In his Summer 2023 article “Breaking Out of the House of Corrections,” Craig Sale gave practical advice about how to develop independent learners and motivated students. Here are five tips for providing student-centered feedback from his article. Read the full article at https://pianoinspires.com/article/breaking-out-of-the-house-of-corrections/.
1. When working on technique, provide good models and then ask students about the sounds they will be producing.
“Students can have established goals for how their technical work should sound, feel, and look. When the beginning student is presented with a good model, the feedback on their technique can and should become a collaborative effort. If the student has seen and felt what firm fingertips are…, they can be asked to evaluate their own fingers. This is far more meaningful than having the teacher criticize the weak finger joint.”
2. Before giving feedback, ask the student for their thoughts.
“The student may not be as critical as desired; they might be too hard on themselves; or their area of focus may not really be relevant to the problem at hand. Regardless of these things, the teacher must first address their response—it must be valued and respected. Then, the teacher can add their thoughts, perhaps throwing new ideas into the mix.”
3. Provide a model for constructive evaluation.
“Through the feedback they provide, teachers serve as models of constructive evaluation. For example, instead of saying “Your wrist was far too low. Try it again keeping it higher,” the teacher can say “Did you hear some unevenness during the crossings? That unevenness in rhythm and tone is common during crossings. I wonder if the crossings might be less awkward if you try it keeping your wrist more level.”
4. Let the student show you their progress by offering choices.
“One simple way to begin to break out of this predictable, corrective pattern is to offer choices to the student. “Would you like to play the whole piece or start with a specific section?” “Which practice tempo would you like to start with today?” Simply doing this gives the student a participatory role in the lesson and implies that they know something about how their practice is going.”
5. Create an environment that encourages evaluation through teamwork.
“When a problem presents itself, teacher and student should try to find the solution together. The teacher can use questions that offer options for the student. For example—“What happens if you play it without the pedal?” “What happens when you keep your fingers closer to the keys?” “Let’s try some staccato practice. How does it feel now?” In these situations, the teacher serves as a resource for options to try, not a corrective instructor. It cannot be overemphasized that no feedback of any kind will achieve the desired goal if the student does not demonstrate in the lesson that they can successfully pursue the new goal during the next week’s practice.”
In celebration of Dr. James Lyke and his life, the Frances Clark Center is pleased to share an excerpted interview written by Ronald Chioldi and published in the May 2009 issue of Clavier Companion (Vol. 1, No. 3). Click here to read the full interview.
Jim Lyke, Geoff Haydon, Tony Caramia, and Reid Alexander at the MTNA National Conference in Denver; Colorado, in 2008.
An Interview with James Lyke
When I attended Jim Lyke’s piano pedagogy classes in 1990 at the University of Illinois his reputation as a leader in the field of group piano and pedagogy was well established, but I somehow didn’t quite understand and appreciate the importance of this energetic, restless man. Always focused on the next big project, this unassuming professor consistently displayed warmth and consideration for his students.
Yet, it is only through time, as I am now in the middle of my career, that I have come to realize the enormity of his contributions to the field of piano pedagogy — accomplishments that include a legacy of prominent students, the establishment of The National Conference on Piano Pedagogy, well-known classroom and duet publications, and his four decades of leadership, stewardship, and tireless devotion to group piano teaching and piano pedagogy.
At the age of 75 and with the 30th anniversary of The National Conference on Piano Pedagogy around the corner, Jim Lyke’s life has come full circle. I recently sat down with him in his New York City apartment to reflect on a remarkable career.
James Lyke through the years.
Honoring James Lyke
Co-founder of the National Conference on Piano Pedagogy
The 2009 NCKP honors James Lyke with its Lifetime Achievement Award. Thirty years ago he co-founded the National Conference on Piano Pedagogy in collaboration with Richard Chronister. Dr. Lyke’s career is intimately associated with the University of Illinois where he taught from 1959 to 1993. At Illinois he was chair of the Group Piano and Piano Pedagogy Division, and under his leadership the MM degree in piano pedagogy and the Piano Laboratory Program for children were established. In 1993, Dr. Lyke accepted a position at Georgia State University where he was appointed Director of Graduate Studies for the School of Music and was coordinator of the piano pedagogy program. He is well-known for his book Creative Piano Teaching and his texts for group piano instruction, Keyboard Musicianship, Keyboard Fundamentals, and Ensemble Music for Group Piano.
The National Conference on Keyboard Pedagogy Lifetime Achievement Award is presented on behalf of the Frances Clark Center to an individual who has made substantial and enduring contributions to the field of piano pedagogy over a lifelong career. It was awarded to Nelita True in 2005, and posthumously to Richard Chronister in 2001. In 2009, it will be awarded to James Lyke. Between 1979 and 1994, the National Conference on Piano Pedagogy recognized Louise Bianchi, Frances Clark, Guy Duckworth, William Gillock, Marguerite Miller, Lynn Freeman Olson, and Robert Pace with Lifetime Achievement Awards.
Jim Lyke with Richard Chronister at the 1980 National Conference on Piano Pedagogy at The University of Illinois.
The interview
Tell me about your formative years. How did music make its way into your life?
I started piano and drum lessons at the age of 9 in the small town of Newark Valley, New York. Later, I played piano in the orchestra and percussion in the band. I also sang in the chorus and even had a brief stint as a “boy soprano,” my big hit being Schubert’s Ave Maria. In the middle of my junior year we moved to Elmira, New York — a big city compared to Newark Valley! Again I was in the band, chorus, and orchestra and even played percussion in the Elmira Symphony. In Elmira I had an excellent piano teacher by the name of Mildred Schoemaker who was coaching with a teacher at the Eastman School of Music.
Betty Henry was another central person at this time in my life. She was an inspiring choral director who trained at Fredonia State Teachers College, now SUNY Fredonia. She always let me practice on a fine Steinway grand in the auditorium after school hours. On the weekends I played piano in a dance band at the YMCA and adored the music by Cole Porter, Richard Rodgers, and others. After graduating from high school I followed in my choral teacher’s footsteps and attended Fredonia. The piano instruction was excellent, but I thought I would eventually teach choir or band in the public schools. At Fredonia I became very interested in theater and was active in the drama club. It was the best start in life anybody could ever have.
What happened after undergraduate school?
After graduation I volunteered for the draft, as the Korean War was raging. After basic training I was luckily “tagged” to go to Alaska with a music-loving chaplain. He wanted a trained musician to go with him to Alaska, so I spent my army years directing choirs at the Post Chapel and working with children in the Sunday school program. There were many wonderful musicians on the base and we performed works like Menotti’s Amahl and the Night Visitors and toured a USO production of Brigadoon. I also played with a dance band on the base, performing at the officer’s club every weekend and in clubs in Anchorage. After I was discharged I took a job with the Fort Richardson Schools (Alaska), saving money to attend graduate school. I taught kindergarten through the eighth grade — classroom music, general music, chorus, and band. On weekends I was still directing choirs at the post chapel and playing in dance bands. I also joined the Anchorage Community Chorus and participated in Robert Shaw Festivals for two summers. He was a stunning musician.
I know that Robert Pace has been an important person in your life. Can you tell me about Columbia University and Robert Pace?
After four years in Alaska I came back to New York and entered the Teachers College of Columbia University, thinking I’d probably wind up being a choral director. One of the first people I encountered was Robert Pace, and I took several of his pedagogy courses. Observing his work with children in groups was a revelation to me. These children not only played pieces wonderfully, but also were interacting with one another and actually learning how music was put together. They were phenomenal. These youngsters took dictation, improvised, sight-read, harmonized melodies, etc. I was bowled over and thought, “This is the way to teach! I can do this!” I finally knew what I wanted to devote my life to — group teaching and piano pedagogy. It was the unification of so many musical elements that impressed me. Robert Pace changed my life.
The late 1950s was a marvelous time to be at Teachers College with Dr. Pace. Class piano teaching jobs were beginning to open up at colleges and universities all over the country, and directors of music schools were hiring well-trained group piano teachers. Dr. Pace was “the” person to study with. He was a real pioneer.
The University of Illinois Group Piano Faculty c. 1970. From left to right: Jim Lyke, Gail Berenson, Jean Marshall, and Carole Lesniak.
When did you find your way to the University of Illinois?
