Discovery Blog

The Piano Conference: NCKP 2025 Innovation Summit: Designing the Future of Piano Education

Written By Andrea Mcalister

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. Save an additional 10% on Early-Bird registration now through Saturday, March 1, 2025 at 11:59 PM Pacific. Use discount code 10EARLY at checkout. Early-bird registration is available until May 8, 2025, at 11:59 PM Pacific. Learn more and register by clicking here.

The Piano Conference keynote presentation.

The Inaugural NCKP 2025 Innovation Summit: Designing the Future of Piano Education represents an exciting opportunity for our community to reflect on and shape the evolving landscape of piano teaching and learning. Held on Wednesday, July 23, from 9:00 a.m. to 5:00 p.m., this event will convene a diverse group of professionals committed to advancing piano education in a rapidly changing world. We invite you to join us for this transformative event and add your voice to the shared vision of the future of piano education.

Gathering for Collaborative Change

Designed as a collaborative and forward-thinking gathering, the Summit invites participants to explore innovative teaching models, address current challenges, and chart a course for the future of the field. The Summit’s comprehensive approach aims to foster critical discussion, encourage the exchange of ideas, and inspire meaningful action.

At the heart of the NCKP Summit is the opportunity for participants to come together to share insights, experiences, and ideas. The day will begin with a keynote presentation by pianist, educator, and composer Randy Faber who will set the tone for the activities and discussions that follow. Participants will then engage in interactive workshops and open dialogue designed to promote reflection, encourage the exchange of perspectives, and define the piano educator of the twenty-first century. By drawing on the diverse expertise within the group, the Summit aims to generate actionable strategies that reflect the collective wisdom of the piano education community.

Bradley Sowash and a pianist perform together during The Piano Conference.
Attendees review the schedule.

Generating Bold Ideas for Actionable Change

A central focus of the NCKP Summit is the development of transformative ideas that can lead to meaningful, innovative change in piano education. Participants will engage in exercises designed to encourage expansive thinking and creative problem-solving, with a clear emphasis on translating ideas into action.

Through activities such as brainstorming sessions and collaborative vision-building, attendees will be challenged to identify bold goals for the future of piano teaching and learning. By the end of the day, attendees will leave with an inspired outlook and a roadmap for implementing innovative practices in their own teaching and professional communities.

Who Should Attend?

Anyone who is passionate about the future of piano education is invited to attend! The Summit is designed to benefit a wide range of professionals in the field of piano education, including university faculty, independent studio teachers, and those in the early stages of their careers. By bringing together a diverse range of perspectives, we can create a vision that reflects the varied experiences and needs of the entire community.

Conference attendees discover innovative ideas during a group piano workshop.
Artina McCain presents at The Piano Conference.
Attendees discuss ideas in small groups.

Registering for the Summit

The Summit is held on the first day of NCKP 2025, and participation is included in your full NCKP registration. To ensure the success of this interactive event, an accurate participant list is essential. Please indicate your participation in the Summit on the NCKP registration form and rank your preferred cohorts: Higher Education, Teaching Practices, or New Professionals. If you have already registered for the full conference but have not confirmed your Summit attendance, please visit this link to update your registration—no additional fees apply. Alternatively, you may register for the Summit only at the single-day rate of $199. Additionally, we ask that you complete our Pre-Summit Survey.

Attending the Summit

We encourage you to arrive at the conference hotel on Tuesday, July 22nd. On-site check-in will begin at 8:00 am on Wednesday, July 23rd, and the Summit will start promptly at 9:00 am. To ensure every participant gains the full value of the event, it is essential to be present for the entire day’s activities. The Summit will conclude at 5:00 pm.

Shaping the Future of Piano Education

The NCKP Summit represents more than an academic gathering; it is a collaborative effort to define the principles and practices that will guide piano education in the years to come. Participants will leave with a renewed sense of purpose, equipped with ideas and tools to implement meaningful change in their own communities.

As the field of piano education continues to evolve, the NCKP Summit is essential for fostering dialogue, innovation, and collective action. This inaugural meeting marks the beginning of an ongoing conversation about the role of educators and their collective responsibility to meet the evolving challenges of the future. By coming together, we can shape a vision for piano education that addresses both current needs and anticipates the demands of tomorrow’s musical landscape.

Registration is now open. To secure your place and learn more about the program, click here.

More questions? Visit our Summit FAQs page. 

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 projects, e-posters, performances, and teaching demonstrations.

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Teaching Demonstration (NCKP Rebroadcast)
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E-Posters: Why You Should Submit and Tips for Success

Written By Robin Heinsen

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.

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Teaching Demonstration (NCKP Rebroadcast)
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Celebrating Black History Month

Written By Piano Inspires, Artina McCain

From February 1-28, we celebrate Black History Month, a time to honor and reflect upon the remarkable music and contributions of Black people. In this Discovery Page post, we have curated a collection of Piano Inspires resources to help everyone discover something new. From our international webinar series, to articles in Piano Magazine and Piano Inspires Kids, to our online course, Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now, there is so much to discover! We hope these resources will provide useful tips and ideas to help you incorporate music by Black composers into your recital programs, lesson plans, and more.

Courses:

Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now is a fully online course exploring classical piano music by Black composers from elementary to early advanced levels. This course is designed to help remedy the lack of inclusion of piano music by Black composers in the standard teaching repertoire, and the music heard on the public concert stage.

Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now

Inspiring Artistry Video Series:

Pinto: Run! Run! from Memories of Childhood
Capers: Portraits in Jazz: No. 3 “Sweet Mister Jelly Roll” and No. 7 “Billie’s Song”
White: Images, Thirteen Expressions for Intermediate Piano

From the Artist Bench Series:

Coleridge-Taylor Perkinson: Scherzo and Toccata
The Piano Music of George Walker
Price: Piano Sonata in E Minor
Bonds: Troubled Water
Adams: Etude No. 1 in G Minor, from Twenty-Six Etudes for Solo Piano
Singleton: Mutations, Cinque, In My Own Skin
William Chapman Nyaho performs at NCKP 2023: The Piano Conference
Artina McCain presents at NCKP 2023: The Piano Conference.
Pianists Asia Passmore and Kasey Stokes.

Magazine Article: Awadagin Pratt: Pianist, Conductor, Music Education Advocate by Artina McCain

I recently had the pleasure of interviewing concert pianist, conductor, and professor at the University of Cincinnati’s College-Conservatory of Music, Awadagin Pratt. Born in Pittsburgh, Pennsylvania, Awadagin Pratt has received the Distinguished Alumni Award from Johns Hopkins, an honorary doctorate from Illinois Wesleyan University, and an Avery Fisher Grant. In November 2009, Pratt was one of four artists selected to perform at a music event at the White House that included student workshops hosted by the First Lady, Michelle Obama. He also performed in concert for guests including President Obama. He has played numerous recitals throughout the United States and internationally, including four tours of Japan. We had a great chat about his historic career, the competition his foundation will sponsor, and—BBQ!

Artina McCain

Tell me about your early exposure to music.

Awadagin Pratt

My father listened to classical music in our home. He was a nuclear physicist, but he loved music and actually played the organ as a child. He would often record from the radio to the old reel-to-reel tape machines. It was the only music in the house, and I liked it. My parents started me with piano lessons when I was six, but when we moved to Brazil for a year, I stopped taking lessons. I restarted piano lessons when I was eight and then began taking violin lessons when I was nine.

Read more of Artina McCain’s interview with Awadagin Pratt by clicking here.

Awadagin Pratt: Pianist, Conductor, Music Education Advocate

Teacher Education Webinar Series:

Music by Black Composers from Outside the USA
Piano Music by Black Composers: Music for all Skill Levels
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Piano Inspires Podcast: Rochelle Sennet

Written By Rochelle Sennet, Sara Ernst

To celebrate the latest episode of the Piano Inspires Podcast featuring Rochelle Sennet, we are sharing an excerpted transcript of her conversation with Sara Ernst. Want to learn more about Sennet? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Sennet on Apple Podcasts, Spotify, YouTube, or our website!

Rochelle Sennet

Sara Ernst: I’m getting the sense that you have a laser vision towards something, and if you put your mind on it, it’s going to happen. 

Rochelle Sennet: That’s it. [laugh] Yeah, I will own that. Yes. I was that kid. I’m still that adult. 

SE: Yeah, no, I love that. Now my question is, if you’ve now had a student like that? How has that experience been for you when you see that in a student?

RS: It’s the coolest thing because I can at least be able to explore this, try this, and try this. And this is why, if a student immediately [wants] to specialize in only one composer—and I understand where that is and try this, you don’t want to stifle that—but then that’s where I like to share my story, yeah, to say you never know. And this is the part where you learn everything. And even if you come away from saying you’ll never, ever play Mozart, or ever, ever play J.S. Bach, ever again, you could at least be able to teach your own students and say, “Hey, maybe it doesn’t connect with me, but at least be able to play it, at least keep the options open.” 

So yes, it’s actually always fun when I get students that are just very energetic or just have a lot of focus. But I also recognize that I don’t get a lot of students that [say] “this is what I definitely want to do.” And of course, we all started with one thing, and then come out [of] college with something different. A lot of us do, yeah. It’s always a hard line to, I mean, [a] fine line to walk, because you don’t want to stifle a student’s creative energy just when you figure out what makes them tick. So it’s always a little different with every student. 

But I also, what I love about [it] is the problem solving [part] myself. Yeah, you figure out, just even with something technical, or just figuring out, what is it that makes this student tick with the composer that they are connecting with, and why [by] just listening to them. And then, if they like this, maybe they might like this or this. And so I’m just problem solving. You want the students to be able to play pieces that they love. And they enjoy. That’s why we do music in the first place. And so I never want to be that teacher to stifle that energy. And also, I want to use that time that I have with the students, to also try this and to encourage them to stay open as well.

SE: So it sounds like you might be a “yes” teacher, in the sense, if your student brings you an idea, you’d say, “Yes, let’s.”

RS: Depends. It’s a yes, no.

SE: [Laugh] So you are a “yes–no” teacher. 

RS: In fact, someone’s students, actually, they’ve heard me say this. Well, they asked me a question: “Well, should I do it this way?” “Yes, no.” I’ll say why there’s a yes, and then why there’s a no.

SE: Oh, I love this. Can you give an example of that?

RS: So a student might ask, “Well, do you want me to play it that way?” “Yes, no. No, because it’s not what I [want]. [You] are going to be telling the story. So let me explain why this is important.” You give the background, and so then, “Let me show you this way and why this way doesn’t work.” Whether something technical, try it this way, you see what if you’re trying to think about being more proficient getting from key A to key B, if you’re doing extra movements, that’s not efficient. So just something like that is why there’s the “yes,” and here’s why there’s the “no,” and you explain. So my students also know that I want them to be successful. And sometimes that can be some conversations that will also have them think about things. But [being a] “yes” teacher, my students will probably say, I am far from that.

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

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Announcing the Keynote Speakers, Jazz Artists, PEDx Speakers, and Concert Artists of The Piano Conference: NCKP 2025
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Announcing the 2025 Lifetime Achievement Award Winners

Written By Piano Inspires

We are pleased to announce the recipients of the 2025 Lifetime Achievement Award. All are welcome to join us at The Piano Conference: NCKP 2025 to celebrate these extraordinary individuals.

