Discovery Blog

Meet the Keynote Speakers

Written By Piano Inspires

The Piano Conference eagerly anticipates keynote speeches from Randall Faber, Sarah Hoover, and Stanford Thompson. Learn more about the speakers and mark this exhilarating conference on your calendar! Haven’t registered for The Piano Conference yet? Register here.

Randall Faber

Randall Faber has been a guest artist at universities throughout North America and Asia, including the Beijing Central Conservatory, the Shanghai Conservatory, and the Royal Conservatory of Canada. He has been a Convention Artist for the Music Teachers National Association and master teacher for the World Conference on Piano Pedagogy, National Conference on Keyboard Pedagogy, the Australia Piano Pedagogy Conference, the National Piano Teachers Institute, and the Online Global Piano Summit. A Steinway Artist, Faber has given recitals throughout the U.S., Canada, and Asia. He has appeared on international television and on public radio in live recital broadcasts.

Dr. Faber holds three degrees from the University of Michigan and a PhD in Education and Human Development from Vanderbilt University. His research on motivation and talent development has been featured in journals and media in South Korea, China, Australia, and at the 9th International Conference on Motivation in Lisbon, Portugal.

Randall and his wife, Nancy, are authors of the best-selling Piano Adventures® method, which received the MTNA Frances Clark Piano Pedagogy Award.  Published in 13 languages, their books reach millions of students around the world. In 2019, Dr. Faber was honored with the inaugural Lifetime Achievement Award in Education from the Roland Corporation.

Randall Faber

Sarah Hoover

Sarah Hoover serves as Associate Dean for Innovation in the Arts and Health at the Peabody Institute, where she is responsible for advancing initiatives that link the performing arts and health within Peabody, Johns Hopkins Medicine, and entities within the university and Baltimore community. Since arriving at Peabody, Hoover has advocated for the health of Peabody’s musicians and dancers by developing curriculum and co-curricular programs to prevent injury and optimize performance, facilitated the creation of the Peabody Clinic for Performing Artists, and supported the start-up of a research lab in performance science. With partners across Johns Hopkins University and Health System, her team is building out a transdisciplinary center of performing arts and health to advance health in and through the performing arts, encompassing research, clinical care, education, arts services, and advocacy.

Hoover’s research in the field of arts in health has led to the development of bedside and lobby music programs throughout the Johns Hopkins Health System and the development of creative aging residencies and sensory-friendly concerts. She has helped to develop Peabody Prescribe, a community arts entity within Peabody Preparatory, offering arts experiences developed in collaboration with researchers and clinicians from Johns Hopkins Medicine that support health and well-being. Along with her book, Music as Care: Artistry in the Hospital Environment, these clinical and community programs have built novel educational and experiential career pathways for musicians in arts-in-health contexts. As part of her commitment to artist workforce development, Hoover serves as board member for the National Organization for Arts in Health. Prior to her appointment at Peabody, Hoover was a performer, teacher of singing, music journalist, and festival director and received degrees from Yale College (BA) and the Peabody Institute (DMA.)

Sarah Hoover

Stanford Thompson

Stanford Thompson (he/him) founded and led music education organization Play On Philly, served as the founding board chair of El Sistema USA, and founded and currently serves as executive director of Equity Arc. In those roles, he has led complex strategic planning and organizational design projects for local and national initiatives that provide equitable arts access for communities and artists.

As a Principal with Goldsmith Strategies, he has guided the strategic development of dozens of organizations across the United States. He has also collaborated with WolfBrown on strategic planning, program evaluation, and establishing new ventures with the support of national institutional funders.

Stanford serves on the faculty of the Global Leaders Institute and regularly speaks at major arts and business conferences and institutions. He has been a TED Fellow, presenting on music as a powerful tool for positive personal and societal change. Stanford holds degrees from The Curtis Institute of Music and New England Conservatory.

