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A Peek Inside Piano Inspires Discussion Events: Opportunities to Learn, Discuss, and Connect

Written By Andrea McAlister

We were pleased to welcome Dr. Brenda Wristen, Professor of Piano and Piano Pedagogy at the University of Nebraska-Lincoln and author of the Piano Magazine article “No Thumb or Fifth Finger on Black Keys, Except…”  for an informative article discussion in September.

Dr. Wristen and Senior Editor Craig Sale explored the rules of the black keys, when the rules should be broken, and how to navigate playing fingers 1 and 5 on the black keys in a technically efficient and healthy manner. After an inspiring conversation with Brenda and Craig, we moved into small breakout rooms to discuss the topic with them both and other subscribers. It was a wonderful opportunity to explore our shared ideas on technical difficulties facing our students.

We welcome you to enjoy the short video excerpt below from this engaging session and encourage you to join us for our next subscriber discussion on October 27 at 11:00 am Eastern. 

We will explore the music of Central and South America with Dr. Luis Sanchez and Ricardo de la Torre who will lead us in a conversation about repertoire by composers Manuel Ponce and Luis Gianneo. They will share excerpts from their Inspiring Artistry video modules and engage in discussion with attendees. Come ready to share, discover, and learn in this lively and educational event! Register here.

You can read Dr. Wristen’s full article here and in the print version of Piano Magazine Autumn 2022. 

Video Transcription

Sale: . . .summarize this unwritten fingering rule about the thumb or the fifth finger on black keys, and maybe start with how that does serve a purpose, where did it ever come from? And then you might want to move into how that works and how it doesn’t work, and why it doesn’t work sometimes.

Wristen: Well, actually, it is a written rule. And it comes from Czerny, like many of our premises regarding fingering, in his second volume of theoretical and practical piano forte school, was published around 1839. Now, again, I’m not sure that so much his rule is a rule that had come into common practice. And, he was just codifying it and writing it down for the rest of us. But, he laid out three fundamental fingering premises at the beginning of that volume, one of which was the thumb and the little finger should never be placed on the black keys in playing the scales. The other two was that 234 and 5 needed to be used, that they couldn’t be passed over one another, and that the same finger should not be placed on two consecutive notes in case you’re interested.

But, with regard to the no thumb or fifth finger on black rule premise that he laid out, Czerny himself went on to suggest that there were many exceptions to the rule. In fact, to all three of the rules, I’m going to quote here, I wrote this down, he said, “Every passage which may be taken in several ways, should be played in that manner, which is the most suitable and natural to the case that occurs, and which is determined partly by adjacent notes, and partly by the style of execution.”

So I think a discerning reading of Czerny really demonstrates his flexibility in adapting a fingering choice based on a musical context. And this is a real life example, I have seen this. That is something that I have seen. And obviously, that is not a great fit for the hand. I think there’s also a utility in a progression like that were primary chord progression in closest position or cadences to simply learning the shape. And getting that in that hand fluently. So that is an instance where we would use thumbs and fives on black keys pretty much right away.

Now as to your question, Craig. Yes, that can be an issue navigating those shapes, particularly depending on hand size. So basically, the way we deal with those shorter fingers– if you notice what I did there in A major. You see what I’m doing slightly with my wrist, and my arm angle, it’s maybe not quite so visible there. Let’s do it in this octave [instead]. So I simply make sure that I’m getting my arm aligned, and I’m also moving up into the black key, that is going to involve my moving my arm forward, but that’s okay, because I have time to do it in the context of chord playing.

Sale: And Brenda, that example, particularly in your left hand in that key was is a beautiful visual of keeping the thumb in line with the arm, which I really appreciate seeing that, especially at that center part of the keyboard. This is essential to do if it was lower, you can be in on the keys further, as it is.

Wristen: And it is is radically different: the angles that we need to employ from one register to the next. You know, honestly, with my piano majors, that is one of the fundamental reasons I teach scales and arpeggios. Specifically, because we do four octave scales and arpeggios, it feels radically different from one octave to the next, the same key and I want to lead them to that discovery and lead them to that intuitive understanding. It’s not really intuitive because I asked guided questions about it to draw your attention to how the angles are working there between their finger and their arm.

Dr. Andrea McAlister serves as Director of Digital Programming for the Frances Clark Center and a Senior Editor for Piano Magazine. Dr. McAlister is Professor of Piano Pedagogy at Oberlin College and a member of the Yamaha Master Educator Collective.
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Alternatively-Sized Keyboards: Special Guest Q&A with Expert Carol Leone

Written By Carol Leone

Last year we invited you to submit questions for Carol Leone about alternatively sized keyboards via our social media channels. We are pleased to give these newly updated answers a permanent home on our Discovery page. We invite you to 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. Finally, we’d like to extend our gratitude to Carol for her valuable contributions. Click here to explore more PianoInspires content by Carol!

