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.
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.
We would like to thank Le Bai for this article on Connor Chee’s piano piece, Sandpaintings. Interested in learning more about this work? Attend Le Bai’s session at The Piano Conference: NCKP 2025 on Thursday, July 24 from 10:30 AM – 10:55 AM CDT in Lilac B. Learn more and register for the conference here.
Connor Chee
Connor Chee’s Sandpaintings challenges common misconceptions about Indigenous music, proving that it is not a relic of the past but a living, evolving art form. Rooted in Navajo traditions and shaped by Western piano techniques, this set of sixteen piano solo pieces bridges cultural heritage and modern composition. Chee’s work stands as a testament to how Indigenous composers are redefining their musical voices, blending ancestral influences with innovative approaches.
The lecture recital, “Navajo Cultural Elements in Sandpaintings by Connor Chee,” delves into the rich symbolism and musical language of Sandpaintings, exploring how Chee masterfully integrates Navajo chant‚their vocable language, cultural traditions, and spiritual elements—with repetition, rhythmic flexibility, and structural symbolism within a Western classical framework. Deeply rooted in Navajo musical traditions, Sandpainting draws its melodies from traditional chants, often utilizing pentatonic scales, and its rhythmic fluidity mirrors the flow of Indigenous oral traditions.
One of the most striking aspects of Sandpaintings is its connection to Navajo cosmology, particularly the sacred number four, which plays a fundamental role in the structure of the set. Reflecting the four cardinal directions central to Navajo belief, Chee employs inversion and retrograde techniques to interconnect the pieces, creating a cyclical and deeply symbolic musical journey.
Through this fusion, Sandpaintings creates a deeply expressive and unique sound world, capturing both the essence of Navajo storytelling and the expressive range of the piano. By engaging with this work, performers and listeners alike gain not only a deeper appreciation of Chee’s artistry but also a broader understanding of the evolving presence of Indigenous voices in contemporary music. I invite you to explore this remarkable set and experience how tradition and innovation come together in a vibrant, living art form that continues to grow and inspire.
An international cohort of students responded to our call for proposals for the 2025 Collegiate Connections virtual event, which will highlight innovative group projects. The Frances Clark Center is pleased to announce the selected proposals for our Collegiate Connections event on Friday, April 25, 2024 from 11:00 AM to 12:30 PM Eastern; click here to register. The winners will also present at The Piano Conference: NCKP 2025; register now to take advantage of the early-bird discount!
AI and Student Motivation: Can Gamification and Adaptive AI Improve Practice Habits?
Victoria Barnette, Ryan Kee, Yuxiang Zhang
University of Missouri; Curtis Pavey, faculty mentor
Victoria BarnetteRyan KeeYuxiang Zhang
This presentation examines how gamification and adaptive AI enhance piano students’ motivation and practice habits by exploring tools that personalize learning, track progress, and integrate rewards. Attendees will discover strategies to boost student engagement by using AI-driven feedback, dynamic challenges, and progress tracking. The presentation will discuss established motivational theories in relation to AI, along with practical methods for integrating technology while preserving artistry and maintaining a balance between AI and crucial human interaction.
Building Community Through Sound: Sensory-Friendly Concerts
Janna Peña, Ayunia Saputro, Mira Walker
University of Michigan; Paola Savvidou, faculty mentor
Janna PeñaAyunia SaputroMira Walker
During the spring 2025 semester, doctoral students at the University of Michigan partnered with the Mott Children’s Hospital Music Therapy Studio to launch a Sensory-Friendly Piano Concert Series. This presentation will document the process of establishing this recurring event, focusing on practical insights. It is hoped that offering examples of both setbacks and successes will provide a blueprint as well as inspiration for others to work together for greater community engagement and inclusivity in piano concerts.
Lynnae Hurst, Katrina Kahlhamer, Samuel E. Pang
University of Oklahoma; Sara Ernst, faculty mentor
Designing Interactive Piano Events for the Community: Observations from Two Approaches
Lynnae HurstKatrina KahlhamerSamuel E. Pang
Piano teachers can build musical bridges in their local communities and inspire every child to explore and enjoy music through creative public events! In this presentation, graduate students will share their insights from planning and executing two events: a library book reading and a piano festival. These incorporated imaginative musical activities and offered students of different ages and skill levels the opportunity to experience music firsthand.