Gary Ingle
Susanna Garcia
Craig Sale
William Chapman Nyaho
Barbara Fast

The Frances Clark Center recognizes Barbara Fast, Susanna Garcia, Gary Ingle, William Chapman Nyaho, and Craig Sale as recipients of the 2025 Frances Clark Center Lifetime Achievement Award. 

Each of these recipients exemplifies outstanding dedication to the field of music and piano teaching. Their influential contributions in the field of piano pedagogy have impacted our profession across the country and internationally.

“We are honored to celebrate the outstanding contributions of our five Lifetime Achievement Award recipients: Barbara, Craig, Gary, Nyaho, and Susie. Each individual continues to have a profound impact on our professional field and community. In addition to their leadership roles, their dedicated service to The Frances Clark Center and our shared mission is long-standing and invaluable.” said Jennifer Snow, CEO and Executive Director of the Frances Clark Center.

We welcome everyone to join us at The Piano Conference: NCKP 2025 for a Gala Champagne Reception and Awards Ceremony on Friday, July 25 from 6:00-8:30pm to celebrate our 2025 Lifetime Achievement Award winners. Click here to reserve Gala tickets.

The Frances Clark Center Lifetime Achievement Award is the highest honor and is presented on behalf of The Frances Clark Center to individuals who have made substantial and enduring contributions to the field of piano pedagogy and to the work of the Center.

Do you have research you want to share with the piano pedagogy community? The last chance to submit your teaching video, performance, e-poster, or Collegiate Connections project is Monday, March 31, 2025. Learn more at: https://pianoinspires.com/nckp-the-piano-conference/.

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Teaching Demonstration (NCKP Rebroadcast)
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Piano Inspires Podcast: Scott McBride Smith

Written By Scott McBride Smith, Craig Sale

To celebrate the latest episode of the Piano Inspires Podcast featuring Scott McBride Smith, we are sharing an excerpted transcript of his conversation with Craig Sale. Want to learn more about Smith? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Smith on Apple Podcasts, Spotify, YouTube, or our website!

Scott McBride Smith

Craig Sale: What impact do you see music having on our world now?

Scott McBride Smith: Yeah, that’s a good one, isn’t it? Well, there’s something magical about the combinations of sounds, isn’t it? There’s something special about being around beauty that just elevates your life. The worst piano student, at least, is there to experience beauty. You’re not around violence, you’re not around suffering. You and I, because we’re professionals, spend our lives around people that actually want to do it. That’s really kind of a gift. 

So why doesn’t the rest of the world see that? I don’t know. That’s a good question. Do you have an answer? I just don’t know why they don’t value it. It seems so valuable to me. So you know, as a department chair at KU, I have to understand the decisions these days and universities are made for financial reasons.

CS: Right.

SMS: Again, I’m not criticizing because if I were provost of the University, I would have to too because “who’s going to pay?” So you have to make financial decisions. But I sometimes wonder, don’t they see how good this is for the school, and how much the marching band means? I wouldn’t say they don’t see it, but I don’t think it says value to some other things with higher dollar sign numbers on it.

CS: That’s how they’re trained to look at it, is the dollar sign rather than the impact on those kids’ lives.

SMS: So I have to be a big boy and understand that and make sure that I’m doing my best to justify what we do on [a] financial basis, which isn’t really my belief as [to] what the importance of it is. But anyway, since that’s the way the world works, I have to live in the world the way it is, not the way I wish it were.

CS: Also, I think [on] music in the world, I find it so accessible for people to get music and experience it passively. 

SMS: Yeah. That’s right, and that’s a good thing and a bad thing. There’s nobody in the whole world that doesn’t have music in their life in some way. But maybe it’s a little too easy to just push a button. We’ve lost that belief in participation. We expect it to be delivered to us. 

CS: Active music-making is what we might be concerned about, I think. Do you think music impacts the future of our world? 

SMS: Yes. I’m not sure we’re going to win, though. [Laugh]

CS: [Laugh] But it could. Yeah, it could shape it.

SMS: Anyway, nobody’s asking a pair of piano teachers what we’re doing. We just got to keep doing what we can do. No one’s asking [for] our opinion.

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

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What Do You Do To Make the Recital a Happy and Successful Experience?
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Our Experiences Writing for Piano Magazine

Written By Sarah Jenkins, Sarah Leonard

Every year, Piano Magazine offers students the opportunity to showcase their research and writing through the Collegiate Writing Contest. We are pleased to present the testimonies of two recent winners of this competition, in hopes that it will inspire other collegiate students to submit their manuscripts for a chance to be featured in Piano Magazine. The grand prize winner receives publication in an issue of Piano Magazine, and secondary prize winners receive publication on PianoInspires.com. This year, the contest runs until May 1, 2025. Learn more and submit an article here!

Sarah Jenkins, Winner of the 2020 Competition

Norwegian Folk Songs: Making Rhythmic Complexities Easy and Enjoyable, Autumn 2020

The date is April 27, 2020. I just turned in the final draft of my master’s thesis, and I am ready to call the semester over. It had been over a month since I left my apartment (and my cat) due to the pandemic. Then I received an email from my advisor along the lines of, “You should write an article and submit it for the Collegiate Writing Competition through Piano Magazine.” I’m sorry–what? The deadline was May 1, 2020. How was I supposed to write an article worthy of submission that close to the deadline while my brain (and soul) was recovering from finishing my master’s degree online? Well, if your advisor recommends that you do something, you do it. They know best…right?

So, I did it. I locked myself in my office and got to work. I might have become a little over zealous in the research stages of my thesis, so I certainly had plenty of content. I finally settled on a Norwegian folk song by Agathe Backer-Grøndahl. The hard part was trying to narrow the scope of my article. Why do other pianists and teachers need to know about this piece? What does it offer to students?