Carol Leone

Are there multiple different sizes of keyboards?

The conventional octave is 6.5 inches wide.

There are two standard alternate sizes in the Donison Steinbuhler Standard:

  • DS6.0 keyboard: octave width of 6 inches
  • DS5.5 keyboard: octave width of 5.5 inches

Additionally, other keyboard manufacturers have recently produced keyboards with an octave width of approximately 6.2 inches.

Do you get a different tone quality on alternate vs regular keyboards?

The size of the key has no bearing on the sound, since the hammers are exactly the same. Therefore the only mechanical effect on tone would be how one has each action’s hammers voiced. However, a person with a small handspan is able to produce a bigger tone using a narrower keyboard because they are able to deliver more force with their more compact hand.

What do you think about the possibility of teaching young beginners on alternatively sized keyboards and then switching over once they grow?

I think it’s ideal for a young student! I did this with the young pianist Aaron Kurz, now a graduate of the Yale School of Music. He studied with me on both the conventional and DS5.5 keyboard for several years starting at age 9, until his hands were almost fully grown. I believe that being able to play challenging repertoire at a young age was a key to Aaron’s phenomenal piano technique.

While I think I could benefit from an alternatively sized keyboard, I’m nervous about practicing on a smaller keyboard and then performing on a standard size since most performing venues only have regular pianos. What advice would you give?

My students and I find that it is relatively easy for us to go back and forth between the sizes on the spot, since some of us have our hands on both keyboards daily. It’s important to note that countless pianists have reported improvements in their playing on the conventional piano keyboard after practicing on a narrower keyboard.

That said, I generally practice specific repertoire on whichever size keyboard will be used in my upcoming performance.

Also, if you have a keyboard action made for a grand piano by Yamaha, you can travel with that action and place it in another Yamaha of a similar size and model, and it will fit well.

How long did it take you to adapt to playing on an alternatively sized piano?

On average it takes no more than 10–15 minutes to feel very comfortable on the DS6.0 and about 40 minutes for the DS5.5. Your brain will learn this flexibility and after that it will take virtually no time at all.

For the very quickest initial adjustment time, look at your hands when trying out the keyboards rather than looking at a score, and begin by playing octaves and large chords slowly.

I would love to see the piano community accept alternatively sized keyboards in a similar way that the string community expects students to begin with smaller instruments. How can we accomplish this? Is it awareness? Cost? Acceptance? Access?

Great questions!  All of those answers are correct, especially access! The DS Standard Foundation is now lending actions with narrower keyboards to universities and conservatories world-wide at no cost (except shipping). You may contact me for more information.

For more on this important topic of acceptance, please see the Pianists for Alternatively Sized Piano Keyboards website.

Click here to sign the global petition to piano manufacturers.

How many companies make alternatively sized keyboards? Do you have a favorite manufacturer?

There are several manufacturers globally. All of our keyboards at SMU Meadows School of the Arts were manufactured by David Steinbuhler in Pennsylvania. DS Standard Foundation website.

Steinway will also now provide a special-order custom keyboard for particular models of their grand pianos, or they will retrofit your own Steinway.

Are there alternatively sized keyboards rather than pianos?

High-quality digital pianos with narrower keys are in development at the prototype stage from at least two manufacturers. Watch for them to be available to the general market very soon!

Do you know of any major performers who perform on alternatively sized pianos?

Joseph Hoffman and Daniel Barenboim both played on narrower keyboards in past concerts.

Additional Resources

Universities that Offer Alternative Keyboard Sizes

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This Week in Piano History: The Premiere of Mendelssohn’s G Minor Piano Concerto, October 17, 1831

Written By Curtis Pavey
Felix Mendelssohn

THIS WEEK IN PIANO HISTORY, we celebrate the premiere of Felix Mendelssohn’s Piano Concerto in G Minor, Op. 25, premiered by the composer himself on October 17, 1831 in Munich. The concerto, made famous by Clara Schumann and Franz Liszt (and later ridiculed by Hector Berlioz!), became incredibly popular with pianists throughout Europe for its brilliant passagework.

The Background

The concerto is composed as a three-movement work, but all of the movements are connected together without breaks. Mendelssohn lifted the structure of this piece from Weber’s Konzertstück, which inspired many other compositions of the time, including Liszt’s famous Piano Sonata in B Minor. Many other works of the standard concerto repertoire include a similar linking of movements, including Beethoven’s last two piano concerti, both of which connect the middle and last movements together. Among the many technical challenges presented in this piece are its use of light passagework, octaves in both hands, arpeggios up and down the piano, and of course, playing beautiful, lyrical melodies. 