It was 1959 and I was hired right out of a master’s program at the age of 26. I had a wonderful director, Duane Branigan, who said to me, “Jim, this is a good place to grow, I want you to develop a group piano program the way you think it should be done.” So gradually I developed a four-semester sequence of piano classes for music majors, a two-semester course for non-music majors, an advanced group class for piano majors, a two-semester sequence in jazz piano, two piano pedagogy courses for undergraduates, and two piano pedagogy courses for graduate students. I taught pedagogy courses in the sixties and seventies and around 1980 another movement was happening, which was the piano pedagogy degree. I thought, “Illinois must have this,” so I developed an MM in Piano Pedagogy and incorporated the classes into the degree. I also established a teacher-training component of the degree, which consisted of youngsters from the community taking lessons from our piano pedagogy majors. Incidentally, out of the curriculum in the group piano and the pedagogy classes came the idea to develop texts. My first edition of Keyboard Musicianship, Books 1 and 2, was published in 1969 and a pedagogy text, Creative Piano Teaching, followed in 1977. Happily, they are still on the market in revised editions. I also published a text for adult beginners called Keyboard Fundamentals.
At our peak at the University of Illinois, we had four full-time Group Piano and Piano Pedagogy faculty and five graduate assistants. Our school had developed a good reputation in teacher training, and the graduate assistants we trained went on to achieve phenomenal things in universities and successful studios across the country.
You have mentored and taught some of today’s leaders in the field of group piano and piano pedagogy. Could you discuss some of these people?
I had terrific students at Illinois, including E.L. Lancaster, Robert Vandall, Reid Alexander, and Ron Elliston. I also hired wonderful faculty members such as Gail Berenson and Tony Caramia. Gail was fresh out of Northwestern and is, of course, now the president of MTNA. I found Tony Caramia in Fredonia, New York, of all places, as I was doing a workshop. I instigated the hiring of him at the University of Illinois in 1975 and I just knew Tony would do great things in the field. It was sad to lose him to Eastman, because he and I had a wonderful fifteen-year piano partnership as duettists and as a two-piano team. Reid Alexander was a student of mine and I eventually hired him to be a part of the pedagogy faculty. Reid took over the Piano Pedagogy program at the University of Illinois and is a prolific publisher and presenter. It is a thrill going to MTNA conventions and seeing how great my former students are doing.
Standing, left to right: Jim Lyke, Richard Chronister; Elvina Truman Pearce, Marienne Uszler, Tyler Tom. Seated: Martha Hilley, Stewart Gordon.
People who know you know how supportive you are of your students and colleagues. You also have the ability to notice talents in people that they may not notice in themselves. Where do these qualities come from?
Being supportive of my students was easy. I was just crazy about the students. They were everything to me and I always considered them to be the best thing about teaching in a university. I felt that it was my duty to help them find good positions after graduation, and I was always friendly with them throughout their studies. Some faculty members believe you shouldn’t get too close to your students. I don’t agree with that thinking.
It’s difficult to explain the other quality. I guess I am good at telling people what they should do! Seriously, I think some people don’t realize what they have in them. For example, when Tony Caramia came to Illinois I knew right away, “this guy’s going to really hit it big.” It was fun to be a part of that and I introduced him to workshop opportunities. I should mention that I spent 33 wonderful years at the University of Illinois.
At the age of 60 I took an early retirement and accepted a professorship at Georgia State University in Atlanta. It was a new challenge and a chance to start all over again. There I met Geoff Haydon. Here’s another guy, I thought, “he’s so talented, he doesn’t even know what he has.” He is a multi-talented person — a classical and jazz pianist, and a whiz at technology. At my urging he started arranging and composing, and we teamed up on many publications of two-piano and duet material for Warner Bros. Music and did a number of workshops in Europe and in the United States.
Read the complete interview, “Reflections on A Remarkable Career” from Clavier Companion (May 2009), using the link below!
In the Summer 2023 Piano Magazine issue, Fernanda Nieto posed a question about mindfulness in the piano studio: how do we help our students deal with the stresses in piano lessons but also in everyday life? Enjoy this excerpt from her article, and consider how you can help your students manage the many stresses in their lives. Read the full article at https://pianoinspires.com/article/mindfulness-in-the-piano-lesson-where-do-we-start/.
“Young people today are experiencing increasing levels of stress and anxiety, and piano students are not immune to this reality. At all levels, students rely on us for quality piano instruction, emotional support, mentorship, and guidance. What tools can we utilize during lessons to enhance our students’ well-being and emotional health? How can we incorporate these practices without compromising time management and our teaching goals?
While mindfulness can be helpful at any point during our lessons, one approach is to keep its practice consistent within the lesson structure. By practicing breathing exercises at the start of our lessons, we give our minds an opportunity to leave distractions behind. After I welcome my students, I often ask, “How would you like to breathe today?” Utilizing visual aids, I demonstrate a couple of options so that they can see these exercises in action. Modeling breathing and practicing it with my students allows them to feel comfortable with mindfulness. It also gives both of us the opportunity to ease into a calmer lesson environment.”
We would like to thank Sheryl Iott for collaboration on this post. We encourage you to watch Sheryl’s archived webinar titled, “Music Cognition: Patterns, Predictions and Practice,” by clicking here. Want to watch, but not yet a subscriber? Subscribe now for only $7.99/mo or $36/year.
1.Practice doesn’t make perfect.
Not even perfect practice! What practice does is establish a series of habits—motions in response to thoughts (or the lack thereof). Mindful practice and observation of the results of intentional effort can create a faster and more secure learning pathway.
2. Practice doesn’t require playing.
In fact, a lot of really effective practice happens using various mental practice/rehearsal strategies. Many might be familiar with mental practice for memorization—mental practice is one of the best ways to learn, check, and reinforce our memory—but mental practice can also be implemented in other ways. For example, in between repetitions of something that you are drilling, you might plan/imagine the passage and your actions, execute, and then observe and evaluate what you did, how it felt, and what its result was. Mental imagery practice actually reinforces many components of learning that contribute to performance security as well as the flexibility required to adapt on the spot to a different instrument, changes in acoustics based on the size or seating of an audience, and subtle differences in interpretation from collaborators during performance.
3. Music reading is important, so you probably shouldn’t teach it at the first lesson.
Unless a student has had experience reading music already, first lessons are better spent doing things like exploring the instrument, learning rote songs, playing call and response rhythms, and honing a relaxed and appropriate physical approach. A solid musical foundation, based in the development of audiation, lays important groundwork for music reading, just like a rich and varied speaking vocabulary helps young people learn to read.
4. The right side of your brain does more than “run” the left side of your body, and vice versa.
Everyone knows that much of the motor signaling to your body comes from the opposite hemisphere of the brain. But both hemispheres of the brain are always active in any activity, no matter what you are doing. There are also various roles played by each hemisphere, such as the left side of the brain’s preference for processing isolated pieces of information, narrow/focused attention, and prioritizing the expected, including quick selection of what seems to be the best solution based on what it already knows, compared with the right side of the brain, which deals better with the sense of the whole (the “Gestalt”), breadth/flexibility of attention, seeing things within their context, embracing of new experiences, and remembering/distinguishing between various things that may be quite closely related.
There are even differences in musical processing, with the left brain more effectively processing basic/metrical rhythms, and focusing on the sequencing of time, whereas the right brain does better with melody/tone/timbre/pitch processing, more complex rhythms, harmony and intonation.
Since we want to involve all of these components in music learning, and add to that the importance of a firm neural network for hands-together playing for pianists, hands-together learning alternating with hands-separate practice is crucial at even the earliest stages of learning new repertoire. We can go about this through careful structuring of various hands-together practice, such as playing one hand while tapping the rhythm of the other; scaffolding practice where we only play the downbeat or strong beats of one hand against the complete other part; or other chunking strategies such as playing blocked chords instead of patterned accompaniments, etc.
5. Musicians can, and do, multitask.
While we are playing, whether we are reading a new piece or playing something familiar, we take in or remember the next chunk of information and send that information to the part of our brain that triggers the physical response. As we are executing that physical response, our brain is processing the next chunk of information, ideally while our sensory inputs are analyzing the result of our physical execution. Since each of these components utilizes a different cognitive “system,” we are, in fact, multitasking. What this means for us in practice is that the larger and more coherent our “chunks” are, and the more reliably our physical responses are programmed in response to those chunks through mindful and observant practice, the better each of those systems will work in coordination with each other.
Join us for our first webinar of the season titled “The Life Saving Work of Teachers,” presented by Marvin Blickenstaff on Wednesday, September 27, 2023 at 11:00am EDT. Click here to register!
