5 Things

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.

MORE ON THE PIANO CONFERENCE: NCKP 2025

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Demonstration (NCKP Rebroadcast)
Back to Discovery Page

5 Things You Might Not Know About Abby Whiteside

Written By Stephen Marquiss

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

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

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

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

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

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

Pianist performing outside

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

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

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

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

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

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

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

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

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

MORE ON THE PIANO CONFERENCE: NCKP 2025

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Demonstration (NCKP Rebroadcast)
Back to Discovery Page

5 Reasons You Should Learn “Arirang”

Written By Kowoon Lee

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

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

1. Cultural Understanding

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

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

2. UNESCO Recognition

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

3. Personal Growth

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

Globe held by diverse people

4. Expand Your Repertoire

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

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

5. Endless Possibilities for Pianists

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

A stack of Henle Edition piano books
Sources

Article

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

Website

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

News Journal

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

Media

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

MORE ON THE PIANO CONFERENCE: NCKP 2025

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
What to Expect at The Piano Conference: NCKP 2025
Back to Discovery Page

5 Things You Might Not Know About the Ergonomically Scaled Piano Keyboard

Written By Piano Inspires, Camila de Oliviera

We would like to thank Camila de Oliviera for this article on the Ergonomically Scaled Piano Keyboard (ESPK). Interested in learning more about the EPSK? Attend her session at The Piano Conference: NCKP 2025 on Thursday, July 24, 2025, 12:00-12:25pm CDT. Learn more and register for the conference here.

Camila de Oliviera

1. Playing an ESPK doesn’t mean you lose the ability to play a conventional keyboard.

Many pianists worry that switching to an Ergonomically Scaled Piano Keyboard (ESPK) will make it difficult to return to a standard-sized keyboard. However, research and experience show that pianists who become comfortable with an ESPK can easily adapt between different keyboard sizes,  just like violinists who switch between violin and viola. The brain and hands develop flexibility,  making it possible to transition smoothly between keyboards of different dimensions.

An example of the ESPK.

2. You can adapt, just close your eyes! 

An effective strategy to adjust and build muscle memory on the ESPK is playing with eyes closed. Stephen Hough, in his insights on piano playing, explained that when one sense is removed, the other senses become more attuned and compensatory. By focusing on practicing on the ESPK while relying entirely on tactile and auditory feedback, a new memory of the distances between the keys will be developed.

An example of the ESPK.

3. The feeling of ease is transferable to the standard keyboard.

Once you learn to play octave passages on an ESPK, the perception of reduced stretch can transfer  to a conventional keyboard. Pianists often experience a recalibration of their spatial awareness; playing octaves on an ESPK allows them to internalize a more relaxed hand position, reducing  unnecessary tension. When returning to a standard-sized keyboard, this improved sense of  efficiency can enhance control and ease, even if the physical demands are greater. This transferability suggests that practicing on an ESPK can be a valuable tool for developing a more  ergonomic and adaptable technique overall.

4. Omitting notes is okay!

For small-handed pianists, omitting certain notes in a chord or passage can be an effective strategy without affecting the integrity of the music. If a note is already being played in a different octave or is part of the harmonic series, its omission is unlikely to be perceived and does not compromise the harmonic structure. In many cases, omitting such notes can even enhance playability and musicality, allowing the pianist to focus on the more essential notes of the passage and produce a cleaner, more comfortable performance. This approach is a practical solution that respects both the technical  limitations of the pianist and the musical demands of the piece.

A score demonstrating a note omission.

5. Achieving legato in octaves is easy!

For small-handed pianists, achieving legato in octave passages can be a challenge. However, playing on an ESPK offers a new level of ease, enabling them to alternate fingerings like 1-4 and 1-5 without excessive movement or shifting. Since they no longer need to play at the edge of the keys to reach octaves, they can maintain a more natural hand position, resulting in greater efficiency and comfort in achieving legato.

MORE ON THE PIANO CONFERENCE: NCKP 2025

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
What to Expect at The Piano Conference: NCKP 2025
Back to Discovery Page

Lisan Wang: Composer and Trailblazer

Written By Rentana Wu

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

ae1cd7141a475e0daa05483718667a7f.jpg
Lisan Wang.

1. A Trailblazer in East Meets West.

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

图形用户界面, 网站 描述已自动生成
Lisan Wang’s influences.

2. Impressionism Through A Chinese Lens

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

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

3. Reinventing Folk Music for the Piano

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

图示 描述已自动生成
Score excerpts from Lisan Wang’s “Winter Flower” and Debussy’s L’isle joyeuse.