Honorable Mentions:
From Doctoral Student to Clinician: Masterclassing as Career Preparation for Young Professionals
Aidan Hedrick, Maxwell Hinton, Tse-Rung Huang, Lynn Worcester Jones, HaEun Kim, Qi Liang, Yuqi Shi, Zicong Su, Andrew Villemez, Rena Wu, Liming Yang
University of Cincinnati College-Conservatory of Music; Lynn Worcester Jones, faculty mentor
From Overwhelmed to Empowered: Avoiding Teacher Burnout
Claire Kim, Adèle LeBlanc, Carlie Toliver, Michelle Wijaya
Grooving to the Beat: Mastering Counting with Metronome Fun! (Vol.2)
Mi Sun Cheong, Boyoon Choi, Sangsoo Kim
University of North Texas; Oscar Macchioni, faculty mentor
Teaching Beginner Piano Students to Read Modern Notation: A Case Study of George Crumb’s Makrokosmos I
Xinyue Gu, Miao Ma
University of Kansas; Yiyang Chen, faculty mentor
Thanks to All Submitters and Faculty Mentors
Palm Beach Atlantic University; Jackie Yong
Southern Methodist University; Catharine Lysinger
State University of Maringá; John Kennedy Pereira de Castro
Universidade Federal de Juiz de Fora; Fernando Santana
University of Cincinnati, College-Conservatory of Music; Lynn Worcester Jones
University of Kansas; Yiyang Chen
University of Michigan; Paola Savvidou
University of Michigan; Christopher Harding
University of Missouri; Curtis Pavey
University of North Texas; Oscar Macchioni
University of Oklahoma; Sara Ernst
University of Oregon; Grace Ho
Utah Valley University; Carmen Hall
West Virginia University; Peter Amstutz
Congratulations to all participants and applicants! We look forward to highlighting the outstanding work of pedagogy and collegiate groups and to foster global community engagement among our collegiate cohorts and faculty. Learn more and register by clicking here.
The Committees of The Piano Conference: NCKP 2025 work to research, compile, or otherwise address issues of ongoing significance to our participants and the piano teaching public in meaningful and substantive ways. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks. Keep reading to see what you can expect from the Technology and New Professionals Conference Tracks! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.
Technology
Stella Sick, Chair
Online: Sunday, June 8, 4-5:30pm
In-Person: Friday, July 25, 10am-12pm
The Piano Conference: NCKP offers a deep dive into the role of technology in music education, providing insights on how AI and other innovations can enrich our studios. Whether attending the online conference in June or the in-person event in July, educators can look forward to sessions that will equip them with practical strategies for embracing these changes.
The Panel on AI addresses the development of AI and its relationship to piano study. AI now permeates every aspect of our lives, often seamlessly integrated into our daily routines. It holds immense potential to simplify tasks and improve efficiency. However, as AI enters the music teaching space, where human connection and physical engagement are key to a meaningful learning experience, the music teacher community must carefully navigate both its positive and negative impacts.
The Tech Track will also continue to offer sessions on other relevant topics. Piano Recording: Aesthetic, Acoustic, and Sound Criteria for Classical Music Production explores patrimonio acústico (acoustic heritage) and focuses on preserving the unique characteristics of iconic halls, real and virtual spaces, alongside the distinctive properties of the instrument’s sound. Attendees will learn how modern production techniques enhance these acoustic elements while ensuring historical, artistic fidelity, and performance quality.
The lecture recital What Can Students Learn from Playing Schubert on a Digital Piano? Understanding Historical Piano Conventions through Modern Digital Instruments will share the presenters’ personal journey in finding an accessible, realistic alternative to recreate the historical instrumental experience on a modern digital piano.
The Piano Tech Expo interactive workshop offers a hands-on opportunity to explore technology’s role in lessons, home practice, and performances. Led by tech experts and passionate educators, this session provides practical demonstrations and ideas to inspire and elevate your teaching with technology.
These presentations offer a unique chance to connect with forward-thinking educators, gain new skills, and prepare for the future of piano education. From immersive media to AI-powered tools, you’ll walk away with fresh ideas to inspire your students and streamline your teaching practice.
Don’t miss your opportunity to be part of this transformative experience. Register now and secure your spot at the forefront of piano pedagogy!
