Join host Craig Sale as he interviews the well-esteemed pianist and educator, Annie Jeng. In this episode they discuss Jeng’s career in music, finding the right path for oneself, and promoting inclusion through her project, A Seat at the Piano.
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We would like to thank Megan Hall and Curtis Pavey for this insightful article about why you should submit a proposal to The Piano Conference: NCKP 2025. The last chance to submit your proposals via our proposal submission portal is 11:59pm PDT on Monday, October 21, 2024.
The Piano Conference seeks innovative ideas, fresh perspectives, and inspired thinking for the future of piano education worldwide. Whether your research focuses on diversity, equity, and inclusion; creative music making; or interdisciplinary studies; we look forward to exploring trailblazing ideas. See the wide range of topics at the proposal page!
Pianists and music teachers from around the globe attend The Piano Conference, and the gathering in 2025 is on track to be the most exciting event yet. The opening one-day summit provides an interactive gathering for all to collectively share, dialogue, and exchange ideas around the immediate challenges, opportunities, and global impact of piano education. Come ready to share and learn from members of our community.
Presenting at The Piano Conference provides resume-building presentation experience. Each lightning talk, lecture recital, workshop, keyboard lab, panel, and presentation adds to your professional portfolio and increases individual marketability. The program results from a rigorous blind review and committee process, which ensures there is a wide range of presenters and topics at The Piano Conference.
Inspired teachers create inspired students. In the words of Frances Clark, “A piano lesson should be a happening. Something happens at a piano lesson so that when you walk out of the studio, you feel different from when you walked in.” Learning to inspire the next generation of musicians, teachers, and music lovers requires striving for the highest standards. Come to learn more about how members of our community are inspiring their students.
Hear words of wisdom and motivation from pedagogical leaders and be inspired to refresh your teaching, performing, and professional life. Keynote and PEDx speakers will remind you of your positive impact on your communities and the world.
Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.
We would like to thank Debra Perez, Craig Sale, Rebecca Bellelo, and Emily Book McGree for their contributions to this article on Recreational Music Making. Interested to learn more about RMM? Our latest course, A Pianist’s Guide to Teaching Recreational Music Makers, is available for presale purchase. Learn more and enroll here. Use code RMMLAUNCH2024 for an exclusive $25 off.
“RMM is not about exceptional performance—it’s about exceptional support and personal experience. RMM classes are not about the final product as much as they are about the joy found in the process along the way. Classmates encourage and support one another as they make music together. They enjoy the social aspects of learning with others. Regardless of background or age, the common thread for the students is their love of music. And they enjoy sharing this love of music with others.” – Debra Perez
“RMM is not about teaching people to play—it’s about giving people the permission to play. Public perception about the talent required to play a musical instrument has kept people from trying. We believe that every life needs music and anyone can learn to play. The desire to play is the only prerequisite to this RMM program. [Students] are not convinced that they actually can learn to play the piano as an adult. It is important to honor the courage that is required for the adult to sign up for lessons. They simply need to be shown they can learn.” – Debra Perez
“Teaching RMM classes brought balance to my teaching life. Every hour of my usual teaching week was spent working with children to achieve higher levels of musical understanding and achievement—very intense work for both the student and me. Having a couple RMM classes during the same week, focusing on enjoying and experiencing music together, lightened my heart. Teaching in both worlds did not create a conflict in my professional life because when teaching in each of these worlds, I am meeting the needs of the student. However, they are vastly different needs. In so doing, I meet my need—my need to make music a positive force in the student’s life.” – Craig Sale
“If you are a new RMM teacher, you may wonder where to start when selecting music books or ‘methods’ to use in your classes. While no one method series is a perfect RMM curriculum, some selections are stronger candidates to use for your main curriculum based on the following:
– Rebecca Bellelo and Emily Book McGree
“The true success of an RMM class relies on the instructor’s ability to manage the room. Each class you teach will have different needs and as a result, will look different from a management perspective. Ages, ability levels, personality types, and learning styles all require shifts from the instructor. Flexibility is important and an effective teacher can read the room and adjust as needed. This takes practice! Above all, I try to remember the famous Maya Angelou quote – ‘I’ve learned that people will forget what you said, people forget what you did, but people will never forget how you made them feel.’ Positive environments, where students have good relationships with the teacher and other students, are easier to manage and have positive impacts on the productivity and progress in the classroom.” – Rebecca Bellelo
Want to learn more about Recreational Music Making? Our new course A Pianist’s Guide to Teaching Recreational Music Makers is coming soon. Sign up to learn more about choosing repertoire, marketing your classes, and inspiring recreational music-makers. Use code RMMLAUNCH2024 for an exclusive $25 off.