Jane Magrath (author) and Marvin Blickenstaff
Naegeli van Bergen Metcalf was my first college piano teacher and a beloved mentor. She left Wesleyan College after my freshman year to get married, and we stayed in touch throughout the remainder of her teaching years. So, during my junior year, she was in touch and encouraged me to go to the University of North Carolina at Chapel Hill to study with her good friend from Indiana University for my master’s degree. He was a new young teacher, Marvin Blickenstaff, who had just joined the faculty there. We didn’t have the internet or publicity booklets from the department, but everything I heard sounded wonderful.
My audition date finally arrived in December 1971. The scuttlebutt had alerted me to the fact that noted pianist and author William S. Newman was on the musicology/piano faculty there and that I would need to play by ear for him in my interview and that Marvin Blickenstaff was debonair and handsome, and also a very kind individual. My interest was piqued. In preparation for the audition on that day, I warmed up on the stage of Hill Hall, working simultaneously to bolster my confidence. During some moments of concentrated warm up, the sought-after teacher himself walked briskly down the center aisle toward me and introduced himself. Yes, it was Marvin Blickenstaff, kind, affirming and encouraging, but absolutely nothing like I expected from the person I requested to be my next teacher. He turned out to be a pivotal piano instructor for me!
Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk.
That day Mr. Blickenstaff and the other two male faculty, all three young and engaging, made me feel quite welcome, and Dr. Newman asked me to play “Home on the Range” in A-flat during my graduate school interview. Thus began a long and life-changing relationship with Mr. Blickenstaff and Dr. Newman, in the fall of 1972.
As an applied piano student between fall 1972 and spring of 1974, my lessons were filled with dedicated and inspired teaching, concern for my total well-being as well as my playing, laughter, a lot of detailed teaching, and a focus on listening, technique, and tone. At that juncture in time, Marvin was a young graduate of the Indiana University School of Music. My first semester repertoire was huge, I seem to remember it consisting of two full recital programs. All I knew was that it was a lot, and was I ever motivated. He held us to the highest artistic standards, and we rose to meet the bar he set.
He was motivated too, along with us. He taught long hours, and numerous extra lessons. We reveled in his discussions of Brahms’ piano music and Beethoven sonatas. His students became his family, and he and his wife, Sara Faye, treated us to dinners and parties in their lovely home. Our studio bonded, and many of us have remained close to this day, even after we spread all over the country.The Blickenstaffs lived close to campus, and it worked well for Marvin to ride his bicycle to school and back home each day, even on those dark nights after recitals and his late-night practicing. He was committed to his health, but even more committed to his students. For much of the time I knew him, the hour of his studio class was on “Friday at 4” and the meeting was set in stone, the highlight of our piano weeks. We loved playing for each other and grew to support our colleagues unconditionally.
An important message that I received from Marvin and his two equally engaging piano faculty colleagues was the importance of collegiality among a piano faculty. He, Michael Zenge, and Francis Whang were mutually supportive of each others’ playing and of all students within the piano department. It made for a strong and healthy model of collegial support among faculty members at a college or university, that permeated all three of the studios and the students’ philosophies as they eventually moved on and grew into faculty members and opened independent piano studios.
Marvin’s faculty recitals were “the” event of the season for his students and the piano community in Chapel Hill at large. Marvin walked briskly onto stage in a recital, smiling and greeting everyone warmly. His playing had them in the palm of his hands at the end of the first two lines of whatever was programmed. Listening to him play, one lost track of time in his beautiful and gripping performances! As you probably know by now, he still has the movie-star-like persona and presence.
In Chapel Hill, North Carolina I also had the chance to listen on occasion to his conversations with his inspiring colleagues Lynn Freeman Olson and Louise Bianchi as they wrote their legendary piano method Music Pathways.
Marvin Blickenstaff
I heard about the reading approach they used, their counting system, the off-the-bench activities they created for the children. What a distinguished trio of educators creating educational materials during their formative years! Thank you, Marvin, for sharing so much of yourself with all of us as students.
That was over forty years ago! Marvin moved away from Chapel Hill and continued to teach at Goshen College in Indiana. As that transition occurred, I came to know him as a quintessential workshop presenter. In essence, he was evolving into a national teacher of teachers, inspiring hundreds in his workshops—and there, too, he provided a strong influence on so many of us. It was his habit to stay in close touch with all of us, talking by phone, inspiring us, reminding us to be dedicated and work hard—as he always set the highest bar for all of us, all the while teaching a full load. Each year around Christmas, he would send a multi-page, inter-generational studio newsletter catching everyone up on his students and our colleagues’ “comings and goings.” It became a highlight of the season, catching up on the families, performances, locales, high and low points, and pulling us together still again as dedicated young professionals, now striving to make a difference in our own students’ lives. One could never have asked for a better role model.
As a teacher to this day, Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk. His teaching, mentorship, and love for his students, colleagues, and for teachers throughout the profession is legendary. Dare I say thousands of teachers and students have been touched in the most positive ways by his kindness, thoughtfulness, talent, and selfless giving. Thank you, dear Marvin for being you and for nurturing the largest circle of friends, teachers, students, and colleagues imaginable throughout this country and all over the world! Thank you for always caring. And by the way, I imagine you probably still ride your bike daily, and I know you still practice late at night.
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 invite you to make a donation in honor of Marvin’s 88th birthday (May 19).
The Frances Clark Center is pleased to announce the appointment of Dr. Yeeseon Kwon as Director of Institutional Engagement. Dr. Kwon will be focused on our Young Professionals, mentorship, and opportunities for collaboration with institutions across the U.S. and internationally.
Dr. Yeeseon Kwon is Associate Professor in the Chicago College of Performing Arts at Roosevelt University. She is a recipient of the 2023 Frances Clark Center for Keyboard Pedagogy Outstanding Service Recognition Award.
Specializing in teaching adult students and instructional technology applications, she provides adult group and applied piano instruction in both remote and in-person modalities at the Northwestern University Music Academy. Among the numerous collaborative experiences in music industry and publishing, she was formerly an editor of keyboard music and collaborated with various composers, editing numerous educational piano music publications. Dr. Kwon is in demand as an adjudicator, workshop clinician, conference, and masterclass presenter, including performance lectures on developing the technical and musical artistry of Romantic pianism, innovative uses of technology in group piano pedagogy, and best practices in adult learning pedagogy. Her international performances include solo, duo piano, and collaborative engagements.
Yeeseon Kwon serves on the NCKP Teaching Adults Steering Committee and is a Course Contributor for A Pianist’s Guide to Teaching in Groups, from The Frances Clark Center Teacher Education Courses. She is the Column Editor for Books, Materials, and Music of the Piano Magazine, and Vice President of The College Music Society.
“I am deeply honored to serve as Director of Institutional Engagement at the Frances Clark Center. Supporting and expanding mentorship opportunities for Young Professionals and advancing partnerships with higher education are exciting initiatives that will strengthen and develop new teacher engagement.” –Yeeseon Kwon
We are pleased to share this conversation with Olga Kern about her vibrant career and mission as a musician, written by Sara Ernst. This conversation originally appeared in the Summer 2023 issue of Piano Magazine. If you would like to explore other articles from Piano Magazine, please subscribe now for only $7.99/mo or $36/yr.
Olga Kern
Concert pianist Olga Kern has been a regular presence on the international stage since her winning of the Eleventh Cliburn International Piano Competition in 2001,1 and she will be welcomed as concert artist at NCKP: The Piano Conference on July 26–29, 2023, in Lombard, Illinois. Artistic intensity, passionate expression, and technical prowess pervade her playing. At the Cliburn, this resulted in multiple standing ovations and an affect tagged “Olgamania” by newspapers in Dallas/Fort Worth. Her jubilant acceptance of this award followed four intense rounds of competition, which featured her memorable performances of the Brahms Variations on a Theme by Paganini, Barber Sonata for Piano, and Rachmaninoff Concerto No. 3.
In the two decades since her catapult into the highest strata of the profession, Kern has navigated a rigorous schedule, maintaining a fervent commitment to concertizing. When I had the pleasure of speaking with Kern in a phone interview on November 22, 2022, she expressed her gratitude in being a pianist: “It’s a pure joy. Every time I’m on stage, it just gives me happiness. When I finish, I know that I shared what I love so much. They [the audience] have the same response; they are so enthusiastic, they’re so happy. I’m so lucky to have this profession; I love it.”