New Professionals
Allison Shinnick Keep, Chair
Online: Saturday, June 7, 4:00pm-5:30pm
In-Person: Thursday, July 24, 10:30am-12:30pm
The New Professionals’ track will offer new and seasoned professionals alike the chance to consider fresh career possibilities through panel discussions, networking sessions, and deep dives into practical topics. The in-person session “Designing Your Life: Perspectives and Tips from Emerging Piano Professionals” will highlight the experiences and lessons learned by several new professionals in lightning talks, followed by guided brainstorming and networking sessions to assist attendees in applying these new perspectives to their own careers. The online event will feature a panel on “Leading and Navigating Change: Personal and Institutional Growth in the Evolving Landscape of Music Education.”
While many professional pianists may be excited by a variety of career paths, some feel inadequately prepared for positions that encompass more than teaching or performing. Leadership skills and writing skills are key factors for many jobs in the arts, but few graduate programs emphasize these skills. Attendees of the New Professionals’ track at the in-person conference will benefit from two sessions aimed to equip pianists with skills to excel as writers and leaders: “Writing Skills for Creative Expression: Practical Tips for Pianists’ Career Development” and “I Graduated! Now What?” The online track includes a presentation on honing teaching skills in “Professor’s Corner: Teaching Piano Master Classes.”
Be on the lookout for more information about additional conference events including New Professionals Concerts and a New Professionals Pizza Reception.
Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’ to find your discount code. Learn more and register for The Piano Conference by clicking here.
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.
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.
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.
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.
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.
“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.
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.
The committees of The Piano Conference: NCKP 2025 contribute to the program of the conference by curating topic-based tracks from the call for proposals. These unique scheduling blocks allow attendees to explore a series of presentations that have been thematically grouped for a deep learning experience. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks of conference programming. Keep reading to see what you can expect in the International Track! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.
Submitted by Dr. Luis Sanchez – Director of International Engagement – International Committee Chair.
The Piano Conference International Committee has expanded its scope from the last two piano conferences to include tracks in Korean and Mandarin to the already existing tracks in English, Spanish and Portuguese. All sessions in foreign languages will include English closed captioning to make it accessible for all.
The English International Track includes a series of rich and diverse sessions exploring global piano music. Renata Wu and Lisa Wang’s Echoes of East and West delves into the evolution of the Colombian pasillo through piano compositions by Fulgencio García, Adolfo Mejía, Carolina Calvache, and Victor Agudelo, highlighting the fusion of traditional, classical, jazz, and avant-garde styles while celebrating underrepresented voices. George Lopez’s session, African and European Influences on Cuban Salon Piano Music, covers the development of Cuban salon music from the 19th to 21st centuries, focusing on works by Saumell, Cervantes, and Lecuona, and offering practical teaching tips to diversify piano pedagogy. Yoshiko Arahata’s Sounds from Guatemala: Music by Ricardo Castillo showcases the vibrant rhythms and harmonies of Guatemalan composer Castillo’s piano suites, exploring their unique musical qualities. Koeun Grace Liee presents Contemporary Korea on Piano: Texu Kim’s Co.Ko. – un poco Loco (2017), a whimsical exploration of Korean traditions combined with Western styles, offering insights into Korea’s dynamic musical identity. Tsz Hin Lam’s Unveiling the Approaches of Renowned Chinese Educator Dan Zhaoyi explores Dan Zhaoyi’s influence on early childhood piano education, emphasizing cultural understanding and integrating non-Western methods. Alejandro Cremaschi’s Developing a Sense for Rhythm and Timing with Latin American Piano Pieces addresses the rhythmic complexities of Latin American piano music, providing strategies for enhancing students’ sense of rhythm. Finally, Hyrum Arnesen’s Approaching Global Repertoire: Identifying and Interpreting Argentine Folk Songs and Dances immerses participants in the rich musical world of Argentine folk genres, offering pedagogical insights for interpreting these styles in piano repertoire.
