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Invierno 2021-2022 (Resúmenes)

Written By Piano Inspires

Translations by Luis Sanchez

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A Hummel Treasure Hunt – By Joanne Haroutounian

En búsqueda del tesoro de Hummel – Por Joanne Haroutounian, p. 39

Este artículo describe el viaje personal para investigar un concertino de piano de Johann Nepomuk Hummel durante la década de 1980 previo a las comodidades del Internet. Después de escuchar por primera vez la música en un despertador, la autora buscó en la Biblioteca del Congreso y la Biblioteca Británica para localizar el Piano Concertino, Opus 73. En el proceso, descubrió el principal tratado pedagógico de Hummel que incluía información completa sobre cómo enseñar piano en el 1800. El volumen también incluía un tesoro de piezas encantadoras de nivel intermedio que no estaban fácilmente disponibles. Su investigación condujo a la publicación tanto del concertino como así también de miniaturas para piano.

Cécile Chaminade’s Album des enfants: A Treasure-trove of Teaching Pieces for the Intermediate Pianist – By Adrienne Wiley, p. 33

Album des enfants de Cécile Chaminade: un tesoro de piezas didácticas para el pianista intermedio – Por Adrienne Wiley, p. 33
Es lamentable que la música para piano de Chaminade haya sido literalmente barrida bajo la alfombra proverbial. Ella, entre otras compositoras, proporcionó una gran cantidad de composiciones para los pianistas en formación: su música es pedagógicamente sólida, musical, técnicamente apropiada y, francamente: bastante atractiva en sonido y estilo. Sus composiciones para piano supera las 200 piezas. Este artículo abordará las obras que se encuentran en su Album des enfants, libros 1 y 2.

Practicing Alongside our Intermediate Students – By Sara Ernst, p. 11

Practicando junto a nuestros estudiantes de nivel intermedio – Por Sara Ernst, p. 11

Después de establecer los hábitos fundamentales durante la etapa de estudio elemental, los años intermedios se convierten en un período de tiempo en el que se adquiere una caja de herramientas de como practicar. Idealmente, la asignación semanal de piano proporciona al pianista intermedio un esquema de práctica equilibrado que incluye calentamientos, música para el disfrute personal, repertorio en las etapas de aprendizaje y repertorio que se está puliendo para una actuación. La preparación para la práctica en casa ocurre durante la lección de piano, de manera que el maestro guía la práctica en cada lección y frecuentemente le pide al estudiante que demuestre estrategias específicas. Mediante el uso de enfoques pedagógicos clave, los profesores pueden llevar a sus estudiantes a una mayor independencia y preparación para interpretar sus piezas.

Teaching Contemporary Piano Techniques to Intermediate Piano Students with Alexina Louie’s Star Light, Star Bright – By Lynn Worcester Jones, p. 17

Enseñar técnicas de piano contemporáneas a estudiantes de piano de nivel intermedio con Star Light, Star Bright de Alexina Louie – Por Lynn Worcester Jones, p. 17
El introducir a los estudiantes de piano de nivel intermedio a las técnicas y estilos de composición de los siglos XX y XXI es esencial, especialmente a medida que pasamos de los estudiantes de la Generación Z a los de la Generación Alfa (nacidos a principios de la década de 2010). Estas técnicas alientan a los estudiantes a desarrollar un mayor control rítmico, percibir su sonido de manera diferente, explorar nuevas libertades y construir su conductor interno a medida que absorben la importancia de los valores rítmicos y los nuevos enfoques del tiempo y el espacio. Este artículo ofrece consejos pedagógicos sobre la enseñanza de estas técnicas con Star Light, Star Bright de Alexina Louie, un set de nueve piezas pedagógicas de piano sólo musicalmente rico, diseñadas para este propósito.

The Legacy of Frances Larimer – By Yeeseon Kwon, Gayle Kowalchyk, and E. L. Lancaster, p. 46

El legado de Frances Larimer – Por Yeeseon Kwon, Gayle Kowalchyk y E. L. Lancaster, p. 46

Cuando Frances Larimer falleció el 21 de octubre de 2021, la comunidad de pedagogía del piano estadounidense perdió un pilar importante en el campo del piano grupal, la pedagogía del piano y la formación de profesores de piano. Tres exalumnos e influenciadores de la pedagogía reflexionan sobre la vida de Larimer, el desarrollo del programa en la Northwestern University y la tutoría de alto alcance que ha dejado un legado duradero en nuestro campo.