Stanford Thompson, © Todd Rosenberg Photography 2022
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Announcing the Frances Clark Center’s Newest Publication: Easter Monday Swagger: Scherzino for Piano by Thomas H. Kerr Jr., edited by William Chapman Nyaho and Susanna Garcia

Written By William Chapman Nyaho, Susanna Garcia, Piano Inspires

In celebration of Juneteenth, The Frances Clark Center is pleased to announce the newest publication from Piano Education Press: Easter Monday Swagger by Thomas H. Kerr Jr., edited by William Chapman Nyaho and Susanna Garcia.

Susanna Garcia and William Chapman Nyaho after their performance at NCKP 2023: The Piano Conference.

Easter Monday Swagger was composed by Thomas Henderson Kerr, Jr., and was completed on Easter Monday, March 30, 1970. It was written for and dedicated to Natalie Hinderas, concert pianist and professor at Temple University in Philadelphia, Pennsylvania. Hinderas performed Kerr’s piece, alongside works by other Black composers, in a series of recitals. This repertoire, including Easter Monday Swagger, contributed to her groundbreaking 1971 recording on Desto Records, Natalie Hinderas Pianist Plays Music by Black Composers.

Easter Monday Swagger is a sectional work presenting contrasting interpretations of the spiritual “Walk Together, Children.” Kerr’s subtitle A Fantasy “Romp” on “Walk Together, Children” underscores its playful and childlike character. Yet, Kerr balances a lighthearted, boisterous treatment of the theme with moments of depth and reflection. In the African American community of Washington, DC, Easter Monday is an occasion for community celebration. Kerr’s composition is almost certainly an acknowledgement of this tradition.

About the Editors

Duo-Pianists William Chapman Nyaho and Susanna Garcia have been performing together since 1991, specializing in both the standard repertoire and newly composed works. The Nyaho/Garcia Duo is committed to increasing diversity and representation in the repertoire for solo piano, two pianos, and piano four-hands.

About the Kerr Publication Project

This is the first published edition of this composition and the third in a series of three piano works by Thomas H. Kerr Jr., edited by Garcia and Chapman Nyaho and published by Piano Education Press.

Thomas H. Kerr Jr., December 1980; Photo courtesy of Stuart and Cynthia Reid

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Piano Inspires Podcast: Leila Viss

Written By Leila Viss, Andrea McAlister

As we get closer to The Piano Conference: NCKP 2025 this July, we invite you to register for our 2025 Gala, celebrating our 2025 Lifetime Achievement Outstanding Service Award recipients. The Frances Clark Center celebrates its Outstanding Service Award recipients with special re-releases of podcast episodes. Congratulations to Leila Viss for this recognition! Register by clicking here.

Leila Viss

Andrea McAlister: I do want to go back a little bit to the work you’re doing now, because you are offering a lot of online tools for teachers. I’m really curious about your “composiums” here. So, can you tell me about the work you’re doing now with other teachers around the world? 

Leila Viss: Well, I think it comes down to the fact that making music was so important to me. And I am not a published composer or arranger, but I started arranging a lot of things myself, and I loved that. You know, the world faded away when I was working on that project. I’m like, this is feeding my soul. I wonder if other people need to have this too. And then I also created something called Cookie Cutter Composing, which was helping my students compose, and we did eight bars at a time. So we did, you know, section A, then Section B, section A, and it was very rigid, some people would call it, but we were very successful with it. It just happened to come out right before the accident, and then COVID happened. And so I did this with all my students online, and it was perfect. We used Noteflight, so I could see their accounts, all that kind of stuff. So it was, you know, it really helped us all get through a rough time, because we could at least do that creating, you know, yeah, they could play piano. 

But then I sold that resource, but I noticed that people still had questions on it. Teachers were like, well, how do you do this? How do you do that? And I thought, “You know what, I wonder if I need to have some kind of workshop that could help teachers go through the process?” And I don’t know when the word “composium” came to my head. 

AM: I love it, though. 

LV: I like that one. And so I had that feeling of, you know what, if I build it, maybe they’ll come.

I was also inspired by my mother. She is a retired art professor. She’s a quilter, a nationally known quilter. Her quilts are all over the nation, in different galleries, and we’re not talking about just patchwork. We’re talking about abstracts, and they’re marvelous. They’re just absolutely gorgeous. But I was always envious of her, because she would go to her quilting workshops, and you bring your sewing machine, you bring your fabric, and you sew with all your other friends, and then you look over their shoulders and see what they’re doing. I thought, now, wouldn’t that be nice if I could do that with a group of teachers, so that we’re all in this atmosphere of, “Oh, what are you doing? Oh, that’s cool. Oh, I like that idea.” 

