We would like to thank Leah Claiborne for this insightful article on Chevalier de Saint-Georges’s Adagio in F Minor. Want to hear more about Leah Claiborne’s research and work at the Center? Check out the latest installment of the Piano Inspires Podcast. In this episode, Craig Sale and Leah engage in an inspiring conversation about her musical and personal journey. To learn more, visit pianoinspires.com. Listen to our latest episode with Leah Claiborne on Apple Podcasts, Spotify, YouTube, or our website!
Can you imagine performing a piece by a Black composer who was born into slavery? What a piece of history you would have at your fingertips!
Chevalier de Saint-Georges (1745–1799) was a virtuoso violinist, conductor, and composer. Born in Guadeloupe, his father was a wealthy plantation owner and his mother was enslaved on the plantation. His father took him to Paris, France when he was seven years old to further his education. He became a leading concertmaster in Paris, performing his own violin concerti, and concerti that were dedicated to him by other leading composers of the time. Some of these composers include Antonio Lolli and Carl Stamitz. Chevalier de Saint-Georges composed operas, solo vocal and instrumental works, chamber music, and symphonies. All of the music that this composer created is hardly ever performed, but that can change right now by incorporating Adagio in F Minor into your repertoire.
Adagio in F Minor is a solemn, expressive piece that would be a wonderful predecessor before a student tackles Clementi sonatinas. It can be challenging for teachers to find music that bridges the gap between method book repertoire and sonatinas, as well as the transition from sonatinas to sonatas. Adagio in F Minor fits perfectly into an early-intermediate pianist’s studies. This piano piece in F minor features a melancholic melody with expressive harmonic support (see Excerpt 1). The musical maturity needed for this piece often makes this a favorite amongst intermediate adult students as well.
Excerpt 1: Chevalier de Saint-Georges, Adagio in F Minor, mm. 1-4
CHALLENGE #1
The student is asked to perform scale passages in thirds in the right hand (see Excerpt 2). The thirds in Adagio in F Minor are beautifully intertwined with the melody and should be voiced to the top note. A similar example of right-hand thirds being used as the melody in the teaching repertoire is found in Czerny’s 100 Progressive Studies, Op. 139, No. 38 in G major, which can be a great companion etude when a student is learning this piece (see Excerpt 3).
Excerpt 2: Chevalier de Saint-Georges, Adagio in F Minor, mm. 8-10. Excerpt 3: Carl Czerny, 100 Progressive Studies, Op. 139, No. 38, mm. 1-4.
We hope you enjoyed this excerpt from Leah Claibornes’s article “Spring 2021: Pupil Saver: Adagio in F Minor by Chevalier de Saint-Georges.” You can read more by clicking here.
Share the love this Valentine’s Day by honoring piano teachers who are working every day to make the world more kind, inclusive, and connected through the transformational power of music.We welcome you to celebrate your own teacher by sharing a tribute with us and donating to the Frances Clark Center. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.
Paula Flynn with her teacher, Eric Unruh.
The teachers featured here are making profound contributions to students at all stages, from the youngest beginners to college students, and to those who study later in life. These inspirational, personal stories testify to the timeless impact piano teachers have on their students and their communities.
Barbara Gill honors Vedrana Subotic from Salt Lake City, UT
From studio to stage, Dr. Vedrana Subotic has been such a caring mentor and friend to me for over 20 years. Her artistry, pacing, and tone distinguish her as a fabulous performer, and her kindness and concern for her students extend past graduation. A life lesson she taught me was to follow-through whether it was in a crescendo to an arrival or in life. If I said I would do something, she expected me to do it! Vedrana was the first teacher to make me practice in front of her. She taught me to think of how simple the piano is to play (left, right, or hands together), and yet how many colors can be made on the instrument. I love that Dr. Vedrana Subotic came to Salt Lake City many years ago and I’d like to think it was just for me!
Barbara Gill and Vedrana Subotic.Jeremy Adriano and Eileen Evans.
Jeremy Adriano honors Eileen Evans from Surprise, AZ
I feel incredibly lucky to have had the wonderful Eileen Evans as my childhood piano teacher. When I think back to my time in her studio, I remember a cherished home. The atmosphere was consistently warm and inviting, creating a sense of coziness that made playing during my piano lessons a truly relaxed experience. Inspired by those fond memories, I’ve crafted my own home piano studio with the same intention—ensuring that my students feel the same comforting warmth, coziness, and relaxation during their lessons.
Paula Flynn honors Eric Unruh from Casper, WY
I had been teaching piano in my home for about 16 years when I decided to go back to college and seek a degree in music education. I was a 37-year-old, non-traditional student at a community college. I had it in my head that I already knew what I needed, I just needed the degree. I declared the piano as my primary instrument and was thankfully placed in Dr. Eric Unruh’s studio. During the first week of class he assigned me Mozart’s Piano Sonata in F Major, K.332. I went home and quickly devoured the first movement, arriving back in his studio the following week ready to “show him a thing or two” about “all that I knew.” He offered me, instead, the opportunity to eat a heaping helping of humble pie. I had all eight pages ready to go, but we didn’t move past page one. Every Mozartean nuance was found on that first page and we grilled and drilled. After my first lesson, I realized how much I still had to learn, that I had an excellent and kind teacher ready to help me grow. His patience with me, his use of metaphors, his references to Jane Austen novels and so much more helped me discover a deeper level of music making. I cherish his continued friendship all of these years later. I still seek his counsel on pieces as I now realize fully that I still have so much to learn. Thank you, Eric! Much love!
Wendy Bachman with Louise GossLouise Goss with Wendy Bachman and Her Family
Wendy Bachman honors Louise Goss
From the first moment that I stepped into my teaching audition at The New School for Music Study in 1988, Louise’s big smile made me feel at ease. Her positive tone of voice and willingness to help was a constant. When working with the students and modeling how to teach concepts, she always conveyed the utmost in enthusiasm. My favorite way of teaching triplets with the full-body arm swing is from Louise. Every time I teach it, I always tell my students, “This is how Louise taught us” as we enthusiastically say “1 a la, 2 a la.” As a graduate student in the Master of Music in Piano Pedagogy and Performance program, I was preparing to get married the same day as I graduated!I was busy with my studies and had not given a lot of thought to the wedding plans. Louise kindly stepped in and asked if she could help me plan my wedding! We drove out to have lunch at the place she thought would be perfect for the reception. I was more than thrilled that Louise Goss and Frances Clark could be guests at my wedding. The years after graduation we kept in touch with cards and gifts as our family started. Louise’s words of encouragement still mean so much as I read those cards today. I am grateful beyond words.
We would like to thank Makayla Stevenson for this tribute to her teacher, Janet Tschida. 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.
Makayla Stevenson with her teacher, Janet Tschida.
“Students don’t learn because of what teachers say. Students learn because of what teachers have them DO!” Three years after completing my undergraduate degree, Janet Tschida’s words replay in my mind, reminding me of the influence that we as piano teachers can have in the lives of our students.
Residents of Watertown, Wisconsin know Janet Tschida as associate professor at Maranatha Baptist University and director of Maranatha Music Prep School, the community’s music education program. Maranatha Music Prep School is uniquely structured to allow pedagogy interns from the university to teach local students, providing undergraduate students with valuable teaching experience and fostering connections in the community.
As a piano pedagogy graduate of MBU and an intern at the prep school, I had the privilege of gleaning from Miss Tschida’s wisdom, knowledge, and experience almost daily for four years. As I reflect on what she has imparted to me and countless others, three words come to mind: vision, dedication, and multiplication.