4. Unlocking Emotional Depth and Sensitivity

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

图示, 工程绘图 描述已自动生成
“The Sound of Waves” from piano suite Impressions of Paintings by Higashiyama Kaii.

5. The Perfect Gateway to Contemporary Repertoire

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

文本 描述已自动生成
A categorization of Lisan Wang’s piano compositions.
References

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

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

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

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

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

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

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

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

MORE ON THE PIANO CONFERENCE: NCKP 2025

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
What to Expect at The Piano Conference: NCKP 2025
Back to Discovery Page

5 Things You Might Not Know About Philippa Schuyler

Written By Sarah Masterson

We would like to thank Sarah Masterson for this article on pianist and composer Philippa Schuyler. Interested in learning more about Philippa Schuyler? Attend her session at The Piano Conference: NCKP 2025 on Thursday, July 24 from 11:30 AM – 11:55 AM in Lilac B. Learn more and register for the conference here.

Philippa Schuyler

1. Famous as a child prodigy, Schuyler wrote fifty compositions by age ten.

Composing by age four, Schuyler began performing her own music in concerts at age six. Her childhood works tend to be related to events in her life or books she read. For example, the book 1001 Tales of the Arabian Nights inspired her Suite from the Arabian Nights, while Cockroach Ballet tells the story of the roaches that lived in her kitchen. In1946, at age 15, Time Magazine called her the “brightest young composer in the U.S.”1

Philippa Schuyler

2. She performed in approximately 80 countries on five continents.

When Schuyler was 19, she embarked on her first solo concert tour, without any chaperone, beginning with a performance at the 1950 inauguration of Haitian president Paul Magloire. Traveling nearly continuously, Schuyler went on to visit 35 countries on five continents by age 23. Her first adult compositions arrange folk music heard on her travels.

3. As a journalist, she reported on the 1960 Congo Crisis.

In 1960, Schuyler was invited to perform for the inauguration of the new Congolese president and prime minister on the occasion of the Congo’s independence from Belgium. In the days following, the country descended into chaos. Rather than immediately fleeing the violence, Schuyler stayed several days to try to get the story, only leaving for her next concert engagement in Ghana. In subsequent months, she interviewed survivors in Belgium and returned to the Congo, reporting on the violence resulting from the state of Katanga’s recent secession. She remained there for weeks, investigating politics and possible war crimes.

Philippa Schuyler; Photographer: Fred Palumbo

4. She premiered her piano concerto Nile Fantasy with the Cairo Symphony in 1965.

Schuyler’s piano concerto Nile Fantasy premiered with the Cairo Symphony in December 1965, with Schuyler at the piano and Dennis Gray Stoll at the podium. Its four movements—“Rebellion,” “Inshallah,” “The Terror,” and “The Road to Victory”—orchestrate sections from her White Nile Suite and Seven Pillars of Wisdom. The concerto’s final documented performance occurred at Schuyler’s 1967 memorial.

Schuyler outside the premiere’s venue.

5. She spent months reporting on the Vietnam War, buying fatigues on the black market to “view ACTION.”2

In September 1966, Schuyler traveled to Vietnam to perform at the Saigon Conservatory and stayed to report on the war. On a second trip in 1967, she spent most of her time in Hue. Disguising herself as Vietnamese, she hid with locals to avoid mandatory evacuation, unwilling to leave “at the very moment that Hue [was] becoming interesting.”3 She helped evacuate women, children, and clergy to safer areas, getting them on military flights and, by her count, evacuating over seventy people. It was on one of those flights that she died at age 35, when her helicopter crashed yards from shore.

Philippa Schuyler
Footnotes and Sources

1. “Music: Original Girl,” Time, March 25, 1946. https://time.com/archive/6824347/music-original-girl/.

2. Philippa Schuyler to Josephine Schuyler, September 15, 1966, box 73, folder 4, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, NY.

3. Philippa Schuyler to Father Lyons, n.d., box 22, folder 1, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, NY.

Masterson, Sarah. Snapshots of Forgotten Adventures: Rediscovering the Piano Music of Philippa Schuyler. Pomaria: Tyger River Books, 2024.

“Music: Original Girl.” Time Magazine, March 25, 1946. https://time.com/archive/6824347/music-original-girl

Schuyler Family Audio. Schomburg Center for Research in Black Culture: Moving Image and Recorded Sound Division, New York, New York.

Schuyler Family Papers. Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, New York.