The Spanish International Track sessions cover a diverse range of topics in piano pedagogy and music. Melinda Marcos’ Afro-Porteño Composers from 19th-Century Buenos Aires explores key Afro-Porteño composers, blending historical context with their biographical details and music. Marcelo Lian’s The Pedagogical and Artistic Legacy of Vincenzo Scaramuzza focuses on Scaramuzza’s influence as a piano teacher, featuring his rarely heard mazurkas. Karina Glasinovic’s Poetic Pieces for Children examines 22 piano pieces inspired by Gabriela Mistral, presenting technical and interpretative challenges for young students. Daniel Goldstein and Elaine Rusk’s Argentine Panorama provides a historical overview of Argentine music, accompanied by a piano recital. Camila Osses’ Defining the Composer-Pianist in 20th-Century Chile highlights the work of three Chilean female composers through biographical discussions and performances. Jackeline Gutierrez’s Neurosciences, Piano and Pedagogy explores the connection between brain activity and piano performance, emphasizing neuroeducational methods. Alejandro Cremaschi’s Five Sonatinas from Argentina and Brazil discusses the stylistic and pedagogical richness of five sonatinas from Latin American composers. Maria Isabel Benitez’s Lines, Spaces and Notes addresses challenges faced by Spanish-speaking children in learning music. Anamarie Sabbagh’s Music Education Marketing emphasizes the cognitive and emotional benefits of early music education. Carla Salas-Ruiz’s Motivation and Development of Interest in Adolescent Piano Students presents strategies for sustaining motivation in adolescent piano learners. Guillermo Carro’s Ernesto Drangosch—Pianist and Pedagogue reflects on Drangosch’s legacy as a pedagogue and composer. Lastly, Jessica Alarcon’s Resignification of Functional Diversity through the Piano shares her experience teaching piano to children with intellectual disabilities, breaking the stigma surrounding their ability to learn music.
The Portuguese International Track will feature eleven presentations on various innovative approaches to piano teaching, with an emphasis on technology, pedagogy, and emotional engagement. Caroline Silva will discuss Guerra-Peixe’s Suíte Infantil No. 1 in her session Why Wait? Exploring Modern Music for Pre-Intermediate Levels. Ana Filipa Neves Ferreira’s The Relevance of Emotional Engagement and Neuroplasticity Principles in Piano Learning explores how neuroplasticity principles, such as repetition and specificity, enhance piano teaching by integrating emotional engagement. This approach fosters a holistic artistic development, strengthening technical, expressive, and emotional skills. Fabiana Bonilha’s Technologies for Transcribing and Reading Piano Works in Braille focuses on tools for transcribing piano works into Braille, improving access to piano repertoire for blind pianists. Fatima Corvisier and Ellen Miyashiro’s Polyphonic Repertoire at Elementary and Intermediate Piano Levels investigates the importance of introducing polyphonic pieces early in piano learning, using historical and modern works to facilitate understanding of this technique.
Fernando Corvisier’s The Sound Universe of Almeida Prado: Cartas Celestes XIII presents an interpretative analysis of the Brazilian composer’s work, examining compositional techniques and pedagogical aspects in contemporary piano literature. Henrique Villela’s Teaching Practice in Piano Bachelor’s Degree Courses discusses how Brazilian piano bachelor programs integrate pedagogical training to prepare students for teaching careers. Isis Natali Cardoso’s Lorenzo Fernandez: Didactic Piano Music as a Pedagogical and Artistic Tool examines Fernandez’s intermediate compositions, highlighting their technical and creative potential for piano education. Gil Peijnenburg’s From Drum to Piano: Adaptation of Congo Capixaba from Barra do Jucu for Solo Piano will share techniques for transferring percussive style to the piano. Lully Benassi and Fernando Corvisier’s Extended Techniques in Teaching Piano Repertoire explores the incorporation of contemporary Brazilian repertoire with extended techniques, encouraging students to engage with new sounds and develop their instrumental skills. Patricia Melo’s Experiential Knowledge in the Construction of Piano Teaching highlights the importance of practical pedagogical experience in undergraduate piano courses at Brazilian universities. Lastly, Rafael Gomes’ Group Piano Teaching: Expanding Harmonic Possibilities presents a group teaching approach to studying harmony through improvisation and harmonization.
The Korean International Track includes three engaging sessions aimed at enhancing music education. The first session, titled Summer Piano Camp Program that Enhances the Joy of Learning, presented by Chee Hyeon Choi, explores creative ways to make piano learning enjoyable during the summer. It emphasizes group classes, improvisation, and thematic pieces to help students of all levels quickly grasp the essence of piano music. The second session, The Magical Fusion of Different Music: The Encounter Between Korean Geomungo and Piano Music, delves into the fusion of Korean geomungo and piano music, offering an overview of composers and available repertoire, along with live performances to demonstrate this unique blend. The final session, Understanding and Supporting Students with ADHD in Music Classes, discusses strategies for teaching students with ADHD, providing twelve practical methods across three stages—before, during, and after the lesson—to ensure effective learning in music classes.
