Meet the Jazz Concert Artists at The Piano Conference: NCKP 2025

Written By Piano Inspires

The Piano Conference is thrilled to welcome Jeremy Siskind, Jeremy Jordan, Edward Simon, and Miki Yamanaka to the stage this summer in A Night of Jazz and a special Late-Night Jam on Thursday, July 24, 2025. Register now for The Piano Conference and experience this incredible concert, as well as teaching demonstrations, peer-reviewed conference sessions, and more.

Jeremy Siskind is the rare musician whose imaginative albums land on “best of” lists while his ground-breaking instructional books populate “best-seller” lists. A top finisher in national and international jazz piano competitions, Siskind is a two-time laureate of the American Pianists Association and the winner of the Nottingham International Jazz Piano Competition. A sought-after educator, Siskind has published more than twenty instructional books, including Playing Solo Jazz Piano and the Jazz Piano Fundamentals series. Besides Siskind’s own YouTube channel, which boasts over 20,000 subscribers, Siskind is frequently seen teaching on digital platforms like Tonebase, Open Studio, and Piano with Jonny. Siskind spreads peace through music in places like Lebanon, Tunisia, and Thailand with the non-profit organization, Jazz Education Abroad. Jeremy Siskind is a Yamaha Artist.

Critically acclaimed as “a clear technical virtuoso,” “a rare talent,” and “a true Wunderkind,” Chicago-born Jeremy Jordan burst onto the music scene at age nine playing Beethoven’s Piano Concerto No. 1 in a live televised performance. Jordan was born into a musical family where his mother and father were his first instructors. They ensured his burgeoning talent was nurtured by a strong foundation in classical training and also encouraged his study of improvised music and composition. Jordan’s performance venues have included the United Nations Arts Council, the American Liszt Society, Concertgebouw, Tokyo Opera City, Prague’s Rudolfinum, and Chicago’s Ravinia Festival. Jordan also composes solo piano music, chamber music, orchestral music, and electronic music. His most recent album For Flint featured several original jazz compositions and raised money to purchase clean water for families affected by the Flint Water Crisis.

Edward Simon, a native of Venezuela, has established himself as a distinguished jazz improviser, composer-arranger, and band leader over decades in America. Renowned for blending jazz with Latin American folkloric sounds, Simon’s profile has risen in recent years. Based in the San Francisco Bay Area, he is a member of the all-star SFJAZZ Collective and has received prestigious accolades such as the Guggenheim Fellowship and multiple composition grants from Chamber Music America’s New Jazz Works program.

Japanese-born pianist Miki Yamanaka has called New York City home since 2012. Critics laud her “light, expressive touch and solidly crafted, mainstream approach,” while audiences delight in not only her playing, but her vibrant personality as well. Her most recent and celebrated release, Shades of Rainbow (Cellar Music), features jazz masters Mark Turner and her NYC rhythm section, Tyrone Allen and Jimmy Macbride. Additionally, Yamanaka has emerged as a leader of the “New York Scene” via her notable residencies at mainstay West Village sister clubs Smalls and Mezzrow. During the pandemic, she developed a successful in-home, live-streaming, weekly concert series cleverly titled “Miki’s Mood,” where she featured a veritable who’s who of NYC talent. She has a penchant for wearing her vast collection of kimonos for her gigs, proudly representing her heritage and culture night after night as she dazzles audiences around the world.

*Miki Yamanaka (photo credit: Martina DaSilva)*

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5 Reasons to Attend The Piano Conference: NCKP 2025 Online Event

Written By Sara Ernst, Megan Hall

The online event of The Piano Conference: NCKP 2025 is just around the corner! Events will occur from June 6-8 and will be packed with music, social events, concerts, and more. With the event only a few days away, register now to gain access to this exciting event. Learn more and register by clicking here.

1. Accessibility

The Piano Conference Online Event is accessible internationally, and features live and pre-recorded sessions in 4 languages: English, Spanish, Portuguese, Mandarin, and Korean. To facilitate access, all sessions have English subtitles. This is a rare opportunity to learn from global pedagogues with intercultural perspectives and education.

Want to attend but need financial support? Check out these resources.

Plus, your online event registration can be used towards your registration at the In-Person Conference in Lombard, Illinois. Email conference@francesclarkcenter.org for assistance.

2. Inspiring keynote speaker Gilles Comeau

Gilles Comeau is a Fellow of the Royal Society of Canada, a senior scientist at the Institute of Mental Health Research at The Royal, the founding director of the University of Ottawa Music and Health Research Institute, the director and principal researcher of the Piano Pedagogy Research Laboratory, and a professor at the School of Music at the University of Ottawa. He conducts multidisciplinary research on music and health, including the study of music and wellbeing for people with dementia, the impact of music on individuals experiencing mental illness, and the investigation of various interventions for musicians’ mental health.

His session will discuss the intersection of scientific research and music pedagogy, and will answer meaningful questions such as:

What can research do to contribute to better knowledge about music teaching and learning?
What has research to say about motivation or music reading?
What has research to say about pain and injuries or performance anxiety?

Join us on Saturday, June 7, 2025, 1:00PM EDT to learn more!