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We would like to thank Megan Hall and Curtis Pavey for this insightful article about why you should submit a proposal to The Piano Conference: NCKP 2025. The last chance to submit your proposals via our proposal submission portal is 11:59pm PDT on Monday, October 21, 2024.
The Piano Conference seeks innovative ideas, fresh perspectives, and inspired thinking for the future of piano education worldwide. Whether your research focuses on diversity, equity, and inclusion; creative music making; or interdisciplinary studies; we look forward to exploring trailblazing ideas. See the wide range of topics at the proposal page!
Pianists and music teachers from around the globe attend The Piano Conference, and the gathering in 2025 is on track to be the most exciting event yet. The opening one-day summit provides an interactive gathering for all to collectively share, dialogue, and exchange ideas around the immediate challenges, opportunities, and global impact of piano education. Come ready to share and learn from members of our community.
Presenting at The Piano Conference provides resume-building presentation experience. Each lightning talk, lecture recital, workshop, keyboard lab, panel, and presentation adds to your professional portfolio and increases individual marketability. The program results from a rigorous blind review and committee process, which ensures there is a wide range of presenters and topics at The Piano Conference.
Inspired teachers create inspired students. In the words of Frances Clark, “A piano lesson should be a happening. Something happens at a piano lesson so that when you walk out of the studio, you feel different from when you walked in.” Learning to inspire the next generation of musicians, teachers, and music lovers requires striving for the highest standards. Come to learn more about how members of our community are inspiring their students.
Hear words of wisdom and motivation from pedagogical leaders and be inspired to refresh your teaching, performing, and professional life. Keynote and PEDx speakers will remind you of your positive impact on your communities and the world.
Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.
To celebrate the latest episode of the Piano Inspires Podcast featuring Karen Walwyn, we are sharing an excerpted transcript of her conversation with Leah Claiborne. Want to learn more about Walwyn? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Walwyn on Apple Podcasts, Spotify, YouTube, or our website!
Karen Walwyn: When I went to [the] University of Michigan, then I met Dr. Willis Patterson.
Leah Claiborne: So, yes. [Laugh] Karen and I, we would both agree Dr. Willis Patterson is our mentor.
KW: Yes.
LC: Biggest advocate, [the] person you call [and] sit down [with]. Just the most beautiful person, I believe, in our industry. For those who do not know Dr. Willis Patterson, could you give a quick synopsis of Dr. Patterson?
KW: I first met him actually because he did a Black Music Symposium in 1985. I was a master’s student still at University of Miami. When I got to go to the symposium, I got to go as a student participant. And while I was there, I actually played. The chair of the piano department heard me play, and he said, “You need to come here for your doctoral degree.” Moving forward, I did receive a full scholarship to enter the University of Michigan. Of course, you know, I was the accompanist for Our Own Thing Chorale with Dean Patterson.
LC: I didn’t know that, wow.
KW: Yeah! For years, we get in the car, ride over to the rehearsals, [and] chit chat.
LC: In Jefferson Church.
KW: Yeah. But one day he saw me in the hall, and he said, “Karen! Do you know any pieces by any African American composers?” And I wanted to slip under the floor because I felt so guilty. I feel like I’m supposed to have known. But none of my previous teachers were on that track because usually, the typical repertoire for competition is A, B and C, but not including African American literature.
“No…?” He said, “Come here!” We went into his office, and he said, “Look around.” This entire wall, full of music and books and scores and records. [He] gave me the key so I [could] go in there and just study everything that was in his room. I spent years, I think, in his room.
LC: That’s incredible.
KW: Essentially, just going through stuff. And that’s when I said, “Why, I’ve got to do something here!” And then I came across Althea Waites’s album that had the Florence Price recording on it, and many other composers. So I said, “Okay, I’m going to do one of my doctoral lecture recitals on a composer.” I chose Adolphus Hailstork. And we got to have a lot of time interviewing him and learning his music.
Of course, I was chosen to do his chamber work, a trio for piano, violin, and cello. The last movement was in 11/8. I [was] like, “Look, how am I supposed to count? It’s like an Allegro, 1-2-3-4-5-6-7-8-9-10-11, 1-2-3-4-5-6-7-8-9-10-11.” And he said, “No, no, no, no, no, no, no, no.” I said, “Why did you make this so hard anyway?” That’s how we clicked instantly. “No, it’s 12-12-123-12-12 // 12-12-123-12-12.” I was like, “Oh, okay! All right, I understand it.” We started developing a beautiful friendship. Once I completed my lecture recital, his piano sonata, which is hefty.
LC: Putting it lightly, yes.