The Mandarin International Track covers a variety of topics related to piano health, career prospects, and education. Juyang Qi’s lecture explores performance-related musculoskeletal disorders (PRMDs) in pianists, focusing on causes, prevention, and treatment, especially for injuries to the upper limbs, neck, and back, and emphasizes the importance of ergonomic keyboards. Zhenzhen Su’s presentation discusses the role of piano performance in promoting physical and emotional health, drawing from Colette Maze’s philosophy of connecting through music and visual art to foster social interaction and well-being. Yingzhou Hu’s speech addresses the employment prospects for piano majors in American colleges and universities, providing guidance on career planning and the challenges students may face.
These 37 sessions that have been carefully curated by the committee explore not only repertoire from different corners of the world but also delve into the current research on learning and teaching that is carried out beyond the United States’ borders.
Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 8, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’ to find your discount code. Learn more and register for The Piano Conference by clicking here.
Thanks to the generosity of supporters around the world, The Marvin Blickenstaff Teaching Excellence Fund is advancing high-quality teacher education and raising the standard of piano instruction. Since its launch in 2023, the fund has supported new courses, teaching resources, and initiatives that reflect Marvin’s philosophy that piano teachers change lives and help create a more beautiful world.
As Marvin’s 90th birthday approaches on May 19, 2025, we are just $45,000 away from reaching our $250,000 fund goal. We invite you to join this meaningful effort by making a contribution to help complete this tribute in time for his milestone birthday.
Words cannot adequately express my gratitude for the role model Marvin Blickenstaff has provided, and continues to be, as a musician, teacher, and human being. From the first time I saw him in a masterclass at Southern Methodist University in the early 1990’s until today in 2025, I have always admired how he articulates and connects us all to the beauty and relevance of music making. These aspects of his teaching have made me think, “When I grow up, I want to be just like Marvin.” Fast forward to February of 2023 when I got to watch private lessons in his home, enjoy his generous hospitality, and ride with him to the New School for my teaching residency. I will never forget the privilege and joy of getting to host Marvin and Jennifer Snow in Colorado Springs for his “Colorado Tour” in October of 2023. What a glorious time for all of us. I thank him for being such an inspiration and encouragement of a life artistically and beautifully played and lived.
Marvin Blickenstaff with Laura Harding
From Laura Harding:
I want to express my gratitude to Marvin Blickenstaff for being an inspiring piano teacher. His presentations, writings, and discussions have provided me and so many others with numerous, valuable teaching tools. I will always treasure the memory of my son, John, performing “Starfish at Night” in his master class; it was indeed a special moment.
He is not only an incredible piano educator but also a wonderful person. His influence has profoundly affected my life.
The Spring 2025 issue of Piano Inspires Kids is available now! Click here to receive the issue and give the gift of music to the musicians in your life! Keep reading for a sneak peek into the Spring Issue.
Listening is an important part of being a musician, and in this issue, readers learn about how musicians hear and the structures of the human ear. This issue explores:
The Science of Listening
Audiation
Perfect and Relative Pitch
How to Protect Our Ears
Today, we can listen to music easily on our phones. But this hasn’t always been the case! In “Now & Then,” learn about how sound recordings developed from over 100 years ago with the earliest phonograph recordings. Other issue highlights include tips for playing chords and inversions, a Happy Birthday activity, and an exploration of the musical term rubato.
The featured composer of Spring 2025 is the wonderful Kevin Olson, with the duet Common Ground. Olson described his piece as “a cheerful, pop-inspired piano duet that’s all about teamwork and balance.” This issue also covers tips for ensemble practice and how to prepare for performance.
To get ideas on using this issue of Piano Inspires Kids in the studio, find these ready-made lesson plans on our website:
Discover: Audiation Exercises
Explore: The History of Recorded Music
Play: Ensemble Practice
Share: Protecting Our Ears (Reader Poll)
A look inside:
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.
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 ArabianNights, 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 Musicof Philippa Schuyler. Pomaria: Tyger River Books, 2024.
Last chance to participate in The Piano Conference: NCKP 2025! The deadline to submit Collegiate Connections, E-Posters, Performances, and Teaching Demonstrations is Monday, March 31, 2025, at 11:59 PM Pacific.
Collegiate Connections
We invite collegiate groups in pedagogy, repertoire, and related performance classes along with their faculty to participate. Projects may cover a wide range of topics such as creative teaching, lecture and musical presentations, community engagement, and business entrepreneurship. We welcome all group proposals; note that proposals by individual presenters will not be considered.