A notable feature of Kern’s performances is her immediate engagement with the audience—her sparkling eyes meet the crowd as she greets them with an infectious smile. It is remarkable how this effusive energy reached me through the phone. She projects herself as an individual who has found a powerful purpose in her vocation, and this gives her a boundless zeal, determination, and optimism in the future. When I asked her about this disposition, she expressed a more sanguine approach to life as a musician:
Being an artist and musician, there are always doubts about everything—it’s normal for all of us. While we have these jobs, we are growing and learning how we can do better, all of our lives. We need to stay positive. Life is very difficult, especially knowing what’s happening right now in the world…I want to express myself through music in a way that is always a positive experience. Because the audience—either listening to me or talking to me afterwards—needs to feel a good energy.
Furthermore, she shared her deeply held belief in the power of music to heal. Kern explained to me how she was inspired by a pianist in the Cliburn International Amateur Competition who was fighting a rare disease and how he used music to delay the progress of the disease. She also described correspondence from a faithful audience member who declared the healing effects of her performances. Kern furthered her philosophical statement: “This is what music does, it heals our souls…I understand how important and how positive music actually is for all of us, and that’s why it just feels natural to be positive.”
It is probably not surprising to music lovers, but truly remarkable how her energy continues to be drawn from the artform itself. She admitted to me that her demanding schedule is sustained by her love of playing: “When I’m just spending time with my instrument by myself, that’s my happiest time.” She furthered this by stating her focus is purely expressive, which I believe is a product of her engrained technical command. Kern said, “It is so natural somehow, for me, that I am not thinking about difficulties anymore. I think about ideas, what I want to achieve with the whole thing, as an interpretation.” It begs the question of how she became such a masterful pianist. Her response was surprisingly simple, that her passion for the instrument “explains everything.” Certainly, this is not to underestimate the decades devoted to growth and practice. It is clear what fuels Kern, and piano is intertwined with her identity: “I was at the piano, mostly all my life. How I remember myself was at the piano, from five years old.”
While Olga Kern has Russian heritage, she also has become a US citizen, residing currently in New York City. In 2017, she received the Ellis Island Medal of Honor, which celebrates Americans, naturalized and native-born, “who are selflessly working for the betterment of our country.”2 Recipients include past presidents, religious figures, business leaders, and Nobel Prize laureates. Kern attended the ceremony, which featured fireworks next to the Statue of Liberty, on the arm of her son Vladislav. Upon receipt of this commendation, she wrote: “The U.S.A. is my beloved adopted country and I will continue to make this country proud!”3 With last year’s outbreak of the war in Ukraine with Russia, Kern released a statement denouncing war:
As a classical music pianist and artist, I embrace beauty. I seek to share with audiences the powerful emotions that make music so magical, and I try to make people feel that beauty and be part of it…Such a mindset is entirely incompatible with any form of aggression or violence. And even more so with the horrors of war…. It’s heartbreaking to witness the tragedy that is unfolding before our very eyes in Ukraine. It’s ugly and brutal beyond words…Please stop this madness! Please say NO to war!4
Her eloquent appeal also reflects the precarious situation of Russians, many of whom, like her, have strong ties to Ukraine—the world is witnessing a war at the hands of a dangerous dictator who shows little signs of yielding.
Kern was born in Russia under the name of Pushechnikova into a profoundly musical household. Her mother, father, and brother all played piano—her mother a piano teacher and father a pianist in the Bolshoi Theater Orchestra. Her grandfather was a prominent professor of oboe at the Gnessin School of Music.5 Her great-grandmother was an opera singer at the Kharkiv Opera and had the honor of singing with Rachmaninoff at the piano. Kern’s musical lineage extends deeper: her great-great grandmother was also a music teacher and friend of Tchaikovsky, which is documented through letters and photographs. In the documentary that showcases the 2001 Cliburn Competition,6 Kern shares her grandmother’s first edition of Rachmaninoff’s third concerto she was soon to perform. The camera captures a touching moment of tender pride, as she carefully pages through this timeworn, but prized possession.
As a young pianist, Kern heard two remarkable recitals in Moscow: Vladmir Horowitz in the historically significant 1986 concert, and Sviatoslav Richter in one of his impromptu, candlelight recitals. She formerly described these two experiences:
“I will never forget [Horowitz’s] concert. That sound range, what he was doing with that piano… what the gradations were, what the colors were. I’ll never forget the fortissimo he made; it was so warm and nice. It was just all over each of us, and it was a full hall; people were just hanging out of the balcony…[Richter] played the Brahms Paganini Variations. When he started I thought that my hair was blown, just like a huge hurricane came and made everyone suddenly alive. That kind of sound, incredible sensibility, and ability to do anything on the piano. Those geniuses for me were really inspiring.”7
Her mother, who initially encouraged her study of Russian ballet, was her first piano teacher; Kern exclaimed that from two or three years old, she knew that piano (not ballet!) was her life’s calling.8 At the Central Music School in Moscow, young Olga studied with highly regarded pedagogue Evgeny Timakin, known for his exercises that develop a comprehensive technical foundation. Her later training was with Sergei Dorensky at the Moscow Conservatory and Boris Petrushansky in Imola, Italy.
Kern’s first win in the competition circuit was at age 11, followed by the Rachmaninoff International Piano Competition at age 17; in total, she placed in the top rankings at more than ten competitions. In the Cliburn Competition of 1997, Kern appeared as Olga Pushechnikova, although she did not advance past the preliminary round. In our interview, Kern reflected on the importance of competing, especially the motivation found with undesirable results. One can only imagine that she draws upon her own experience when she encourages her students:
They need to compete, and it’s not always the right result for them. I always tell them not to be depressed, just to go forward and learn. It’s that attitude—you are actually getting stronger. From that experience, they know what they can do better. It’s just part of your life, and without bumps, you will not get higher and better. If everything will be perfect, then there will be no stimulation to do better. You need to really go down sometimes to feel that: No, I want to do something so special that people will hear about me, I am that talented, and that’s how much I love music. These moments, they’re actually great… they’re the super exciting moments in your life.
In the years between Cliburn appearances, life changed for the newly named Olga Kern (using her mother’s maiden name), now with son Vladislav; her toddler remained in Russia in the loving care of her parents while she travelled to Texas, to return with a gold medal in hand.
Kern’s career continues to be filled with an intense schedule of performances and appearances. As many women musicians have faced, performing reviews include discussion of her appearance, attire and beauty, with one writer even making an astoundingly shocking conclusion that her pianistic ability makes gender “irrelevant.”9 Nevertheless, Kern proceeds with lighthearted grace and personal style, deflecting questions about gender back to the artform and by collaborating with fashion designers to craft her wardrobe. In 2016, she reflected, “Whilst I was at the school and the conservatory, it was not about being a man or a woman that fed my love for the instrument… If you love what you do, everything is equal.”10 She then quipped that the only difficulty results from the performance gowns: “But being a woman concert pianist comes with its own challenges. My suitcase is heavier and bigger than that of any man in my job.”
Today, her career is multi-faceted and includes teacher, collaborator, adjudicator, director, and philanthropist. In 2016, she became the Artistic Director of the triennial Olga Kern International Piano Competition in New Mexico, in 2017 she joined the piano faculty at the Manhattan School of Music, and in 2019 she began directing chamber music for the Virginia Arts Festival. Her artistic collaborations have included concerts with conductor Leonard Slatkin and singer Renée Fleming. Her most recent CD release, in 2022, was of the Brahms and Shostakovich quintets with the Dalí quartet. More performances are planned with this string quartet, including the quintet by Rachmaninoff’s teacher Sergei Taneyev. Additionally in 2023, Kern will undertake the Herculean task of performing Rachmaninoff’s four piano concerti and Rhapsody on a Theme of Paganini. She will perform all five works in two evenings at many venues, a project she initially tackled in South Africa with her brother Vladimir as conductor. She was inspired to revisit this as a celebration of Rachmaninoff, 150 years since his birth and eighty since his death.
