5 Things

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.

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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.

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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.

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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.

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“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.

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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.

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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.

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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.”

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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.

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Teaching Demonstration (NCKP Rebroadcast)
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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.

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Collegiate Resources
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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/.

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2024 Summer Intensive Seminars
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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.

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Piano Inspires Kids: An Interview with Co-Editors-in-Chief Andrea McAlister and Sara Ernst
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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.

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Piano Inspires Kids: An Interview with Co-Editors-in-Chief Andrea McAlister and Sara Ernst
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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!

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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.
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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.

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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.
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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

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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.

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5 Things to Discover about Hispanic Composers

Written By Piano Inspires

1. Manuel Ponce was the earliest internationally successful Mexican composer of classical music.

The Mexican composer Manuel María Ponce Cuéllar was musically active in the first half of the 20th century. The European-influenced Ponce was the earliest internationally successful Mexican composer of classical music. A prolific composer, Manuel Ponce wrote orchestral suites and symphonic poems; three concertos, one each for piano, guitar and violin; chamber works; and over 400 works for piano.

2. Brazilian composer Chiquinha Gonzaga was a champion of human rights and joined the abolitionist movement that ended slavery in Brazil in 1888.

Gonzaga was a noted pianist of the choro style, a Brazilian genre often marked by its jaunty, fast dance-like rhythms. Her output is comprised of dance music including waltzes, polkas, Brazilian tangos, and gavottes, among others. She was also a champion of human rights and joined the abolitionist movement that ended slavery in Brazil in 1888.

Cacilda Borges Barbosa
Manuel Ponce
Alberto Ginastera
Astor Piazzolla
Chiquinha Gonzaga

3. Argentine composer Alberto Ginastera studied with Aaron Copland, and his student, Astor Piazzolla, also studied with Nadia Boulanger.

Ginastera was an Argentinian composer of classical music. He is considered to be one of the most important 20th-century classical composers. Many of Ginastera’s works were inspired by the Gauchesco tradition. The gaucho, or landless native horseman of the plains, is a symbol of Argentina.

4. By the young age of 16, Brazilian composer Cacilda Borges Barbosa was working with the famed composer Heitor Villa-Lobos to bring music into elementary education. She was also one of the pioneers of electronic music in Brazil.

Barbosa was a Brazilian composer. By the age of 16, she was working with the famed composer Hector Villa-Lobos to bring music into elementary education. With the help of choreographer, Clara Semeles, they devised a new system of notation that combined musical and rhythmic symbols to graphically represent bodily gestures.

5. Piazzolla was a student of Ginastera as well as famed pedagogue Nadia Boulanger, who urged him to continue to compose in his distinct style.

Piazzolla was a student of Ginastera as well as famed pedagogue Nadia Boulanger, who urged him to continue to compose in his distinct style. Piazzolla was fascinated by tango music and is known for creating a new tango that combined elements of jazz and western classical music.

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Exploring Latin American Piano Music: A Cultural Journey with Elementary through Early-Advanced Pieces
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5 Ways to Provide Student-Centered Feedback

Written By Craig Sale

In his Summer 2023 article “Breaking Out of the House of Corrections,” Craig Sale gave practical advice about how to develop independent learners and motivated students. Here are five tips for providing student-centered feedback from his article. Read the full article at https://pianoinspires.com/article/breaking-out-of-the-house-of-corrections/. 

1. When working on technique, provide good models and then ask students about the sounds they will be producing.

“Students can have established goals for how their technical work should sound, feel, and look. When the beginning student is presented with a good model, the feedback on their technique can and should become a collaborative effort. If the student has seen and felt what firm fingertips are…, they can be asked to evaluate their own fingers. This is far more meaningful than having the teacher criticize the weak finger joint.”

2. Before giving feedback, ask the student for their thoughts.

“The student may not be as critical as desired; they might be too hard on themselves; or their area of focus may not really be relevant to the problem at hand. Regardless of these things, the teacher must first address their response—it must be valued and respected. Then, the teacher can add their thoughts, perhaps throwing new ideas into the mix.”

3. Provide a model for constructive evaluation.

“Through the feedback they provide, teachers serve as models of constructive evaluation. For example, instead of saying “Your wrist was far too low. Try it again keeping it higher,” the teacher can say “Did you hear some unevenness during the crossings? That unevenness in rhythm and tone is common during crossings. I wonder if the crossings might be less awkward if you try it keeping your wrist more level.”