Janet Tschida taught us to see beyond the four walls of the music studio. She, like Frances Clark, taught us that as teachers, we teach the student first, music second, and piano third. Miss Tschida may teach in a small town in the Midwest, but her vision is global and generational. She has the unique ability to be in the moment and see beyond it, to teach Baroque performance practice while understanding that she is influencing the destinies of generations to come. At the end of my freshman year, I met with her to discuss dropping my pedagogy concentration, as I was not particularly interested in teaching music. She kindly but firmly informed me that I had great potential as a teacher and that this was not a decision to be made hastily. As a result of her input, I reconsidered my decision and am grateful that I did. As a visionary, she could see what I could not, and she taught me that day to always see the potential in my students just as she had seen it in me.
If there is one word that consistently describes Janet Tschida in the minds of those who know her, it is dedicated. She has high standards of excellence for herself, and she encourages her students to strive for the same. One of her educational pursuits is to research topics from other disciplines, often entirely unrelated to music, and apply those insights to music education. She would encourage us to do the same: to always be learning something new, to glean from other fields, and to continually evaluate our own progress in every area of life. As students, we saw Miss Tschida exemplify this dedication to excellence. She would teach long days, pour into her piano students and interns, complete never-ending administrative tasks, and gladly repeat the process the next day. Perhaps it was her vision, her dedication, or both—but somehow she seemed to accomplish more in a year than most people do in a lifetime.
Or perhaps it was that she knew the power of multiplication. Janet Tschida knew that when she taught her classic “Prepare, Present, Practice” lesson to the freshman piano pedagogy class, she was actually changing the lives of twenty-second and twenty-third century musicians. She knew that every time she met with student interns to discuss their weekly teaching videos, she was training the next generation of educators, performers, researchers, and innovators. She knew the power of multiplication—that what she taught would change lives in the generations to come.
Janet Tschida taught me the influence that one teacher can have. She encouraged me to have a vision greater than the present reality and to dedicate myself to the pursuit of excellence. In so doing, she taught me that a piano teacher can truly make a difference, one student at a time.
Carla Salas-Ruiz holds a Bachelor’s degree from the University of Costa Rica and a Master’s and PhD from Louisiana State University. She is a piano instructor at Brazosport College, dedicated to fostering a supportive, inclusive, and stimulating learning environment. Her research focuses on motivation, interest development, and effective practice strategies in piano education. Carla has presented her research at national and international conferences and contributed to research journals.
We would like to thank Arlene Steffen for this tribute to her teacher, 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.
Sometimes you get a gift and you don’t really realize its value initially. When I studied with Marvin Blickenstaff at Goshen College, I didn’t realize the many gifts I was being given—gifts that have appreciated over time—gifts of training, mentorship, collegiality, and, most of all, love and friendship.
Marvin invests not only in his students’ musical growth and development, but in the person, the relationship.
As a freshman listening to students in the practice rooms, I knew I didn’t measure up, but when I had my first lessons, I knew there was a chance I could get better. The first week of the semester, Marvin asked me to come in for three lessons. He was investing in my future as a musician, but he also began building my self confidence. Each lesson he met me where I was and gave me the encouragement and affirmation to move forward. His door was always open to help me practice or to give advice.
Marvin Blickenstaff with Arlene Steffen.
Marvin never misses an opportunity to tell you how much he values you. He always wants to know what’s going on in your life both professionally and personally. He’ll hit you up for a recipe, tell you about his latest family gathering or trip, praise your recent accomplishments and take you to dinner. He’ll ask your recommendations for music to play at church, admire your latest studio project, and offer prayers on your behalf.
Every time I step into my studio, I do my best to channel his gracious spirit, his insightful mind, his ability to ask just the right question, and most of all, his pursuit of beauty through music.
While the public sees a gregarious man full of enthusiasm, knowledge, and skill, what really is on display is love, a direct result of his deep faith in God, handed down to him from his loving parents and molded through a lifetime of hard work, difficulties, disappointments, and joy. He gives tirelessly, knowing that serving others is the best way of showing love.
Marvin taught me to be not only a better musician, but a better person.
Marvin is the gift that keeps on giving. His legacy lives in every student he has taught, and through those of us who teach, it flows into the lives of our students.
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.
We would like to thank Nicholas Reynolds for this insightful article on Diversity, Equity, and Inclusion in the classical music world. Did you hear about our new course—Piano Teaching through the Lens of Diversity, Equity, and Inclusion? Join us on February 21st at 11:00am ET for a discussion of this new course in our webinar titled: Introduction to the Frances Clark Center’s New Online Course: Piano Teaching through the Lens of Diversity, Equity, and Inclusion. Learn more and register by clicking here.You can also purchase the course on presale! Click here to learn more.
The life-altering events of the past year have been a wake-up call for all of us to reassess our values and practices as artists and educators. Our musical community has developed a collective sense of advocacy and accountability that has been tremendously overdue, geared towards a more diverse, inclusive, and equitable field of music. Many of us may consider ourselves supporters, advocates, and allies, but how do we ensure that we use our good intentions to become true and respectful agents of change? Our language, tools, resources, and approaches need constant internal and external reassessment; our goal is a moving target that we must always and continuously strive towards. A good place to start is a common understanding of the language—what do the terms diversity, equity, and inclusion mean to each of us, and how do we make sure we are constantly upholding these values?
The term diversity embraces not only the equitable representation of people of different backgrounds, lived experiences, and perspectives, but also the way we understand and honor the ways in which people are unique. The diversity that we strive for in our communities can be reflected in our musical lives as well, from the repertoire we perform and assign students, to guest artists we invite to our schools, to hiring practices at our institutions. However, diversity in itself is insufficient unless it is in tandem with the values of equity and inclusion. Equity ensures that all groups and individuals have what they need in order to be successful; it also recognizes the agency of those who are under-represented and marginalized and respects their role in decision-making situations. Inclusion invites us to listen to our differences and treat others with respect regardless of those differences; it means choosing a language that doesn’t inadvertently exclude or insult others and striving to be informed and respectful of our differences.
Racial and gender diversity have been at the forefront of the DEI movement in classical music given the historically perpetuated marginalization of BIPOC (black, indigenous, and people of color) and women composers. To Brazilian pianist Daniel Inamorato, founder of The Toy Piano Sanctuary and Neurodiversity Music Institute, the conversation about diversity in classical music should not only include racial and gender identity, but also diverse physical and neurological abilities. Based on his experience working with students of many such backgrounds, Inamorato reminds us that students and artists can possess one or a mix of distinguishing traits, and it can be insensitive and alienating to categorize them based on one single kind of diversity. Avoiding assumptions and stereotyping, as well as being invested in their individual identity, is a mindset we can constantly advocate for in every aspect of our musical and personal lives.
Both music and society have changed immensely in the past 400 years, yet the repertoire in our traditional canon still includes very few works by historically underrepresented composers and new compositions. Rethinking our traditional repertoire selections, even one bit at a time, can have a great potential to reflect the changes we want to see in our society and to inspire and empower future generations of artists, teachers, supporters, and leaders. However, when it comes time to program a concert or assign pieces to students, many of us may struggle to find inclusive and diverse elementary and intermediate repertoire that is age and level appropriate.
We hope you enjoyed this excerpt from Nicholas Reynold’s article “Remaking Ourselves and the Standard Canon: Perspectives and Resources for Promoting Diversity, Equity, and Inclusion in Classical Music.” You can read more by clicking here.
From February 1-29, 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! In March 2024 we will release a new course: Piano Teaching through the Lens of Diversity, Equity, and Inclusion, which is currently available for presale purchase. 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.
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.
