, Taiwan

2. UNESCO Recognition

Arirang is listed as a UNESCO Intangible Cultural Heritage (ICH). ICH encompasses the practices, expressions, knowledge, and skills that communities recognize as cultural heritage. This living cultural heritage includes oral traditions, performing arts, social practices, rituals, nature-related knowledge, and traditional craftsmanship. Preserving these traditions reinforces identity and fosters respect for cultural diversity.

3. Personal Growth

Learning about new cultures challenges your way of thinking, making you more adaptable, open-minded, and resourceful. It provides insight into how others think, feel, and experience the world, fostering empathy and respect. This deeper understanding helps you appreciate the perspectives of people from different backgrounds and supports your personal growth, enhancing problem-solving skills and cognitive abilities. By learning the iconic Korean folk song Arirang, you not only recognize and respect diversity, but also contribute to a more inclusive world. 

Globe held by diverse people

4. Expand Your Repertoire

Whether for teaching, performance, or both, expanding your repertoire is always exciting. Arirang is an excellent starting point to explore Korean culture and to better understand the traditional musical language of Korea. In addition to learning about Arirang, you will also be introduced to works by three Korean women composers, opening up opportunities for further research. This will diversify your teaching and performing repertoire, setting you apart from others.

From left to right: Jungyoon Wie, Eunhye Kim, and Misook Kim

5. Endless Possibilities for Pianists

As pianists, we all know that it is impossible to learn every single piano piece in the world. Arirang, an oral traditional folk song, has around 3,600 variations across approximately sixty versions. Is it too much to learn at once? Perhaps. While learning them all might seem daunting, my presentation will provide a comprehensive overview of Arirang and the piano music inspired by it. Don’t miss the chance to broaden your musical horizons at The Piano Conference: NCKP 2025! 

A stack of Henle Edition piano books
Sources

Article

Lee, Dong-Kyu. “A Study of ‘Jeongseon Arirang’ by Min-Hyeong Lee: Elements of Korean Traditional Folk Music.” The Choral Journal 61, no. 4 (2020): 63–74. https://www.jstor.org/stable/27034992.

Website

UNESCO. “Arirang, Lyrical Folk Song in the Republic of Korea.” Accessed February 25, 2025. https://ich.unesco.org/en/RL/arirang-lyrical-folk-song-in-the-republic-of-korea-00445.

News Journal

Babe, Ann. “How the South Korean Language Was Designed to Unify.” BBC, December 18, 2017. https://www.bbc.com/travel/article/20171217-why-south-koreans-rarely-use-the-word-me.

Media

Foundation for the Promotion of Traditional Performing Arts. “The Story of Arirang.” Posted May 28, 2014, by YouTube, 8:09. https://youtu.be/CxxpFegNLik?si=9o6CMLI2h0u1MZ8Y.

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What to Expect at The Piano Conference: NCKP 2025

Written By Derek Kealii Polischuk, Sara Ernst

From the Inclusive Teaching Track and Keyboard Lab Presentations

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 Inclusive Teaching Track and from the Keyboard Lab Presentations! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.

Inclusive Teaching

By Derek Kealii Polischuk, Chair

Online: Saturday, June 7, 2pm-2:30pm

In-Person: Saturday, July 26, 10:30am-12:30pm

The Inclusive Teaching Committee is passionate about expanding the boundaries of inclusivity and accessibility in piano teaching and is excited to share these topics with the broader piano teaching community at The Piano Conference. This track will present a diverse array of topics related to teaching students with special needs. 

Jacob Womack, a father of two children with autism and a teacher of music classes and piano to students with autism, will share his insights and provide practical teaching strategies for working with students with Autism Spectrum Disorders. Sungyeon Ahn, an organizer of the Celebrating the Spectrum Piano Festival at Michigan State, will present strategies for organizing events for students with special needs. Participants will gain practical insights on how to organize accessible events that empower students and create a welcoming environment.

Scott Price will demonstrate specialized vocabulary and concise, detailed teaching strategies to help students with autism create expressive performances in a session titled Absolutely! Pathways to Expression and Artistry for Special Learners. Olivia Colomaio will present adaptive pedagogy for dyslexic students, including nontraditional score reading, rhythm study, and annotation strategies. 

A panel of five leaders in the piano teaching and special needs field will answer questions and discuss issues related to studio management, teaching techniques, repertoire, and performance situations. This year’s programming will be particularly accessible to all teachers as presenters will give key takeaways that piano teachers will be able to take directly to their studios in the upcoming year.