She has acknowledged in the past how it was initially difficult to find the ideal balance in her life between performing, traveling, and her family. Reflecting on her post-Cliburn engagements, she summarized:
If you don’t have the balance, this busy travel and concert life can really wear you out very quickly…[After Cliburn,] I was just teaching myself and learning how I can do it correctly. I must say it took me a couple of years…It was hard [but] right now, it’s so much easier for me. People around me saying, “Wow, you’re so organized! You know exactly what hour you need to do practice, rest, interviews, emails.”… Of course, it’s never enough time in one day!11
For her, balance of career and family is essential, professing in 2009: “Without playing the piano I cannot live, and without my family I cannot live.”12 Kern’s son Vladislav is also a pianist, and Olga insists that his desire came from within himself. As a child, he even requested to study at the same schools as she. Vladislav is also one of her musical collaborators, as far back as 2008. In that year, the fiftieth anniversary of Van Cliburn’s win at the Tchaikovsky Competition, mother and son attended the celebratory event and performed. Olga reminisced in 2012 about this special moment:
“My son was eight and a half at the time. We did several pieces by Ravel, Mother Goose Suite, and Rachmaninoff’s Italian Polka. Van Cliburn did not know what we were going to do, it was a surprise. And when we started playing Ravel, he burst into tears, the tears of joy. It turned out that when he was small, he played this music with his mother.13
Vladislav is now an advanced pianist studying at Juilliard School of Music, and mother and son have recently performed Mozart’s Concerto for Two Pianos.
Since joining the faculty of the Manhattan School of Music in 2017, she has taught a small studio of pianists. Along with the rest of the profession, Kern moved her teaching online during the COVID pandemic. Her sentiments about teaching online have been echoed by others: “It was not that easy, but I was happy that I actually found out that I could do it! And then, my students were actually growing and doing things better.” Reflective of her affirming spirit, she summarized the era of online lessons as a “special part of our lives.” Her social media feeds include numerous snapshots into her studio, and these video clips reveal a teacher committed to constructive artistic development. Following the model of her teachers, she believes:
It’s not just a specific hour I need to spend with them, but I just need to give them all the attention they need. And everyone’s different, you know, so you really need to feel their personalities, feel what their fears are, what we really need to do to make them excited about practicing, about working.
Her desire to mentor the next generation—often referred to as her “children”—is palpable. At one point during our interview, she pridefully listed the accomplishments of her students and winners of her competition. In addition, the Kern Foundation “Aspiration” (founded with her brother Vladimir Kern) is another avenue through which she supports upcoming pianists.
The principle of balancing priorities is even significant to her in practice, an approach she instills in her students. Kern referenced Rachmaninoff and his efficient practice schedule of often two hours or less a day. She described how important it is to have structured goals, and how to avoid multiple run-throughs and excessive repetition of difficult sections, both of which stave off fatigue and injury. When I asked her to expand on how to maintain a healthy technique, she responded with important fundamental principles:
For me the very important thing is how you sit at the piano, how you distribute the weight of your body. Because a lot of times I see how young pianists are just using their hands only. This is really wrong, because then of course they will have difficulties, the hands will be tired. First of all, they don’t ever achieve a big, warm sound; it will not happen because they are not using their body. Body weight is so important, and when you are using it together with your hands, everything becomes totally different. Because first of all, you are more relaxed, you are not working that hard, and then you’re producing much bigger sound. At the same time, even if you are playing soft, soft, soft, you also need to use your body weight. It’s not just the finger, you know.
When she guides her students through practice, she focuses on using the mind, breaking down large works into smaller learning goals, and striving for specific sound goals. The practice encouragement she provides her students is simple yet important in our modern world: “It’s just your own time without phones, computers, pure and innocent, just you and your music.”
Before the phone interview with Olga Kern, I fully immersed myself in her recordings and career; I was inspired. After the interview—I was enchanted. She is a force! Her infectious zest for piano motivated me and filled me with gratitude. She is a model of how to learn and grow as a pianist, nurture the potential within oneself, relish the artform for its rejuvenating capabilities, while also championing and supporting those around you. I am waiting with bated breath to hear her solo recital at NCKP 2023.
Sources
1 Stanislav Ioudenitch from Ukraine was a co-winner of the Eleventh Cliburn International Competition in 2001.
2 “Medals of Honor,” Ellis Island Honors Society, accessed January 6, 2023, eihonors.org/medalists.
3 Olga Kern, Facebook post, May 16, 2017. Image taken from Facebook post, July 4, 2019.
4 “A Statement from Olga Kern,” Delos Productions, March 7, 2022, accessed December 8, 2022, delosmusic.com/a-statement- from-olga-kern/.
5 The family lineage of names is the grandfather Ivan Pushechnikov, the great-grandmother Vera Fedorovna Pushechnikova, and the great-great-grandmother Pelageya Safronovna Pushechnikova.
6 Peter Rosen, producer, The Cliburn: Playing on the Edge, PBS broadcast KERA/PBS (Fort Worth, Texas: Van Cliburn Foundation and Peter Rosen Productions, 2001), vimeo.com/519214432, accessed November 17, 2022.
7 Musicale, Interview with Olga Kern, February 18, 2022, youtu.be/_NOV54yfeUI.
8 Ibid.
9 Gil French, “Four Years after Cliburn,” American Record Guide (Washington, United States: Record Guide Publications, August 2005):
10 Robyn Sassen, “Interview with Russian Pianist, Olga Kern, for the JMS,” February 17, 2016, obynsassenmyview.com/2016/02/17/olga-kern-and-the-love-for-music-that-stays/.
11 Musicale, Interview with Olga Kern, February 18, 2022, youtu.be/_NOV54yfeUI.
12 Ann M. Gipson, “From Russia to America: An Interview with Olga Kern,” American Music Teacher. Vol. 58, No. 4 (February 2009): 21.
13 Tatyana Borodina, “Interview with Olga Kern, New York,” Elegant New York (blog), May 8, 2012, accessed December 8, 2022, elegantnewyork.com/interview-with-olga-kern-gold-medal- winner-of-van-cliburn-international-piano-competition/.
George Litterst is a recipient of the 2023 Frances Clark Center Lifetime Achievement Award. His extensive contributions to the field of piano pedagogy are extraordinary and exemplify outstanding dedication to the field of music and piano teaching. The Frances Clark Center Lifetime Achievement Award is the highest honor and is presented on behalf of the Frances Clark Center to individuals who have made substantial and enduring contributions to the field of piano pedagogy and to the work of the Center.
Join us at NCKP 2023: The Piano Conference in Lombard, Illinois for a Gala champagne reception and awards ceremony on Friday, July 28 from 6-8:30pm to celebrate our 2023 Lifetime Achievement Award winners.
Thank you to Evan, Bradan, and Meme for your contributions to this post.
Testimonial by Evan, age 13
I began taking lessons with George four years ago after my brother and I received a piano for Christmas. Throughout these past four years, he has taught me the tips and tricks of the piano, how to play with both hands together, and how to perform more advanced music than I ever thought I could play.
George is a fun teacher and not only teaches me music, but the history and facts about the artist we are learning. He also teaches about the function of the piano itself. He is interested in our lives outside the piano too. We talk about Lego building, 3D printing, school events, and even TV shows.
When the COVID virus struck, George was able to continue teaching us remotely on his apps (MIDI and Classroom Maestro), which helped us to continue our learning during that time.
One of the most memorable moments of our lessons was when George had me record a piece of music, and then he sent my recording to the composer, Paul Sheftel. Then George set up a meeting with Paul over Zoom and we talked about playing his music. It was an exciting moment for me.
George has helped me appreciate music and because of his style of teaching, I want to continue learning.
Testimonial by Bradan, age 11
In four years, George has helped me learn to read music so I can play the piano, and this has also helped me learn how to play xylophone, marimba, and trombone.
He likes talking about other things besides music such as school, band, Legos, and animals. He has taken my brother and I on “field trips” in his house to show us different instruments and has let us play them too. His field trips are always fun.
George asks us to pick a piece of music we would like to learn, and he finds the music for it, which is something I enjoy a lot. George is nice and silly sometimes too; he doesn’t get mad and is patient when we are learning.
I have learned a lot from George over the years and he makes it fun to learn the piano.
Testimonial by Meme
When I was very young, I took piano lessons and loved the experience, but life got very busy for me and I stopped playing at age eleven. I recently retired and I wanted to return to playing the piano, but it had been at least fifty years since my last lesson, so I felt intimidated about this undertaking. George Litterst came into my life and he brought back my appreciation of music and he gave me the confidence to start playing the piano again. Hats off to you, George!
George knew I had some musical background and experience, and he adjusted the level of instruction so I felt comfortable taking lessons again. After hearing me play the piano and listening to some of my concerns about my ability to play pieces after my hand surgery, George taught me techniques to further my finger dexterity and he made me more aware about relaxing my hands so I could enjoy the piano and further develop my skills in playing. He has been very patient and encouraging, and he seems to know when to challenge me. Besides instructing me on music theory, he shows me how to analyze a new piece and different ways to practice to improve my skills. He also shares historical knowledge about composers, music, and the piano.