Schuyler, Philippa Duke. Adventures in Black and White. Edited by Tara Betts. New York: 2Leaf Press, 2018.

Talalay, Kathryn. Composition in Black and White: The Tragic Saga of Harlem’s Biracial Prodigy. Oxford: Oxford University Press, 1995.

MORE ON THE PIANO CONFERENCE: NCKP 2025

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
What to Expect at The Piano Conference: NCKP 2025
Back to Discovery Page

5 Things You Might Not Know About Mozart

Written By Sarah Leonard

In celebration of the recently unearthed composition, Serenade in C, discovered by the Leipzig Municipal Libraries network, here are five little-known facts about Wolfgang Amadeus Mozart.

1. Mozart’s Fantasia in D minor, K. 397 was unfinished at the time of his death.

Like the Serenade in C, this piece was left undiscovered until after Mozart passed away. While nearly complete when discovered, the final ten measures of this work were likely completed by August Eberhard Müller. Alternative endings, such as a fugue, a repeat of the introduction, and more have been proposed. Compare the alternate ending performed by Mitsuko Uchida to the written ending in the following recordings:

Mitsuko Uchida (alternate ending).
Cyprien Katsaris (performed as written).

2. Mozart and Clementi competed in an improvisation duel.

Like many other famous composers in the 18th century, Mozart was known to improvise during performances. He competed against Muzio Clementi in Vienna for Emperor Joseph II to see who was the greatest improviser. The duel was declared a tie. For more information on improvisation competitions between famous composers, please see page 3 of the Autumn 2024 Issue of Piano Inspires Kids. (link to kids.pianoinspires.com/magazine)

Piano Inspires Kids – Autumn 2024 Issue.

3. Mozart spoke several different languages.

Often touted as being able to speak fifteen different languages, Mozart was only known to speak German, Italian, and French fluently. Of his complete, incomplete, and collaborative operas, nine were in German, fourteen were in Italian, and one was in Latin.

4. Mozart composed a piece for the glass armonica.

The glass armonica, invented by Benjamin Franklin in 1761, is an instrument made of glass bowls blown to specific sizes and thicknesses to produce pitches. In order to play the instrument, the performer begins by dampening the exterior of the glasses, then pressing a foot pedal to spin the bowls, and lastly, applying light finger pressure to produce sound. Mozart composed the Adagio for Glass Armonica, K. 356 in May of 1791, just months before his passing.

Adagio for Glass Armonica, K 356

5. His baptized name was not “Wolfgang Amadeus Mozart.”

Mozart’s baptized name was Johannes Chrysostomus Wolfgangus Theophilus Mozart. Born Catholic and baptized on January 27, 1756, “Johannes Chrysostomus” refers to his saint name, and Wolfgang is the Germanic version of “Wolfgangus.” Interestingly, the German translation for “Theophilus” is “Gottlieb,” but Mozart often signed his name with the French and Italian versions of the name, “Amadé” and “Amadeo,” respectively.  He is now most commonly referred to with the latin spelling of his middle name; “Wolfgang Amadeus Mozart.”

MORE ON MOZART

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Students to Love Classical Period Repertoire: Q&A with Suzanne Newcomb
Back to Discovery Page

How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for The Piano Conference: NCKP 2025. Sara is Director of Teacher Engagement for the Frances Clark Center and a member of the Executive Committee for The Piano Conference: NCKP. We invite you to submit your proposals via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

1. Propose a topic that inspires you and aligns with the conference call

A strong conference proposal will be formed from a topic that is ideal for the specific conference, considering both its audience and specific theme or goals. Your topic certainly should grow from your interests and expertise while being relevant to the community at hand. Remember that the review committee will have hundreds of proposals to read, and often, the way to distinguish yours is by demonstrating the significance, relevance, and need for your presentation. Furthermore, convey that you have thoroughly explored and researched the topic, and that you have developed unique and vital ideas, ready to be shared.

2. Clearly state the objectives and organization of your presentation

Within the proposal abstract, give the reader a clear understanding of what will be accomplished during the presentation. Questions to address include: What are your specific goals and outcomes? What ideas and resources will be explored? How will the topic be organized? What examples and visuals will facilitate the flow of ideas? The proposal should demonstrate that the presentation will add depth of content to the conference program and will be effective in its delivery. 

3. Identify how the topic is suitable for the proposed time length and format 

The various presentation formats and durations each have unique characteristics. For example, a panel presentation has a theme that will benefit from the sharing of multiple, individual perspectives, whereas a keyboard lab has to demonstrate purposeful use of the group keyboard format. The 50-minute presentation has a scope and level of detail that necessitates the longest time frame. Alternatively, the 5-minute lightning talk needs to be narrow in its scope, while remaining of interest to the audience. The proposal can therefore clearly reflect and support the choices of format and time length.