The Legacy of Miriam Hyde – By Jerry Wong, p. 25

El legado de Miriam Hyde – Por Jerry Wong, p. 25

Miriam Hyde (1913–2005) fue una figura destacada en la vida musical de Australia durante décadas. Compositora, pianista, educadora y adjudicadora frecuente, se destacó en todos los ámbitos de su vida artística. Después de estudiar en el extranjero en el Royal College of Music de Londres, regresó a Australia y dio rienda suelta a una importante producción compositiva que con frecuencia estaba ligada al programa de estudios de la Australian Music Examinations Board. Sus obras van desde materiales de lectura a primera vista hasta obras de concierto y una investigación sobre el estilo compositivo revela niveles iguales de expresividad e intención pedagógica.

Haciendo Música para todos Resúmenes para el volumen 14, No. 1

Written By Piano Inspires

Translations by Luis Sanchez

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Create to Motivate: Using Repertoire to Incorporate Creativity in Lessons – By Chee-Hwa Tan

Crear para motivar: uso del repertorio para incorporar la creatividad en las lecciones – Por Chee-Hwa Tan, pág. 26

La capacidad de experimentar y crear con nuestro instrumento es una parte importante del estudio del piano. La inclusión de actividades creativas como entrenamiento auditivo, improvisación, transposición, composición musical y análisis dentro del tiempo de la lección puede crear un desafío logístico para los maestros. Este artículo explora cómo se pueden utilizar las asignaciones de repertorio para integrar la experimentación y la creatividad en las lecciones de piano. El tema se aborda a través de la filosofía de la enseñanza, la selección del repertorio, los principios básicos y ejemplos prácticos. Este enfoque se puede utilizar durante los veranos, varias veces al año, cada dos meses o con piezas alternativas.

Gabriela Montero: From Advocacy to Artistry—An Interview with Luis Sanchez

Gabriela Montero: De la abogacía al arte: una entrevista con Luis Sánchez, pág. 8

Nacida en Venezuela, Gabriela Montero ha actuado con muchas de las principales orquestas del mundo y ha tocado recitales en lugares de renombre internacional. Sus numerosos premios incluyen premios en el Concurso Chopin y el Premio Internacional Beethoven. Sin embargo, su trabajo e impacto no se limitan a los grandes escenarios del mundo o al estudio de grabación. Una comprometida defensora de los derechos humanos, Montero fue nombrada Cónsul Honoraria por Amnistía Internacional en 2015, y la Fundación de Derechos Humanos la honró con un premio al Trabajo Sobresaliente en el Campo de los Derechos Humanos por su compromiso continuo con la defensa de los derechos humanos en Venezuela. Luis Sánchez habló con Montero sobre su trayectoria profesional, su activismo social y sus consejos para jóvenes músicos.

The Gilmore International Piano Festival: An Engine for Creative Activity – By Pamela D. Pike

El Gilmore International Piano Festival: un motor para la actividad creativa – Por Pamela D. Pike, pág. 19

El Gilmore International Piano Festival, en Kalamazoo, Michigan, influye tanto a los pianistas profesionales como en los aficionados a través de su promoción de pianistas de clase mundial. El festival de varias semanas se lleva a cabo cada dos años. Además, el Gilmore identifica y apoya a Gilmore Artists y Young Artists, brinda programas de educación de piano para músicos de todas las edades en la región y garantiza que se comisione e interprete regularmente nueva música para teclado. A modo de celebración del Gilmore International Piano Festival 2022, este artículo explora las múltiples facetas del festival y cómo el trabajo impacta la comunidad.

The Seven Types of Rest: Strategies for Recovery – By Paola Savvidou

Los Siete Tipos de Descanso: Estrategias para la Recuperación – Por Paola Savvidou, pág. 44

Este artículo invita a los lectores a imaginar una vida cotidiana en la que hacemos tiempo para el descanso. El descanso nos permite dejar de “hacer” y simplemente “ser”. A través del descanso físico, los descansos mentales, el descanso sensorial, el descanso creativo, el descanso emocional, el descanso social y el descanso espiritual, los lectores pueden explorar formas de enseñar y crear desde un lugar de descanso, en lugar de agotamiento.