So that brought me to this idea of, well, let’s have eight teachers, and we’ll do eight bars at a time, that kind of a thing. So we’ll piece together, just like we piece a quilt together, we’ll piece together a piece. And now I’m down to six teachers because that was a little bit much, and I have changed maybe a little bit of the format, but it’s a little bit of a piece every time. And then people come, they show us what they’re doing. It’s a very safe environment because I lay down really strict ground rules about how we give feedback. We don’t give feedback. We give feed-forward, those kinds of things so that people can feel comfortable and feel safe. Because I always, when we first listen to a piece, I always tell them that, “Doesn’t it kind of feel like someone’s peeking in your underwear drawer?” Because you know, you’re being very vulnerable, right? 

AM: It does take a lot of courage.

LV: It takes courage, and so I do a lot of mindset things, all those kinds of things, just to get them in the right place.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Leila Viss on Apple Podcasts, Spotify, YouTube, or our website!

MORE ON LEILA VISS

  • WEBINAR: Creative Solutions for Online Studio Recitals with Sara Ernst, Rebecca Pennington, Anna Beth Rucker, and Leila Viss
  • PIANO MAGAZINE ARTICLE: Practicing with Backing Tracks by Bradley Sowash
  • PIANO MAGAZINE ARTICLE: May 2018: First Looks: Apps for Teaching by Leila Viss
  • PIANO MAGAZINE ARTICLE: Yes, Technology Can Simplify Your Hectic Teaching Life! by George Litterst, Anna Fagan, Jennifer Foxx, Megan Hughes, Ellen Johansen, Adrienne McKinney, Patti Robertson, and Leila Viss
  • PIANO MAGAZINE ARTICLE: Creating by Chance by Bradley Sowash
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May 2018: First Looks: Apps for Teaching
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Piano Inspires Podcast: Spencer Myer

Written By Spencer Myer, Jennifer Snow

As we get closer to The Piano Conference: NCKP 2025 this July, we invite you to register for our conference and join us in Lombard, Illinois. Additionally, we invite you to join us at a conference Gala celebrating our 2025 Lifetime Achievement Outstanding Service Award recipients. The Frances Clark Center celebrates its Outstanding Service Award recipients with special re-releases of podcast episodes. Congratulations to Spencer Myer for this recognition! Register by clicking here.

Spencer Myer, American pianist

Jennifer Snow: You’ve gone through all these amazing successes with competitions and started to understand yourself as an artist. That all starts to clue up for yourself. You’ve got a career, you’re performing, you’ve got your management, and you’re a Steinway artist, and you’re on your way. Where’s the teaching pull? When does that start to come in, and how does that all come together for you?

Spencer Myer: It was always something I was interested in. I started teaching beginners when I was twelve. I had a paper route from age nine to twelve, and then I thought, “I could at least just advertise on my street for piano lessons and start teaching piano lessons. Why not make money doing music?” That was always something I very much enjoyed. I did that, not as actively, through college, and then it stopped in grad school. I lost all my connections to developing students, and I was more focused on playing through my graduate school. 

Then, as the performing career started to develop, and I would do various engagements, they would often come with a master class. So, the bulk of my early higher-level teaching post-grad school was master classes, which I always really enjoyed. 

I always found myself conducting a masterclass a little bit closer to a lesson than a public display. I just started to see that, certainly in particular, voicing things about developing technique, and refining technique and technical problems—solving things—came quite easily to me because, I think, I was never a prodigy. I had some natural technique, but I had to figure a lot of things out. Certainly, because a lot that I did naturally, I developed a lot of inherent tensions that I had to get rid of, and through repertoire exploration and just a lot of observation. 