On top of George’s wealth of musical knowledge and his talent as a pianist, George has worked with a team to develop software to help students learn to play a variety of pieces. He has taught me how to use this program, which has helped me tremendously in furthering my skills in playing the piano.
George is very dedicated to helping others enjoy music and play pieces to the best of their ability. He is thoughtful and adapts his lessons to his students, their interests, and their abilities. His lessons are fun and I look forward to continuing our work to improve my ability as a pianist.
We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center. Together, we will further amplify the meaningful work of our noble profession.
QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
Check out Anna Beth Rucker’s presentation at the NCKP 2023: The Piano Conference online event,How to Choose and Use Sight-Reading Apps to Enhance Student Learning Experience, on June 11, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!
In recent years, sight-reading apps have quickly populated app stores and captured the minds of young learners. Not only are children more adept at using technology than ever before, they are drawn to interactive learning experiences. As teachers, this presents a motivating opportunity; however, effectively incorporating a new software into your studio can be overwhelming. With a tight teaching schedule, a flood of apps to choose from, and a studio of unique students to consider, where do you start? This post will provide a step-by-step guide for successfully incorporating a sight-reading app into your studio.
Step 1: Choose the Right App
The first step is to choose the app that is right for you and your students. To simplify this process, Irem Ozay and I are presenting a session titled, “How to Choose and Use Sight-Reading Apps” at the NCKP 2023 online conference. During the session, we will provide a breakdown of the six most useful sight-reading apps that will include their pros, cons, and features. In just twenty minutes, we will share everything you need to know to make an informed decision in choosing an app that aligns with your teaching goals and studio needs. You can register for the conference here.
Pro tip: If you aren’t able to make our session live, it will be archived until September 10, 2023 on the conference platform.
Step 2: Implement the App
1. Download and Test the App
While the initial steps of choosing and downloading the app may seem obvious, don’t overlook the significance of thoroughly exploring the app yourself. It’s crucial that you develop a complete understanding of the app, such as:
All the settings options
How it sequences lessons or exercises
What the student experience will be while using the app (and therefore what are reasonable expectations of use for the student)
The means of teacher involvement
If there are extra requirements for use (such as a MIDI-enabled keyboard) and how to set those up within and outside of the app
Billing procedures (where applicable)
Conducting thorough due diligence at this stage will make the rest of the implementation steps much easier.
2. Determine How You Will Use It in Your Studio
Next, it’s important to think about the logistics of incorporating the app into your studio. Will your students have a copy at home, or will you only have a copy at your studio? Further, determine when students will be expected to use the app: throughout the week, before lessons, during lessons, or at group classes. If you plan to use it in a group setting, will you need the app downloaded on multiple devices or will students each need to bring their own device? Plan to verify that your students have devices that meet the minimum device requirements for the app, and develop a contingency plan for any students who do not.
Deciding how you plan to use the software within your studio will enable you to make efficient decisions for a quick implementation and to allocate time within your curriculum and lessons that utilizes the app to its full potential.
3. Decide How to Manage Costs
Regardless of the payment structure within the app, you will need to decide how to manage the fees. You may choose to consider it part of your students’ tuition, add it into your yearly studio book fee, or have the parents pay for it directly through the app.
Make sure parents are aware of the fee associated with the app, as well as how adding the app to your instructional plan will add long-term benefits and trackable progress to their child’s piano education.
4. Communicate with Parents
Clear communication with parents and students is the key to maximizing app effectiveness. For parents, make sure they understand the benefit of the sight-reading app and how it will serve to enhance their child’s learning experience. You can do this by explaining how the app integrates into your teaching philosophy and why you have determined it is a beneficial addition to your curriculum. Inform them of the billing information, the expectation of use throughout the week, and a few instructions on how to technically support their child while using the app. You may also provide for them a written version of these instructions, with links to appropriate app support pages for additional technical assistance. Remember to regularly update parents on their child’s progress—many apps make this easy through gamification and milestone settings. And, of course, address any questions or concerns parents may have throughout the process.
5. Communicate with Students
Lastly, dedicate time to familiarize your students with the app and clearly communicate your expectations. While this may initially take time away from other lesson activities, it is absolutely critical students understand the app and your expectations of use in order for them to receive the maximum benefits. The progress they will make will far outweigh the time invested in the initial setup. During this onboarding process, explain how you plan to use the app in their lessons or home practice, how often they are expected to use it, how to navigate the app, and how and when you will be tracking their progress. Encourage them to explore the app and to have fun! Your enthusiasm and support during these early stages will influence their attitude as they adapt to this new learning tool.
If you take the time to implement a sight-reading app into your studio following these steps, you will experience a seamless addition of a powerful new teaching tool in your studio and will be well on your way to seeing the objective, trackable progress sight-reading apps are able to provide. Happy sight reading!
QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
Don’t miss Shuk-Ki Wong’s presentation at NCKP 2023: The Piano Conference online event,Embracing Diversity in Your Studio: A Pedagogical Exploration of Underrepresented Chinese Keyboard Literature, on June 10, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!
1. Only 1.77% of scheduled pieces in concert halls were composed by Asian composers.
Despite efforts to diversify music and concert programming, works of long-deceased white male composers still make up 76.4% in 2021-2022 season programming in concert halls around the globe.1 While there is marginal improvement in the representation of Black and women composers (with 3.39% and 7.7% of the 20,400 works performed respectively), Asian composers only comprise 1.77%––a total of 361 works were presented on stage last year. Such data shows the urgency to accelerate change by actively boosting diversity and inclusion in our studio and programming.
Fig. 1. Total number of scheduled pieces in 2021-2022 concert halls. Data from Equality & Diversity in Global Repertoire, a report published by Donne––Women in Music in 2022.
2. Learning diverse repertoire is an enriching musical experience that sparks creativity and collaboration with students.
As the student population continues to become more diverse, it is critical to support our learners by providing an enriching musical experience that connects students’ upbringing, as well as their rich, unique musical cultures. The perpetual foreign stereotype of Asian Americans has not only caused identity denial in Asian students, but also contributes to the invisibility of such a student body. Being open-minded and accepting of Asian repertoire can transform our studio into a creative space for interactive music activities while embracing diverse cultures. For instance, imitating Asian musical instruments on the piano and experimenting with simple music writing with non-Western notation systems are great ways to (re)introduce the richness and significance of Asian musical cultures to our students.
3. Asian student-musicians may face more barriers in classical music than you think.
The deep-rooted model minority stereotypes of Asian and Asian-identified students create a number of obstacles in music learning. In addition to emotional distress, invalidation of achievements, and conflicts with peers and family members, such misconceptions may also lead to the neglect of musical development and limitations to resource access. For instance, students may be falsely assumed to understand musical concepts faster, come from a background with economic advantage, and face less systemic racism and discrimination.2 An initial step to embracing Asian repertoire is a powerful agent for social change while elevating Asian and Asian-identified students.
4. Diversifying standard repertoire does more beyond connecting minority students.
While we witness the power of introducing refreshing repertoire in the connection and growth in students, such endeavors foster belongingness in our students, especially pianists in the historically marginalized community. All young musicians need a safe musical space that embraces their backgrounds and identities. They also need to see themselves in this deep-seated, white-centric classical music world. Not only can diversifying standard repertoire reaffirm the uniqueness of our diverse students, but also uplift and empower students of color while enabling other learners to recognize the artistic values of musical works beyond tradition.
5. Yes, we really can make a difference in our students!
Never underestimate the impact an inclusive and comprehensive teaching approach can have on our students––it is far beyond just learning new and diverse repertoire. We expose our students to diverse music, equip them necessary skills to navigate this fast-growing multicultural society, and create awareness of diverse cultures while advocating for marginalized populations through our studio. We can and we are making a difference!
QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
“Equality & Diversity in Global Repertoire,” Equality & Diversity in Global Repertoire (Donne, Women in Music, September 2022), https://donne-uk.org/wp-content/uploads/2021/03/Donne-Report-2022.pdf.
Angela Kim and Christine J. Yeh, “Stereotypes of Asian American Students,” Stereotypes of Asian American students (The Educational Resources Information Center, February 2002), https://files.eric.ed.gov/fulltext/ED462510.pdf.