Let’s just say the first draft was definitely a rough draft. It was essentially a music theory paper. After some feedback from my advisor and one of my peers, I scratched the entire thing and started over. What made this piece special? Why did I choose it? Aha! The rhythms. I realized that Grøndahl used strong hand shapes and positions to allow students to focus on rhythmic complexities. Surprisingly, this version was the easiest to write. I found a topic interesting to me and beneficial to my students. That’s what this is about, right?

Throughout my adult life I have had conflicting feelings regarding generic inspirational quotes (i.e. “You’ll never know until you try…”). I always craved real and specific advice. Yes, I’ll never know until I try, but what do I gain from trying? What do I gain from failing? Why should I spend time and energy on something that might not benefit me? In this case, why should I put myself through the stress of writing (and rewriting) an article when all I want is my degree and a nap? The truth is simple: I did not know what I did not know until I tried. Read that again. I did not know what I did not know…until I tried. I learned where the deficits in my writing and my ability to talk about music were. I learned that I can write quickly when needed (and pushed). I learned that sometimes the greatest advice I can be given is to just try because I will discover the “why” myself.

So, my advice is just do it. Write an article and submit it. You’ll never know what you don’t know until you try. 

Sarah Leonard, Winner of the 2022 Competition

Dealing With Double Notes: Practical Solutions for Small-Handed Pianists, Autumn 2021

My master’s research centered around the underrepresented majority of pianists; those whose hands are considered small by late-Romantic standards. I was highly motivated to share what I had learned with the outside world, especially given how significantly it had helped me with my own teaching and playing, but I didn’t have a good way to do so outside of my school, LSU. Dr. Pamela Pike strongly recommended I take a portion of my research and turn it into an article for the Collegiate Writing Contest at Piano Magazine. Because I had spent several months writing about small-handed-piano technique, in both academic and lecture form, it was easy for me to quickly draft a 1,000-1,500 word essay.

I’m extremely thankful for my colleagues at LSU, who had heard me talk about my research throughout my entire project. Because they understood my thoughts and goals, they were able to help me revise my draft in a way that was approachable and fit the style of a Piano Magazine article. I might not have considered writing for a magazine if I hadn’t had that kind of support.

Submitting the article was a little scary because I had never done something like that before. However, I felt I had something to add to the conversation surrounding small hands, and I knew it would add authority to my CV and resumé for future job applications. Also, why not submit an article? I had done months of work and research. The worst thing that could’ve happened was that I’d have to try again in the future.

When I received the email that I had won the competition, it was so affirming! As a young person, I had never been recognized outside of my immediate circle of professors and colleagues. It gave me the confidence to present at the fall LMTA (Louisiana Music Teachers Association) conference, something else I had never done before. I look forward to continuing my academic journey, alongside my teaching career.

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Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers

Written By Connor Chee

We would like to thank Connor Chee for this insightful article on Indigenous composers. To read the full article, click here. The Frances Clark Center is excited to share our latest publication: Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, compiled and edited by Connor Chee and Renata Yazzie. Learn more and get your copy today by clicking here.

Connor Chee.

The autumn 2024 Piano Magazine article, “Breaking Stereotypes,” explored the deeply ingrained misconceptions surrounding Indigenous music and how important it is to approach these traditions with an open mind. For many, Indigenous music conjures images of static, ancient traditions—locked in time and space, unchanged by modern influences. But this couldn’t be further from the truth. Indigenous music, like any art form, is dynamic, evolving, and as complex as the many cultures from which it originates.

Today, Indigenous composers are redefining what it means to create music, blending traditional elements with contemporary sounds, working across genres, and in some cases, pushing the boundaries of what music itself can be.

Here, a group of composers who are challenging the stereotypes surrounding Indigenous music are introduced. Each of them brings a unique perspective to the musical landscape, crafting works that defy simplistic categorization. The works of these seven composers are proof that Indigenous music is not confined to the past but is very much alive and thriving in the present. Their work speaks to the diversity of modern Indigenous music and serves as a reminder that Indigenous composers should be given the freedom to explore new ideas, without being pigeonholed by expectations.

Raven Chacon (Diné)

Perhaps no one epitomizes breaking musical barriers quite like Raven Chacon. In 2022, he became the first Native composer to win the Pulitzer Prize in music for his piece Voiceless Mass, a powerful and avant-garde work that challenges our understanding of what music is supposed to be. Chacon is known for his experimental approach, working across media such as noise music, chamber music, and visual art installations. His music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer.

In Voiceless Mass, Chacon utilizes silence as a compositional tool, creating tension and unsettling spaces where the absence of sound carries as much weight as the sounds themselves. The piece, composed for organ and ensemble, explores ideas of representation and marginalization— who has a voice and who does not. Chacon’s music defies the notion that Indigenous composers must focus solely on traditional elements, offering instead a modern and avant-garde take on composition that breaks free from expectation.

"His [Chanon's] music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer." - C. Chee

Jessica McMann/V. Jessica Sparvier-Wells (Cree)

Jessica McMann, who is in the process of reclaiming her birth name and will soon be known as Virginia Jessica Sparvier-Wells, is a composer and flutist whose work artfully merges classical music with Indigenous traditions. Her compositions and performances are deeply connected to land, Indigenous identity, history, and language, reflecting a rich engagement with her Cree heritage. She often weaves Cree language and cultural elements into her music, enriching her classical training with a distinct cultural voice. McMann’s creative practice extends beyond traditional composition, focusing on land-based creation, where the themes of connection, disconnection, and home emerge as central to her work. This approach emphasizes the powerful ties between music, place, and identity, as she explores the intersections between the personal and the cultural, grounding her soundscapes in both the physical and spiritual aspects of Indigenous life.