3. Opening concert

The opening concert features 9 international performers from our community, featuring a variety of repertoire across genres, including jazz, contemporary repertoire, and works for two pianos. Keep scrolling to view the program!

The Piano Conference: Opening Concert Program

June 6, 2025, 7:00PM EDT

Dongwon Shin and HaEun Yang

Song Suite for Two Pianos | George Gershwin (1898–1937), arr. Logan Skelton

The Man I Love (1924)

Fascinating Rhythm (1924)

HaEun Kim

Clouds | Florence Price (1887–1953)

Xiao Liang

Numa Ame | Zhang Zhao (b. 1964)

Natalie Landowski

Concert Krakowiak | Grażyna Bacewicz (1909–1969)

Daniel Baer

Dance of Avoidance | Robert Savage (1951–1993), II. Largo

Hyeji Seo

Nocturno Nazqueño | Gabriela Lena Frank (b. 1972)

Molly Sanford

Jupiter’s Moons | Judith Lang Zaimont (b. 1945)

II. Europa

III. Leda

Pei-Chen Chen and Mengjie Xiong

Taiwanese Rhapsody for Two Pianos (1998) | Huang Huang (b. 1958)

4. Session archives

The Piano Conference Online Event archives will be available to registrants for three months after the event, allowing attendees to re-watch recorded sessions at their leisure, or to catch any sessions that they missed during the live event.

5. Curated committee tracks

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:

Young Musicians: Birth to Age 9
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

Participants at The Piano Conference: NCKP.

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.

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

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5 Reasons to Attend The Piano Conference: NCKP 2025 Online Event

Written By Sara Ernst, Megan Hall

The online event of The Piano Conference: NCKP 2025 is just around the corner! Events will occur from June 6-8 and will be packed with music, social events, concerts, and more. If you have not registered, there’s still more time. Learn more and register by clicking here.

1. Accessibility

Want to attend but need financial support? Check out these resources.

Plus, your online event registration can be used towards your registration at the In-Person Conference in Lombard, Illinois. Email conference@francesclarkcenter.org for assistance.

2. Inspiring keynote speaker Gilles Comeau

His session will discuss the intersection of scientific research and music pedagogy, and will answer meaningful questions such as:

What can research do to contribute to better knowledge about music teaching and learning?
What has research to say about motivation or music reading?
What has research to say about pain and injuries or performance anxiety?

Join us on Saturday, June 7, 2025, 1:00PM EDT to learn more!

3. Opening concert

The Piano Conference: Opening Concert Program

June 6, 2025, 7:00PM EDT

Dongwon Shin and HaEun Yang

Song Suite for Two Pianos | George Gershwin (1898–1937), arr. Logan Skelton

The Man I Love (1924)

Fascinating Rhythm (1924)

HaEun Kim

Clouds | Florence Price (1887–1953)

Xiao Liang

Numa Ame | Zhang Zhao (b. 1964)

Natalie Landowski

Concert Krakowiak | Grażyna Bacewicz (1909–1969)

Daniel Baer

Dance of Avoidance | Robert Savage (1951–1993), II. Largo

Hyeji Seo

Nocturno Nazqueño | Gabriela Lena Frank (b. 1972)

Molly Sanford

Jupiter’s Moons | Judith Lang Zaimont (b. 1945)

II. Europa

III. Leda

Pei-Chen Chen and Mengjie Xiong

Taiwanese Rhapsody for Two Pianos (1998) | Huang Huang (b. 1958)

4. Session archives

5. Curated committee tracks

Young Musicians: Birth to Age 9
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

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.

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Back to Discovery Page

5 Things You Might Not Know About Dan Zhaoyi

Written By Tsz Hin Lam

We would like to thank Tsz Hin Lam for this article on Dan Zhaoyi. Interested in learning more about Dan Zhaoyi? Attend this session at The Piano Conference: NCKP 2025 online conference on Sunday, June 8, 4:00-4:25pm EDT. Learn more and register for the online and in-person conference here.

Dan Zhaoyi

1. Dan, born 1940, was a student of renowned Chinese pianist Zhou Guangren.

Zhou Guangren, who was born in Hannover, Germany, in 1928 to Chinese parents pursuing their studies abroad. In 1933, she returned to China with her family and settled in Shanghai. Zhou was a Chinese pianist and pedagogue who served as a tenured professor and former head of the Piano Department at the Central Conservatory of Music in China. She was the first Chinese pianist to win an award at an international piano competition and was hailed as the “Soul of Chinese Piano Education.”¹

Zhou Guangren

2. Record-Breaking Students!

Over 26 of Dan’s students have collectively won 70 international piano competition awards, including 26 first-place prizes.² This achievement underscores his exceptional impact on the global piano scene. He has mentored some of the most celebrated pianists, including Yundi Li, who won the prestigious International Chopin Piano Competition in 2000, and Zhang Haochen, the first Chinese winner of the Van Cliburn International Piano Competition in 2009.