Another thing I was going to mention about influences at Oberlin was the other piano faculty. I would observe their students playing. I would accompany a lot of their students on concerti, so I saw their teaching [and] so many of these different technical approaches. There’s Bob Shannon and Haewon Song, who teach the Taubman technique. We had a couple Russian teachers there who have their own approach as well. I just gained a well-rounded sense of how to solve problems. And so I became, very early on in this masterclass trajectory, very addicted to those light bulb moments. Students, where you solve a technical problem and you make something easier for them, and all they want is to be able to communicate themselves more easily at the piano. It is just the best feeling. 

JS: Indeed. 

SM: Absolutely the best feeling.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Spencer Myer on Apple Podcasts, Spotify, YouTube, or our website!

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Featuring The Piano Conference: NCKP 2025 Exhibitors

Written By Piano Inspires

Register now for The Piano Conference: NCKP 2025 and experience incredible concerts, as well as teaching demonstrations, peer-reviewed conference sessions, and more.

The Piano Conference: NCKP is excited to welcome industry leaders to our in-person event! See who will be there and take advantage of special conference deals and giveaways.

1on1 Piano

Alfred Music

Clefer

Faber Piano Adventures

Hal Leonard

Kawai America

Keys to Imagination

Let’s Play Music

MakeMusic, Inc.

Modartt

Mousiki

Music Moves for Piano

Music Teachers National Association

My-Melodies Publishing

My Music Staff

Narrow Key Pianos

North Park University

Norwex

One Eye Publications

Piano Detectives Club

Piano Marvel

Piano Music Database

Piano Safari

Piano Technicians Guild

PianoArts

QRS Music Technologies

Serenade Your Studio

Skills for the Modern Pianist

SmartMuse Piano

SproutBeat

Royal Conservatory of Music

Steinway & Sons

TimeWarp Technologies

TOMGEROUMUSIC.COM

Ultimate Music Theory

University of Oklahoma

Vibrant Music

Yamaha

Yellow Cat Publishing/Piano Key Finders

View the Exhibit Hall Map
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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.

Jeremy Siskind

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.

Jeremy Jordan

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.

Edward Simon

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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John Perry – In Memoriam

Written By Sam Holland

The Frances Clark Center is deeply saddened by the passing of John Perry – virtuoso, mentor, teacher, and friend. His legacy will continue to inspire pianists for generations, and we honor his memory. In greatest honor and memory of his legacy, we share this article by Samuel Holland as it originally appeared in the Spring 2004 issue of Keyboard Companion.

John Perry

John Perry

My first encounter with John Perry was at my audition for Oberlin, where I could see that many of the best students went to him. And there was one thing of which I was right away convinced – that the best preparation to become a teacher was first to become the best pianist. Mr. Perry’s studio included major competition winners and people who now hold important positions throughout the U.S. I may have been the worst pianist John ever accepted. But, did I work! At the time, he was known for not scheduling regular lessons. You signed up when you were ready. To him, this meant that your repertoire was memorized and up to tempo. He maintained that it took three hours a day to stay where you are. For undergraduate students, he expected at least six hours a day. Sometimes I put in ten. 

Perry’s modus operandi

John Perry did not want to work on technique until your full recital was learned and being polished. He believed that technical work belonged in the finishing stages. The line of reasoning went something like this: Learning new repertoire is time-consuming and difficult. During that time, we make a lot of unnecessary movements and exertions because we don’t yet know the music. Once learned, the process of polishing is essentially a process of refining movements and control for expressive purposes. And so it is natural that most technical progress is made in the later stages of polishing repertoire. Time spent attempting this type of refinement at an earlier stage is wasted, or, at best, inefficient.

If I were to try to put into a few words what the essence of John’s teaching on technique was, it would begin with “one-ness” with the keyboard, a feeling that the piano is an extension of our own body – not something outside to be manipulated. The methods by which we produce tone are always based on what is appropriate. What is appropriate in Mozart might not be appropriate in Prokofiev. He gave us detailed exercises to develop “pure” techniques of many types: close finger, high finger, weight and weight transfer, rotation, open, flattened fingers that grasp. There was no one “correct” way.

I appreciated John Perry because once he took me on, he stood up for me. He fought battles for me. However frustrating I must have been to him, I knew he believed in me and this has continued right down to this day.