4. Write effective prose, in a style that matches the topic

A formal research presentation and an interactive workshop have different styles of communication that are inherent to each format. The proposal can reflect this, ensuring that academic style is utilized where appropriate. A more personal, yet always professional, style can be used in other cases, in alignment with the topic and format. It is recommended that you ask a trusted colleague to review your writing prior to submission. All text—including the title, abstract, short description, and bio—need to be thoroughly edited to facilitate the review and potential programming of your work.

5. Follow the guidelines

Last, but certainly not least, take time to thoroughly review the requirements of the proposal, before the deadline. Note the formats possible, additional requested items (like CVs and headshots), the word count limits, and any additional materials needed (such as recordings). Read the policies and requirements, noting important details like ensuring that the text is suitable for blind review, and that all co-presenters are in agreement with the proposal. If you are including links, double check that these are viewable by others. To avoid last-minute issues, enter your proposal before the deadline, carefully reviewing each item before clicking the “submit” button. After submitting, verify the email confirmation to ensure that your proposal was correctly received.

Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

MORE ON THE PIANO CONFERENCE: NCKP
Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Demonstration (NCKP Rebroadcast)
Back to Discovery Page

How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for The Piano Conference: NCKP 2025. Sara is Director of Teacher Engagement for the Frances Clark Center and a member of the Executive Committee for The Piano Conference: NCKP. We invite you to submit your proposals via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

1. Propose a topic that inspires you and aligns with the conference call

A strong conference proposal will be formed from a topic that is ideal for the specific conference, considering both its audience and specific theme or goals. Your topic certainly should grow from your interests and expertise while being relevant to the community at hand. Remember that the review committee will have hundreds of proposals to read, and often, the way to distinguish yours is by demonstrating the significance, relevance, and need for your presentation. Furthermore, convey that you have thoroughly explored and researched the topic, and that you have developed unique and vital ideas, ready to be shared.

2. Clearly state the objectives and organization of your presentation

Within the proposal abstract, give the reader a clear understanding of what will be accomplished during the presentation. Questions to address include: What are your specific goals and outcomes? What ideas and resources will be explored? How will the topic be organized? What examples and visuals will facilitate the flow of ideas? The proposal should demonstrate that the presentation will add depth of content to the conference program and will be effective in its delivery. 

3. Identify how the topic is suitable for the proposed time length and format 

The various presentation formats and durations each have unique characteristics. For example, a panel presentation has a theme that will benefit from the sharing of multiple, individual perspectives, whereas a keyboard lab has to demonstrate purposeful use of the group keyboard format. The 50-minute presentation has a scope and level of detail that necessitates the longest time frame. Alternatively, the 5-minute lightning talk needs to be narrow in its scope, while remaining of interest to the audience. The proposal can therefore clearly reflect and support the choices of format and time length.

4. Write effective prose, in a style that matches the topic

A formal research presentation and an interactive workshop have different styles of communication that are inherent to each format. The proposal can reflect this, ensuring that academic style is utilized where appropriate. A more personal, yet always professional, style can be used in other cases, in alignment with the topic and format. It is recommended that you ask a trusted colleague to review your writing prior to submission. All text—including the title, abstract, short description, and bio—need to be thoroughly edited to facilitate the review and potential programming of your work.

5. Follow the guidelines

Last, but certainly not least, take time to thoroughly review the requirements of the proposal, before the deadline. Note the formats possible, additional requested items (like CVs and headshots), the word count limits, and any additional materials needed (such as recordings). Read the policies and requirements, noting important details like ensuring that the text is suitable for blind review, and that all co-presenters are in agreement with the proposal. If you are including links, double check that these are viewable by others. To avoid last-minute issues, enter your proposal before the deadline, carefully reviewing each item before clicking the “submit” button. After submitting, verify the email confirmation to ensure that your proposal was correctly received.

Do you have research you want to share with the piano pedagogy community? Submit a manuscript to the Journal of Piano Research by clicking here.

More COllegiate Resources
Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Collegiate Resources
Back to Discovery Page

5 Reasons to Enroll in a Summer Seminar

Written By Sara Ernst

We would like to thank Sara Ernst for this article about our 2024 Summer Intensive Seminars. Interested in learning more about our 2024 Summer Intensive Seminars? Learn more by clicking here.