Piano Teaching through the Lens of Diversity, Equity, and Inclusionwill be released in March 2024, but is available for presale today! This course aims to equip teachers with knowledge on how to evaluate their teaching material and how to effectively incorporate diverse literature into the teaching studio. In addition, it provides examples on how various teachers have created more opportunities for diverse populations to gain access to piano instruction.
William Chapman Nyaho performs at NCKP 2023: The Piano ConferenceArtina 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.
In Autumn 2023, the Frances Clark Center launched a new initiative, Piano Inspires Kids, a magazine for young pianists developed by Editors-in-Chief Sara Ernst and Andrea McAlister. Through each quarterly issue, readers explore piano playing, composers, music from around the world, and music theory. The format is engaging and varied with listening guides, interviews, student submissions, music in the news, and games. The magazine includes an array of musical styles and genres, both from the past and present day. In addition, creative skills like improvisation, playing by ear, and composition are explored in step-by-step processes. Young pianists are directed to curated online content to deepen their engagement with the piano community.
The latest issue celebrates Florence Price. The issue includes a biography of Price along with an introduction to some of her piano works including the Piano Sonata in E Minor and her pedagogical piece The Goblin and the Mosquito. It also includes a short interview with pianist Karen Walwyn, a champion of Price’s music, along with new music composed by Artina McCain! To learn more, or to subscribe, go to kids.pianoinspires.com.
O movimento, para as crianças, é necessário para a aprendizagem. Os corpos jovens são receptores sensoriais afinados que coletam informações, curiosos e ansiosos para explorar o mundo ao seu redor.1 A criança está em um período de sensibilidade para adquirir consciência cinestésica e sensorial, juntamente com a consciência de seus próprios pensamentos e emoções – que às vezes parecem excessivos. Aprender através do movimento permite que as crianças se envolvam em experiências alegres e intuitivas que levam a hábitos auditivos produtivos. Este envolvimento lúdico mantém os alunos atentos aos seus corpos, ao mesmo tempo que permite que conceitos abstratos como a notação rítmica cresçam a partir de experiências naturais.
A alegria de se mover e responder à música é inata, como pode ser visto em bebês que dançam movendo seus corpos ao som da música, antes mesmo de saberem andar. Existem fortes conexões bidirecionais no cérebro humano entre nosso córtex auditivo e o centro de controle motor.2 O impulso rítmico é a força motriz por trás de toda música, e os alunos que não desenvolvem um forte senso de pulsação no início de seus estudos musicais poderão mais tarde carecer de fraseado, fluência e impulso; em suma, eles não soarão musicais.
No entanto, para muitos professores, a forma como trabalhamos com o ritmo é mais matemática do que musical; os alunos podem aprender a “contar”, mas não a sentir verdadeiramente o impulso rítmico em seus corpos. A ênfase não deve ser apenas na leitura rítmica, mas também na escuta e na resposta aos padrões rítmicos. Embora qualquer conceito musical possa ser experimentado como movimento de todo o corpo, ele é ideal para a internalização da pulsação e a experiência de tempos, métricas e padrões rítmicos contrastantes.
Omovimento não éapenas uma forma de proporcionar uma “pausa” na aprendizagem; além disso, é crucial para o desenvolvimento docérebro da criança.
Os benefícios do movimento consciente
Quando a prática rítmica é combinada com movimentos lentos e integrados, e particularmente quando usada correlativamente com a respiração, os benefícios são ampliados. O impacto positivo do movimento consciente nas habilidades cognitivas, físicas e emocionais foi bem documentado em pesquisas, com benefícios físicos incluindo melhor coordenação, consciência corporal e estabilidade postural.
O movimento consciente também aumenta a concentração e a atenção, aumenta a memória e melhora o conjunto de habilidades mentais chamadas “habilidades de funções executivas”, que incluem a capacidade de planejar, organizar e manter o foco nas tarefas enquanto resiste às distrações. Ele aumenta a mielinização entre os dois hemisférios cerebrais, permitindo o processamento integrativo em todo o cérebro, e alivia o estresse, resultando em melhor audição, compreensão e retenção de conceitos.3
Existem benefícios musicais também. O movimento consciente aumenta o processamento auditivo e a capacidade de resposta, e auxilia no desenvolvimento do sistema vestibular ou do ouvido interno, que está envolvido não apenas no equilíbrio e na orientação espacial, mas também no processamento da linguagem e na discriminação sonora. Com estes benefícios, o movimento consciente é particularmente benéfico para crianças com necessidades especiais, incluindo aquelas com TDAH, transtorno de processamento sensorial, ansiedade e autismo.4
Progressão do Desenvolvimento
Num processo conhecido como “progressão do desenvolvimento”, as crianças utilizam primeiro os músculos maiores do corpo, como os braços e as pernas, antes de desenvolverem força e destreza nas mãos. Nas aulas de música, as habilidades motoras finas se desenvolvem a partir de movimentos grosseiros de todo o corpo, que podem ser integrados a conceitos musicais que melhoram a discriminação auditiva. Os alunos podem aprender a internalizar o pulso usando movimentos como caminhar, balançar, pular, saltar, correr, chutar, bater os pés e balançar os braços ao som de uma peça musical.
Ouvir e responder a padrões rítmicos através do movimento leva à capacidade de traduzir símbolos na página como ritmos audiados – ritmos que são ouvidos na mente. Audiar ritmos internamente nos ajuda a criar música que tenha um forte senso de pulsação e fluência; um aluno que pratica definir o andamento “contando” um compasso que ouve em sua mente está audiando. A prática precoce da regência aprimora a audiação; os alunos que regem em tempos binário e ternário aprenderão, por contraste, a “sensação” desses diferentes padrões métricos. Os alunos podem usar habilidades motoras grossas para reger usando todo o corpo através de uma combinação de movimentos dependendo da métrica, podendo incluir mover os braços lateralmente ao corpo, amplamente para o lado, para a posição de oração e acima da cabeça (ver Figura 1 para um exemplo de movimento ternário).
Figura 1: Pose de Montanha Pose de Oração Pose “Saudação Ascendente”
Desenvolvendo Fluência Rítmica
Alunos normalmente aprendem o conceito de pulsação (pulso), que pode ser comparado a um batimento cardíaco, antes do conceito de duração, muitas vezes começando com semínimas e depois passando para mínimas. Mas a ênfase na batida em si, normalmente através de palmas, não incorpora o movimento em direção ou além do pulso, da batida, que é o que faz a diferença entre uma performance metronômica e uma performance rítmica e musical. Como uma criança pulando corda, o pulso seria a corda batendo no chão, mas o movimento de aproximação e afastamento desse pulso ocorre em um movimento circular. Uma sensação de movimento para o próximo pulso forte dá energia a muitas peças, como na música de J. S. Bach.
Um conceito fundamental na euritmia de Dalcroze é que o fluxo musical ocorre a partir da sensação de três partes do pulso: anacruse (preparação); crusis (a batida); e metacruse (seguimento). Dalcroze também disse que o pulso têm três qualidades: tempo, espaço e energia.5 O movimento proporciona uma maneira ideal de sentir o espaço entre os pulsos porque os alunos podem experimentar como seus corpos devem se preparar, rápida ou lentamente, para cada pulso. Em vez de bater palmas, um “fluxo de braço” ilustra o ciclo de uma batida dentro de um padrão métrico: os alunos podem começar com os braços ao lado do corpo e gradualmente levantá-los acima da cabeça e depois colocá-los em posição de oração no centro do coração para um compasso completo (Vídeo 1; visite pianoinspires.com para ver os vídeos associados a este artigo).