The Piano Conference seeks e-poster presentations from educators, researchers, and performers, and encourages proposals from emerging professionals and students. E- posters can include topics related to general pedagogy or those based upon research.
The in-person conference program will include an inspiring main-stage concert highlighting multiple performers from the community. Ideal concert selections will bring awareness to expanding the piano repertoire with music by underrepresented composers and pieces that are lesser known.
The Piano Conference seeks to highlight excellence in teaching practice and music learning, and calls for submissions of piano lesson videos for the plenary teaching demonstrations, online and in person. All piano educators, emerging professionals, and students are welcome to submit videos.
Full conference registration includes four days of engagement, including the Innovation Summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available.
All are invited to join us for the NCKP Innovation Summit on Wednesday, July 23, starting at 9:00 AM. Through dynamic collaboration, bold idea-sharing, and inspiring discussions, we’ll work together to build a forward-thinking vision for teaching and learning. Don’t miss this exciting opportunity to innovate, connect, and help redefine what’s possible—your ideas matter! Take the Pre-Summit survey here.
Not sure if you will attend? Check out our schedule to see everything you can learn at The Piano Conference: NCKP 2025!
Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific.
Missed the special discount on The Piano Conference: NCKP? Subscribers receive an additional 10% off registration. Log in to pianoinspires.com and navigate to ‘My Discounts’ to retrieve your discount code.
Share your love of the piano and help support The Frances Clark Center by “purchasing” a virtual piano key during our 88 Keys in 88 Hours donation campaign for Piano Day 2025! Starting tomorrow, our virtual piano keys will be available for a range of amounts, starting at $5. Your donation will help us continue providing the highest quality resources and programs for piano teaching, learning, and performing.
As a nonprofit educational organization, we rely heavily on your donations to continue offering high-quality programs. Our inspiring mission supports pianists and teachers as they impact lives, influence communities, and change the world. We welcome you as a “key” donor this year as we work together to support our community and advance the profession.
Share your love of the piano and help support The Frances Clark Center by “purchasing” a virtual piano key during our 88 Keys in 88 Hours donation campaign for Piano Day 2025! Starting tomorrow, our virtual piano keys will be available for a range of amounts, starting at $5. Your donation will help us continue providing the highest quality resources and programs for piano teaching, learning, and performing.
Your name will be listed on your chosen key on the 88 Key Donor Board on our website throughout the year. You can even buy a key in honor of a teacher or mentor to express your appreciation for the impact they have made in your life.
As a nonprofit educational organization, we rely heavily on your donations to continue offering high-quality programs. Our inspiring mission supports pianists and teachers as they impact lives, influence communities, and change the world. We welcome you as a “key” donor this year as we work together to support our community and advance the profession.
To celebrate the latest episode of the Piano Inspires Podcast featuring Samantha Coates, we are sharing an excerpted transcript of her conversation with Craig Sale. Want to learn more about Coates? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Coates on Apple Podcasts, Spotify, YouTube, or our website!
Samantha Coates.
Craig Sale: What are your thoughts on how music might shape our future?
Samantha Coates: Oh, yeah, these are heavy questions. [laugh]
CS: Yeah, these questions get heavier.
SC: Well, from a pedagogical point of view, how music might shape our future is that music can be more accessible to more people. The more that music is taught in a way that ensures recreational music making in the future, rather than just the study of difficult pieces to pass a certain exam and then stopping. That means people will grow up and play music for pleasure, play music for entertainment, and gather around a piano for entertainment, instead of gathering around an iPad.
CS: Yes.
SC: So I think that the way that I teach, which is so different to the way I taught twenty years ago, is probably going towards that, to make sure that people have these leisure skills in music, and then they can take that into adulthood and enjoy their instruments. Then they can be supportive to their kids who are learning an instrument. And for there to be a culture, wherever there is an instrument, just to get together and play together.
CS: So the answer to that question I asked you is, “Our future [has] us being brought together by music.”
SC: Yes.
CS: And I think, as you mentioned, music is accessible, but it’s very accessible [in that], you know, [you] can click a button and hear it. But that idea of music, active music making to bring people together, that’s how the future of our world gets impacted, not so much by pushing a button.