If I had to describe what was most remarkable about Perry as a teacher, it is most evident in a master class. I’ve never seen a student – no matter how bad, or more remarkably, how good, that he could not somehow make dramatically better on the spot. He has the diagnostic skill of a surgeon – a precise understanding of how technique works, an uncanny ability to observe and correct problems. His skill in English – the ability to say what he means and to make it colorful through metaphors and examples – is more remarkable than anyone I’ve ever known in any field. 

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Piano Inspires Podcast: Chee-Hwa Tan

Written By Chee-Hwa Tan, Alejandro Cremaschi

As we get closer to The Piano Conference: NCKP 2025 this July, we invite you to register for our 2025 Gala, celebrating our 2025 Lifetime Achievement Outstanding Service Award Recipients. The Frances Clark Center celebrates its Outstanding Service Award recipients with special re-releases of podcast episodes. Congratulations to Chee-Hwa Tan for this recognition! Register by clicking here.

Chee-Hwa Tan at the piano.

Alejandro Cremaschi: Where are you seeing our field going now? What’s your impression? Are you thinking about these things: you know, the classical music making, piano playing? Where are we, and where are we going? What do you see in the future?

Chee-Hwa Tan: I think that music will always be relevant. We all need that. I mean, we have this craving for beauty. Now, I think if we all insist on our little boxes, then we look within that box and say, “Well, where’s it going?” I can’t answer that. I think as long as we focus—as far as in piano and teaching—if we keep reminding ourselves, asking ourselves, like, during the pandemic, I thought we should be asking, what do they need? What does this student need right now? My grad students—everything has shut down. How about I just throw out my course and do a different—what do they need? Do they need all this content and information? You know what I’m saying?

Or do they need to connect because they’re looking rather depressed across that Zoom screen, you know, in their apartments? So I think that if we think back to what Frances Clark said, you know, that first you teach the student. And I say, I reword that, first you see the person, you see the person, and that person can make music, and that person could feel like an artist. If they feel a little bit like an artist, maybe not to the level of our classical standards, but they feel a bit like an artist, they are going to be hooked on music for the rest of their lives, and they will be supporters of the arts one day, or they may be innovative in their music. So, I’ve had to just move out of that box a little bit, and I was definitely in that box. I mean, you know, it’s been a continued growth process. I think that music, as long as we keep—we don’t become segregated or elite, you know, and I don’t say lower the standard, you know—but value someone’s music making. Find something, you know, that’s at least something that’s special. Try to look at it that way because otherwise, we kill our own joy.

AC: Right?

CHT: I was killing my own joy sitting there and noticing everything, you know, when that’s not the way it ever was anyway, you know? Now we are in a world of super edits. Right? Yeah, so I think there’s great hope for music. I think we just need to flex with it. We don’t have to lower our standards; we just need to open our vision, a perspective to the bigger picture. You know, ask us for that gift to be able to see the bigger picture and see people first, because people matter. I tell my graduate students that—as I was leaving DU—that people matter more than the product. People matter more. That’s what you leave behind: the people and the relationships.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Chee-Hwa Tan on Apple Podcasts, Spotify, YouTube, or our website!

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Spring 2022: Create to Motivate: Using Repertoire to Incorporate Creativity in Lessons
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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!

Gilles Comeau

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.  

An image displaying the online conference platform.

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.

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The Benefits of NCKP: The Piano Conference and Why You Should Attend
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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

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!

Gilles Comeau

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.  

An image displaying the online conference platform.

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.

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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.

A person sitting on a piano AI-generated content may be incorrect.
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

A person smiling for the camera AI-generated content may be incorrect.
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,”3 which 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
  1. 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/. 
  2. “Dan Zhaoyi – Professor Emerita, Shenzhen Arts School,” Bay PianoFest, Artcial Music Foundation, accessed May 24, 2025, https://baypianofest.org/dan-zhaoyi. 
  3. “Artistic Director,” China Shenzhen International Piano Concerto Competition, published 2018, accessed May 24, 2025, https://www.csipcc.com.cn/about-us/artistic-director/. 
  4. 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.

