Spring 2026 - Piano Magazine: Honoring Marvin Blickenstaff

Announcing the Spring 2026 issue of Piano Magazine! The Spring 2026 issue of Piano Magazine is dedicated to Marvin Blickenstaff, whose lifelong contributions shaped generations of piano teachers and students around the world. Through a remarkable career spanning more than six decades, Marvin dedicated himself to a life of service to piano pedagogy and artistry. He believed deeply in the power of music to connect people, elevate teaching, and reveal the potential within each student.

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Articles in This Issue of Piano Magazine

Creating a More Beautiful World: Marvin Blickenstaff 1935-2026

Jennifer Snow

There are visionary leaders who inspire the world, motivate us to be better humans, and recognize that creating beauty in the life of a child is critical for a healthy society and sustainable future. Marvin Blickenstaff embodied all these attributes and more. He was a giant amongst us. A man of profound faith and spiritual calling, with a deep dedication to serving others, Marvin committed his life to human development though music. He was a man of the highest character, leading each day with integrity, selflessness, humility, grace, care, and kindness. His generosity knew no limits. With boundless energy, he leaned into life at full speed with an insatiable curiosity, joyous enthusiasm, and innovative outlook.

Marvin Blickenstaff: A Life Dedicated in Service to Piano Education

Sara Ernst

Marvin Blickenstaff (1935-2026) had so much to give throughout his lifetime and he gave of it freely–to everyone. Many of Us have heard his heartfelt stories, and we were always ready to to listen because through his anecdotes, Marvin shared what is most important in life. The foundational tenet being, “the value of life is not what you get for yourself; it’s what you give to others.” He learned this lesson in his formative years, in his family’s household in Nampa, Idaho, with a father, a dentist, who served his community and ensured that his sons did as well.

Gradus ad Parnassum: Climbing to Debussy through Educational Repertoire

Ivan Hurd

As students progress to intermediate repertoire and start to explore piano literature on their own, teachers can expect requests to study two of Claude Debussy’s (1862–1918) most well- known works for solo piano, Arabesque No. 1 and “Clair de lune” from the Suite Bergamasque.¹ However, even the easiest pieces by Debussy include challenges such as difficult key signatures, polyrhythms, and less familiar scales and harmonies; they require sophisticated pedaling, phrasing, and attention to articulation.

The Hidden Voices of Brazilian Women Composers

Rosângela Yazbec Sebba

In the ever-evolving tapestry of Brazilian history, the echoes of colonialism left an indelible mark on its society and culture. During the span of over three centuries, from 1500 to 1822, we see evidence of a nation under the shadow of Portuguese rule. This was a time when the rhythm of life was dictated by the plantation economy, the subjugation of enslaved peoples, and a rigid social hierarchy.

Reimagining Summer Practice: How Community-Based Recitals Inspire Musical Growth

Anthony Olson and Eva Peng

Sustaining student motivation and musical growth during the summer months remains a persistent challenge in music education. This article explores an interdisciplinary model for summer music education that integrates community engagement, environmental awareness, and creative exploration through themed recital programming. Based on a multi-year project, the model is designed to maintain student motivation and skill retention during the summer months. This model situates music within broader cultural, ecological, and civic frameworks.

Mind, Body, & Heart: Three Steps to Mindful Music-Making

Laura Amoriello

The first time I meditated, it felt like my brain was on fire. I had no idea how busy my mind was. Jammed with worries and plans, I could barely focus for one breath. I can’t do this, I thought. Yet I kept coming back to my weekly meditation group. I liked my classmates, who seemed as skeptical as I was. After each practice, we shared a similar reaction: Oh, well. That was nice, I guess. Weeks went by. I began to notice tiny shifts. A little less worrying. A little more sleep. I meandered on.Cut to my first solo performance after taking up meditation. I wish I could tell you that I was less nervous. I wasn’t. But I was more present. I wasn’t fixated on mistakes I had made or focused on getting to the end. I was hearing and feeling every note I was playing. My senses were more vivid than ever, and my focus was razor-sharp. All of that was stronger than the fear.

Announcing the Spring 2026 Issue of Piano Magazine