Undefined by Hearing Loss: My Career in Music – By Cherisse W. Miller

Indefinido por pérdida auditiva: mi carrera en la música – Por Cherisse W. Miller, pág. 37

Poder escuchar nos ayuda a sentirnos incluidos en conversaciones y sonidos compartidos. Cuando perdemos parte de nuestra audición, el sonido disminuye o incluso se elimina por completo, lo que compromete la forma en que entendemos el mundo que nos rodea. Con buena actitud y determinación, uno puede aprender a vivir con pérdida auditiva e incluso tener una carrera exitosa en la música. En este artículo, la autora explora su experiencia con la pérdida auditiva y brinda información sobre las formas en que los maestros pueden ayudar a las personas con pérdida auditiva a participar en la creación y el aprendizaje de la música.

Celebrating a New Year of Piano Study: Ideas for Teaching and Learning Abstracts for Volume 13, No. 3

Written By Piano Inspires

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Burning Brightly without Burning Out – By Brenda Wristen, p. 51

Burnout has been implicated as the biggest occupational hazard of the 21st Summary: century, and piano teachers may be especially susceptible. This article discusses the factors contributing to burnout in relation to job demands of both institutional and independent piano teachers, suggesting strategies for preventing or recovering from burnout through positive job engagement.

Play the Octaves with Two Hands – By Michael Clark, p. 18

Some pianists believe that redistributing notes between the hands violates the composer’s intent and should be avoided. But what if composers themselves engaged in this practice? Written markings in students’ scores and recorded comments from lessons reveal that both Chopin and Liszt occasionally advised redistributing notes between the hands in their own compositions to solve technical and music problems including avoiding wide stretches, facilitating leaps, and improving control of sound and articulation. These documented occurrences of Chopin’s and Liszt’s redistributions suggest that such alternatives were uncontroversial in the nineteenth century and argue for the continued acceptance of the practice today.

Positive Recitals for Young Students: Setting the Stage for Success – By Diane Briscoe, p. 38

A piano recital can be magical: an impressive venue with an elegant grand piano; well-dressed children and tasteful decorations; polished, musical performances; a beautiful reception with delicious refreshments; happy, excited children, beaming parents and a proud teacher. This is what many music teachers desire for all their students. In a studio, however, there may be some young pianists and parents who find formal solo recitals distressing and fear that the audience will judge them unfavorably. This article will suggest ways in which the teacher can set up the recital environment to help create a more a positive and successful experience.

Reclaiming an Alternative History: New Piano Music of Florence Price – By Asher Armstrong, p. 8

Florence Price is one of America’s most important and significant composers of the past century. The ongoing renaissance involved in reclaiming and rediscovering her large output for piano solo is only just beginning. With the very recent publication of a large number of these works, students and pianists are beginning to learn what a huge part of “the repertoire” they have been missing out on. This article scratches the surface of some of this newly minted repertoire, looking at such selections as Price’s Preludes, Impromptu, Songs Without Words, lullaby, and many others.

When the Well Is Dry: Reigniting the Spark for Teaching – By Amy Boyes, p. 45

Music teachers may feel exhausted and burned-out by the end of the year, especially after the Covid Pandemic challenged traditional teaching practices. This article outlines practical steps for teachers to reignite the emotional involvement needed for effective, empathic teaching.

Where do we Begin – By Moegi Amano, p. 33

What are the concrete steps to learn a new piece successfully, which emphasizes the importance of musicality and expressive playing? In a piece of music, there are numerous elements, including the title, the images, and the notes that indicate rhythm and pitch. All these elements work together to create the piece, so which one do we prioritize and focus on first? Teaching a new piece may be overwhelming and you may not know where to begin. This article will explore the preparatory steps to take before playing a new piece so that the student can effectively learn the piece.

Guiding Intermediate Pianists Abstracts for Volume 13, No. 3

Written By Piano Inspires

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A Hummel Treasure Hunt – By Joanne Haroutounian, p. 39

This article describes the personal journey to research a piano concertino by Johann Nepomuk Hummel during the 1980s before internet conveniences. From initially hearing the music on a clock radio, the author searched the Library of Congress and the British Library to locate the Piano Concertino, opus 73. In the process, she discovered Hummel’s major pedagogical treatise that included comprehensive information about how to teach piano in the 1800s. The volume also included a treasure trove of charming intermediate level pieces that were not readily available. Her research led to the publication of both the concertino and the piano miniatures.