1. Summer is a great time for learning!

We are offering two summer seminars in the month of July: An International Exploration of Piano Teaching Literature on Monday-Tuesday, July 8-9, and Teaching Elementary Pianists on Friday-Saturday, July 12-13. In the first seminar, learn about world cultures and great repertoire for the teaching studio. The second seminar offers an overview of best teaching practices for working with young piano learners. Both seminars will jump-start your fall planning through new ideas for repertoire and curricular principles for elementary pianists.

2. The seminars feature excellent presenters and a wide range of sessions.

International Exploration of Teaching Literature is led by Leah Claiborne and Luis Sanchez, with presentations and panels by guest speakers Gulimina Mahamuti, J. P. Murphy, William Chapman Nyaho, and Omar Roy. Teaching Elementary Pianists is led by Sara Ernst with presentations, demonstrations, and panels presented by Marvin Blickenstaff, Scott Donald, Judith Jain, Andrea McAlister, Rebecca Pennington, Craig Sale, and Janet Tschida.

3. Deepen your learning through an interactive experience!

Session leaders and guest presenters have structured the seminar program to include discussion and dialogue. There is purposeful time planned for the application of principles, collective brainstorming, asking questions, and sharing personal experiences and ideas.

4. The seminars are online and cost-effective.

No travel required and no extra cost for accommodations. These real-time, interactive seminars can be joined from the comfort of your home (or summer home!) and will be held over Zoom. Early bird registration is just $275, discounted registration for subscribers is $249, and discounted student registration is $175. Regardless of your location, it is easy to join us online!

5. The two-day event has a compact schedule, ideal for summer enrichment.

Each day of the seminar runs from 12:00 PM EDT and concludes at 5:00 PM EDT, with short, programmed breaks throughout the five-hour time block. This real-time program is available across many time zones! 

Join us! Register today to secure your early-bird registration at https://pianoinspires.com/summerseminars/.

More on teaching young pianists

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
2024 Summer Intensive Seminars
Back to Discovery Page

5 Things to Know about Piano Inspires Kids Composition Contest

Written By Sara Ernst, Andrea McAlister

Attention budding composers! Piano Inspires Kids invites students to submit a piano solo for our first composition contest! Winning compositions will be featured in the Summer 2024 issue and on our website, kids.pianoinspires.com. Read below for all the details!

1. The composition must be a fanfare.

A fanfare is a short and usually brilliant piece used to announce the arrival of an important person or the beginning of an important event. Movies and TV shows often begin with a title theme, the national anthem signals the start of sporting events, and celebratory sounds fill the air as a newly wedded couple turns to walk down the aisle together. 

The Summer 2024 issue will explore music and the Summer Olympic Games. Write a fanfare that could be used as the athletes walk into the stadium!

2. Need ideas? Get started with our downloadable Rhythm Creator!

Go to https://kids.pianoinspires.com/explore/activities/ to start building the rhythm for your composition. 

3. The contest is open to students aged 7-18, divided into four age groups: 7-9, 10-12, 13-15, and 16-18.

There is no limit to the number of compositions a student can submit. The student composer may receive assistance notating their work, but we want the ideas to be all student generated!

4. Give your composition a title, dynamics, articulations, and other musical markings.

Show us all of your creative and expressive ideas so others can play your work with style!

5. The contest deadline is April 15, 2024 at 11:59 PM Pacific.

Submit compositions on our student submission page: kids.pianoinspires.com/submit.

We can’t wait to hear your fanfares!

Want to learn more about Piano Inspires Kids? Watch our webinar, “Inside Piano Inspires Kids: A New Publication of the Frances Clark Center” with Co-Editors-in-Chief Sara Ernst and Andrea McAlister: click here.

MORE ON PIANO INSPIRES KIDS

Learn more and subscribe
Piano Inspires Kids: An Interview with Co-Editors-in-Chief Andrea McAlister and Sara Ernst
Back to Discovery Page

5 Things to Know about Piano Inspires Kids Composition Contest

Written By Sara Ernst, Andrea McAlister

Attention budding composers! Piano Inspires Kids invites students to submit a piano solo for our first composition contest! Winning compositions will be featured in the Summer 2024 issue and on our website, kids.pianoinspires.com. Read below for all the details!

1. The composition must be a fanfare.

A fanfare is a short and usually brilliant piece used to announce the arrival of an important person or the beginning of an important event. Movies and TV shows often begin with a title theme, the national anthem signals the start of sporting events, and celebratory sounds fill the air as a newly wedded couple turns to walk down the aisle together. 