Her work is a reminder that Indigenous composers are not bound by one medium or cultural tradition. McMann’s compositions break away from the stereotype that Indigenous music exists in a vacuum, disconnected from Western classical music or contemporary soundscapes. Instead, she skillfully weaves her cultural heritage into her music, making it clear that these two worlds can coexist and enrich one another.

Jeremy Dutcher (Wolastoqiyik)

Jeremy Dutcher is an artist whose work defies easy classification. A classically trained tenor and performer, Dutcher’s album Wolastoqiyik Lintuwakonawa won the Polaris Music Prize for its blend of classical and Indigenous Wolastoqiyik music. He recorded the album after a research project on archival recordings of traditional Wolastoqiyik songs at the Canadian Museum of History, many of which are no longer being passed down to the tribe’s youth. What makes Dutcher’s work on this album particularly powerful is how it incorporates archival recordings of traditional Wolastoqiyik songs, reworking them into new, contemporary forms that include their traditional singing style.

By bringing the voices of his ancestors into the present, Dutcher’s music is a dialogue between the past and the future. His songs are a testament to the idea that Indigenous music is not static or locked in the past but is a living, evolving tradition. Dutcher shows that Indigenous musicians can both honor their heritage and innovate within it, creating music that is as forward-thinking as it is deeply rooted in cultural memory.

We hope you enjoyed this excerpt from Connor Chee’s article, “Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers.” Read the entire article by clicking here, and learn about Indigenous composers, including Beverley McKiver (Anishinaabe), Brent Michael Davids (Mohican/Munsee Lenape), Jerod Tate (Chickasaw), Dawn Avery (Mohawk), and Sonny-Ray Day Rider (Blackfoot).

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Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers
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Piano Inspires Podcast: Penelope Roskell

Written By Penelope Roskell, Sara Ernst

To celebrate the latest episode of the Piano Inspires Podcast featuring Penelope Roskell, we are sharing an excerpted transcript of her conversation with Sara Ernst. Want to learn more about Roskell? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Roskell on Apple Podcasts, Spotify, YouTube, or our website!

Penelope Roskell

Sara Ernst: I’ve heard you talk about—I think the phrase you used was “duty of care.” And that comes into my mind hearing you speak about this.

Penelope Roskell: Yeah. I feel as teachers, what I’ve been talking about really already, we have a responsibility to look after our students physically and also to nurture them as artists now—to instill a love of music, [a] love of art, and the higher things in life. Really, the things that we really live for, as musicians.

We can’t always get that right, and there are things that every teacher will do wrong and regret and look back and think, “Oops, I really got it wrong with that in that lesson” or whatever. But I think if that’s what we set ourselves as our challenge, then we’ll get somewhere along that. Especially if you’re a young teacher, you’re not going to get everything right. And you know, maybe a student will be practicing in a very unwise way, and they might hurt their hand. Maybe it’s something you couldn’t prevent. You just didn’t have the knowledge. You didn’t have the experience. 

So in that case, you ask somebody who does have the experience for the extra support, or you find it out online, or wherever you go. And then you come back, and you will probably have learned from that experience, and you’re an even better teacher in the future from it. So we learn from our mistakes, don’t we? 

SE: We do, and it’s one of those things that I’m so grateful we have such a community in our field of people and experts and other teachers. 

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

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Techniques for Beginning Pianists
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Music & Nature: Use the Winter 2025 Issue in Your Studio Today!

Written By Andrea Mcalister, Sara Ernst

The Winter 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 Winter Issue.

The Winter 2025 issue of Piano Inspires Kids celebrates the theme of Music & Nature, offering a wealth of activities, repertoire, and inspiration to bring this connection to life in your studio. From the beautiful cover art by Skyela Marie, the winner of the Design the Cover Contest, to engaging explorations of nature-inspired music, this issue provides countless ways to enrich lessons and spark students’ creativity.

Explore the Connection Between Music and Nature

How did composers represent nature in their music? This issue features pieces by composers such as Debussy, Price, Burgmüller, and others who drew inspiration from nature. Assign these pieces to your students and discuss how the composers used melody, harmony, and texture to evoke natural imagery. Explore nature-inspired music using the listening guides throughout the issue, and prompt your students to write down their own thoughts about how composers expressed the sounds of nature through music. Use this activity as a homework assignment or a studio-wide project. Students can share their reflections during lessons or as part of a group discussion. This not only improves their listening skills but also deepens their appreciation of music’s expressive power.

The 2025 Composition Contest

Have your students ever dreamed of composing music for movies? Now’s the chance! With our 2025 Piano Inspires Kids Composition Contest, young pianists can take on the exciting role of a movie soundtrack composer.

After choosing one of the four video shorts found on our YouTube channel @pianoinspireskids, download the Movie Soundtrack Activity to help create music that captures the emotions and tells the story behind the scenes. Use the ideas found in the Winter issue to create the sounds of cats, birds, wolves, and other animals seen in the videos.

Play New Music by V. Jessica Sparvier-Wells

This issue spotlights “pîwan,” a new work by indigenous composer V. Jessica Sparvier-Wells. Share the piece with your students and discuss its cultural and environmental themes. This is a wonderful opportunity to introduce students to contemporary music and diverse voices in classical composition. Incorporate a discussion about how music can tell stories and reflect the composer’s environment and heritage.

For more compositions by Indigenous composers, check out Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, now available from Piano Education Press.

Answer the Reader Poll

This issue’s Reader Poll asks students whether they prefer books or digital scores. Read the pros and cons of each format, and ask students to share their thoughts on analog vs. digital scores. Encourage students to cast their votes on the magazine’s website and share their opinions during lessons. Poll results will be posted in the Spring issue. Check back to see which format is preferred by all of our readers!

