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.
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 successamong 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.
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.
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.
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.
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.
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:
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
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
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
“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.
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.
Don’t forget to check out Felipe Calle‘s presentation at NCKP 2023: The Piano Conference,The Piano Works of Jaime Leon: A Pedagogical Approach, on June 11, 2023 from 4:30-4:55PM during our online event. Register now for NCKP 2023!
1. Jaime León was born in 1921 in Cartagena, Colombia, a colonial city on the Caribbean coast.
His father, an executive for an American company, brought the young León and his family to the U.S. León was raised between San Francisco, California, and New Jersey, where he took his first piano lessons. During his early years and young adulthood, he studied at The Juilliard School under the guidance of Carl Friedberg, once a student of Clara Schumann.
Jaime León in 1928.
Carl Friedberg (1872-1955)
Jaime León in 1948.
2. León’s music was influenced by American music from the first half of the twentieth century.
While working at Tin Pan Alley and Broadway in the 1940s, León was fond of the rhythms of other styles such as swing, blues, and boogie-woogie. Moreover, his music developed a deeply lyrical quality inspired by his appreciation of Gershwin’s songs. He started writing music in 1946 when he composed a theme and variations work inspired by Brahms’s Variations on a Theme by Schumann, Opus 23. His output includes many art songs, which are widely regarded as examples of his excellent craftsmanship.
3. León’s career in the US was varied and extensive.
He worked as a freelance repetiteur and conductor of ballet, opera, and music-hall in New York and Texas. His achievements included being the Assistant Conductor of the American Ballet Theater in Washington D.C. where he premiered Duke Ellington’s ballet The River in 1971. In 1948, he assumed the role of Director at the National Conservatory in Colombia, but political unrest forced him to leave the same year.
Jaime León as a conductor in the pit, 1950.
“Blues” from Made in USA , Jaime León
4. León’s piano music remains unpublished and is seldom performed.
Despite his brevity, his output skillfully blends American vernacular and academic languages, influenced by composers such as Gershwin, Copland, Piston, and Cole Porter.
5. The Five Preludes “Made in U.S.A.” were premiered by the dedicatee, Teresa Gomez, the first Afro-Colombian pianist.
Despite confronting racism in the early stages of her career, Gomez has been hailed as one of the most renowned South American pianists and was chosen to play in the last presidential inauguration in July 2022.
Check out Pei-Chen Chen‘s presentation at NCKP 2023: The Piano Conference,It’s Never Too Late – Lived Experiences of Amateur Adult Piano Learners, on June 11, 2023 from 3:00-3:25PM during our online event. Register now for NCKP 2023!
1. They take lessons to fulfill a long held-dream.
Fulfilling a long-held dream is one of the most common motivations for adult piano students (P. J. Jutras, 2006; Kim, 2015; Parker, 2006; Polischuk, 2019; Uszler et al., 1999). Many career-aged adult piano learners delay piano study for different reasons, and they will often wait patiently until their life is ready. Common factors that affect their decision to learn include finding enough time to practice, having the physical space for a piano, and mental readiness.
2. They are self-motivated.
Adult learners are self-motivated and self-directed in their learning. While many young learners have extrinsic pressure and expectations from their parents and others (Fisher, 2010; Polischuk, 2019; Uszler et al., 1999), adults are more intrinsically motivated. Adult piano learners want to improve their piano playing with different goals in mind. Most of their motivations are internal, including the desire for a better quality of life, greater self-confidence, and self-actualization.
3. They like to make conscious and meaningful decisions in their learning.
Career-aged adult piano learners like to learn at their own pace, preferring an individualized curriculum with repertoire that they want to learn. They learn better when the lesson style is customized to fit their needs (MacKeracher, 2004). This means it is important for teachers and students to discuss method books and repertoire choices to create an engaging learning environment (Coutts, 2018; Mizok-Taylor, 2008).
4. They acknowledge the challenges of being an adult learner.
Career-aged adult piano learners acknowledge their mental and physical difficulties while learning and practicing the piano. Feeling mental frustration and discomfort in practice is a common issue for them. However, they are also able to recognize that frustration comes from their own self-judgment. They often hear their own “inner critic,” feel self-conscious, and have negative self-judgments while learning the piano. (Bissell, 1984; Fisher, 2010).
In addition to mental discomfort, career-aged adult piano learners may also experience physical challenges, including feeling a lack of coordination when playing the piano. Many piano educators also believe adults need more time to transfer theoretical knowledge into physical playing energy (Fisher, 2010; Kim, 2015; Polischuk, 2019; Uszler et al., 1999). Hand-eye coordination and the cognitive process of learning to read music are also common challenges adults may experience (Kim, 2015). This lack of coordination can cause career-aged adult piano learners to feel self-conscious and frustrated. The discomfort for adult piano learners is both mental and physical, and often mental aspects will influence physical aspects and vice versa.