The Summer 2024 issue will explore music and the Summer Olympic Games. Write a fanfare that could be used as the athletes walk into the stadium!

2. Need ideas? Get started with our downloadable Rhythm Creator!

Go to https://kids.pianoinspires.com/explore/activities/ to start building the rhythm for your composition. 

3. The contest is open to students aged 7-18, divided into four age groups: 7-9, 10-12, 13-15, and 16-18.

There is no limit to the number of compositions a student can submit. The student composer may receive assistance notating their work, but we want the ideas to be all student generated!

4. Give your composition a title, dynamics, articulations, and other musical markings.

Show us all of your creative and expressive ideas so others can play your work with style!

5. The contest deadline is March 15, 2024 at 11:59 PM Pacific.

Submit compositions on our student submission page: kids.pianoinspires.com/submit.

We can’t wait to hear your fanfares!

Want to learn more about Piano Inspires Kids? Watch our webinar, “Inside Piano Inspires Kids: A New Publication of the Frances Clark Center” with Co-Editors-in-Chief Sara Ernst and Andrea McAlister: click here.

MORE ON PIANO INSPIRES KIDS

Learn more and subscribe
Piano Inspires Kids: An Interview with Co-Editors-in-Chief Andrea McAlister and Sara Ernst
Back to Discovery Page

5 Reasons You Should Include Asian Repertoire in Your Studio

Written By Shuk-Ki Wong

We would like to thank Shuk-Ki Wong for this insightful article on including repertoire by Asian composers in the piano studio. Want to learn more about music from Asia? Register for the free webinar, “Composers and Music of Asian Heritage” presented by Yoshiko Arahata, Kairy Koshoeva, and Gulimina Mahamuti, with Chee-Hwa Tan, moderator and Luis Sanchez, host on January 10. Learn more and register here: https://pianoinspires.com/webinar/1-10-24-webinar/.

1. Only 1.77% of scheduled pieces in concert halls were composed by Asian composers.

Despite efforts to diversify music and concert programming, works of long-deceased white male composers still make up 76.4% in 2021-2022 season programming in concert halls around the globe.1 While there is marginal improvement in the representation of Black and women composers (with 3.39% and 7.7% of the 20,400 works performed respectively), Asian composers only comprise 1.77%––a total of 361 works were presented on stage last year. Such data shows the urgency to accelerate change by actively boosting diversity and inclusion in our studio and programming.

Fig. 1. Total number of scheduled pieces in 2021-2022 concert halls.
Data from Equality & Diversity in Global Repertoire, a report published by Donne––Women in Music in 2022.

2. Learning diverse repertoire is an enriching musical experience that sparks creativity and collaboration with students.

As the student population continues to become more diverse, it is critical to support our learners by providing an enriching musical experience that connects students’ upbringing, as well as their rich, unique musical cultures. The perpetual foreign stereotype of Asian Americans has not only caused identity denial in Asian students, but also contributes to the invisibility of such a student body. Being open-minded and accepting of Asian repertoire can transform our studio into a creative space for interactive music activities while embracing diverse cultures. For instance, imitating Asian musical instruments on the piano and experimenting with simple music writing with non-Western notation systems are great ways to (re)introduce the richness and significance of Asian musical cultures to our students.

3. Asian student-musicians may face more barriers in classical music than you think.

The deep-rooted model minority stereotypes of Asian and Asian-identified students create a number of obstacles in music learning. In addition to emotional distress, invalidation of achievements, and conflicts with peers and family members, such misconceptions may also lead to the neglect of musical development and limitations to resource access. For instance, students may be falsely assumed to understand musical concepts faster, come from a background with economic advantage, and face less systemic racism and discrimination.2 An initial step to embracing Asian repertoire is a powerful agent for social change while elevating Asian and Asian-identified students.

4. Diversifying standard repertoire does more beyond connecting minority students.

While we witness the power of introducing refreshing repertoire in the connection and growth in students, such endeavors foster belongingness in our students, especially pianists in the historically marginalized community. All young musicians need a safe musical space that embraces their backgrounds and identities. They also need to see themselves in this deep-seated, white-centric classical music world. Not only can diversifying standard repertoire reaffirm the uniqueness of our diverse students, but also uplift and empower students of color while enabling other learners to recognize the artistic values of musical works beyond tradition.

5. Yes, we really can make a difference in our students!

Never underestimate the impact an inclusive and comprehensive teaching approach can have on our students––it is far beyond just learning new and diverse repertoire. We expose our students to diverse music, equip them necessary skills to navigate this fast-growing multicultural society, and create awareness of diverse cultures while advocating for marginalized populations through our studio. We can and we are making a difference!