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Frances Clark Center Awards Inaugural Community Impact Grants Initiative to Support Inclusive Piano Education

Written By Piano Inspires

The Frances Clark Center has announced the recipients of its first-ever Community Impact Grants Initiative, a national program supporting innovative, community-driven projects in piano education. Funded by the Elvina Pearce Education Fund, the initiative provides grants of $500 to $2,500 to individuals and organizations whose work expands access, fosters inclusion, and strengthens community engagement through piano education. “In alignment with our mission, we are honored to partner with our community as they innovate for meaningful impact and transformative change. We recognize each of the recipients for their powerful work as they serve their students and communities through music,” said Dr. Jennifer Snow, President and CEO of The Frances Clark Center.

Among this year’s recipients is Kelly Hooper of Community Music School in Allentown, Pennsylvania, whose Free-To-Be program creates a relaxed and inclusive recital environment for neurodiverse students. With grant support, the school will purchase a projector and screen and provide neurodiversity-focused teacher training. Hooper noted that this support “allows us to get the project off the ground and give more students the opportunity to perform in an environment that works well for them.”

Kelly Hooper
Zaiba Sheikh

In Charlotte, North Carolina, Zaiba Sheikh will launch the Community Piano Lab, a summer pilot that matches early-career piano educators with at-risk youth at a local support center. Sheikh shared that she was “deeply grateful that The Frances Clark Center believes in this project,” explaining that the lab will not only give aspiring teachers mentoring experience but also “help integrate music within the support systems of our foster families.”

Raphaelita Justice, based in Pottstown, Pennsylvania, is launching a free, monthly group piano program for children and adults at the public library. Designed to be welcoming, inclusive, and accessible, the program will provide keyboards, outreach support, and digital learning materials to connect with families who may not otherwise have access to music education. Justice shared that the grant “represents a chance to open the door to music education for families who may have never thought it was possible” and expressed her hope to create “a space where children and adults feel seen, supported, and inspired through music.”

Raphaelita Justice
Penny Lazarus

In Lowell, Massachusetts, piano educator Penny Lazarus will use her grant to fund Fun Friday, an event at the International Institute of New England where young pianists will accompany refugee families in group singing and explore global musical traditions. Lazarus described the event as “a way to prove that our lives are richer because of our diversity.” She emphasized, “now is a good time to spotlight immigration resettlement programs to ensure our communities’ commitment to understanding that humanity is most beautiful when it represents a kaleidoscope of color and culture.”

Thanks to the generosity of The Frances Clark Center, the recipients of the 2025 Community Impact Grants Initiative have the resources to create lasting change in communities nationwide while advancing piano education. 

“It has been an honor to lead a dedicated cohort of piano teachers, all of whom are deeply committed to advancing piano education and creating meaningful change in their communities,” said Dr. Leah Claiborne, Director of Diversity, Equity, and Inclusion at The Frances Clark Center. “Over the past several months, we’ve brought together inspiring experts and practitioners, and now, thanks to the Community Impact Grants Initiative, educators across the country will receive funding to expand their impact through music and community engagement. This is a pivotal moment for the arts, one where investment and support can make all the difference. I’m thrilled to have guided a new initiative that not only helps communities thrive but also ensures that piano education remains a powerful force for connection, creativity, and impact.”

Join Us at The Piano Conference: NCKP Online

To learn more about these impactful projects and hear directly from the grant recipients, we invite you to attend The Piano Conference: NCKP Online on June 7-8, 2025. The Frances Clark Center will be hosting a special Community Impact Grant session during the conference, providing a national platform to showcase these educators’ important work. For details and registration, visit https://pianoinspires.com/nckp-the-piano-conference/.

Projects were selected through a national review process for their innovation, feasibility, and community impact. The Center will open its next round of Community Impact Grants Initiative applications in early 2026.

For more information, visit https://pianoinspires.com/impact-grants/.

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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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Happy 90th Birthday to Marvin Blickenstaff!