Popularity and Criticism

Franz Liszt
Hector Berlioz

The concerto was a success at the premiere, but Franz Liszt’s performance in Paris was what catapulted the piece into the repertoire of many great European pianists of the time. The piece became so popular that Hector Berlioz, who was not a fan of the piece, felt the need to criticize it publicly. After hearing the piece performed numerous times in Paris, Berlioz mocked the piece in a fictional story about an Erard piano. In the story, Berlioz remarked that the instrument had to be destroyed after it was used to perform the concerto too many times. Berlioz wrote:

“M. Erard arrives, but try as he will, the piano, which is out of its mind, has no intention of paying him any heed either. He sends for holy water and sprinkles the keyboard with it, but in vain—proof that it wasn’t witchcraft but merely the natural result of thirty performances of [Mendelssohn’s G minor] concerto. They take the keyboard out of the instrument—the keys are still moving up and down by themselves—and they throw it into the middle of the courtyard next to the warehouse. There M. Erard, now in a fury, has it chopped up with an axe [sic]. You think that did it? It made matters worse. Each piece danced, jumped, frisked about separately—on the pavement, between our legs, against the wall, in all directions, until the warehouse locksmith picked up this bedeviled mechanism in one armful and flung it in the fire of his forge, finally putting an end of it…Such a fine instrument!” – Hector Berlioz

The Music 

The concerto begins with a foreboding orchestral introduction in G minor lasting just seven bars before being interrupted by the pianist with a fiery set of octaves and dazzlingly fast passagework. The stormy quality of the opening theme persists with surging scales and impressive virtuosity, which sets the stage for the tranquillo second theme in B-flat major. The second theme is lyrical yet unstable with surprising shifts in harmony. The remainder of the first movement contains extensive and challenging passagework for the performer, allowing them to fully demonstrate their virtuosic finger technique. Before the end of the first movement, the music takes a dramatic turn with a brass fanfare announcing a modulation to E minor and a piano interlude that leads directly to the middle movement. 

The E major harmonies of the second movement seem otherworldly—a place of repose amidst the drama of the first and final movements. Here Mendelssohn’s brilliant lyrical style, made popular in his Songs Without Words, appears in full bloom with cascading scales and filigree decorating this expressive movement. 

The final movement begins with brass repeating their fanfare from the first movement; this version, however, leads us to G major. The brilliant passagework of the final movement is seemingly endless, but Mendelssohn surprises the listener with a quote from the first movement—the second theme reappears before a final show of virtuosity from the pianist in the coda that ends this exciting concerto.

Check out this recording of Yuja Wang performing the concerto with the Verbier Festival Orchestra under the direction of Kurt Masur.

This Week in Piano History: The Birth of R. Nathaniel Dett, October 11, 1882

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we celebrate the birth of composer and virtuoso pianist, R. Nathaniel Dett, who was born 140 years ago on October 11, 1882. Though born in Niagara Falls, Ontario, Dett spent most of his life in the United States. A prodigious child, Dett received piano lessons when he was young and quickly developed interests in musical composition. At a benefit concert at the Cataract Hotel, a man named Frederic H. Goff heard Dett’s musical talents and offered to pay for his tuition for study at the Oberlin Conservatory of Music.

Upon his graduation from the Oberlin Conservatory of Music in 1908, Dett was the first Black American to receive the school’s Bachelor of Music degree, double majoring in piano and composition. His study did not end there – Dett received a master’s degree from the Eastman School of Music in 1932 and he pursued lifelong musical study, including summer study with Arthur Foote at Harvard and with Nadia Boulanger in Fountainbleau. 

Although Dett was influenced by a number of composers and performers, Dett’s compositional journey truly began upon hearing Dvorak’s “American” Quartet in a concert at the Oberlin Conservatory of Music. Dett recollected about the performance: ​​“Suddenly it seemed I heard again the frail voice of my long departed grandmother calling across the years; and in a rush of emotion which stirred my spirit to its very center, the meaning of the songs which had given her soul such peace was revealed to me.”1 From this point forward, Dett strove to incorporate spirituals and other African American folk songs into his music.

Besides his musical compositions and work as a performing artist, Dett was a passionate writer. As a child, Dett’s mother required him to recite poetry, which developed his lifelong love of writing. Multiple collections of his work have been published including his poems in a work called The Album of the Heart. His essay, The Emancipation of Negro Music, won a literary prize during his study at Harvard University in 1920. Dett’s love of poetry shows up in his musical publications, many of which include short excerpts from various poems.