Don’t forget to check out Felipe Calle‘s presentation at NCKP 2023: The Piano Conference,The Piano Works of Jaime Leon: A Pedagogical Approach, on June 11, 2023 from 4:30-4:55PM during our online event. Register now for NCKP 2023!
1. Jaime León was born in 1921 in Cartagena, Colombia, a colonial city on the Caribbean coast.
His father, an executive for an American company, brought the young León and his family to the U.S. León was raised between San Francisco, California, and New Jersey, where he took his first piano lessons. During his early years and young adulthood, he studied at The Juilliard School under the guidance of Carl Friedberg, once a student of Clara Schumann.
Jaime León in 1928.
Carl Friedberg (1872-1955)
Jaime León in 1948.
2. León’s music was influenced by American music from the first half of the twentieth century.
While working at Tin Pan Alley and Broadway in the 1940s, León was fond of the rhythms of other styles such as swing, blues, and boogie-woogie. Moreover, his music developed a deeply lyrical quality inspired by his appreciation of Gershwin’s songs. He started writing music in 1946 when he composed a theme and variations work inspired by Brahms’s Variations on a Theme by Schumann, Opus 23. His output includes many art songs, which are widely regarded as examples of his excellent craftsmanship.
3. León’s career in the US was varied and extensive.
He worked as a freelance repetiteur and conductor of ballet, opera, and music-hall in New York and Texas. His achievements included being the Assistant Conductor of the American Ballet Theater in Washington D.C. where he premiered Duke Ellington’s ballet The River in 1971. In 1948, he assumed the role of Director at the National Conservatory in Colombia, but political unrest forced him to leave the same year.
Jaime León as a conductor in the pit, 1950.
“Blues” from Made in USA , Jaime León
4. León’s piano music remains unpublished and is seldom performed.
Despite his brevity, his output skillfully blends American vernacular and academic languages, influenced by composers such as Gershwin, Copland, Piston, and Cole Porter.
5. The Five Preludes “Made in U.S.A.” were premiered by the dedicatee, Teresa Gomez, the first Afro-Colombian pianist.
Despite confronting racism in the early stages of her career, Gomez has been hailed as one of the most renowned South American pianists and was chosen to play in the last presidential inauguration in July 2022.
We are pleased to share some of our favorite quotes by Frances Clark, the pioneer pianist and educator for whom the organization is named. To read more of Clark’s writing, you can purchase her book, Questions and Answers, by clicking here.
On the Value of Music
“To understand music is to know an entire range of human expression, and to be able to play it means participating in that communication. As much as writing or mathematics, music represents a special form of literacy with its own repertoire of emotional and intellectual content. Perhaps as in no other discipline, to study music is to study a truly universal language, one that illuminates our culture as it connects us with other people and other times. It’s no wonder, then, that the understanding of music and the ability to play it have long been regarded as marks of a well-educated individual, as much as music itself is the mark of civilization. It’s in this context — the pursuit of the best possible education — that a sequential, balanced, comprehensive program of music study belongs.”1
On the Survival of Music
“All that’s new today is that change is occurring faster, the list of activities that compete for a student’s time is longer and family life as we once knew it has changed. But music is tough stuff. Piano students have survived all these changes; piano study has survived all this competition. Piano teachers must be a tough breed, too, for they have survived as well.”2
On the Philosophy of Teaching
“A philosophy of piano pedagogy is the piano teacher’s most valuable possession. And because it is so valuable, we need to take time out at regular intervals to reevaluate it. Occasionally we also need to put it into words. Then, in the privacy of our own studios, we need to ask ourselves, ‘Is that what I demonstrated, what I used, what I lived when I taught today?’ And we need to ask whether we are working with a student who is preparing to play a concerto with an orchestra or with a young beginner, with a student whose musicianship exceeds his technique or one whose technique outruns his musical understanding. With each of these students, and with all the others, do we really live what we say we believe about piano teaching?”3
On Being a Successful Teacher
“If they continue not only to play music they studied with you but to explore other music; if they are part of the musical life of their communities; if they attend concerts; if, when they have children of their own, they encourage them to study piano, not because it’s the thing to do, but because they want their children to have the same musical experience they remember with such pleasure — then I think we can assume, without any reasonable doubt, that you have been a successful teacher.”4
On Teaching Piano Pedagogy
“As piano pedagogy teachers we need to be able to verbalize our philosophy and we need to be able to demonstrate it with beginners, with intermediate students, and with students who are advanced… But being a good model is only half the pedagogy teacher’s job. The other part is equally important. Can we sit back and watch objectively when the student-teacher takes over? Can we give ourselves completely to the observation, refraining from interrupting when things go less smoothly than we could make them go? And in our conference after the observed lesson, can we avoid judgmental evaluation, using instead questions that lead the student-teacher to his own awareness of the strengths and weaknesses of his teaching?”5
Check out Pei-Chen Chen‘s presentation at NCKP 2023: The Piano Conference,It’s Never Too Late – Lived Experiences of Amateur Adult Piano Learners, on June 11, 2023 from 3:00-3:25PM during our online event. Register now for NCKP 2023!
1. They take lessons to fulfill a long held-dream.
Fulfilling a long-held dream is one of the most common motivations for adult piano students (P. J. Jutras, 2006; Kim, 2015; Parker, 2006; Polischuk, 2019; Uszler et al., 1999). Many career-aged adult piano learners delay piano study for different reasons, and they will often wait patiently until their life is ready. Common factors that affect their decision to learn include finding enough time to practice, having the physical space for a piano, and mental readiness.
2. They are self-motivated.
Adult learners are self-motivated and self-directed in their learning. While many young learners have extrinsic pressure and expectations from their parents and others (Fisher, 2010; Polischuk, 2019; Uszler et al., 1999), adults are more intrinsically motivated. Adult piano learners want to improve their piano playing with different goals in mind. Most of their motivations are internal, including the desire for a better quality of life, greater self-confidence, and self-actualization.
3. They like to make conscious and meaningful decisions in their learning.
Career-aged adult piano learners like to learn at their own pace, preferring an individualized curriculum with repertoire that they want to learn. They learn better when the lesson style is customized to fit their needs (MacKeracher, 2004). This means it is important for teachers and students to discuss method books and repertoire choices to create an engaging learning environment (Coutts, 2018; Mizok-Taylor, 2008).
4. They acknowledge the challenges of being an adult learner.
Career-aged adult piano learners acknowledge their mental and physical difficulties while learning and practicing the piano. Feeling mental frustration and discomfort in practice is a common issue for them. However, they are also able to recognize that frustration comes from their own self-judgment. They often hear their own “inner critic,” feel self-conscious, and have negative self-judgments while learning the piano. (Bissell, 1984; Fisher, 2010).
In addition to mental discomfort, career-aged adult piano learners may also experience physical challenges, including feeling a lack of coordination when playing the piano. Many piano educators also believe adults need more time to transfer theoretical knowledge into physical playing energy (Fisher, 2010; Kim, 2015; Polischuk, 2019; Uszler et al., 1999). Hand-eye coordination and the cognitive process of learning to read music are also common challenges adults may experience (Kim, 2015). This lack of coordination can cause career-aged adult piano learners to feel self-conscious and frustrated. The discomfort for adult piano learners is both mental and physical, and often mental aspects will influence physical aspects and vice versa.
5. They feel joy and make meaningful connections between music and life.
Despite the challenges of learning piano, career-aged adult piano learners enjoy playing music and having music in their lives. They find that being able to play music is meaningful and gives them a sense of joy. Sharing music with others and making social connections can also bring them joy. Many educators believe that music is a leisure activity, and adult students enjoy the social opportunity to interact and share music with others (Fisher, 2010; Kronish, 2005; McQueen, 2013; Polischuk, 2019; Uszler et al., 1999).
SOURCES Bissell, P. M. (1984). “Group Keyboard and the Adult Market.” American Music Teacher, 34(1), 12–17.
Coutts, L. (2018). “Selecting Motivating Repertoire for Adult Piano Students: A Transformative Pedagogical Approach.” British Journal of Music Education, 35(3), 285–299. https://doi.org/10.1017/S0265051718000074.
Fisher, C. (2010). “Group Piano and the Adult Hobby Student.” In Teaching Piano in Groups (pp. 189–211). Oxford University Press.