Keyboard Labs

By Sara Ernst, Director of Teacher Engagement

A unique aspect of The Piano Conference is an on-site keyboard lab, which allows presenters to guide attendees through hands-on playing activities. The lab itself will have a multi-keyboard setup using the latest Yamaha technologies. The program features labs on a wide variety of topics such as improvisation, lead sheets, composition, and collaboration. 

Keyboard Lab Presentations at The Piano Conference: NCKP 2025

Chart Your Course! Creative Classroom Activities for Teaching Lead Sheets and Chord Charts

Davis Dorrough and Olivia Ellis, Thursday, July 24, 2025, 11:30 AM to 12:20 PM CDT

Deeper, Not Wider: Exploring Creativity through Familiar Repertoire

Hannah Mayo and Krista Jadro, Saturday, July 26, 2025 10:30 to 10:55 AM CDT

Integrating Improvisation into Piano Lessons: Hands-On Session

Joseph Harkins, Agnieszka Lasko, and Kristina Lee, Thursday, July 24, 2025 10:30 to 11:20 AM CDT

Making Happy Humans with Engaging Group Piano Lessons

Mario Ajero, Saturday, July 26, 2025, 11:30 to 11:55 AM CDT

Young Keying in on Collaboration: Activities for the Group Piano Classroom

Jenna Klein, Friday, July 25, 2025 10:00 to 10:50 AM CDT

Three Enjoyable Group Teaching Techniques Your Adult Students Will Appreciate

Debra Perez, Friday, July 25, 2025, 11:30 to 11:55 AM CDT

Dancing with the Scales!: Integrating Chord Progressions, Scales, and World Music in Group Piano

Diana Dumlavwalla and Melody Morrison, Saturday, July 26, 2025 12:00 to 12:25 PM CDT

Using the Music of Taylor, Billie, and Coldplay to Explore Improvisation Using Orff-Schulwerk Techniques

Paul Myatt, Saturday, July 26, 2025, 9:00 to 9:50 AM CDT

Demystifying Composition: Accessible Techniques for All Musicians

Melody Morrison, Friday, July 25, 2025 11:00 to 11:25 AM CDT

Sight-Reading with Our Little Beginners: An Integrative Approach

Florencia Zuloaga, Saturday, July 26, 2025, 11:00 to 11:25 AM CDT

From Ink to Improv: Classical Scores Reimagined as Jazz Lead Sheets

Samuel Gingher, Saturday, June 7, 2025 2:30 to 3:20 PM CDT

Attendees at The Piano Conference: NCKP 2023.

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 8, 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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Navajo Cultural Elements in Sandpaintings by Connor Chee

Written By Le Bai

We would like to thank Le Bai for this article on Connor Chee’s piano piece, Sandpaintings. Interested in learning more about this work? Attend Le Bai’s session at The Piano Conference: NCKP 2025 on Thursday, July 24 from 10:30 AM – 10:55 AM CDT in Lilac B. Learn more and register for the conference here.

Connor Chee

Connor Chee’s Sandpaintings challenges common misconceptions about Indigenous music, proving that it is not a relic of the past but a living, evolving art form. Rooted in Navajo traditions and shaped by Western piano techniques, this set of sixteen piano solo pieces bridges cultural heritage and modern composition. Chee’s work stands as a testament to how Indigenous composers are redefining their musical voices, blending ancestral influences with innovative approaches.

The lecture recital, “Navajo Cultural Elements in Sandpaintings by Connor Chee,” delves into the rich symbolism and musical language of Sandpaintings, exploring how Chee masterfully integrates Navajo chant‚their vocable language, cultural traditions, and spiritual elements—with repetition, rhythmic flexibility, and structural symbolism within a Western classical framework. Deeply rooted in Navajo musical traditions, Sandpainting draws its melodies from traditional chants, often utilizing pentatonic scales, and its rhythmic fluidity mirrors the flow of Indigenous oral traditions.

One of the most striking aspects of Sandpaintings is its connection to Navajo cosmology, particularly the sacred number four, which plays a fundamental role in the structure of the set. Reflecting the four cardinal directions central to Navajo belief, Chee employs inversion and retrograde techniques to interconnect the pieces, creating a cyclical and deeply symbolic musical journey.

Through this fusion, Sandpaintings creates a deeply expressive and unique sound world, capturing both the essence of Navajo storytelling and the expressive range of the piano. By engaging with this work, performers and listeners alike gain not only a deeper appreciation of Chee’s artistry but also a broader understanding of the evolving presence of Indigenous voices in contemporary music. I invite you to explore this remarkable set and experience how tradition and innovation come together in a vibrant, living art form that continues to grow and inspire.