Written By Kairy Koshoeva, Kate Logan, Deborah Rodgers, Mary Kelly, Mary Louise Hooley-Carlisle, Pete Jutras, Kristin Cahill

Thanks to the generosity of supporters around the world, The Marvin Blickenstaff Teaching Excellence Fund is advancing high-quality teacher education and raising the standard of piano instruction. We invite you to join this meaningful effort by making a contribution to help complete this tribute in time for his milestone birthday. Gifts can be made online at pianoinspires.com/marvin-blickenstaff.

Marvin Blickenstaff

From Kairy Koshoeva: 

Celebrating Marvelous Marvin: A Heartfelt Tribute to a National Treasure

Happy 90th Birthday, Marvin! What a truly remarkable milestone this is! His birthday is a beautiful reminder for all of us to honor and celebrate him every day. He is undeniably a national treasure, and we are so blessed to have him in our lives.

As I reflect on the unforgettable adventures Marvin and I have embarked on together—from the stunning Grand Canyon to the breathtaking Grand Teton, Yellowstone, and out in Idaho—I am filled with profound gratitude. Being part of the ‘Fabulous 4’ with dear friends Charl and Reyes has been a wonderful gift. The memories we’ve created are indelibly etched in my heart, and the time spent with him is among my most cherished experiences. His remarkable presence has shaped my life in ways I can hardly express.

He has graciously welcomed me into his home during the holidays year after year. His warmth and hospitality have added a special touch to my Thanksgiving and Christmas celebrations, making me feel like part of a true family. He has become my chosen family in the US, and that bond is one I will forever hold dear.

His unwavering support at every recital and concert has an immeasurable impact on me. Whether during the Goldberg Variations, Rachmaninoff’s Piano Concerto No. 3, or our joyful four-hand duet performances at family gatherings, his presence always filled the room with love and happiness.

 

Kairy Koshoeva and Marvin Blickenstaff at the piano.

I am profoundly thankful for the wisdom and guidance he’s generously shared with me over the years. His kindness in mentoring my students has created a ripple effect that has touched us all, and the lessons he’s imparted will resonate for many years. His book is an invaluable resource for piano teachers, and I couldn’t be prouder of him as I eagerly look forward to hearing him perform at Carnegie Hall!

With my admiration and heartfelt gratitude, I want Marvin to know how deeply he is valued and loved.

Kairy

From Kate Logan: 

Wishing Marvin a very happy 90th birthday—and belated congratulations on the establishment of the Marvin Blickenstaff Teaching Excellence Fund! I feel so privileged to have been one of his many piano students over the years. I look back with immense gratitude toward the role that piano played in my otherwise chaotic life at that time, especially in high school, and how his patience and gift for teaching helped me to understand my own potential for making music. I’m awed by how his generosity and selflessness has touched so many, and am so glad to have the opportunity to celebrate him!

All the best,

Kathryn (Kate) Logan

From Deborah Rodgers: 

Marvin’s deep passion for his craft has truly inspired not just me and my students, but thousands of others as well. I’m so happy that during my time as president, PMTA had the honor of recognizing him with their highest Teacher of the Year award. There’s no one more deserving. Thank you, Marvin, for all the years of guidance you’ve given to my students—it’s made a lasting impact.

Deborah Rodgers 

Deborah Rodgers with Marvin Blickenstaff.

From Mary Kelly:

Marvin, congratulations on your return to Carnegie Hall!  My husband Richard and I are so pleased to be able to attend your concert. I was fortunate to know Louise Goss and Frances Clark from a very early age. They both held Marvin in the highest esteem and I often heard his name over the years. But it was only when I joined the Board of The Frances Clark Center in 2006 that I came to know him personally. I remember watching several of the Master classes he gave at various conferences. His courtesy, generosity, passion and ability to connect with his students was not only instructive but extremely moving. But over the years at our Board meetings and retreats I realized that in fact, this was simply the way he lived his life; that he exercised those essential qualities of humanity and compassion in everything he did. What a legacy to have so many students learn from him and so many friends and colleagues experience his unfailing kindness. It was a great honor to serve on the Board with Marvin along with Sam, Louise, Leslie, and all those who created the New School for Music Study and The Frances Clark Center. Congratulations again!  He is truly ageless and I wish him all the very best now and always.