Cécile Chaminade’s Album des Enfants: A Treasure-trove of Teaching Pieces for the Intermediate Pianist – By Adrienne Wiley, p. 33

It is unfortunate that Chaminade’s piano music has literally been swept under the proverbial carpet. She, among other female composers, provided a wealth of compositions for the budding pianist: her music is pedagogically sound, musical, technically appropriate, and quite frankly: quite inviting in sound and style. Her compositional output for the piano numbers over 200 pieces. This article will address the works found in her Album des Enfants, books 1 and 2.

Practicing Alongside our Intermediate Students – By Sara Ernst, p. 11

After fundamental habits are established during elementary study, the intermediate years become a time period for acquiring a toolbox of practice techniques. Ideally, the weekly piano assignment provides the intermediate pianist with a balanced practice outline that includes warmups, music for personal enjoyment, repertoire in the learning stages, and repertoire that is being polished for performance. Preparation for practice at home occurs during the piano lesson, such that the teacher guides practice in every lesson and frequently asks the student to demonstrate specific strategies. Through the use of key pedagogical approaches, teachers can lead their students to greater independence and readiness for performance.

Teaching Contemporary Piano Techniques to Intermediate Piano Students with Alexina Louie’s Star Light, Star Bright – By Lynn Worcester Jones, p. 17

Introducing intermediate piano students to twentieth- and twenty-first-century compositional techniques and styles is essential, especially as we move from Gen Z students to those in Generation Alpha (born in the early 2010s). These techniques encourage students to develop greater rhythmic control, perceive their sound differently, explore new freedoms, and build their inner conductor as they absorb the importance of rhythmic values and new approaches to time and space. This article offers pedagogical advice on teaching these techniques with Alexina Louie’s Star Light, Star Bright—a musically rich, celestial set of nine pedagogical solo piano pieces tailored for this purpose.

The Legacy of Frances Larimer – By Yeeseon Kwon, Gayle Kowalchyk, and E. L. Lancaster, p. 46

When Frances Larimer passed away on October 21, 2021, the American piano pedagogy community lost a trail blazer in the field of group piano, piano pedagogy, and piano teacher training. Three former students and pedagogy influencers reflect on Larimer’s life, program development at Northwestern University, and mentorship which extended far and leaves a lasting legacy in our field.

The Legacy of Miriam Hyde – By Jerry Wong, p. 25

Miriam Hyde (1913-2005) was a towering figure in the musical life of Australia for decades. Composer, pianist, educator, and frequent adjudicator, she distinguished herself in all areas of her artistic life. Following studies abroad at the Royal College of Music in London, she returned to Australia and unleashed a significant compositional output that was frequently tied to the syllabus of the Australian Music Examinations Board. Her works range from sight reading materials to concert works and an investigation into the compositional style reveals equal levels of expressivity and pedagogical intent.

Music Making for All Abstracts for Volume 14, No. 1

Written By Piano Inspires

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Create to Motivate: Using Repertoire to Incorporate Creativity in Lessons – By Chee-Hwa Tan, p. 26

The ability to experiment and create with our instrument is an important part of piano study. Yet including creative activities like ear training, improvisation, transposition, musical composition, and analysis within the lesson time can create a logistical challenge for teachers. This article explores how repertoire assignments can be used to integrate experimentation and creation into piano lessons. The topic is addressed through teaching philosophy, repertoire selection, basic principles, and practical examples. This approach can be utilized during summers, several times a year, every other month, or with alternating pieces.

Gabriela Montero: From Advocacy to Artistry—An Interview with Luis Sanchez, p. 8

Born in Venezuela, Gabriela Montero has performed with many of the world’s leading orchestras and has appeared as a recitalist at internationally renowned venues. Her many awards include prizes at the Chopin Competition and the International Beethoven Award. However, her work and impact are not limited to the big stages of the world or the recording studio. A committed human rights advocate, Ms. Montero was named an Honorary Consul by Amnesty International in 2015, and the Human Rights Foundation honored her with an Outstanding Work in the Field of Human Rights award for her ongoing commitment to human rights advocacy in Venezuela. Luis Sanchez spoke with Montero about her career path, her advocacy, and her advice for aspiring musicians.