Other resources you might enjoy

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

SOURCES
  1. “Equality & Diversity in Global Repertoire,” Equality & Diversity in Global Repertoire (Donne, Women in Music, September 2022), https://donne-uk.org/wp-content/uploads/2021/03/Donne-Report-2022.pdf.
  2. Angela Kim and Christine J. Yeh, “Stereotypes of Asian American Students,” Stereotypes of Asian American students (The Educational Resources Information Center, February 2002), https://files.eric.ed.gov/fulltext/ED462510.pdf.
Back to Discovery Page

Five Things You Might Not Know About Florence Price

Written By Lia Jenson-Abbott

We would like to thank Lia Jenson-Abbott for this insightful article on Florence Price. Want to learn more about Florence Price? The winter issue of Piano Inspires Kids will explore her life, music, and work. Our first batch just shipped, but there is still time to receive a copy by subscribing today.

Florence Price

1.  At age 18, Florence Price graduated from the New England Conservatory of Music with two degrees:  Teachers Diploma in Piano and Soloists Diploma in Organ.1

It is extremely difficult to earn a single music degree at a major conservatory. Students who pursue double degrees have an even more ambitious workload to undertake, thus, it is rare for students to pursue two degrees simultaneously. That Florence Price achieved two degrees concurrently in three years is nothing short of astonishing and further underscores her work ethic and her abilities.

The Soloists Diploma was the highest attainable certificate awarded by the Conservatory.

Rae Linda Brown2
Price’s Class at New England Conservatory

2. While we know about her classical compositions, many may be surprised to learn that Florence Price also composed popular music for radio commercials and theater under the pen name, “VeeJay.”3

When Florence Price arrived in Chicago, she devoted more time to composition. As a composer, Price was ultimately trying to support her family as well as to write music which would find a larger performing base for her music. Clearly, Price felt the financial need to work in the popular music industry along with the Classical art music realm. While this music has not been given as much scholarly critical consideration to date, it would certainly be interesting to study these works to help complete the history of her amazing compositional output. 

The Heart of a Woman: The Life and Music of Florence B. Price by Rae Linda Brown

That Price was invited to conduct her Concerto in this star-studded venue for so large an audience is testimony to the high esteem with which she was regarded as a composer by the early 1930s.

Rae Linda Brown4

3. In 1933, Price was invited to conduct the orchestra while her former student, Margaret Bonds, played her Piano Concerto in One Movement at the Century of Progress Exhibition.5

Florence Price was a gifted composer, but also a gifted and dedicated teacher. Her student Margaret Bonds, herself a tremendous musical talent both as a pianist and as a composer, had a close relationship with Price and was instrumental in helping to disseminate Price’s music. 

4. In the spring of 1941, Florence Price moved to the Abraham Lincoln Center, where she taught close to one hundred piano students.6

While Price taught so many students due to economic necessity, the physical and mental energy needed to sustain this kind of teaching underscores a certain aspect of Price’s nature, notably her drive to have a career in music. From this evidence, one can conclude that Price obviously worked tirelessly to serve her students, her family, and her career. Given the obstacles she faced, her achievements become that much more historically exemplary. 

As the most well-trained piano teacher at the center, Price had a huge studio. She taught both beginners and advanced students, numbering at one time close to one hundred.

Rae Linda Brown7

5. In 2021, after learning about Florence Price, the students at Kaufman Music Center in New York City, were inspired to write a children’s book about Florence Price.

Over recent years, Price’s music has finally received the critical reception it has always deserved. For children to be so intrigued and genuinely compassionate about telling the story of an overlooked musical role model might underscore Price’s legacy in the most genuine and most resonant means possible. Price was a lifelong educator, with a great deal of her compositions devoted to teaching music. It is a fitting tribute to this dedicated teacher, composer, and performer, to have a new generation of children become her voice.

The book is called Who is Florence Price? Young Musicians Tell the Story of a Girl and Her Music. It was written and illustrated by the middle school students at Special Music School. It is available for purchase on Amazon.