Equilibrar o peso de todo o corpo movendo-se no espaço e transferir o peso de um lado para o outro do corpo durante a caminhada também ensina os alunos sobre o fluxo de energia. Os alunos podem mover-se perante a uma performance improvisada pelo professor, em tempos rápidos, médios e lentos, para experimentar como a mesma quantidade de energia pode ser usada para passos cada vez mais rápidos ou para passos mais longos, mais lentos. Para adicionar variedade com movimento integrado, os alunos podem usar de forma semelhante um “Walking Warrior”; com os braços acima da cabeça, eles colocariam um pé na frente do outro com o joelho dobrado na pose de ioga “Guerreiro I” para atravessar a sala enquanto ouvem a performance de um aluno ou professor (Vídeo 2; Figura 2).
Figura 2: Guerreiro I
Os alunos que começam a ler diretamente novas peças ao piano sem ouvir e cantar a música primeiro, terão maior probabilidade de tocar de forma não musical – com igual ênfase em cada pulso, num ritmo correto, mas metronômico, sem um sentido de direção para a frente. Em vez disso, os professores podem utilizar as três fases de preparação, apresentação e reforço para garantir que os alunos tenham um modelo auditivo forte de como a peça deve soar, talvez mesmo antes de a verem na página. Ao serem apresentados a novas peças, os alunos podem se movimentar enquanto ouvem a demonstração do professor; na fase de reforço, eles podem se mover enquanto ouvem a performance de um colega. Cantar letras bem escritas enquanto se movimentam ajuda a reforçar ainda mais a forma e o fluxo de cada frase.
Alinhando Respiração e Corpo
Cantores, instrumentistas de sopro e metais usam a respiração como um componente natural e intuitivo para formular decisões quanto ao fraseado. Infelizmente, os pianistas podem fazer música sem considerar a respiração, o que significa que muitas vezes perdemos esta oportunidade de sentir desde o início a configuração da frase e a estrutura rítmica nos nossos corpos, desde o princípio. Toda respiração pode ser praticada em correlação com o movimento consciente e a prática rítmica; no fluxo de braço mencionado acima, por exemplo, em vez de cantar, os alunos podem inspirar ao levantar os braços em duas semínimas e expirar ao abaixar os braços em uma mínima. Quando respiramos conscientemente enquanto nos movemos, aprendemos a prestar atenção à respiração, ganhando maior controle sobre ela em situações de performance quando os níveis de estresse são maiores.
Em conexão com o movimento, os alunos normalmente devem inspirar para levantar e expandir o corpo (como ficar de pé ou estender-se para trás) e expirar para abaixar, fechar ou manter a extensão axial. Tipos específicos de respiração podem ser usados para aumentar ou diminuir a energia. As técnicas que provocam a resposta parassimpática são apropriadas quando o nível de energia da turma é muito alto ou quando os alunos parecem ansiosos ou frustrados. Com a “respiração de balão”, os alunos podem imaginar encher um balão na barriga a cada inspiração para uma respiração diafragmática calmante, talvez enquanto batem ritmos na barriga. O “bafo de coelho”, por outro lado, aumenta a energia; envolve inspirar três vezes e depois expirar continuamente pelo nariz contando até três (Figura 3). Os alunos podem praticar esta respiração enquanto regem ou tocam padrões ternários.
Figura 3: Inspirar-Inspirar-Inspirar | Expirar Bafo de Coelho
Movimento Translateral
Os terapeutas ocupacionais referem-se à atividade de mover uma parte do corpo para o outro lado do corpo como movimento “transversal lateral” ou “cruzamento da linha média”. A “linha média” é uma linha vertical imaginária que separa as metades esquerda e direita do corpo. As crianças que têm dificuldade em cruzar essa linha muitas vezes têm dificuldade para ler, escrever e sincronizar as habilidades motoras finas e grossas. O movimento transversal fortalece as vias das células nervosas que ligam ambos os lados do cérebro através do corpus callosum.6 Esses exercícios, que podem ser usados como “pausas cerebrais” no meio de uma aula, são particularmente benéficos para a integração do cérebro e ajudam a desenvolver a coordenação e foco.
Os movimentos físicos solidificam novas informações nas redes nervosas.
Os alunos podem movimentar-se através de poses trans-laterais em resposta rítmica a uma peça musical, regendo, dançando com lenços em um movimento de figura 8 ou batendo palmas com parceiros ao som de músicas como “Hot Cross Buns” ou “Pat-a-Cake”. Os alunos podem mover-se ao ritmo de uma peça em pé ou sentados na “pose de borrifador” (Figura 4) e girando de um lado para o outro com as mãos nos ombros. Na “cegonha marchando” (Figura 5), os alunos batem uma mão de cada vez no joelho oposto enquanto marcham no ritmo. Em vez de caminhar, os alunos também podem praticar “natação”, onde dão um passo à frente com um pé e “nadam” o braço oposto para a frente ao mesmo tempo. Para facilitar o aprendizado, os alunos podem colocar adesivos coloridos em mãos e pés opostos. Canções folclóricas conhecidas também podem ser usadas para vincular o movimento ao canto; por exemplo, os alunos podem ficar em “pose de estrela” (Figura 6) com as pernas bem afastadas e colocar uma mão de cada vez no chão enquanto cantam “Twinkle, Twinkle Little Star”.
Estabilidade Postural
Algumas habilidades básicas que precisam ser implementadas para o desenvolvimento de habilidades motoras finas incluem força e estabilidade do ombro, cotovelo e punho. Nos músicos, uma estabilidade central permite uma postura mais equilibrada, maior liberdade e amplitude de movimento dos membros, mais potência para controle do som e redução do risco de lesões. Para reforçar a estabilidade postural enquanto seguem ao som de uma canção folclórica bem conhecida, os alunos podem sentar-se em “postura de barco” (Figura 7) com os dedos dos pés fora do chão ou no chão, para estabilidade, e remar com os braços entrelaçados de um lado para o outro, enquanto cantam “Merrily We Roll Along” (Vídeo 3). A “postura de sapo” (Figura 8), um agachamento baixo, também desenvolve uma força central e a estabilidade postural.6 Os alunos podem praticar saltando da posição de agachamento para a posição em pé; este movimento poderia, por exemplo, ser usado para ajudar os alunos a sentir as “grandes batidas” (ou os tempos fortes) em compassos 6 por 4 (Vídeo 4).
Movimento Translateral Figura 4: Pose de Borrifador Figura 5: Cegonha Marchando Figura 6: Pose de Estrela
Estabilidade Postural Figura 7: Postura de Barco Figura 8: Postura de Sapo
O movimento não é apenas uma forma de proporcionar uma “pausa” na aprendizagem; além disso, é crucial para o desenvolvimento do cérebro da criança. Os movimentos físicos solidificam novas informações nas redes nervosas. Se aproveitarmos as inclinações naturais dos nossos jovens alunos para se moverem e responderem com curiosidade à música que ouvem, podemos ajudá-los a internalizar a sua compreensão da pulsação, do gesto rítmico e da musicalidade desde o início de seus estudos musicais. Os benefícios a longo prazo de tal abordagem incluem maior prazer no estudo musical, bem como a capacidade de tocar com facilidade, fluência e musicalidade.
Se aproveitarmos as inclinações naturais dos nossos jovens alunos para se moverem e responderem com curiosidade à música que ouvem, podemos ajudá-los a internalizar a sua compreensão da pulsação, do gesto rítmico e da musicalidade desde o início de seus estudos musicais.
REFERÊNCIAS
1 Carla Hannaford, Smart Moves: Why Learning is Not All in Your Head, 2nd ed. (Salt Lake City, UT: Great River Books, 2005), 92.