SC: Absolutely, that’s right. And it comes back to what you were saying. It’s not just listening to music on a CD, but the shared experience of being in a concert together is so important, and the shared experience of playing music together is so important.
CS: And we just have to hope and keep working that our world recognizes that and starts to value that more. And along with that, the work that teachers do to help make that happen.
SC: Yes.
CS: That’s one of the reasons why you’re here, is because you’re an example of a teacher who has—personally, I think it’s wonderful, that the self exploration that you’ve done—then really kind of going it alone, to make it different and to make music more accessible. And by doing that, you change the world. So thank you for that. It’s a wonderful example, I think, for all of us.
SC: Thank you.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Samantha Coates on Apple Podcasts, Spotify, YouTube, or our website!
With gratitude we welcome one of our NCKP 2021: The Piano Conference Research E-Poster Award Winners, Robin S. Heinsen, to our Discovery Page. Heinsen is Assistant Professor of Music Education at Miami University, and provides helpful insights based on her experience as an NCKP poster presenter. We invite you to submit e-posters, teaching demonstrations, performance videos, and Collegiate Connections projects to our Call for Participation for The Piano Conference: NCKP 2025 by Monday, March 31, 2025, at 11:59 PM PDT.
How did you decide on your proposal topic?
Our pathway to The Piano Conference: NCKP is probably different from most other presenters because we are not pianists—we are music education professors who became curious about how school music teachers use the piano in their classrooms and wondered whether there were relationships between how teachers learned to play the piano and how they use it in their teaching. We had previously shared our findings in music education circles, and subsequently sought out this conference as an opportunity to share with the piano pedagogy community. We all have a stake in what our students learn and retain from university class piano.
What would be your top three tips on writing a successful e-poster proposal?
First, ask a great question! What are you curious about, what do you wonder about, and how can you design a project that can help answer that question?
Once you’ve done that, practice condensing your research question, potential findings, and implications into only a few sentences to ensure your own thinking is clear about what you want to propose and why it matters.
Then, once you start writing, make sure a reader can extract that information from your proposal so the significance of your work stays prominent instead of getting buried. This may be best accomplished by asking someone else to read your proposal and then tell you about the project they think you are describing.
What was it like using the Kubify platform?
From what we remember, it was a pretty intuitive interface. It was easy to navigate, customize, and upload materials into the platform, and it integrated well with the conference page. We had never used it before this event, but we found it to be straightforward with little to no learning curve.
What advice would you give to someone building their e-poster? Any tips, tricks, or recommendations for effectively communicating their research through the software?
We approached our e-poster as if it was a slide deck (such as in PowerPoint or Keynote) and each square was a “slide” that contributed one piece of information. We titled the squares with short questions so that the reader knew what to look for as they clicked on each one. We frequently utilized charts and graphs to make it easier to visualize the data and answer the title questions, and avoided extensive prose or paragraphs of text when possible. Our introduction and conclusion were larger boxes that bookended the smaller content slides.
Why would you recommend presenting an e-poster at The Piano Conference: NCKP 2025?
As non-pianists, we were hesitant to enter this space and initiate these conversations, but we felt extremely welcomed and enjoyed our time at the conference. We had many great conversations with participants who were interested to learn more about our findings and eager to share ideas and collaborate. It was an important reminder that all of our work can benefit from interdisciplinary dialogue.
We are pleased to offer multiple opportunities for participation in The Piano Conference: NCKP 2025! The deadline to submit is Monday, March 31, 2025, at 11:59 PM Pacific. We seek programming in a variety of formats and are currently accepting submissions of Collegiate Connections projects, e-posters, performances, and teaching demonstrations.
From the Collaborative Performance and Research Committee Chairs
The Committees of The Piano Conference: NCKP 2025 work to research, compile, or otherwise address issues of ongoing significance to our participants and the piano teaching public in meaningful and substantive ways. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks. Keep reading to see what you can expect from the Collaborative Performance and Research Conference Tracks!Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.
Collaborative Performance: Inspiration and Execution
By Alexandra Nguyen, Chair
Sunday, June 8, 2pm-3pm
Friday, July 25, 10am-12pm
The mission of the collaborative performance committee is to promote and support collaborative music making at every level. By its very nature, the field that is called collaborative piano encompasses a wide range of activities: performing with others, teaching, coaching, working as rehearsal pianists… the list is diverse, providing an endless list of potential topics for conference sessions.