Plan a Nature-Inspired Studio Project

After reading about practice-a-thons and Ann DuHamel’s commissioned project Prayers for a Feverish Planet, ask students how they might want to use music to help others. Whether raising money for a worthy organization, asking local composers to write music based on a theme, or organizing a recital themed around music and nature, we can all use our music to make the world a better place!

Decorate A Piano

In the Winter issue, we explore keyboard instruments as early as the 11th century all the way to the modern day, including some surprisingly colorful instruments. Some keyboards of the past, like harpsichords, were often adorned with beautiful artwork. In the 20th century, Liberace was known for performing on pianos covered with crystals! 

Piano Inspires Kids is encouraging readers to design their own piano! Visit our website to download and print a ready-to-design picture of a grand piano. Get out your art supplies and decorate. Once the artistic piano is complete, take a picture of your artwork, and share it with us. Student pianos might be featured in a future issue of the magazine or on our website.

By integrating the Winter 2025 issue of Piano Inspires Kids into your teaching, you can cultivate a deeper connection between your students, music, and the natural world. This unique approach will inspire creativity and broaden their musical horizons.

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
Dr. Andrea McAlister serves as Director of Digital Programming for the Frances Clark Center and a Senior Editor for Piano Magazine. Dr. McAlister is Professor of Piano Pedagogy at Oberlin College and a member of the Yamaha Master Educator Collective.
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Announcing the Keynote Speakers, Jazz Artists, PEDx Speakers, and Concert Artists of The Piano Conference: NCKP 2025

Written By Piano Inspires

The Piano Conference: NCKP 2025 is pleased to announce the Keynote Speakers, Jazz Artists, PEDx Speakers, and Celebration Concert Artists. See each presenter’s bio on our website and register for the conference here.

KEYNOTE SPEAKERS

Gilles Comeau, Randall Faber, Sarah Hoover, Stanford Thompson

JAZZ ARTISTS: Concert & PEDx Panel

Jeremy Siskind (Concert Artist & Host), Jeremy Jordan (Concert Artist), Edward Simon (Concert Artist), and Miki Yamanaka (Concert Artist)

PEDx SPEAKERS

Tracy Cowden, Rochelle Sennet, Patricio Molina, Karen Walwyn, Roberta Rust, William Westney

CELEBRATION CONCERT ARTISTS

Connor Chee, Derek Hartman, Jennifer Hayghe, Catherine Kautsky, April Kim, Carol Leone, Artina McCain, Spencer Myer, William Chapman, Susanna Garcia, Roberta Rust, Rochelle Sennet, Alexa Stier, Nicholas Susi, Karen Walwyn, Todd Van Kekerix, Jerry Wong

We are pleased to offer multiple opportunities for participation in The Piano Conference: NCKP 2025! We seek programming in a variety of formats and are currently accepting submissions of Collegiate Connections Projects, E-Posters, Performance Videos, and Teaching Demonstrations. The deadline to submit is Monday, March 31, 2025, at 11:59 PM Pacific. Learn more at: https://pianoinspires.com/nckp-the-piano-conference/.

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Teaching Demonstration (NCKP Rebroadcast)
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How to Record an Effective Teaching Demonstration: 6 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on recording effective teaching demonstrations as you compile your teaching video submissions 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 teaching videos via our proposal submission portal by Monday, March 31, 2025, at 11:59PM PDT. 

Teaching demonstrations have a long history at The Piano Conference: NCKP, the roots of which can be traced back to Frances Clark. At the New School for Music Study in the 1970s, Frances Clark and Louise Goss were innovators in teacher education as they began videotaping classes and lessons. They were using reel-to-reel tapes and large camcorders! Thankfully today we can rely on cell phones and digital cameras to capture amazing high-definition video, and we can edit, post, and share with relative ease.

Different from a masterclass, a teaching demonstration showcases a student working with the primary teacher in a customary studio setting. Through the use of lesson videos, we observe a snapshot of music learning and explore best practices by discussing individualized teaching approaches. This provides us an opportunity to reflect upon learning, music making, and pedagogical process, especially in how teachers meet the unique needs of students. 

Consider submitting a video of your teaching for an opportunity to share this at The Piano Conference: NCKP 2025. Read below for several strategies to create effective teaching demonstration videos:

1. Select students based on strengths

There will be certain students in your studio who will be ideal for a recording project. Those include students who are regularly interactive and engaged. Avoid students whose learning may be negatively impacted by the pressure of video recording, and those who may become overly distracted by the presence of cameras. There are also ideal times for recording videos. Great moments can often be captured in lessons that prepare for recitals or events, or when a student has reached a period marked by growth and motivation.

2. Receive approval and consent

Whenever documenting lessons with video recording, it is crucial to receive approval and signed consent from parents/guardians and students. Some students and/or caregivers may be hesitant with the prospect of recording lessons; sharing how the video will be used and the purpose of the project will often quell any concerns. If you are teaching at a school, academy, or other institution, there may be specific approvals and requirements. If applicable, check with the administration or board. Keep records of approval and consent as you build your video library.

3. Invest time in setting up 

An ideal camera angle will capture the student, the teacher, and the piano. This is often an exacting, finicky task, especially with a smaller room. These strategies may help:

  • Use a tall tripod for security and stability. An ideal tripod will extend to 60 inches in height. 
  • Place the camera/tripod on a table top, desk, or piano lid to find ideal angles.
  • Position the camera near shoulder height, angled slightly down. This can often capture a wider view.
  • Mark the tripod height and location to easily reset the tripod another day.

Check your angle and device to avoid these common problems, as much as possible:

  • A blocked student: if both teacher and student are seated, often the teacher will completely cover up the view of the student.
  • A cutoff teacher: if you often stand while teaching, ensure the camera catches you when standing, as well as seated.
  • Poor audio for voices: if the camera is too far away, the microphone will not pick up portions of the spoken dialogue.
  • Incomplete video: plug the camera in to power (or fully charge your phone battery), and check the device storage to ensure ample space for a long video.
  • Poor file quality: verify that your device is set to high-definition audio and video quality.