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2025 Collegiate Connections

Written By Piano Inspires

An international cohort of students responded to our call for proposals for the 2025 Collegiate Connections virtual event, which will highlight innovative group projects. The Frances Clark Center is pleased to announce the selected proposals for our Collegiate Connections event on Friday, April 25, 2024 from 11:00 AM to 12:30 PM Eastern; click here to register. The winners will also present at The Piano Conference: NCKP 2025; register now to take advantage of the early-bird discount!

AI and Student Motivation: Can Gamification and Adaptive AI Improve Practice Habits?

Victoria Barnette, Ryan Kee, Yuxiang Zhang

University of Missouri; Curtis Pavey, faculty mentor

Victoria Barnette
Ryan Kee
Yuxiang Zhang

This presentation examines how gamification and adaptive AI enhance piano students’ motivation and practice habits by exploring tools that personalize learning, track progress, and integrate rewards. Attendees will discover strategies to boost student engagement by using AI-driven feedback, dynamic challenges, and progress tracking. The presentation will discuss established motivational theories in relation to AI, along with practical methods for integrating technology while preserving artistry and maintaining a balance between AI and crucial human interaction.

Building Community Through Sound: Sensory-Friendly Concerts

Janna Peña, Ayunia Saputro, Mira Walker

University of Michigan; Paola Savvidou, faculty mentor

Janna Peña
Ayunia Saputro
Mira Walker

During the spring 2025 semester, doctoral students at the University of Michigan partnered with the Mott Children’s Hospital Music Therapy Studio to launch a Sensory-Friendly Piano Concert Series. This presentation will document the process of establishing this recurring event, focusing on practical insights. It is hoped that offering examples of both setbacks and successes will provide a blueprint as well as inspiration for others to work together for greater community engagement and inclusivity in piano concerts.

Lynnae Hurst, Katrina Kahlhamer, Samuel E. Pang

University of Oklahoma; Sara Ernst, faculty mentor

Designing Interactive Piano Events for the Community: Observations from Two Approaches

Lynnae Hurst
Katrina Kahlhamer
Samuel E. Pang

Piano teachers can build musical bridges in their local communities and inspire every child to explore and enjoy music through creative public events! In this presentation, graduate students will share their insights from planning and executing two events: a library book reading and a piano festival. These incorporated imaginative musical activities and offered students of different ages and skill levels the opportunity to experience music firsthand.

Honorable Mentions:

From Doctoral Student to Clinician: Masterclassing as Career Preparation for Young Professionals


Aidan Hedrick, Maxwell Hinton, Tse-Rung Huang, Lynn Worcester Jones, HaEun Kim, Qi Liang, Yuqi Shi, Zicong Su, Andrew Villemez, Rena Wu, Liming Yang

University of Cincinnati College-Conservatory of Music; Lynn Worcester Jones, faculty mentor

From Overwhelmed to Empowered: Avoiding Teacher Burnout


Claire Kim, Adèle LeBlanc, Carlie Toliver, Michelle Wijaya

Southern Methodist University; Catharine Lysinger, faculty mentor

Grooving to the Beat: Mastering Counting with Metronome Fun! (Vol.2)

Mi Sun Cheong, Boyoon Choi, Sangsoo Kim

University of North Texas; Oscar Macchioni, faculty mentor

Teaching Beginner Piano Students to Read Modern Notation: A Case Study of George Crumb’s Makrokosmos I

Xinyue Gu, Miao Ma

University of Kansas; Yiyang Chen, faculty mentor

Thanks to All Submitters and Faculty Mentors

Palm Beach Atlantic University; Jackie Yong

Southern Methodist University; Catharine Lysinger

State University of Maringá; John Kennedy Pereira de Castro

Universidade Federal de Juiz de Fora; Fernando Santana

University of Cincinnati, College-Conservatory of Music; Lynn Worcester Jones

University of Kansas; Yiyang Chen

University of Michigan; Paola Savvidou

University of Michigan; Christopher Harding

University of Missouri; Curtis Pavey

University of North Texas; Oscar Macchioni

University of Oklahoma; Sara Ernst

University of Oregon; Grace Ho

Utah Valley University; Carmen Hall

West Virginia University; Peter Amstutz

Congratulations to all participants and applicants! We look forward to highlighting the outstanding work of pedagogy and collegiate groups and to foster global community engagement among our collegiate cohorts and faculty. Learn more and register by clicking here.