KW: That was on one of my lecture recitals. Later on, after I finished my degree, I was lucky to become tenure-track inside the dance department, where I spent my two years accompanying ballet and [teaching] some of the music teaching subjects there. It was then that I won over $55,000 in grant money to record the two albums, Dark Fires.
LC: Beautiful.
KW: Of course, Adolphus Hailstork was on that, Alvin Singleton, Tania León, Ellis Marsalis, and David Baker. The list goes on. That’s all because Dean Patterson came out to me and said, “Come here!” [Laugh]
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Karen Walwyn on Apple Podcasts, Spotify, YouTube, or our website!
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Join esteemed pianist Karen Walwyn and host Leah Claiborne as they discuss Walwyn’s career as a concert pianist and composer, and her dedication to studying underrepresented composers.
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Exploring the piano through improvisation unlocks endless creativity, and the Autumn issue of Piano Inspires Kids equips young pianists with exciting new tools to ignite their musical imagination. In addition to the print magazine, students can explore additional activities on our website to get their creative juices flowing. Not yet a subscriber? 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 Autumn Issue.
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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To celebrate the latest episode of the Piano Inspires Podcast featuring Tim Topham, we are sharing an excerpted transcript of his conversation with Sara Ernst. Want to learn more about Topham? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Topham on Apple Podcasts, Spotify, YouTube, or our website!
Sara Ernst: What is inspiring to you about the kids today? Especially if you think [about] this holistic form of education, where you’re really trying to build a musician at the piano who’s really learning skills that they can take to a wide variety of contexts. What do you see from the kids that are learning in that way that makes you go, “Ah, yes, this is it”?
Tom Topham: I just like that kids aren’t letting us do boring stuff anymore. And this goes for classrooms as well. A classroom teacher can’t just teach the same curriculum every year like they may have done in the past. Be that good or bad. I mean, obviously it’s a good thing that they can’t do that anymore. The whole move towards more inquiry-based learning and giving students autonomy in what they’re doing—which we know from Self-Determination Theory—is a really powerful aspect of self motivation in education. The more that we can get them involved and help them achieve things that they want to do, the more that they’re going to have agency and power in the decision making and want to do those things.
I like that kids these days want something different, want something more, and aren’t content with just the status quo or just, “Okay, teacher, tell me. I’ll just go through the standards. You know, we’ll start with Burgmüller, and then we’ll go to Clementi, and then we’ll go to some Beethoven.” I know for some teachers, that will be difficult, but I also hope that a lot of teachers will look at that—I won’t call it pushback, because it’s not necessarily pushback—but look at that questioning of students and see that they maybe want something different and more. Rather than go[ing], “I can’t teach you that.” or “what do I do?”, go, “All right, let’s try. Let’s see what we can do.”
Teachers can get so much value from trying new things. For many years, for anything that I put out, I suggest, “Hey, I’ve had a great experience with this. Here’s something you can try, and here’s the reason why I believe it’s powerful in the pedagogical sense. Why don’t you give it a shot?” I just encourage teachers to try these new things because it’s fun, and it’s going to make them better teachers, and students are going to respond to it.
Also these days, actually, students have always wanted to see their teachers as humans, as fallible humans. Back when we were at school, the schoolmaster was up on the raised platform, blackboards, and all that kind of stuff. It’s just not what we need or what students want anymore. And I think that’s good.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Tim Topham on Apple Podcasts, Spotify, YouTube, or our website!
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Our next episode of the Piano Inspires Podcast features Tim Topham, Founder of TopMusic!
Listen to the whole story about how he got started with piano, his ideas behind TopMusic, and his passion for music making in this interview led by Sara Ernst.
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Exploring the piano through improvisation unlocks endless creativity, and the Autumn issue of Piano Inspires Kids equips young pianists with exciting new tools to ignite their musical imagination. In addition to the print magazine, students can explore additional activities on our website to get their creative juices flowing. Below are excerpts from our new teacher resource guide designed to spark their students’ excitement for creating and learning at the piano. Not yet a subscriber? 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 Autumn issue.
After reading Now & Then in the Autumn 2024 issue of Piano Inspires Kids, ask your students to choose an improviser found in the magazine to research. Students can present their findings in studio classes, create posters to be displayed in the studio, or create a playlist of their chosen improviser’s recordings on a streaming platform of their choice for others to enjoy.
Using the QR codes provided on page 7 of the Autumn issue, listen to the accompaniment played by Binh Anh. Students can use the improvisation guide in the magazine to determine the notes, style, and rhythm of their improvisation. Once the improvisation has been completed, ask the student to reflect on their performance. Play with the video many times and adjust the speed as needed by clicking on the setting wheel and selecting “speed.”