At The Piano Conference: NCKP 2023, the collaborative performance committee hosted a town hall where questions and topics for discussion were collected from the attendees. The session was energizing, interactive, and informative, providing us with first-hand insight into the concerns and issues faced by pianists working in a broad cross-section of settings. This collected information served as the impetus for the design of this year’s online and in-person collaborative performance sessions.
The Collaborative Performance Track will support the dual facets of being a musician: the artistic soul seeking inspiration and the working professional dealing with pragmatic and financial mechanics, as well as to build and nurture a sense of community. Despite the fact that collaborative pianists are constantly working with others, it is not unusual for us to feel solitary – that those we interact with may not have a clear understanding of our work nor be a knowledgeable resource. To this end, a town hall will be held to offer a space for open discourse and exchange.
This track will also address logistic and financial management for collaborative pianists. What constitutes a reasonable workload for a staff pianist? How should salaries, honoraria, and fees be set? How can one establish healthy working expectations and boundaries? In reaction to this, the collaborative performance committee will host Behind the Curtain: Labor Relations for the Collaborative Pianist, with the goal of providing concrete guidelines for the working collaborative pianist, and perhaps for the industry at large.
A highlight of this year’s collaborative sessions is the online forum Iconic Conversations: Insights from Leaders in Collaborative Piano will bring together artist-pedagogues Jean Barr, Anne Epperson, Margo Garrett, Warren Jones, and Martin Katz for a stimulating discussion, offering a rare opportunity to gain insights into the artistry, challenges, and evolving role of collaborative pianists from the perspective of these incredible leaders in the field. It is an event not to be missed!
We hope that all who attend the collaborative performance track sessions will leave with a renewed sense of inspiration, intention, and purpose.
Recent Scientific Research
By Alejandro Cremaschi, Chair
Sunday, June 8, 2-3:30pm
Thursday, July 24, 10:30am-12:30pm
As teachers, students and musicians we often encounter situations that make us wonder about questions such as the root causes of problems we experience, the most effective solutions to those problems, or the effects of our decisions, actions and strategies on our performance and our teaching. At times, we find answers by reading the research others have conducted to answer similar questions. Other times, these questions prompt us to become researchers ourselves, to look closely and systematically at these phenomena. The Research Track presentations and poster sessions will provide attendees with both: opportunities to learn about exciting research projects in a diverse range of areas and the tools to get started and to further develop research skills.
The online June event will feature fascinating studies on how we read music, use peer teaching in group classes, and use movement to play the piano. Sumi Kwon and Su-Young Bae will discuss their findings about eye movements during the perusal time prior to sight-reading, taking into account the musical structure of the piece being read, and sight-reading ability of the participants. Jinnan Liu will share the results of a quantitative study in group piano teaching. She will explore the ideal approaches for using reciprocal peer teaching in the learning of repertoire, sight-reading, harmonization, and transposition. Paloma Monteiro will then present on her study that used Motion Capture and MIDI technology to analyze the impact of diversifying repetition in practice on synchronization between the pianist’s hands.
The in-person track will open with with presenters Sarah Jenkins, Curtis Pavey, Helena Hyesoo Kim and Carla Salas-Ruiz discussing the findings of project that investigated the evolving definitions of successamong American music professionals without full-time academic positions, and essential skill sets for new graduates and recommended curricular modifications. Then, researcher Todd Van Kekerix will discuss how music is making an impact in addressing the elevated levels of stress among healthcare workers, nurses, nursing students, and long-term care workers. His session will share research on the impact of group keyboard music-making sessions on the changes in mood states, blood pressure, and burnout.
The second hour of the in-person track starts with a presentation on pianistic movement and how it communicates artistry. Researcher Carla Cash will focus on recent research from an ongoing collaboration with her university’s biomechanical engineering department using a Motion Capture System to examine the mechanics of piano technique. She will present data tracking the body motions of a professional pianist with over 40 years of playing experience and a college undergraduate pianist with 15 years of experience, demonstrating differences between the players’ use of their upper torsos in performance. Following this, Stephanie Archer will discuss the findings of a research project that polled piano teachers about the order of introduction of technical skills at the beginning level, and their beliefs about the relationship between beginner-level technique instruction and injury prevention.
We hope that you will join us for these fascinating and informative sessions. They will likely inspire and empower you to seek answers, apply research in your own teaching, and to start your own research inquiries.
Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’ to find your discount code. Learn more and register for The Piano Conference by clicking here.