 Mary Kelly

From Mary Louise Hooley-Carlisle:

Marvin has poured his whole being into a lifetime of self-giving for the good of others so that we can become the persons we are meant to be. I have known Marvin since 1978, when I was a freshman and he was a new professor at Goshen College. During these nearly fifty years since, he has been for me my most nurturing and formative piano teacher, an inspirational performer, the greatest of all time pedagogy professor, my wise and beloved mentor, and a generous colleague. Through it all, he has been a faithful friend. He’s celebrated with me at my best and forgiven me at my worst, but always cheering for my well-being and success. On this occasion of his 90th birthday, I heartily congratulate him on all his achievements and thank you for modeling excellence, most especially for your life-shaping goodness. My prayer for him is that the blessing he’s been to others may return to him a thousand-fold, and may he be filled with love, joy, and peace, today and always. I cherish his presence in my life.  ~ Mary Louise 

From Nina Austria: 

About fourteen years ago when I was just nine years old, I had the incredible fortune of beginning piano lessons with Marvin. What I didn’t realize then was that this would become one of the most transformative experiences of my life. I studied with Marvin all through high school, and thanks to him, I eagerly looked forward to every Tuesday evening. His captivating anecdotes and stories about the composers and the music we studied made each lesson so special. Through my time with Marvin, I quickly came to understand that being able to learn and make music is a privilege and a gift.

He always knew exactly what to say to help me improve, grow, and stay inspired. Marvin inspires a deep and natural respect from his students, as we all feel motivated to meet the standard of dedication and love for music that he so generously shares with us. Beyond being an extraordinary teacher, he is an incredible human being who educates the whole person. He has touched the lives of so many, and I consider it one of my life’s greatest blessings to be able to call Marvin Blickenstaff my mentor and my friend. To this day, we have remained close, and I carry with me a love for music and the piano that would not exist without Marvin.

Warm regards,

Nina Austria

Marvin Blickenstaff with Nina Austria.

From Pete Jutras:  

It has been a true honor and privilege to know and work with Marvin for over twenty-five years. I will always treasure our time working together on articles for Keyboard Companion and Clavier Companion, and many committees relating to NCKP. The chance to work with him on the editing of Inspired Piano Teaching is a highlight of my life, and something for which I will forever be proud. Most of all, however, I cherish our friendship, and the warmth and love he selflessly distributes to everyone around him. The world is such a better place from his teaching, his presence, and his humanity.  

Pete Jutras

Marvin Blickenstaff with Pete Jutras.

From Kristin Cahill:

The first time I saw Marvin teach was at the Goshen College Piano Camp when I was Robert Vandall’s student. I was a sophomore in high school, and Bob and Karen drove me to Goshen from Ohio so I could participate. Mr. Vandall was the featured composer that year, and I also remember meeting Beverly Lapp and Marilyn Neely.

I was in awe watching Marvin give lectures and master classes, and I remember playing Bach’s Invention No. 13 in A Minor for him. While there, I also met Mary Rose Jordan, and thought about how lucky she was to have him as her teacher. To this day, I have fond memories of that week in Goshen.  

Fast forward sixteen years, and I was looking to relocate somewhere in the United States after living in Barcelona. My teaching needed a lot of guidance, and when searching, I came across the New School for Music Study. After being hired, I couldn’t believe I would have the chance to work with Mr. Blickenstaff!

Observing his PEPS classes during my first year at NSMS was the highlight of my week. I loved watching how he connected with students and brought out the best in their playing. Over the years, I had the privilege of seeing him give numerous talks, workshops, performances, and lessons.

Not only is he a phenomenal musician, he also opens his home and heart to so many people. It is very special to have met Sara Faye’s family at holiday gatherings. His house is full of music, warmth, pianos, orchids, and mugs as we gather there.  

Thank you, Marvin, for being a visionary, mentor, and friend. Happy 90th birthday! Can’t wait to celebrate 100 with him!  

Kristin Cahill

Kairy Koshoeva, Marvin Blickenstaff, and Kristin Cahill.

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5 Things You Might Not Know About Abby Whiteside

Written By Stephen Marquiss

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

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

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

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

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

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

Pianist performing outside

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

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

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

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

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

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

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

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

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