Using the examples found on page 6, play the first four measures of Minuet in A Minor by Krieger. Analyze the examples below the original music, and ask your students to circle the ways the melody has been altered. Play these examples together, and then come up with a fourth way to improvise with the right hand. Try each idea suggested. Apply these ideas to the entire piece, or ask the student to choose a different piece or phrase to which they can apply these improvisation techniques.
Play the C major, minor, and minor blues scales found on page 14 and discuss the differences between the scales. Choose one to three notes of the scale. Explore the many ways to vary the melodic and rhythmic pattern of these notes. Add more notes of the scale to your previous improvisation, or choose one to three new notes. Improvise with these notes, creating new patterns or repeating patterns you like. Then, watch our new YouTube series Play! with Piano Inspires Kids to improvise with Binh Anh as he plays the 12-bar blues accompaniment. Improvise with the video many times to experiment with melodic and rhythmic patterns.
Students can also play both the melody and accompaniment using the progression outlined on page 14. In group classes, ask one student to play the chord progression and another to improvise a melody. Go to kids.pianoinspires.com/explore/activities to download more accompaniment patterns for the blues.
Listen to Sean Chen’s video about improvisation on the @pianoinspireskids YouTube channel. Pause at 1:21 and discuss the ways in which the pianist enjoys improvisation. Now listen for the two tips Sean gives for creating a unique sounding improvisation. Pause at 2:34 and discuss. Then, listen to his improvisation for the two tips (sevenths and arpeggios). Discuss: Are you drawn to improvisation like Sean? Do you like to spontaneously create your own music?
As outlined above, the studio activities created for each issue include ways to discover, explore, play, and share, expanding on the content of each section of the magazine! These ready-to-use lesson plans, written with a flexible design for group or individual lessons, ensures your studio can get the most out of their subscription to Piano Inspires Kids. Subscribe today! kids.pianoinspires.com/subscribe.
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To celebrate the latest episode of the Piano Inspires Podcast featuring Spencer Myer, we are sharing an excerpted transcript of his conversation with Jennifer Snow. Want to learn more about Myer? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Myer on Apple Podcasts, Spotify, YouTube, or our website!
Jennifer Snow: You’ve gone through all these amazing successes with competitions and started to understand yourself as an artist. That all starts to clue up for yourself. You’ve got a career, you’re performing, you’ve got your management and you’re a Steinway artist, and you’re on your way. Where’s the teaching pull? When does that start to come in, and how does that all come together for you?
Spencer Myer: It was always something I was interested in. I started teaching beginners when I was twelve. I had a paper route from age nine to twelve, and then I thought, “I could at least just advertise on my street for piano lessons and start teaching piano lessons. Why not make money doing music?” That was always something I very much enjoyed. I did that, not as actively, through college, and then it stopped in grad school. I lost all my connections to developing students, and I was more focused on playing through my graduate school.
Then as the performing career started to develop and I would do various engagements, they would often come with a master class. So the bulk of my early higher-level teaching post grad school was master classes, which I always really enjoyed.
I always found myself conducting a masterclass a little bit closer to a lesson than a public display. I just started to see that, certainly in particular, voicing things about developing technique, and refining technique and technical problems—solving things—came quite easily to me because, I think, I was never a prodigy. I had some natural technique, but I had to figure a lot of things out. Certainly, because a lot that I did naturally, I developed a lot of inherent tensions that I had to get rid of, and through repertoire exploration and just a lot of observation.
Another thing I was going to mention about influences at Oberlin was the other piano faculty. I would observe their students playing. I would accompany a lot of their students on concerti, so I saw their teaching [and] so many of these different technical approaches. There’s Bob Shannon and Haewon Song who teach the Taubman technique. We had a couple Russian teachers there who have their own approach as well. I just gained a well-rounded sense of how to solve problems. And so I became, very early on in this masterclass trajectory, very addicted to those light bulb moments. Students, where you solve a technical problem and you make something easier for them, and all they want is to be able to communicate themselves more easily at the piano. It is just the best feeling.
JS: Indeed.
SM: Absolutely the best feeling.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Spencer Myer on Apple Podcasts, Spotify, YouTube, or our website!
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Join acclaimed concert pianist Spencer Myer as he shares his musical journey in developing his artistry and a well-rounded career in performing and teaching.
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We would like to thank Connor Chee for this excerpted text from his PEDx presentation at NCKP 2023: The Piano Conference. Chee is a Navajo pianist and composer. His award-winning works, featured globally, showcase his cultural heritage and technical mastery. He is also dedicated to music education and cultural preservation, inspiring the next generation of musicians. Learn more about him and his work in the Autumn 2024 issue of Piano Magazine.