Other resources you might enjoy
Not yet a subscriber? Join for only $7.99/mo or $36/yr
Sources
  1. Brown, Rae Linda, Guthrie P. Ramsey, and Carlene J. Brown. The Heart of a Woman: The Life and Music of Florence B. Price, 53. University of Illinois Press, 2020.
  2. Ibid.
  3. Ibid, 90.
  4. Ibid, 157.
  5. Ibid.
  6. Ibid, 201-202.
  7. Ibid.
Back to Discovery Page

Five Things You Should Know About Teaching Adults in Groups

Written By Pamela Pike

In her Summer 2021 article “Teaching Adults in Group-Piano Settings: Facilitating the Musical Process,” Pamela Pike gave practical advice about how to teach adults in group settings. Here are five tips for working with adults in groups from her article. Read the full article at https://pianoinspires.com/article/summer-2021-teaching-adults-in-group-piano-settings-facilitating-the-musical-process/.  

1. Before creating and designing group-piano classes, teachers should identify which adults they hope to enroll and engage in each group that will be offered.

Considered broadly, adult piano students may be amateur musicians or future professionals. If they are amateurs,1 they may fall anywhere along a continuum from serious piano student to recreational music maker (RMM). Recognizing each adult’s dedication to piano study can help to ascertain how much time they wish to devote to the piano.

2. Adults come to the classroom with preconceived expectations for what they wish to gain from the experience and ideas about how they learn best. 

Thus, teachers/facilitators and adult students become partners in the learning experience. In order to facilitate optimal learning among all adults in the group-piano class and a positive group culture, teachers need to consider how they will manage both in- and out-of-class expectations and activities. Thus, from the outset, teachers of adults must plan how they will encourage the appropriate social and musical interaction necessary for success of the group.

3. Many adults, especially those with some formal music training, have preconceived notions about how the piano lesson should be—and may not understand how music making and learning occurs in a group-piano setting.

Remember, also, that the group may not be ideal for every learner.2 Be prepared to direct an adult who will not be well-served by the group experience toward private lessons or another musical alternative.

4. Although the possibilities for curriculum design are endless, choose materials, books, and music appropriate for each type of adult group. 

Once group-piano teachers have designed the curriculum for the semester and conveyed the expectations for participation to group members, they must ensure that the group culture is developed and productive group growth is fostered during each class. Facilitators who provide time and space for group members to listen, assess, and speak about their musical experience will, ultimately, support the adults’ learning independence and autonomy, even as the students learn from one another. Most adult students hope to gain a certain amount of independence at the piano, which is especially useful outside of the group setting.

Pamela Pike, Editor in Chief and Chief Content Director, Piano Magazine

5. Effective teachers consider the sequencing, pacing, and learning objectives for each activity when creating lesson plans.

Ideally, each activity leads seamlessly into the next, with activities providing students opportunities to elaborate upon and increase skill development as the class progresses.3 When teaching groups of adults, the instructor should remain cognizant of the students’ readiness, orientation to learning, and preferred learning styles, but physical and mental changes due to age or lifespan constraints ought to be considered, also.4

For just $36 for the digital version or $48 for the printed issue, you’ll gain access to Piano Magazine, our video series, exclusive discounts, subscriber-exclusive community events, and more! Subscribe here: https://pianoinspires.com/subscribe/.

MORE ON ADULT LEARNERS AND GROUP TEACHING

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Adults in Group-Piano Settings: Facilitating the Musical Process
NOTES

1 The root of the word amateur traces back to French and Latin words that translate to “lover” in English. Used in this sense an amateur pianist is one who pursues study of the instrument for the pure love or joy of it. Some contemporary definitions of amateur reference incompetence. However, throughout this article the term amateur will be used to reference a musician who, although not a professional, loves studying or playing the piano.

2 Frances Clark wrote that group teaching is successful when (among other things) “the teacher believes that the group learning situation is best for every student in the group.” See Frances Clark, Questions and Answers (Kingston: Frances Clark Center, 1992): 183.

3 For a more detailed discussion of individual learning styles, preferred learning modes, and cognitive strategies that improve learning and reinforce individual learning preferences in group-piano settings see chapter 4 in Pamela D. Pike, Dynamic Group-Piano Teaching, Routledge, 2017.

4 See Andrea Creech, Susan Hallam, Maria Varvarigou, & Hillary McQueen, Active Ageing with Music, Institute of Education Press, 2014; Cyril O. Houle, Patterns of Learning, Jossey-Bass, 1984; Pike, Group-Piano, chapter 7.

Pamela D. Pike is the Spillman Professor of Piano Pedagogy and Associate Dean of Research at Louisiana State University. As an active researcher of pedagogical topics, she is a sought-after speaker and clinician. Pike has published articles, book chapters and full-length books, and is editor-in-chief of the Piano Magazine.

Back to Discovery Page
Search
piano inspires logo, black with colored stripes in the tail of the piano