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What to Expect at The Piano Conference: NCKP 2025

Written By Stella Sick, Allison Shinnick Keep

From the Technology and New Professionals Tracks

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 Technology and New Professionals 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.

Technology 

Stella Sick, Chair

Online: Sunday, June 8, 4-5:30pm

In-Person: Friday, July 25, 10am-12pm

The Piano Conference: NCKP offers a deep dive into the role of technology in music education, providing insights on how AI and other innovations can enrich our studios. Whether attending the online conference in June or the in-person event in July, educators can look forward to sessions that will equip them with practical strategies for embracing these changes.

The Panel on AI addresses the development of AI and its relationship to piano study. AI now permeates every aspect of our lives, often seamlessly integrated into our daily routines. It holds immense potential to simplify tasks and improve efficiency. However, as AI enters the music teaching space, where human connection and physical engagement are key to a meaningful learning experience, the music teacher community must carefully navigate both its positive and negative impacts.

The Tech Track will also continue to offer sessions on other relevant topics. Piano Recording: Aesthetic, Acoustic, and Sound Criteria for Classical Music Production explores patrimonio acústico (acoustic heritage) and focuses on preserving the unique characteristics of iconic halls, real and virtual spaces, alongside the distinctive properties of the instrument’s sound. Attendees will learn how modern production techniques enhance these acoustic elements while ensuring historical, artistic fidelity, and performance quality.

The lecture recital What Can Students Learn from Playing Schubert on a Digital Piano? Understanding Historical Piano Conventions through Modern Digital Instruments will share the presenters’ personal journey in finding an accessible, realistic alternative to recreate the historical instrumental experience on a modern digital piano. 

The Piano Tech Expo interactive workshop offers a hands-on opportunity to explore technology’s role in lessons, home practice, and performances. Led by tech experts and passionate educators, this session provides practical demonstrations and ideas to inspire and elevate your teaching with technology.

These presentations offer a unique chance to connect with forward-thinking educators, gain new skills, and prepare for the future of piano education. From immersive media to AI-powered tools, you’ll walk away with fresh ideas to inspire your students and streamline your teaching practice.

Don’t miss your opportunity to be part of this transformative experience. Register now and secure your spot at the forefront of piano pedagogy!

Attendees at The Piano Conference: NCKP 2023.

New Professionals

Allison Shinnick Keep, Chair

Online: Saturday, June 7, 4:00pm-5:30pm

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

The New Professionals’ track will offer new and seasoned professionals alike the chance to consider fresh career possibilities through panel discussions, networking sessions, and deep dives into practical topics. The in-person session “Designing Your Life: Perspectives and Tips from Emerging Piano Professionals” will highlight the experiences and lessons learned by several new professionals in lightning talks, followed by guided brainstorming and networking sessions to assist attendees in applying these new perspectives to their own careers.  The online event will feature a panel on “Leading and Navigating Change: Personal and Institutional Growth in the Evolving Landscape of Music Education.”

While many professional pianists may be excited by a variety of career paths, some feel inadequately prepared for positions that encompass more than teaching or performing. Leadership skills and writing skills are key factors for many jobs in the arts, but few graduate programs emphasize these skills. Attendees of the New Professionals’ track at the in-person conference will benefit from two sessions aimed to equip pianists with skills to excel as writers and leaders: “Writing Skills for Creative Expression: Practical Tips for Pianists’ Career Development” and “I Graduated! Now What?” The online track includes a presentation on honing teaching skills in “Professor’s Corner: Teaching Piano Master Classes.”

Be on the lookout for more information about additional conference events including New Professionals Concerts and a New Professionals Pizza Reception.

Attendees at The Piano Conference: NCKP 2023.

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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Lisan Wang: Composer and Trailblazer

Written By Rentana Wu

We would like to thank Rentana Wu for this article on pianist and composer Lisan Wang. Interested in learning more about Lisan Wang? Attend her session at The Piano Conference: NCKP 2025 on Saturday, July 26 from 11:00 AM – 11:25 AM in Grand Ballroom IJ. Learn more and register for the conference here.

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Lisan Wang.

1. A Trailblazer in East Meets West.

Lisan Wang (1933-2013) was a trailblazer in combining Chinese national elements with Western classical techniques. Born into a culturally rich family, Wang was deeply influenced by traditional Chinese art forms such as Peking Opera and calligraphy. His exposure to both Chinese and Western classical education led him to craft a distinctive compositional style that integrated folk melodies and modern Western methods, like Bartók’s use of ostinato, into a seamless fusion. Wang’s works exemplify a perfect marriage of nationalism and Westernism, providing a unique pathway for musicians to explore and appreciate global musical traditions.