5. They feel joy and make meaningful connections between music and life.
Despite the challenges of learning piano, career-aged adult piano learners enjoy playing music and having music in their lives. They find that being able to play music is meaningful and gives them a sense of joy. Sharing music with others and making social connections can also bring them joy. Many educators believe that music is a leisure activity, and adult students enjoy the social opportunity to interact and share music with others (Fisher, 2010; Kronish, 2005; McQueen, 2013; Polischuk, 2019; Uszler et al., 1999).
SOURCES Bissell, P. M. (1984). “Group Keyboard and the Adult Market.” American Music Teacher, 34(1), 12–17.
Coutts, L. (2018). “Selecting Motivating Repertoire for Adult Piano Students: A Transformative Pedagogical Approach.” British Journal of Music Education, 35(3), 285–299. https://doi.org/10.1017/S0265051718000074.
Fisher, C. (2010). “Group Piano and the Adult Hobby Student.” In Teaching Piano in Groups (pp. 189–211). Oxford University Press.
Jutras, P. (2006). “The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students.” Journal of Research in Music Education, 54(2), 97–110. https://doi.org/10.1177/002242940605400202
Kim, K. R., Peter Jutras, Seon Joo. (2015). “Adult perspectives of learning musical instruments”— Kathryn Roulston, Peter Jutras, Seon Joo Kim, 2015. International Journal of Music Education, 33(3). http://journals.sagepub.com/doi/10.1177/0255761415584291
Kronish, N. B. (2005). “Social, cultural, and psychological influences on three promising piano students’ decisions to continue taking piano lessons” [Ph.D., McGill University (Canada)]. http://search.proquest.com/docview/305364045/abstract/173826EAF88C45AEPQ/12
MacKeracher, D. (2004). Making Sense of Adult Learning. University of Toronto Press Incorporated.
McQueen, M. V., Susan Hallam, Andrea Creech, Hilary. (2013). “Different ways of experiencing music-making in later life: Creative music sessions for older learners in East London” – Maria Varvarigou, Susan Hallam, Andrea Creech, Hilary McQueen, 2013. Research Studies in Music Education, 35(1). http://journals.sagepub.com/doi/10.1177/1321103X13478863
Mizok-Taylor, R. J. (2008). “Promoting self-directed learning in adult piano instruction” [D.M.A., West Virginia University]. http://search.proquest.com/docview/304448652/abstract/B327D2A3DC5F4856PQ/1
Parker, E. (2006). Piano Pedagogy: A Practical Approach. Longbow Pub
Polischuk, D. K. (2019). “Teaching Adult Pianists.” In Transformational Piano Teaching (pp. 21– 35). Oxford University. Uszler, M., Gordon, S., & McBride-Smith, S. (1999). “The Adult Student.” In The Well-Tempered Keyboard Teacher (2nd ed. edition, pp. 147–179). Schirmer.
Don’t miss Megan Rich‘s Lightning Talk at NCKP 2023: The Piano Conference,Singing in the Piano Lesson: Zoltán Kodály’s 333 Elementary Exercises in Solfège Singing, on July 26, 2023 from 4:00-4:50PM during our in-person event. Register now for NCKP 2023!
1. Sing!
Zoltan Kodály said that “To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.”1 To develop singing and reading, Kodály wrote a book of sequential solfege exercises titled 333 Elementary Exercises in Solfege Singing.2
2. Use Folk Music
Kodály educator Jean Sinor said that “Content [of music education] should be generated by the music: initially by the folk music of the people and later by the folk music of other peoples and the finest examples of composed music.”3 Folk music is effective because of its familiarity and simplicity, and the use of varied folk music from different regions can greatly enhance piano lessons.
“Children learn effectively from the act of play.”
~ L. S. Vygotsky
3. Speak
Kodály educators use rhythm syllables and chants as a kinesthetic tool to help students internalize a steady beat and rhythm. The Kodály Music Education Institute of Australia published their helpful Rhythm Syllable Chart4 in 2003.
4. Play
Children learn effectively from the act of play.5 Music lessons that incorporate games and music are not only more fun, but often more effective. The following three websites have resources for Kodály-inspired music games:
Provide an opportunity in every lesson for beautiful music-making. Whether playing or singing, students need the opportunity to participate in ensemble music and in music for music’s sake. As Kodály said, “If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well.”6