If you are recording an online lesson, set the platform to create a “gallery” video, recording a continuous stream of both student and teacher. This will allow for the viewer to follow the lesson content and the interaction.

4. Record several weeks of entire lessons 

The goal with a teaching demonstration is to highlight student learning and teaching process as it authentically occurs. Even with the proliferation of recording today, students and teachers will initially adjust their behaviors when being videotaped. If many entire lessons are recorded, both teacher and student will adapt over time—in other words, they will eventually just be themselves! Then, the camera lens can capture great moments of teaching and learning.

5. Organize your videos and take post-lesson notes

One challenge of recording today is keeping track of all the files! Download and save your videos with logical titles (student name and date, for instance). After each lesson, take dated and detailed notes about the lesson, including the order of activities, the student’s assignment, notable moments, and pedagogical reflections. This will help you recall, analyze, and discover ideal segments for a teaching demonstration video.

6. Find ideal segments to submit

Ideal teaching demonstration videos (10-minute maximum) will show students engaged in deep learning experiences. The segment could highlight:

  • A student who demonstrates comprehension in a compelling way.
  • A student with a palpable motivation to try and explore new concepts. 
  • A multi-week sequence of activities that culminates in a student’s increased ability/knowledge.
  • A coaching session that results in a student’s artistic performance.
  • A student’s inspiring and creative approach to learning and playing.
  • And more…

Please consider submitting a video for an opportunity to participate in a teaching demonstration at The Piano Conference; NCKP 2025. Review all submission and video requirements by clicking here.

Submit your teaching demonstration videos for The Piano Conference: NCKP 2025 by Monday, March 31, 2025, at 11:59PM PDT. 

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Tributes to Marvin Blickenstaff

Written By Arlene Steffen, Catherine Kautsky, Drew Turock

We would like to thank Drew Turock, Arlene Steffen, and Catherine Kautsky for these tributes to Marvin Blickenstaff. As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

One of the most joyous experiences of my life has been the opportunity to study with Marvin. With him, I found someone that was as passionate about great music as I have always been. His teaching style and skill brought my capabilities to a level I never thought possible. And his kind soul shined through each lesson and made it something to be excited about each week. Thank you so very much Marvin. Happy 90th Birthday! – Drew Turock

Arlene Steffen with Marvin Blickenstaff over the years.

Towards the end of my freshman year at Goshen College, Marvin Blickenstaff became my faculty advisor. Being a student who liked to plan ahead, I laid out my course plan as a music education major for the rest of my college career before we met for review. Marvin took one look at the plan and said, “But you haven’t signed up for Introduction to Piano Pedagogy.” “Well, no,” I said. “I don’t want to be a piano teacher.” “But you play the piano. You need to learn how to teach it.” “But I don’t want to be a piano teacher.” “Look. Someday, someone will ask you to teach their child. You need to know what you’re doing.” “But it’s another 2 + 2 credits in my already jammed schedule.” “You need to take the course.” Sigh. All that work I had put into arranging the next three-and-a half years would go down the tubes. Fitting in one course over the next two trimesters threw everything out of whack. 

So began the course—two lectures each week followed by observations of Marvin teaching both a beginner group lesson and a private lesson of one of the children. Each pedagogy student taught two of the beginning students, turning in the lesson report and an audio tape of the lessons every week. Marvin followed up with a written evaluation every Monday with concrete and creative suggestions on how to improve. He was determined to make us the best teachers we could be. I still marvel that he listened to every thirty-minute tape of fifteen lessons every week. But that’s Marvin. He always expects the best out of you and makes sure he gives you the tools to make it happen. He’s generous with his time, honest and enthusiastic with his encouragement, and always raising the bar a little at a time. Forty-three years after that conversation, Marvin is in my studio every day through the lessons he taught, the confidence he instilled, and the joy he infused by connecting with students through music. Generations of students are filled with the magic of music because of Marvin and his legacy. – Arlene Steffen

I’m not quite sure when I first met Marvin, but I do know that our first long conversation took place at an MTNA Conference long, long ago. I don’t think either of us ever forgot that conversation, and we’ve done our best to duplicate it at every MTNA and NCKP meeting since.  

Our other encounters have been so varied. They’ve of course included his wonderful classes, both at conferences and as an honored guest at Lawrence University, where I teach. And then there’s been his attendance at my own conference sessions and his precious encouragement of my every activity. I’ve learned from him on every occasion. Marvin speaks about music in language that is unforgettable and simple, and in that unassuming language he manages to convey subtleties of music typically presented in far drearier form.

When all is said and done, though, it’s when you add the whole person to the well-chosen words, that you really understand what makes Marvin so extraordinary. His warmth, generosity, and optimism are unequalled. Every encounter, not just a 90th birthday, is a celebration! – Catherine Kautsky

Marvin Blickenstaff, Allison Shinnick Keep, and Catherine Kautsky.

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page.

We extend a heartfelt invitation to join us in commemorating Marvin Blickenstaff’s remarkable contributions by making a donation in his honor. Your generous contribution will help us continue his inspiring work and uphold the standards of excellence in piano teaching and learning for generations to come. To make a meaningful contribution, please visit our donation page today. Thank you for being a part of this legacy.

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Piano Inspires Podcast: Jess Johnson

Written By Jessica Johnson, Andrea Mcalister

To celebrate the latest episode of the Piano Inspires Podcast featuring Jess Johnson, we are sharing an excerpted transcript of her conversation with Andrea McAlister. Want to learn more about Johnson? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Johnson on Apple Podcasts, Spotify, YouTube, or our website!