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Lisan Wang’s influences.

2. Impressionism Through A Chinese Lens

Lisan Wang’s piano compositions often evoke vivid imagery and abstraction, reminiscent of Impressionist painting. The piano suite Impressions of Paintings by Higashiyama Kaii draws inspiration from Japanese modern landscapes, blending the pentatonic scale and Japanese modes with Debussy’s coloristic techniques. This fusion of Eastern and Western ideas allows students to experience Impressionism in a new light, making it more accessible while still maintaining its original emotional depth and complexity.

"Fall in the Forest" by Lisan Wang Trees, are tipsy, oh, the little white horse, Do you still nostalgically enjoy the golden dream?
Painting by Higashiyama Kaii and poem by Lisan Wang.

3. Reinventing Folk Music for the Piano

Wang was highly influenced by folk music, and his works often incorporate traditional Chinese melodies reinterpreted through a Western harmonic lens. A prime example is his use of pentatonic scales and Japanese modes, which not only preserve the authenticity of folk tunes but also employ sophisticated Western compositional techniques. This combination results in a sound that is both familiar and innovative, providing a fresh approach to teaching folk-based classical music.

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Score excerpts from Lisan Wang’s “Winter Flower” and Debussy’s L’isle joyeuse.

4. Unlocking Emotional Depth and Sensitivity

Wang’s music is rich in emotional depth and sensitivity, often requiring performers to engage with the characters or narratives he suggests through his pieces. For example, in the movement “The Sound of Waves,” the music evokes the epic journey of Master Jian Zhen, using dynamic shifts and rhythmic patterns to represent both the struggle and determination of the character. Teaching Wang’s works encourages students to delve into these emotional narratives, fostering not just technical ability but emotional intelligence and interpretative skill.

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“The Sound of Waves” from piano suite Impressions of Paintings by Higashiyama Kaii.

5. The Perfect Gateway to Contemporary Repertoire

Lisan Wang’s compositions serve as ideal preparatory works for students approaching the complexities of twentieth and twenty-first-century repertoire. His use of modern techniques such as dissonance, rhythmic complexity, and coloristic textures prepares students for the challenging works of composers like Debussy, Bartók, and Ravel. Wang’s pieces provide a culturally enriched foundation, making it easier for students to tackle the challenges of contemporary Western music with greater confidence and depth.

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A categorization of Lisan Wang’s piano compositions.
References

Wei, Tingge. 中国近现代音乐家的生平简介 (The Modern Chinese Musician’s Biographies). Shenyang, China: Spring Wind Cultural Press,,1994.

Bian, Meng. 《中国钢琴文化之形成与发展》 (The Formation and Development of Chinese Piano Music Culture). 北京:华乐出版社 (Beijing: Huayue Press), 1996.

Dai, Baisheng. “中国传统文化的象征–汪立三钢琴曲《#F商:书法与琴韵》中的” 中国风格”探析” (The Symbol of Chinese Traditional Culture). Journal of Wuhan Conservatory of Music, 2004. 

Su, Lanshen. “纵一苇之所如凌万顷之茫然——汪立三先生访谈录” (“An Interview with Mr. Wang Lisan”). Piano Artistry, no. 2 (1998): 4–9.  

Wei, Tingge. “探求新的美的境界——评钢琴曲《夕阳箫鼓》、《涛声》” (“To Explore A New Beauty: On The Piano Piece ‘Sunset Drum’ ‘The Roaring Waves’”). In Wei Tingge Music Anthology, 2-5. Beijing: People’s Music Publishing House, 2007. 

Wei, Tingge. “汪立三的钢琴创作” (“Wang Lisan’s Piano Works”). In Wei Tingge Music Anthology, 2-8. Beijing: People’s Music Publishing House, 2007.  

Xu, Pan. “中国钢琴作品民族风格的初探—解析汪立三《东山魁夷画意》之四《涛声》” (“National Style of Chinese Piano Works: Analysis of Wang Lisan’s Piano Piece “The Roaring Waves”). Art and Literature for the Masses 242, no. 4 (2010): 130.

Wang, Wenjun. “《涛声》的教学分析” (“The Analysis on Teaching of Piano Piece ‘The Roaring Waves’”). National Music 178, no. 5 (2004): 35.

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What to Expect at The Piano Conference: NCKP 2025
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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 8, 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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