2 Adriana Barton, Wired for Music: A Search for Health and Joy through the Science of Sound (Berkeley, CA: Greystone Books, 2022), 36.
3 Lesley McAllister, Yoga in the Music Studio (New York: Oxford, 2020).
4 Lisa Flynn, Yoga for Children: 200+ Yoga Poses, Breathing Exercises, and Meditations for Healthier, Happier, More Resilient Children (Avon, MA: Adams Media, 2013), 56.
5 Julia Schnebly-Black and Stephen F. Moore, Rhythm: One on One (Van Nuys, CA: Alfred, 2004).
6 Flynn, Yoga for Children, 32.
7 Dee Hansen and Elaine Bernstorf, “Linking Music Learning to Reading Instruction,” Music Educators Journal 88, no. 5 (March 2002): 21–27.
8 Danielle Bersma and Marjoke Visscher, Yoga Games for Children: Fun and Fitness with Postures, Movements and Breath (Alameda, CA: Hunter House Publications, 2003).
LESLEY MCALLISTER, DMA, NCTM, é professora de pedagogia de piano e diretora de estudos de piano na Baylor University em Waco, Texas. Escritora e clínica ativa, ela publicou dois livros sobre o bem-estar dos músicos: The Balanced Musician e Yoga in the Music Studio.
We would like to thank Sara Ernst, Jane Magrath, Karen Zorn, Joel M. Harrison, Marianne Williams, Zack Kleiman, Henry Banta, Anya Smith, and Nina Austria for collaborating on this tribute to Marvin Blickenstaff. Interested in learning more about Marvin Blickenstaff and his teaching? Marvin’s latest book, Inspired Piano Teaching, is coming soon and is available to preorder now. If you want to learn more about Marvin’s book, you can read more here.
Marvin Blickenstaff has been a pillar of the North American piano community for more than five decades. His dedication to outstanding teaching, learning, and performing has been honed through his work with innumerable students and their teachers. Anyone who has witnessed Marvin working with young pianists understands why his work is so powerful. He demands excellence from his students and colleagues, is persistent but kind, and is always eager to continue his own musical learning. His dedication to our profession is as evident today as it was in the 1970s, at the outset of his teaching career.
Students clamor to study with Marvin Blickenstaff and teachers flock to his numerous workshops, seminars, and conference sessions. Marvin was among the first associate editors of Keyboard Companion, one of the precursors to the Piano Magazine, and he has taught at the New School for Music Study in Kingston, New Jersey for over twenty years. The Frances Clark Center (FCC) is honored to present this tribute to Marvin Blickenstaff to commemorate his continued contributions to the piano teaching and learning community. After presenting highlights of Marvin’s career, we share tributes from former and current students. We hope that this tribute inspires you to refine your piano performance and teaching craft, and to continue your own learning journey as you read the additional articles about teaching, learning, and performing within this magazine.
Professional Pianist
By Sara Ernst
Marvin Blickenstaff is beloved by piano students of all ages and teachers across the world: it may be how he cherishes his time spent with every student, his deep expertise in music and artistry, or the sage pedagogical advice that he freely offers. As the late Louise Goss (d. 2014) stated:
He has a solid-as-gold national, international really, reputation…[an] incredible amount of knowledge, incredible desire to spread that knowledge…and he just loves it so much that it just spills out of him in bursts of joy…What you would hope a great master teacher would be, he’s the model, and they broke the mold!1
– Louise Goss
One of the unique qualities of his teaching is his uncanny ability to work with a wide array of pianists. Nelita True aptly articulated:
I don’t know of anyone else in our profession who can handle all levels…advanced teaching, he does intermediate, he does beginners…[and he] teaches through a kind of empathy with the student that I find extremely effective and very desirable.2
– Nelita True
We hope you have enjoyed this excerpt from “A Tribute to Marvin Blickenstaff and His Pedagogical Legacy.” You can read more by clicking here.
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.
We would like to thank Sara Ernst for this tribute to her mentor, Marvin Blickenstaff. On January 30, 2024 we are hosting a virtual Publications Party to celebrate Marvin Blickenstaff’s new book, Inspired Piano Teaching. Click here to register for this free event! If you are interested in learning more about Marvin’s book, you can read more here.
Marvin Blickenstaff, Sara Ernst and family, celebrating the end of her time at the New School for Music Study, 2013.
Marvin Blickenstaff is amazing in so many ways, as pianist, pedagogue, mentor, colleague and friend. I have had the pleasure of knowing him in all of these capacities, and my life has truly been transformed because of this. Among the many attributes Marvin possesses, I wish to celebrate in this tribute is his role as cheerleader extraordinaire. Whether for his students, colleagues, or friends, Marvin will be the first to congratulate the successes of those around him. I have heard his boisterous cheering and applause from the audience, I have heard his heartfelt speeches congratulating others in our profession, and I have received his personal emails commending my professional accomplishments. His genuine love and support of those around him is unparalleled and contributes immensely to our community. Being a musician, pianist, and educator can be difficult (while being tremendously rewarding), and we all need those in our professional lives who reflect to us our own impact and worth. He has provided a tremendous model to me of what that means and how important this is—this is one of the most significant ways we ensure the future of our profession. I encourage us all to follow his example, to project this enthusiasm for piano and teaching into the world, to support our students and colleagues, and to delight in the successes of all those around us.
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.
Attention budding composers! Piano Inspires Kids invites students to submit a piano solo for our first composition contest! Winning compositions will be featured in the Summer 2024 issue and on our website, kids.pianoinspires.com. Read below for all the details!
1. The composition must be a fanfare.
A fanfare is a short and usually brilliant piece used to announce the arrival of an important person or the beginning of an important event. Movies and TV shows often begin with a title theme, the national anthem signals the start of sporting events, and celebratory sounds fill the air as a newly wedded couple turns to walk down the aisle together.
The Summer 2024 issue will explore music and the Summer Olympic Games. Write a fanfare that could be used as the athletes walk into the stadium!
2. Need ideas? Get started with our downloadable Rhythm Creator!
3. The contest is open to students aged 7-18, divided into four age groups: 7-9, 10-12, 13-15, and 16-18.
There is no limit to the number of compositions a student can submit. The student composer may receive assistance notating their work, but we want the ideas to be all student generated!
4. Give your composition a title, dynamics, articulations, and other musical markings.
Show us all of your creative and expressive ideas so others can play your work with style!
5. The contest deadline is March 15, 2024 at 11:59 PM Pacific.
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.
Calling all collegiate students! Looking for more information about how The Frances Clark Center can help you as you navigate the early stages of your career? Look no further. In this article, we will share information and resources including employment and postgraduate opportunities, opportunities for students, discounts on purchases, and other ways to get involved. To learn more, click here.
Employment and Postgraduate Opportunities
Student Internships
The Frances Clark Center invites applications for the 2024 internship program. Internships are open to current students or recent graduates and offer a range of administrative opportunities in areas such as conferences, programming, publishing, community outreach, event support, communications, production, design, and social media. The internship program is a paid part-time opportunity. We are currently accepting applications with a deadline of Wednesday, January 31, 2024 at 11:59 PM Pacific Time.
Continuing Education at The New School for Music Study
The Frances Clark Center offers a range of teacher education initiatives at The New School for Music Study in Princeton, NJ. These programs build on the educational philosophy and legacy of renowned founders Frances Clark and Louise Goss, and have produced internationally recognized teachers and performers.
The Frances Clark Center for Keyboard Pedagogy is pleased to launch the Journal of Piano Research, a new peer-reviewed research journal and high-quality source of research articles dedicated to piano teaching, learning, and performance. The journal is an international, peer-reviewed publication promoting the exploration, discussion, and dissemination of high-level research that will advance professional practice and scholarship.