Dett’s piano music consists of six suites largely in the Romantic style. His most popular suite, In the Bottoms, was a success in his concert tours and was further popularized by pianist and composer, Percy Grainger, who recorded the final movement, Juba, in 1945. 

The legacy of R. Nathaniel Dett is undeniable. He taught at multiple colleges and held guest professorships at institutions such as Northwestern University. Dett received multiple honorary doctorates including from Howard University and the Oberlin Conservatory of Music. In addition, he inspired generations of future composers with his brilliant examples of preserving African American folk music and spirituals. 

Footnotes:

  1. “About Nathaniel Dett,” accessed October 2, 2022, http://nathanieldett.org/.

Want to learn more about influential black composers? Check out these resources:

ONLINE COURSE: Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now, led by Leah Claiborne
ARTICLE: “Hidden Figures” in Piano Pedagogy: Leveling Piano Music by Black Composers, by Leah Claiborne
ARTICLE: Reclaiming an Alternative History: New Piano Music of Florence Price, by Asher Armstrong

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Presenting at NCKP: My Experience and Why You Should Too

Written By Luis Sanchez

We invite you to submit your e-poster proposals, teaching demonstration videos, and performance videos by 11:59pm PT on Monday, April 10, 2023. 

My Experience at NCKP 2021

Summer 2021 found the world struggling to regain normalcy as we adapted to a new style of living. In the music profession, we quickly established new ways to learn and teach that continued to change the lives of countless students. The Frances Clark Center faced the challenge of organizing NCKP 2021: The Piano Conference in a virtual modality that had never been explored before. The results far exceeded the expectations anyone could have ever had.  

Personally, my relationship with NCKP is quite unique and special. NCKP 2021 saw the introduction of a new track for Spanish and Portuguese speakers. I was honored to lead the committee that planned this event. Together, we curated twenty-nine sessions in Spanish and Portuguese, with English closed captioning, on a large array of topics that added a new perspective to the conference.  

I found it stimulating to be involved in discussions, learn from the research presented by hundreds of presenters, and develop new friendships that have greatly enriched my life, both professionally and personally. 

As if that was not enough to make NCKP 2021 special for me, it was not only the first time I was able to attend, but also, I was honored to be selected to present both at the main conference and the Spanish track. I found that the conference offered me the opportunity to interact with people in our profession from across the globe. I found it stimulating to be involved in discussions, learn from the research presented by hundreds of presenters, and develop new friendships that have greatly enriched my life, both professionally and personally. 

So why should you participate at NCKP: The Piano Conference?

NCKP offers you the opportunity to share your research and ideas, mingle with colleagues from all over the world, deepen your passion for teaching, and recharge your spirit before the new teaching year.  Whether you choose a lecture recital, poster presentation, or one of the many other formats, you will not want to miss the opportunity to be a part of the NCKP 2023 program!

If you are still wondering if presenting at NCKP 2023 is for you, you can gather more information by visiting our website. You will learn about the different formats, topics, and modalities in which you can share your work. There is a rigorous selection process that ensures a diverse and varied program representing the highest caliber work.

As we celebrate its twenty-fifth year, the planning committee of NCKP 2023 promises to curate a program that will invigorate, inspire, and innovate the piano teaching profession. If you are an educator, researcher, performer, or an emerging professional, you do not want to miss the chance to be part of this incomparable event!

Whether in person or virtually, see you at NCKP 2023!!

Submit your e-poster proposals, teaching demonstration videos, and performance videos by 11:59pm PT on Monday, April 10, 2023. 

Luis Sanchez has maintained an active performing and teaching career and appeared in concerts in the United States, South America, Europe, and Asia. He is currently Professor of Piano and Director of Keyboard Studies at Texas A&M University-Commerce and serves as Director of International Engagement for the Frances Clark Center.
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Welcome to the Piano Inspires Discovery Page!

Written By Anna Beth Rucker

Welcome!

We are thrilled to share with you the newest Piano Inspires page that is designed to bring you personal, educational, and accessible content about piano teaching, learning, and performing: the Piano Inspires Discovery page.

What to expect from the Piano Inspires Discovery page

Our hope for this space is to inspire the love of piano and music making through content that speaks to our collective humanity as musicians and teachers. From well-known experts to local heroes, this space will highlight individuals and ideas that represent the best among us and inspire us to be better pianists, teachers, and humans.

We will also answer popular questions, share interesting piano history and news, offer creative ideas for teaching, learning, and performing, and so much more. Our hope is that the Piano Discovery Page will provide you with weekly inspiration for all things piano.