4. Let the student show you their progress by offering choices.

“One simple way to begin to break out of this predictable, corrective pattern is to offer choices to the student. “Would you like to play the whole piece or start with a specific section?” “Which practice tempo would you like to start with today?” Simply doing this gives the student a participatory role in the lesson and implies that they know something about how their practice is going.”

5. Create an environment that encourages evaluation through teamwork.

“When a problem presents itself, teacher and student should try to find the solution together. The teacher can use questions that offer options for the student. For example—“What happens if you play it without the pedal?” “What happens when you keep your fingers closer to the keys?” “Let’s try some staccato practice. How does it feel now?” In these situations, the teacher serves as a resource for options to try, not a corrective instructor. It cannot be overemphasized that no feedback of any kind will achieve the desired goal if the student does not demonstrate in the lesson that they can successfully pursue the new goal during the next week’s practice.”

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Breaking Out of the House of Corrections
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Five Things You Might Not Know About Practicing the Piano

Written By Sheryl Iott

We would like to thank Sheryl Iott for collaboration on this post. We encourage you to watch Sheryl’s archived webinar titled, “Music Cognition: Patterns, Predictions and Practice,” by clicking here. Want to watch, but not yet a subscriber? Subscribe now for only $7.99/mo or $36/year.

1. Practice doesn’t make perfect.

Not even perfect practice! What practice does is establish a series of habits—motions in response to thoughts (or the lack thereof). Mindful practice and observation of the results of intentional effort can create a faster and more secure learning pathway.

2. Practice doesn’t require playing.

In fact, a lot of really effective practice happens using various mental practice/rehearsal strategies. Many might be familiar with mental practice for memorization—mental practice is one of the best ways to learn, check, and reinforce our memory—but mental practice can also be implemented in other ways. For example, in between repetitions of something that you are drilling, you might plan/imagine the passage and your actions, execute, and then observe and evaluate what you did, how it felt, and what its result was. Mental imagery practice actually reinforces many components of learning that contribute to performance security as well as the flexibility required to adapt on the spot to a different instrument, changes in acoustics based on the size or seating of an audience, and subtle differences in interpretation from collaborators during performance.

3. Music reading is important, so you probably shouldn’t teach it at the first lesson.

Unless a student has had experience reading music already, first lessons are better spent doing things like exploring the instrument, learning rote songs, playing call and response rhythms, and honing a relaxed and appropriate physical approach. A solid musical foundation, based in the development of audiation, lays important groundwork for music reading, just like a rich and varied speaking vocabulary helps young people learn to read.

4. The right side of your brain does more than “run” the left side of your body, and vice versa.

Everyone knows that much of the motor signaling to your body comes from the opposite hemisphere of the brain. But both hemispheres of the brain are always active in any activity, no matter what you are doing. There are also various roles played by each hemisphere, such as the left side of the brain’s preference for processing isolated pieces of information, narrow/focused attention, and prioritizing the expected, including quick selection of what seems to be the best solution based on what it already knows, compared with the right side of the brain, which deals better with the sense of the whole (the “Gestalt”), breadth/flexibility of attention, seeing things within their context, embracing of new experiences, and remembering/distinguishing between various things that may be quite closely related.

There are even differences in musical processing, with the left brain more effectively processing basic/metrical rhythms, and focusing on the sequencing of time, whereas the right brain does better with melody/tone/timbre/pitch processing, more complex rhythms, harmony and intonation.

Since we want to involve all of these components in music learning, and add to that the importance of a firm neural network for hands-together playing for pianists, hands-together learning alternating with hands-separate practice is crucial at even the earliest stages of learning new repertoire. We can go about this through careful structuring of various hands-together practice, such as playing one hand while tapping the rhythm of the other; scaffolding practice where we only play the downbeat or strong beats of one hand against the complete other part; or other chunking strategies such as playing blocked chords instead of patterned accompaniments, etc.

5. Musicians can, and do, multitask.

While we are playing, whether we are reading a new piece or playing something familiar, we take in or remember the next chunk of information and send that information to the part of our brain that triggers the physical response. As we are executing that physical response, our brain is processing the next chunk of information, ideally while our sensory inputs are analyzing the result of our physical execution. Since each of these components utilizes a different cognitive “system,” we are, in fact, multitasking. What this means for us in practice is that the larger and more coherent our “chunks” are, and the more reliably our physical responses are programmed in response to those chunks through mindful and observant practice, the better each of those systems will work in coordination with each other.