Jessica Johnson.

Andrea McAlister: You mentioned this word “trust” a lot. I often share with my students that trust is really about having something that is so precious to you that you know you can share with another person, and everything will be fine. You’re making yourself vulnerable by taking that thing that is very precious and saying, “I trust you with this,” versus the opposite of, “I cannot share my vulnerabilities with you.” Right? 

And you are doing such amazing work with your students, sharing those vulnerabilities and saying, “You can trust me.” But what I love even more about what you’re saying is you are also showing them that they can trust themselves. 

Jess Johnson: That’s right.

AM: And with these reflective activities that you are helping them through. I think unless you are taught how to do that, then that is a missing component of that process of trust.

JJ: Absolutely, I couldn’t agree more. I know in my own journey, as somebody who has had generalized anxiety, that’s been something that, you know, those of us with trait anxiety are more likely to have performance anxiety. The data is clear, and it makes perfect, intuitive sense as well. Being afraid to put myself out there—I think of the things I didn’t do because I didn’t want to take the risk, but I also think of the things I did do even though they were really hard because [they] aligned with my values. 

When I went through a medical crisis about ten years ago, I started a mindfulness class. I learned stillness and sitting with my anxiety and holding it rather than resisting avoiding [it]. It transformed everything in my life, particularly my teaching, my performance, because then I was able to say, instead of, “Oh, it’s terrible. I can’t do this,” I would frame the conversation around principles of self-compassion: “This feels bad. I’m not happy.” Then with mindful curiosity: “What is it exactly? Oh, I don’t like the pacing in this transition,” or “I need to find a different fingering or a different gesture, a different way to group that so that it makes more sense.” And then you could strategize and find a way forward and meet yourself where you are. You’re your own teacher, right? And then that transformed my teaching because of helping them see where they are and what do I need, rather than the personal judgment [of] perfectionism. It is, “how can I solve this? What kinds of sounds can I make?” And then the joy and the playfulness comes through. I remember the second grader, you know the thing that I was so excited about. 

I always say, when I have those delightful moments with a student, I call them “moments of joy,” “cultivating joy,” where you catch somebody in the act and you’re connecting, and something’s happening. I’ll often point it out to them, “This is a moment of joy for me.” I’m really happy to be here right now, and modeling that and waking them up and drawing attention, and they’re like, “Oh yeah!” Because we’re so busy and the world is pushing us to be busy, [I appreciate] having some stillness where we’re just right here. I do things like body scans before the lessons, before my own practice, before my own work, things that help me declare it a sacred space that we’re coming together to connect, share, and trust each other, whether it’s alone or with a partner, whether rehearsal. It’s a great thing I’ve learned, and I’m so grateful that my path went in that direction and that I was able to explore that because it’s really revolutionized where I am and how I feel about being a professional musician and teacher.

AM: Yes, I so appreciate how you’re talking about mindfulness and meeting yourself, but meeting yourself with curiosity instead of judgment. And that is such a difficult thing for humans to do, because we are so naturally drawn to judgment first instead of curiosity. And maybe there are just people out there who just naturally do this. And I would love to be one of those people, but it’s something that—

JJ: Then you wouldn’t be who you are, which is your superpower.

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

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How an Alternatively Sized Keyboard Transformed my Artistry and Life as a Musician and Teacher
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This Month in Piano History – January 2025

Written By Megan Hall
Portrait of Alexander Scriabin

THIS MONTH IN PIANO HISTORY, we welcome the new year by remembering the births of two composers who changed the trajectory of piano repertoire and the death of a masterly and inventive harpsichordist and composer.

January 6, 1872 – Birth of Alexander Scriabin

Alexander Scriabin,a mysterious figure remembered for his association of color with musical keys and for his controversial views on pianists of his time, contributed greatly to the piano repertoire. His works bridge the Romantic and Contemporary eras and embrace creative systems of harmony and motivic development. His fascination with Chopin led him to write in many of the same genres in which Chopin was most prolific, including nocturnes, preludes, and mazurkas.

In this video, Thomas Lymenstull performs and shares teaching tips about Scriabin’s Nocturne for the Left Hand, Op. 9:

Scriabin: Nocturne for the Left Hand, Op. 9

January 19, 1795 – Death of Italian harpsichordist and composer Maria Teresa Agnesi

Maria Teresa Agnesi was a gifted composer, harpsichordist, and singer of the late Baroque period. She traveled Europe with her older sister, an accomplished mathematician, and performed for many prestigious figures. Unfortunately, the details of her life and education were mostly lost, but remnants of her music remain.

Learn more about Baroque era music by women composers in this Microcourse led by Ashlee Young, Susan Yang, Brendan Jacklin, and Annie Jeng:

A portrait of Maria Teresa Agnesi
Microcourse: Baroque Era Music by Women Composers (from Hidden Gems: Four Centuries of Piano Music by Women Composers)

January 27, 1756 – Birth of Wolfgang Amadeus Mozart

Mozart: Fantasie in D Minor, K.397

This month, we also celebrate the birth of composer and pianist extraordinaire, Wolfgang Amadeus Mozart. Mozart was incredibly prolific, and left an indelible mark on the Classical period, especially in the genres of solo piano repertoire and opera. His piece, Serenade in C, was recently unearthed by the Leipzig Municipal Libraries, creating a furor of renewed interest in Mozart’s musical portfolio.

Many cite Mozart’s Fantasie in D Minor, K. 397 as a favorite teaching piece. This piece features varied tempi, textures, and moods, exposing students to several different styles of Classical writing. In this video, Sean Schulze discusses the Fantasie in depth, and gives advice on preparing students for successful interpretation and performance:

Want to learn more about Mozart? Here are 5 Things You Might Not Know About Mozart.

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5 Things You Might Not Know About Mozart
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