The Journal of Piano Research invites submissions of scholarly manuscripts based upon completed empirical research conducted through a variety of scientific methodologies, including quantitative, qualitative, ethnographic, historical, and philosophical methods.
Piano Magazineis proud to showcase the talents of tomorrow’s teachers through an annual collegiate writing contest. Students are encouraged to write a 1,500 word article relating to the field of piano pedagogy. A panel of professionals will evaluate submissions based on content, clarity, originality, value to the profession, and writing style.
Grand prize: publication in a forthcoming issue of Piano Magazine
Secondary prizes: publication on the PianoInspires website
Submission deadline: Monday, May 1, 2024, at 11:59 PM PT.
Group subscriptions to PianoInspires.com are perfect for piano pedagogy classes, university membership chapters, or applied piano studios. Subscriptions include Piano Magazine quarterly issues and all digital resources on PianoInspires.com, including our comprehensive search feature. Subscriptions also include discounts on individual online courses and Jane Magrath’s Piano Literature for Teaching and Performance.
We invite students to interact with our engaging, educational content on social media. Our socials are a place for discussing relevant topics in pedagogy, engaging with teaching video content, diving deeper on composers and pieces, connecting with other curious pianists, and enjoying freebies and discounts throughout the year. Our socials are a great way to encourage students to interact with their craft on a daily basis through channels they are adept at navigating.
We would like to thank Ali Snow for this insightful article on managing performance anxietyand motivation. Want to learn more about motivation? Join us on Wednesday, January 24, 2024 at 11am ET for “Determinants of Motivation in World-Class Musicians and Olympic Athletes: Exploring the Front and the Back Side of the Medallion,” a webinar that highlights connections between sports and music research. Learn more and register by clicking here.
Mastering the inner game: Three “mind coaches” on managing performance anxiety
“Don’t be nervous! You’ll do fine!” “Take a few deep breaths and it’ll all be OK.” “Here, eat this banana. It’ll help your nerves.” “Just picture the audience in their underwear!” “You should put yourself in a lot of pressure-filled situations and soon you’ll just get used to it.”
Sound familiar? These are just a few of the most common answers musicians hear when asking how to overcome performance anxiety. Although well intentioned, each statement is either false folklore or a fad that has gone in and out of style. So why are students seeking advice in the first place? Perhaps it is because one of the biggest challenges many music teachers face is how to adequately prepare their students for the mental side of performance. In his classic book The Inner Game of Tennis, author W. Timothy Gallwey wrote, “Every game is composed of two parts, an outer game and an inner game.”1 If this is true, then how can teachers effectively teach the inner game, a game that often seems so abstract? This question will be explored through tips from three leading minds in this arena: performance coaches Jon Skidmore and Kjell Fajèus, and sports psychologist Richard Gordin.
Figure 1: Brain diagram. Illustration by jonskidmore.com
Physiological responses and the brain
According to Jon Skidmore, a performance coach and adjunct professor at Brigham Young University, the first major obstacle in approaching the inner game is rooted in the very definition of a “performance.” Rather than labeling it as an event, a performance should be shifted into the context of a process. “If you’re a professional and you’re throwing a gig, that’s an event. There are certain expectations,” says Skidmore. “But if you’re a student learning, you’ve got to look at this as an experience—whether it’s a performance or recital or audition. [This is] part of the process of becoming the musician you want to be.”
Consider how an event is processed in the mind: A portion of the brain called the midbrain constantly scans every experience for danger. It functions as a survival center (see Figure 1). “Once something has been programmed into the midbrain, there’s an automatic response,” says Skidmore. “It is often referred to as the ‘fight, flight, or freeze’ response. Now that works great for a rattlesnake, but it can be devastating in an audition.”
What Skidmore suggests is to shift the focus out of the midbrain and into another area, the prefrontal cortex (see Figure 2). This highly-developed part of the brain assigns meaning and allows for reasoning. By making this change, students can be in control by designing their mindset, rather than reacting by default.
Figure 2: Prefrontal cortex. Illustration by Wikimedia Commons
We hope you enjoyed this excerpt from Ali Snow’s article “Perspectives: Managing performance anxiety.” You can read more by clicking here.
El movimiento, para los niños, es necesario para el aprendizaje. Los cuerpos jóvenes son receptores sensoriales afinados que recopilan información, son curiosos y ansiosos por explorar el mundo que los rodea.1 El niño pequeño se encuentra en un período de sensibilidad para adquirir conciencia kinestésica y sensorial, junto con conciencia de sus propios pensamientos y emociones, que a veces pueden ser abrumadores. El aprendizaje a través del movimiento permite a los niños participar en experiencias alegres e intuitivas que conducen a hábitos de escucha productivos. Este compromiso lúdico mantiene a los estudiantes atentos a sus cuerpos y al mismo tiempo permite que conceptos abstractos como la notación rítmica surjan de experiencias naturales.
El placer de moverse y responder a la música es innato, como se observa en los bebés que bailan moviendo el cuerpo al ritmo de la música incluso antes de poder caminar. Existen fuertes conexiones bidireccionales en el cerebro humano entre nuestro córtex auditivo y el centro de control motor.2 El impulso rítmico es la fuerza motriz de toda la música, y los estudiantes que no desarrollan un fuerte sentido del pulso en las primeras etapas de sus estudios musicales pueden carecer más tarde del fraseo melódico, fluidez e impulso; en resumen, no sonarán musicales.
Sin embargo, para muchos profesores, la forma en que trabajamos con el ritmo es más matemática que musical; los alumnos pueden aprender a “contar”, pero no a sentir realmente el impulso rítmico en sus cuerpos. El énfasis no debe ponerse sólo en la lectura rítmica, sino también en escuchar y responder a patrones rítmicos. Aunque cualquier concepto musical puede experimentarse como un movimiento de todo el cuerpo, es ideal para la interiorización del pulso y la experiencia de contrastar tempi, métricas y patrones rítmicos.
El movimiento no es sólo una forma de “descansar” del aprendizaje, sino que es crucial para el desarrollo del cerebro del niño pequeño.
Los Beneficios del Movimiento Consciente
Cuando la práctica rítmica se combina con un movimiento lento e integrado, y especialmente cuando se utiliza en correlación con la respiración, los beneficios se magnifican. El impacto positivo del movimiento consciente en las habilidades cognitivas, físicas y emocionales ha sido bien documentado en la investigación, con beneficios físicos que incluyen la mejora de la coordinación, la conciencia corporal y la estabilidad postural.
El movimiento consciente también potencia la concentración y la atención, aumenta la memoria y mejora el conjunto de habilidades mentales denominadas “habilidades de la función ejecutiva”, que incluyen la capacidad de planificar, organizar y mantenerse centrado en las tareas mientras se resisten a las distracciones. Aumenta la mielinización entre los dos hemisferios cerebrales, lo que permite un procesamiento integrador en todo el cerebro, y alivia el estrés, lo que se traduce en una mejor escucha, comprensión y retención de conceptos.3
Incluso hay beneficios musicales. El movimiento consciente aumenta el procesamiento auditivo y la capacidad de respuesta, y contribuye al desarrollo del sistema vestibular u oído interno, que interviene no sólo en el equilibrio y la orientación espacial, sino también en el procesamiento del lenguaje y la discriminación de sonidos. Con estas ventajas, el movimiento consciente es especialmente beneficioso para los niños con necesidades especiales, como los que padecen TDAH, trastornos de procesamiento sensorial, ansiedad y autismo.4
Progresión del Desarrollo
En un proceso conocido como “progresión del desarrollo”, los niños utilizan primero los músculos más grandes de su cuerpo, como los brazos y las piernas, antes de desarrollar la fuerza y la destreza de las manos. En las clases de música, la motricidad fina se desarrolla tras una base de movimiento grueso de todo el cuerpo, que puede integrarse con conceptos musicales que mejoran la discriminación auditiva. Los alumnos pueden aprender a interiorizar el pulso mediante movimientos como caminar, balancearse, rebotar, saltar, correr, dar patadas, dar golpecitos con los pies y balancear los brazos al ritmo de una pieza musical.