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5 Steps for Successfully Incorporating a Sight-Reading App into Your Studio

Written By Anna Beth Rucker

Check out Anna Beth Rucker’s presentation at the NCKP 2023: The Piano Conference online event, How to Choose and Use Sight-Reading Apps to Enhance Student Learning Experience, on June 11, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!

In recent years, sight-reading apps have quickly populated app stores and captured the minds of young learners. Not only are children more adept at using technology than ever before, they are drawn to interactive learning experiences. As teachers, this presents a motivating opportunity; however, effectively incorporating a new software into your studio can be overwhelming. With a tight teaching schedule, a flood of apps to choose from, and a studio of unique students to consider, where do you start? This post will provide a step-by-step guide for successfully incorporating a sight-reading app into your studio.

Step 1: Choose the Right App

The first step is to choose the app that is right for you and your students. To simplify this process, Irem Ozay and I are presenting a session titled, “How to Choose and Use Sight-Reading Apps” at the NCKP 2023 online conference. During the session, we will provide a breakdown of the six most useful sight-reading apps that will include their pros, cons, and features. In just twenty minutes, we will share everything you need to know to make an informed decision in choosing an app that aligns with your teaching goals and studio needs. You can register for the conference here.

Pro tip: If you aren’t able to make our session live, it will be archived until September 10, 2023 on the conference platform.

Step 2: Implement the App

1. Download and Test the App

While the initial steps of choosing and downloading the app may seem obvious, don’t overlook the significance of thoroughly exploring the app yourself. It’s crucial that you develop a complete understanding of the app, such as:

  • All the settings options
  • How it sequences lessons or exercises
  • What the student experience will be while using the app (and therefore what are reasonable expectations of use for the student)
  • The means of teacher involvement
  • If there are extra requirements for use (such as a MIDI-enabled keyboard) and how to set those up within and outside of the app
  • Billing procedures (where applicable)

Conducting thorough due diligence at this stage will make the rest of the implementation steps much easier.

2. Determine How You Will Use It in Your Studio

Next, it’s important to think about the logistics of incorporating the app into your studio. Will your students have a copy at home, or will you only have a copy at your studio? Further, determine when students will be expected to use the app: throughout the week, before lessons, during lessons, or at group classes. If you plan to use it in a group setting, will you need the app downloaded on multiple devices or will students each need to bring their own device? Plan to verify that your students have devices that meet the minimum device requirements for the app, and develop a contingency plan for any students who do not. 

Deciding how you plan to use the software within your studio will enable you to make efficient decisions for a quick implementation and to allocate time within your curriculum and lessons that utilizes the app to its full potential.

3. Decide How to Manage Costs

Regardless of the payment structure within the app, you will need to decide how to manage the fees. You may choose to consider it part of your students’ tuition, add it into your yearly studio book fee, or have the parents pay for it directly through the app.

Make sure parents are aware of the fee associated with the app, as well as how adding the app to your instructional plan will add long-term benefits and trackable progress to their child’s piano education.

4. Communicate with Parents

Clear communication with parents and students is the key to maximizing app effectiveness. For parents, make sure they understand the benefit of the sight-reading app and how it will serve to enhance their child’s learning experience. You can do this by explaining how the app integrates into your teaching philosophy and why you have determined it is a beneficial addition to your curriculum. Inform them of the billing information, the expectation of use throughout the week, and a few instructions on how to technically support their child while using the app. You may also provide for them a written version of these instructions, with links to appropriate app support pages for additional technical assistance. Remember to regularly update parents on their child’s progress—many apps make this easy through gamification and milestone settings. And, of course, address any questions or concerns parents may have throughout the process.

5. Communicate with Students

Lastly, dedicate time to familiarize your students with the app and clearly communicate your expectations. While this may initially take time away from other lesson activities, it is absolutely critical students understand the app and your expectations of use in order for them to receive the maximum benefits. The progress they will make will far outweigh the time invested in the initial setup. During this onboarding process, explain how you plan to use the app in their lessons or home practice, how often they are expected to use it, how to navigate the app, and how and when you will be tracking their progress. Encourage them to explore the app and to have fun! Your enthusiasm and support during these early stages will influence their attitude as they adapt to this new learning tool.

If you take the time to implement a sight-reading app into your studio following these steps, you will experience a seamless addition of a powerful new teaching tool in your studio and will be well on your way to seeing the objective, trackable progress sight-reading apps are able to provide. Happy sight reading!

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