The Gilmore International Piano Festival: An Engine for Creative Activity, p. 19

The Gilmore International Piano Festival, in Kalamazoo, Michigan, influences professional pianists and amateurs alike through its promotion and development of world-class, inspiring keyboard experiences. The multi-week festival is held biennially but The Gilmore also identifies and supports Gilmore Artists and Young Artists, provides piano education programs for budding musicians of all ages in the region, and ensures that new keyboard music is commissioned and performed regularly. In celebration of the 2022 Gilmore International Piano Festival, this article explores the many facets of The Gilmore and how the work impacts the community.

The Seven Types of Rest: Strategies for Recovery – By Paola Savvidou, p. 44

This article invites readers to imagine a daily life in which we make time for rest. Rest allows us to stop “doing” and simply “be.” Through physical rest, mental breaks, sensory rest, creative rest, emotional rest, social rest, and spiritual rest, readers can explore ways to teach and create from a place of rest, rather than exhaustion.

Undefined by Hearing Loss: My Career in Music – By Cherisse W. Miller, p. 37

Being able to hear helps us feel included in conversations and shared sounds. When we lose some of our hearing, sound is diminished or even eliminated completely, compromising the way we understand the world around us. With a good attitude and determination, one can learn to live with hearing loss and even have a successful career in music. In this article, the author explores her experience with hearing loss and provides insight into ways that teachers can help those with hearing loss to engage in music making and learning.

Rethinking disABILITIES and Music Education

Written By Piano Inspires

The Frances Clark Center invites you to enjoy this featured content as part of our mission to celebrate and honor inspiring members of our community. Please consider supporting our continuing goals with a subscription, a donation, or simply by sharing links to this and other content that inspires you!

Bryann Burgess. Recorded at the 2019 National Conference on Keyboard Pedagogy. July 25, 2019.

Frances Clark Center Hires Full-Time Executive Director

Written By Piano Inspires

PRESS RELEASE

25 OCTOBER 2017

The Frances Clark Center is pleased to announce the hire of Dr. Jennifer Snow as its first full-time Executive Director, effective November 1, 2017. Snow is a former Vice President, Teacher Education for the Royal Conservatory and previously was a member of the keyboard faculty at the UCLA Herb Alpert School of Music.
She holds a doctorate degree from Northwestern University. Snow is a frequent speaker and clinician presenting at a wide range of international conferences, and also an international concert artist appearing as a collaborative pianist throughout Canada, the United States, Asia, and Europe.

“Jennifer Snow is a leader in the field of music education and pedagogy,” said Samuel Holland, Algur H. Meadows Dean of the Meadows School for the Arts at SMU and former Executive Director of NCKP. “I have had the opportunity to work with her on several occasions, and I have been impressed with her energy, vision, insight, and creativity.
I could not be more pleased than to know that Dr. Snow will be bringing her strategic leadership and experience to the Frances Clark Center.”

“I’m thrilled that Dr. Snow will be joining the Frances Clark Center as our first full-time Executive Director,” concurred Leslie Owsley, Chair of the Frances Clark Center Board of Trustees. “Bringing someone with her credentials, energy, and enthusiasm on board is a major step forward for our organization, and will enable us to do even more to support piano teachers in their important work of transforming lives through excellence in piano study.”

The Frances Clark Center is a not-for-profit educational institution (501c3) located in Kingston, New Jersey. The work of the Center is based on the philosophy of music educator Frances Clark (1905-1998) whose life work revolutionized the field of music education in the twentieth century.

Dr. Clark believed passionately in the transformative power of music making in the life of every person—not just the young, not just the gifted, not just the privileged. What set Frances Clark apart from her predecessors, however, was her recognition that the quality of musical experience is directly related to the quality of the music teaching-learning experience. Thus she placed singular importance on the preparation of teachers.

The Center advances its goals and serves local, national, and international audiences through: The New School for Music Study, the National Conference on Keyboard Pedagogy, Clavier Companion magazine, the Piano Pedagogy Forum, and several print publications.