A person and child playing piano

AI-generated content may be incorrect. — *Yundi Li and Dan Zhaoyi*

3. Prolific Author:

In addition to his teaching legacy, Dan has authored pivotal works on piano pedagogy, such as Piano Teaching and Guidance for Children, New Paths Piano Fundamental Course, and Dan Zhaoyi’s Piano Teaching Essays. These publications have become indispensable resources for piano students and educators, not only in China but across the globe.

A book cover with a hand on a keyboard

AI-generated content may be incorrect. — *Book Cover of* Piano Teaching and Guidance for Children

4. Chinese Characteristics in Piano Teaching Approaches

Dan’s approach to piano education emphasizes not only technical proficiency but also a deep appreciation for music, which may include elements and pieces that resonate with Chinese musical traditions and values. This makes his materials unique and well-received in China. Dan’s teaching materials, such as his New Paths Piano Fundamental Course, are known for incorporating elements that reflect Chinese characteristics. This series is described as having “scientific, systematic, national, and interesting features,”³which suggests a thoughtful integration of Chinese national music into the curriculum.

新路径钢琴基础教程：网络教学版.一星级電子書，作者但昭义主编- EPUB | Rakuten Kobo 香港 — *Book Cover of* New Paths Piano Fundamental Course

5. “Godfather” of Piano Education in China

Dan stands as one of China’s most influential piano pedagogues of the twentieth and twenty-first centuries. With a teaching career spanning over six decades, he has earned the revered title of “Godfather of Piano Education”⁴ due to his significant contributions to nurturing world-class Chinese pianists.

Notes

Piano League, “Zhou Guangren, “Soul of Chinese Piano Education”, Dies at 94,” Piano League (Blog), March 7, 2022, https://thepianoleague.com/news/guangren-zhou-soul-of-chinese-piano-education-dies-at-94/.
“Dan Zhaoyi – Professor Emerita, Shenzhen Arts School,” Bay PianoFest, Artcial Music Foundation, accessed May 24, 2025, https://baypianofest.org/dan-zhaoyi.
“Artistic Director,” China Shenzhen International Piano Concerto Competition, published 2018, accessed May 24, 2025, https://www.csipcc.com.cn/about-us/artistic-director/.
Qian Zhang, “Dan Zhaoyi: ‘Godfather’ of Piano Education,” Shenzhen Daily, (2018), https://web.archive.org/web/20181024171055/http:/www.szdaily.com/content/2018-10/19/content_21155125.htm.

Resources

“Artistic Director.” China Shenzhen International Piano Concerto Competition. Published 2018. Accessed May 24, 2025. https://www.csipcc.com.cn/about-us/artistic-director/.

“Dan Zhaoyi – Professor Emerita, Shenzhen Arts School.” Bay PianoFest. Artcial Music Foundation. Accessed May 24, 2025. https://baypianofest.org/dan-zhaoyi.

Piano League. “Zhou Guangren, “Soul of Chinese Piano Education”, Dies at 94.” Piano League (Blog). March 7, 2022. https://thepianoleague.com/news/guangren-zhou-soul-of-chinese-piano-education-dies-at-94/.

Zhang, Qian. “Dan Zhaoyi: ‘Godfather’ of Piano Education.” Shenzhen Daily, (2018). https://web.archive.org/web/20181024171055/http:/www.szdaily.com/content/2018-10/19/content_21155125.htm.

MORE ON THE PIANO CONFERENCE: NCKP 2025

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DISCOVERY PAGE: What to Expect at The Piano Conference: NCKP 2025: From the Collaborative Performance and Research Committee Chairs by Sara Ernst, Alexandra Nguyen, and Alejandro Cremaschi
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Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Back to Discovery Page

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.

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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WEBINAR: NCKP 2023 Committee Webinar: How to Practice Jazz and Improvisation with Jeremy Siskind
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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

*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

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.

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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.

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!

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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DISCOVERY PAGE: The Piano Conference: NCKP 2025 Schedule Announcement
PIANO MAGAZINE: Some reflections on the 2005 National Conference on Keyboard Pedagogy (NCKP) by Elvina Truman Pearce
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WEBINAR: NCKP 2023 Committee Webinar: Facing the Future with Jason Sifford

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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

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’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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DISCOVERY PAGE: What to Expect at The Piano Conference: NCKP 2025 by Sara Ernst, Andrew Cooperstock, Jackie Edwards-Henry, and Andy Villemez
DISCOVERY PAGE: The Piano Conference: NCKP 2025 Schedule Announcement
PIANO MAGAZINE: Some reflections on the 2005 National Conference on Keyboard Pedagogy (NCKP) by Elvina Truman Pearce
WEBINAR: NCKP 2023 Committee Webinar: How to Practice Jazz and Improvisation with Jeremy Siskind
WEBINAR: Teaching Demonstration (NCKP Rebroadcast) with Marvin Blickenstaff
DISCOVERY PAGE: The Benefits of NCKP: The Piano Conference and Why You Should Attend by Marvin Blickenstaff
WEBINAR: NCKP 2023 Committee Webinar: Facing the Future with Jason Sifford

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

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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

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

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

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!

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.

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.

Not yet a subscriber? Join for only $7.99/mo or $36/yr.

Back to Discovery Page