Escuchar y responder a patrones rítmicos a través del movimiento conduce a la capacidad de traducir los símbolos de la página en ritmos auditivos, es decir, ritmos que son escuchados en la mente. La audación interna de los ritmos nos ayuda a crear música con un fuerte sentido del pulso y la fluidez; un alumno que practica la fijación del tempo “contando” un compás que oye en su mente está audiando. La práctica temprana de la dirección aumenta la audición; los alumnos que dirigen tanto en triple como en doble métrica aprenderán por contraste la “sensación” de estos diferentes patrones métricos. Los alumnos pueden utilizar la motricidad gruesa para dirigir utilizando todo el cuerpo mediante una combinación de movimientos en función de la métrica, que pueden incluir el movimiento de los brazos desde el lateral del cuerpo, a lo ancho a los lados, a la posición de oración y por encima de la cabeza (véase en la figura 1 un ejemplo de movimiento en métrica ternaria).
Desarrollar la Fluidez Rítmica
Los alumnos suelen aprender el concepto de pulso, que puede compararse con los latidos del corazón, antes que el concepto de duración, a menudo empezando con negras y pasando después a blancas. Pero el énfasis en el propio pulso, normalmente a través de las palmas, no incorpora el movimiento hacia o desde el pulso, que es lo que marca la diferencia entre una interpretación metronómica y una rítmica y musical. Como un niño saltando a la cuerda, el pulso sería la cuerda golpeando el suelo, pero el movimiento hacia y desde este pulso se produce en un movimiento circular. La sensación de avanzar hacia el siguiente tiempo fuerte da energía a muchas piezas, como en la música de J.S. Bach.
Un concepto fundamental de la eurítmica Dalcroze es que la fluidez musical se produce al sentir tres partes del compás: anacrusa (preparación), crusa (el compás) y metacrusa (seguimiento). Dalcroze también decía que los tiempos tienen tres cualidades: tiempo, espacio y energía.5 El movimiento es una forma ideal de sentir el espacio entre pulsos porque los alumnos pueden experimentar cómo sus cuerpos deben prepararse, rápida o lentamente, para cada pulso. Como sustituto de las palmas, un “flujo de brazos” ilustra el ciclo de un tiempo dentro de un patrón métrico: los alumnos pueden empezar con los brazos a los lados del cuerpo y levantarlos gradualmente por encima de la cabeza y luego hasta la posición de oración en el centro del corazón durante un compás completo (Vídeo 1; visite pianoinspires.com para ver los vídeos asociados a este artículo).
Equilibrar el peso de todo el cuerpo moviéndose en el espacio y transferir el peso de un lado del cuerpo al otro mientras se camina también enseña a los alumnos sobre el flujo de energía. Los alumnos pueden moverse al ritmo de una actuación improvisada del profesor a tempi rápidos, medios y lentos para experimentar cómo la misma cantidad de energía puede utilizarse para pasos más rápidos o para pasos más largos y lentos. Para añadir variedad con el movimiento integrado, los alumnos pueden utilizar de forma similar un “Guerrero Andante”; con los brazos por encima de la cabeza, pondrían un pie delante del otro con la rodilla doblada en la postura de yoga “Guerrero I” para caminar por la sala mientras escuchan la ejecución de un alumno o de un profesor (Vídeo 2; Figura 2).
Los alumnos que se lanzan directamente a leer nuevas piezas en el teclado sin haber oído y cantado la música antes, es más probable que toquen sin musicalidad, con el mismo énfasis en cada pulso en un ritmo correcto pero metronómico, sin un sentido de dirección hacia adelante. En su lugar, los profesores pueden utilizar las tres etapas de preparar, presentar y reforzar para garantizar que los alumnos tengan un modelo auditivo sólido de cómo debe sonar la pieza, quizás incluso antes de verla en la página. Cuando se les presentan piezas nuevas, los alumnos pueden moverse mientras escuchan la demostración del profesor; en la etapa de refuerzo, pueden moverse mientras escuchan la interpretación de un compañero. Cantar una letra bien escrita mientras se mueven ayuda a reforzar aún más la forma y la fluidez de cada frase.
Alineando la Respiración y el Cuerpo
Los cantantes y los instrumentistas de viento y metal utilizan la respiración como un componente natural e intuitivo de las decisiones de fraseo y forma. Lastimosamente, los pianistas podemos hacer música sin tener en cuenta la respiración en absoluto, lo que significa que a menudo perdemos esta oportunidad de sentir la forma de la frase y la estructura rítmica en nuestro cuerpo desde el principio. Toda respiración puede practicarse en correlación con el movimiento consciente y la práctica rítmica; en el flujo de brazos mencionado anteriormente, por ejemplo, en lugar de cantar, los estudiantes pueden inhalar mientras levantan los brazos en dos negras, y exhalar mientras bajan los brazos en una blanca. Cuando respiramos con atención mientras nos movemos, aprendemos a prestar atención a la respiración, lo que nos permite controlarla mejor en situaciones de actuación en las que los niveles de estrés son elevados.
En relación con el movimiento, los alumnos deben normalmente inhalar para elevar y expandir el cuerpo (como al ponerse de pie o extenderse hacia atrás), y exhalar para bajar, cerrar o mantener la extensión axial. Se pueden utilizar específicamente diferentes tipos de respiración para aumentar o disminuir la energía. Las técnicas que provocan la respuesta parasimpática son apropiadas cuando el nivel de energía de la clase es demasiado alto o cuando los alumnos parecen ansiosos o frustrados. Con la “respiración en globo”, los alumnos pueden imaginar que inflan un globo en el vientre en cada inhalación para conseguir una respiración diafragmática y calmada, quizás mientras se dan golpecitos rítmicos en el vientre. La “respiración de conejito”, por otro lado, aumenta la energía; consiste en inhalar tres veces y, a continuación, exhalar de forma constante por la nariz contando hasta tres (Figura 3). Los alumnos pueden practicar esta respiración mientras dirigen o hacen patrones de golpes en una métrica ternaria.
Movimiento Transversal
Los terapeutas ocupacionales se refieren a la actividad de mover una parte del cuerpo hacia el otro lado del cuerpo como movimiento “transversal” o “cruzando la línea media”. La “línea media” es una línea vertical imaginaria que separa las mitades izquierda y derecha del cuerpo. Los niños que tienen dificultades para cruzar esta línea suelen tener dificultades para leer, escribir y sincronizar las habilidades motoras finas y gruesas. El movimiento transversal refuerza las vías de las células nerviosas que unen ambos lados del cerebro a través del corpus callosum.6 Estos ejercicios, que pueden utilizarse como “pausas cerebrales” a mitad de una lección, son especialmente beneficiosos para la integración cerebral y ayudan a desarrollar la coordinación y la concentración.
Los movimientos físicos solidifican la nueva información en las redes nerviosas.