This is my grandmother, Alice Chee, and a friend of mine, Kevin Aspaas, incredibly talented weavers. Often I look at these blankets and rugs that they weave and think how perfect they are. But I can tell you 100% with confidence that these images that you’re looking at right now are not perfect. That’s not to disparage my grandmother or my friend Kevin. That’s because Navajo weavers are taught [that] you have to put a mistake in everything you do. Every weaving they do, there is somewhere in there, an imperfection, because that’s our way of staying humble, of recognizing our place as human beings, and having humility. You’re not supposed to try to be perfect, and these imperfect things can still be beautiful. It’s a different idea of beauty.
And I realized in my own life when I was practicing, and I was, you know, satisfied in the practice room and in my lessons; I would get on stage, and it was just never good enough. I mean, I just didn’t know why. I talked to one of my professors, and she said, “You know, I notice sometimes people, they make this like their entire being. If you miss a note, you’re a bad person.” We had this conversation. I thought, yeah, I’m chasing perfection. Once I took that time to stop trying to be perfect, it freed up my mind. I started playing better, and it was just something that was so transformative for me.
I think for students, it’s important to let them know, yes, we’re trying to learn, we’re trying to do our best, but perfection is not the goal. We’re looking for art. We’re looking for creativity. These things are super important. When you’re chasing this idea of perfection, it really limits you in what you can do as an artist. These lessons from weaving—I’ve learned so many things from a lot of the traditional arts, but that’s one that really stuck with me.
If you enjoyed this excerpt from Connor Chee’s PEDx talk at NCKP 2023: The Piano Conference, listen to our podcast episode with Connor Chee interviewed by Craig Sale on Apple Podcasts, Spotify, YouTube, or our website!
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We are delighted to share this article on The Piano Conference: NCKP by Luis Sanchez. We invite you to submit your proposals to The Piano Conference: NCKP 2025 via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024.
The Piano Conference: NCKP offers you the opportunity to share your research and ideas, mingle with colleagues from all over the world, deepen your passion for teaching, and recharge your spirit before the new teaching year. Whether you submit a proposal for a lecture recital, poster presentation, or one of the many other formats, you will not want to miss the opportunity to be a part of the NCKP 2025 program! Luis Sanchez below shares…
Summer 2021 found the world struggling to regain normalcy as we adapted to a new style of living. In the music profession, we quickly established new ways to learn and teach that continued to change the lives of countless students. The Frances Clark Center faced the challenge of organizing NCKP 2021: The Piano Conference in a virtual modality that had never been explored before. The results far exceeded the expectations anyone could have ever had.
Personally, my relationship with NCKP is quite unique and special. NCKP 2021 saw the introduction of a new track for Spanish and Portuguese speakers. I was honored to lead the committee that planned this event. Together, we curated twenty-nine sessions in Spanish and Portuguese, with English closed captioning, on a large array of topics that added a new perspective to the conference.
I found it stimulating to be involved in discussions, learn from the research presented by hundreds of presenters, and develop new friendships that have greatly enriched my life, both professionally and personally.
Luis Sanchez
As if that was not enough to make NCKP 2021 special for me, it was not only the first time I was able to attend, but also, I was honored to be selected to present both at the main conference and the Spanish track. I found that the conference offered me the opportunity to interact with people in our profession from across the globe. I found it stimulating to be involved in discussions, learn from the research presented by hundreds of presenters, and develop new friendships that have greatly enriched my life, both professionally and personally.
If you are still wondering if submitting a proposal is for you, you can gather more information by visiting our website. You will learn about the different formats, topics, and modalities in which you can share your work. There is a rigorous selection process that ensures a diverse and varied program representing the highest caliber work.
The National Committee of NCKP 2025 promises to curate a program that will invigorate, inspire, and innovate the piano teaching profession. If you are an educator, researcher, performer, or an emerging professional, you do not want to miss the chance to be part of this incomparable event!
Whether in person or virtually, see you at NCKP 2025!!
Do you have research you want to share with the piano pedagogy community? Register for our upcoming webinar, Effective Conference Proposals: Strategies for Success, on Wednesday, October 2nd at 11am ET. Once your materials are polished, submit a proposal to The Piano Conference: NCKP 2025 by clicking here.
Luis Sanchez has maintained an active performing and teaching career and appeared in concerts in the United States, South America, Europe, and Asia. He is currently Professor of Piano and Director of Keyboard Studies at Texas A&M University-Commerce and serves as Director of International Engagement for the Frances Clark Center.