Jutras, P. (2006). “The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students.” Journal of Research in Music Education, 54(2), 97–110. https://doi.org/10.1177/002242940605400202
Kim, K. R., Peter Jutras, Seon Joo. (2015). “Adult perspectives of learning musical instruments”— Kathryn Roulston, Peter Jutras, Seon Joo Kim, 2015. International Journal of Music Education, 33(3). http://journals.sagepub.com/doi/10.1177/0255761415584291
Kronish, N. B. (2005). “Social, cultural, and psychological influences on three promising piano students’ decisions to continue taking piano lessons” [Ph.D., McGill University (Canada)]. http://search.proquest.com/docview/305364045/abstract/173826EAF88C45AEPQ/12
MacKeracher, D. (2004). Making Sense of Adult Learning. University of Toronto Press Incorporated.
McQueen, M. V., Susan Hallam, Andrea Creech, Hilary. (2013). “Different ways of experiencing music-making in later life: Creative music sessions for older learners in East London” – Maria Varvarigou, Susan Hallam, Andrea Creech, Hilary McQueen, 2013. Research Studies in Music Education, 35(1). http://journals.sagepub.com/doi/10.1177/1321103X13478863
Mizok-Taylor, R. J. (2008). “Promoting self-directed learning in adult piano instruction” [D.M.A., West Virginia University]. http://search.proquest.com/docview/304448652/abstract/B327D2A3DC5F4856PQ/1
Parker, E. (2006). Piano Pedagogy: A Practical Approach. Longbow Pub
Polischuk, D. K. (2019). “Teaching Adult Pianists.” In Transformational Piano Teaching (pp. 21– 35). Oxford University. Uszler, M., Gordon, S., & McBride-Smith, S. (1999). “The Adult Student.” In The Well-Tempered Keyboard Teacher (2nd ed. edition, pp. 147–179). Schirmer.
Don’t miss Megan Rich‘s Lightning Talk at NCKP 2023: The Piano Conference,Singing in the Piano Lesson: Zoltán Kodály’s 333 Elementary Exercises in Solfège Singing, on July 26, 2023 from 4:00-4:50PM during our in-person event. Register now for NCKP 2023!
1. Sing!
Zoltan Kodály said that “To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.”1 To develop singing and reading, Kodály wrote a book of sequential solfege exercises titled 333 Elementary Exercises in Solfege Singing.2
2. Use Folk Music
Kodály educator Jean Sinor said that “Content [of music education] should be generated by the music: initially by the folk music of the people and later by the folk music of other peoples and the finest examples of composed music.”3 Folk music is effective because of its familiarity and simplicity, and the use of varied folk music from different regions can greatly enhance piano lessons.
“Children learn effectively from the act of play.”
~ L. S. Vygotsky
3. Speak
Kodály educators use rhythm syllables and chants as a kinesthetic tool to help students internalize a steady beat and rhythm. The Kodály Music Education Institute of Australia published their helpful Rhythm Syllable Chart4 in 2003.
4. Play
Children learn effectively from the act of play.5 Music lessons that incorporate games and music are not only more fun, but often more effective. The following three websites have resources for Kodály-inspired music games:
Provide an opportunity in every lesson for beautiful music-making. Whether playing or singing, students need the opportunity to participate in ensemble music and in music for music’s sake. As Kodály said, “If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well.”6
We invited our followers to submit questions for Marvin Blickenstaff about all things teaching. In honor of his birthday (May 19), we are posting his answers!You can read Part One here.
Join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks.
Do you have any advice for avoiding burnout? Or recovering from it? The last few years have been so intense as a teacher and I feel tired! But I still love my students and want to give them my best.
It’s a good question. It’s an important question, because we work too hard. We’ve got too many students, we don’t have enough time for ourselves or our families. And my first answer is to take a hard look at your schedule. Is there any time that you reserve for yourself? Even five or ten minutes in your schedule that’s just for you? A sure, clear road to teacher burnout is never having any time for yourself.
I think another way to avoid teacher burnout is to find some beautiful music and listen to it or play it for yourself. And if you don’t sight read well enough to play advanced repertoire, find some beautiful music at your students’ levels. And you play those just as beautifully as you possibly can.
It may seem a little bit off the tangent from our topic of teacher burnout, but I would urge you to do a little bit of evaluation of some of your lessons. For most of my life, I taught piano pedagogy on a college level. And I had a favorite way to start the first pedagogy class out with these students. I would say, “We’re here to learn piano pedagogy. We’re going to teach music principles to young, beginning piano students.” Then I’d say, “But, before we can do that, we ought to define what music is. What is music?” And I would just stop there, and let them discuss for a while. And they would argue this side and that side, this idea versus that idea. And usually the definition would turn out to be something like, “music is expression.” I would say, “In a way, that’s almost enough. Music is expression. But, I need you to go on and finish that. What is it that music is expressing?” And with a little bit of work playing devil’s advocate, the class would come up with a definition. It varied a bit from year to year, but always landed around, “Music is the expression of the entire human experience through organized sound.”
Marvin teaching a student.
Now I say that because I think it can help with our issue of teacher burnout. If we would ask ourselves at the end of the day, or at the end of a lesson, “Did I teach music lessons?” We might say, “Well, that lesson had the main emphasis on technique, or that lesson had the main emphasis on rhythm. Or, in that lesson, I spent most of my time labeling harmonies and naming harmony.” And I would say the most exciting for us as teachers is actually when we work on expression. Music is expression. We feel like we’re really music teachers when we emphasize that, and the students get fired up because they’re playing their pieces more beautifully, or more excitingly, etc. Getting our students fired up to make beautiful sound is one way to avoid teacher burnout.
Another thing that you could do to avoid teacher burnout is to take a piano lesson. It could be an esteemed teacher in your community. It could be just a colleague in your teachers group. But play for somebody, take a lesson. And it’s not just that you play through the piece, but solicit comments on your playing. That can just give you lots of new life and a new zest in your step about your playing.
What is your favorite piece to perform? To teach?
I’m not sure. I play quite regularly and I’m working right now on repertoire to play on my 90th birthday. Isn’t that shocking? I’m planning to play a recital on my 90th birthday! And I have the recital picked out, I’m practicing on that, and I’m enjoying that so much.
A lot of times I start out recitals with this Schumann Romance. And then Schubert Impromptu in G-flat Major. So those over the years have become some of my favorite pieces.
What’s my favorite piece to teach? I’m not sure that I have necessarily a favorite piece to teach. But I will tell you that I’ve tried to get every student up to the level where they can play Solfeggietto. I just find so much value in that piece. So, I try to get everybody to play it, and then we have fun trying to see how fast we can get the speed on it. It’s just a fantastic technical piece.
What advice do you have for people who are still learning the craft?
I, and I’m sure many of you, learned most through the school of hard knocks. We taught, we evaluated ourselves, and we learned. We made some mistakes, so we revised and relearned. I think most piano teachers will tell you that they learned the most from their own teaching and evaluation. Of course, some of us were lucky enough to have good pedagogy courses. And that can be very, very helpful.
So, how do teachers learn? I would say, first of all, you learn how to teach by playing the piano. And what you experience is what you share with your students.
Another thing that helps us improve our teaching is to read new music, and then say, “How would I introduce this piece? What are the highlights of this piece? What are the important things?” In other words, you must analyze. That’s an important teacher skill.
Another way to improve your craft is to record your lessons, or even just one or two lessons, listen, then ask yourself, “Was that a music lesson?” Remember our definition of music? Music is the expression of the entire human experience through organized sound. Every part of that definition is to be evaluated when you listen to your recording. Music is the expression—was there an emphasis in your teaching on what that music expresses? Music is an expression of the entire human experience—what mood, what emotion? What human experience was expressed? Was it joy, sadness, loss, frustration, anger, remorse?
One other thing that helps me teach a better lesson is to write out a lesson plan for every lesson so I know what’s going to happen. At the top of the lesson plan, I write the acronym: TERRAC. T stands for technique. E stands for expression. The first R is reading. The second R is rhythm. A is aural skills. C is creativity. These are aspects that I incorporate into each lesson plan so that I’m sure that I’m teaching the students a well-rounded lesson. That can help tremendously in improving your teaching.
What is something you’ve learned in the last year that has changed your teaching?
I’m constantly reminded of the infinite potential of every one of my students. I have come to believe that each student has the potential for being a young artist. And if I start my work with a student with the attitude in mind, “I believe in you and your artistic potential,” that really is tremendously helpful.
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 invite you to make a donation in honor of Marvin’s 88th birthday.