Los alumnos pueden fluir a través de posturas laterales-cruzadas en una respuesta rítmica a una pieza musical dirigiendo, bailando con pañuelos con un movimiento haciendo la figura del 8, o aplaudiendo con compañeros las canciones como “Hot Cross Buns” o “Pat-a-Cake”. Los alumnos pueden moverse al ritmo de una pieza estando de pie o sentados en “postura del aspersor” (Figura 4) y girando de un lado a otro con las manos sobre los hombros. En la “marcha de la cigüeña” (Figura 5), los alumnos golpean con una mano a la vez la rodilla contraria mientras marchan al compás. En lugar de caminar, los alumnos también pueden practicar la “natación”, en la que dan un paso adelante con un pie y “nadan” con el brazo contrario hacia delante al mismo tiempo. Para facilitar el aprendizaje, los alumnos pueden colocar una calcomanía del mismo color en la mano y el pie opuesto. También pueden utilizarse canciones populares conocidas para vincular el movimiento con el canto; por ejemplo, los alumnos podrían colocarse en “pose de estrella” (Figura 6) con las piernas muy separadas y llevar una mano a la vez hacia la tierra en un giro mientras cantan “Estrellita”.
Estabilidad Postural
Algunas habilidades fundamentales que deben estar presentes para el desarrollo de la motricidad fina son la fuerza y la estabilidad del hombro, el codo y la muñeca. En los músicos, la estabilidad del tronco permite una postura más equilibrada, mayor libertad y amplitud de movimiento en las extremidades, más potencia para el control del sonido y menor riesgo de lesiones. Para reforzar la estabilidad postural mientras cantan una conocida canción popular, los alumnos pueden sentarse en la “postura del barco” (figura 7) con los dedos de los pies apoyados en el suelo para mayor estabilidad, y mover los brazos entrelazados de un lado a otro mientras cantan “Merrily We Roll Along” (vídeo 3). La “postura de la rana” (figura 8), una sentadilla baja, también desarrolla la fuerza del tronco y la estabilidad postural.6 Los alumnos pueden practicar el salto de una posición en cuclillas a una posición de pie; este movimiento podría, por ejemplo, utilizarse para ayudar a los alumnos a sentir los “pulsos grandes” (o macro pasos) en el compás de 6/4 (vídeo 4).
El movimiento no es sólo una forma de “descansar” del aprendizaje, sino que es crucial para el desarrollo del cerebro del niño pequeño. Los movimientos físicos solidifican la nueva información en las redes nerviosas. Si aprovechamos la inclinación natural de nuestros alumnos jóvenes a moverse y responder con curiosidad a la música que escuchan, podemos ayudarles a interiorizar su comprensión del pulso, el gesto rítmico y el flujo musical desde el principio de su estudio de la música. Los beneficios a largo plazo de este enfoque incluyen un mayor disfrute del estudio de la música, así como la capacidad de tocar con facilidad, fluidez y musicalidad.
Si aprovechamos la inclinación natural de nuestros alumnos jóvenes a moverse y responder con curiosidad a la música que escuchan, podemos ayudarles a interiorizar su comprensión del pulso, el gesto rítmico y el flujo musical desde el inicio de su estudio de la música.
NOTES
1 Carla Hannaford, Smart Moves: Why Learning is Not All in Your Head, 2nd ed. (Salt Lake City, UT: Great River Books, 2005), 92.
2 Adriana Barton, Wired for Music: A Search for Health and Joy through the Science of Sound (Berkeley, CA: Greystone Books, 2022), 36.
3 Lesley McAllister, Yoga in the Music Studio (New York: Oxford, 2020).
4 Lisa Flynn, Yoga for Children: 200+ Yoga Poses, Breathing Exercises, and Meditations for Healthier, Happier, More Resilient Children (Avon, MA: Adams Media, 2013), 56.
5 Julia Schnebly-Black and Stephen F. Moore, Rhythm: One on One (Van Nuys, CA: Alfred, 2004).
6 Flynn, Yoga for Children, 32.
7 Dee Hansen and Elaine Bernstorf, “Linking Music Learning to Reading Instruction,” Music Educators Journal 88, no. 5 (March 2002): 21–27.
8 Danielle Bersma and Marjoke Visscher, Yoga Games for Children: Fun and Fitness with Postures, Movements and Breath (Alameda, CA: Hunter House Publications, 2003).
LESLEY MCALLISTER, DMA, NCTM, is Professor of Piano Pedagogy and Director of Keyboard Studies at Baylor University in Waco, Texas. An active writer and clinician, she has published two books on musician wellness: The Balanced Musician and Yoga in the Music Studio.
LESLEY MCALLISTER, DMA, NCTM, es catedrática de Pedagogía del Piano y Directora de Estudios de Teclado en la Universidad Baylor de Waco, Texas. Escritora y conferencista activa, ha publicado dos libros sobre el bienestar de los músicos: The Balanced Musician y Yoga in the Music Studio.
We would like to thank Dominick Cristofori D’Alessandro for this insightful article on collegiate group pianoand motivation. Want to learn more about motivation? Join us on Wednesday, January 24, 2024 at 11am ET for “Determinants of Motivation in World-Class Musicians and Olympic Athletes: Exploring the Front and the Back Side of the Medallion,” a webinar that highlights connections between sports and music research. Learn more and register by clicking here.
Four months ago, if someone had asked me to explain the difference between giving a piano recital and teaching a group piano class, I would have replied with a lengthy answer detailing the unpredictability of live performance versus the necessity of lesson planning. If asked that same question today, my response would be, “The amount of time you spend standing up!”
Throughout the spring 2023 semester, I held a supervised teaching role in two group piano classes at Temple University. My students were undergraduate music majors in their fourth, and final, semester of the secondary group piano curriculum. Initially, my teaching duties included a weekly sight-reading exercise, but my responsibilities gradually increased, and I began teaching the classes in their entirety by midterm. Despite having completed ten piano pedagogy courses throughout my undergraduate and graduate education, no amount of theoretical study could fully prepare me for the experience of teaching my first group piano class. Standing before a dozen students, I quickly realized that teaching is a performance.
Classroom dynamics is arguably the most complex aspect of group piano teaching. It represents all the intricate social interactions in teaching that cannot truly be learned from a textbook. Hypothetical discussions may allow pedagogy students to plan for classroom dynamics, but actual teaching is the only true way for new teachers to experience the phenomenon. Three key components of classroom dynamics that I have noticed throughout my student teaching are real-time feedback from students, the physical environment of the classroom, and the social environment of the classroom.
Real-Time Feedback from Students
During class, group piano students provide teachers a great deal of real-time feedback, which is often communicated silently through body language and facial expressions. Teachers must learn to use this valuable information to improve their lesson plans. For example, perhaps the way you initially present a new concept is met with confused looks from most of the class. First, try to explain it again but in a clearer and more deliberate manner. Successful teachers should always be ready to convey the same lesson in different ways to accommodate various learning styles. For students of different musical backgrounds, simply translating between pitch names, solfège syllables, scale degrees, or intervals can make all the difference. Second, take a moment to pause and give students time to digest and consider the information. It may be helpful to silently count for a few seconds; sense of time is significantly sped up while teaching. Third, ask the class if there are any questions. Some students tend to be reluctant to ask questions. Occasionally encouraging quiet class members to share may convince them to raise their hand. Finally, consider including an activity students particularly enjoy. Even with a busy lesson plan, spending a few extra minutes on a fun activity can greatly increase class morale. It allows students to have a gratifying experience in a course that may be challenging or viewed only as a requirement outside of their major area of study. This activity can be as simple as an online tool that randomly selects keys for a technique review. As long as it works on a skill and students find it enjoyable, it may be worth devoting extra time to it.
We hope you enjoyed this excerpt from Dominick Cristofori D’Alessandro’s article “The Unrecognized Performing Art of Group Piano Teaching.” You can read more by clicking here.