What is Piano Inspires?

Piano Inspires is the digital home of the Frances Clark Center. The Frances Clark Center is a not-for-profit educational organization that strives to enhance the quality of lifelong music making, educate teachers dedicated to nurturing lifelong involvement in music making, and develop and curate the highest quality resources that support an artistic and meaningful learning experience for all students regardless of age, gender, ethnicity, or socio-economic status.

The Discovery page is another extension of our mission to serve and support music for everyone. So whether you are a professional concert or teaching artist, a lover of piano music, or anything in between, we’re here to support and inspire you in all of your pianistic endeavors.

How to stay connected

We invite you to bookmark this page and subscribe to our email list to stay up-to-date on our exciting line-up of posts and authors every week.

We look forward to learning and being inspired with you. Piano Inspires!

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How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for NCKP 2023: The Piano Conference. Sara is Director of Teacher Engagement for the Frances Clark Center and a member of the Executive Committee for NCKP: The Piano Conference. We invite you to submit your proposals via our proposal submission portal by 11:59pm PT on Monday, October 17, 2022. 

1. Propose a topic that inspires you and aligns with the conference call

A strong conference proposal will be formed from a topic that is ideal for the specific conference, considering both its audience and specific theme or goals. Your topic certainly should grow from your interests and expertise while being relevant to the community at hand. Remember that the review committee will have hundreds of proposals to read, and often, the way to distinguish yours is by demonstrating the significance, relevance, and need for your presentation. Furthermore, convey that you have thoroughly explored and researched the topic, and that you have developed unique and vital ideas, ready to be shared.

2. Clearly state the objectives and organization of your presentation

Within the proposal abstract, give the reader a clear understanding of what will be accomplished during the presentation. Questions to address include: What are your specific goals and outcomes? What ideas and resources will be explored? How will the topic be organized? What examples and visuals will facilitate the flow of ideas? The proposal should demonstrate that the presentation will add depth of content to the conference program and will be effective in its delivery. 

3. Identify how the topic is suitable for the proposed time length and format 

The various presentation formats and durations each have unique characteristics. For example, a panel presentation has a theme that will benefit from the sharing of multiple, individual perspectives, whereas a keyboard lab has to demonstrate purposeful use of the group keyboard format. The 50-minute presentation has a scope and level of detail that necessitates the longest time frame. Alternatively, the 5-minute lightning talk needs to be narrow in its scope, while remaining of interest to the audience. The proposal can therefore clearly reflect and support the choices of format and time length.

4. Write effective prose, in a style that matches the topic

A formal research presentation and an interactive workshop have different styles of communication that are inherent to each format. The proposal can reflect this, ensuring that academic style is utilized where appropriate. A more personal, yet always professional, style can be used in other cases, in alignment with the topic and format. It is recommended that you ask a trusted colleague to review your writing prior to submission. All text—including the title, abstract, short description, and bio—need to be thoroughly edited to facilitate the review and potential programming of your work.

5. Follow the guidelines

Last, but certainly not least, take time to thoroughly review the requirements of the proposal, before the deadline. Note the formats possible, additional requested items (like CVs and headshots), the word count limits, and any additional materials needed (such as recordings). Read the policies and requirements, noting important details like ensuring that the text is suitable for blind review, and that all co-presenters are in agreement with the proposal. If you are including links, double check that these are viewable by others. To avoid last-minute issues, enter your proposal before the deadline, carefully reviewing each item before clicking the “submit” button. After submitting, verify the email confirmation to ensure that your proposal was correctly received.

Submit your proposals for NCKP 2023: The Piano Conference by 11:59pm PT on Monday, October 17, 2022. 

Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor of Piano and Piano Pedagogy at the University of South Carolina. She is Director of Teacher Engagement for the Frances Clark Center and immediate past president of the South Carolina Music Teachers Association.
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Cómo escribir una propuesta de presentación eficaz para conferencias: 5 consejos

Written By Sara Ernst

Estamos encantados de compartir los mejores consejos de la Dra. Sara Ernst sobre cómo escribir propuestas exitosas para ayudarle a redactar sus ideas para ponencias para NCKP 2023: The Piano Conference. Sara es Directora de Compromiso Docente del Frances Clark Center y miembro del Comité Ejecutivo de NCKP: The Piano Conference. Lo invitamos a enviar sus propuestas a través de nuestro portal de presentación de propuestas.

1. Proponga un tema que le resulte inspirador y esté alineado con el llamado de la conferencia.

Una propuesta fuerte estará elaborada en base a una temática ideal para cada conferencia específica; esto es, teniendo en consideración tanto el público de llegada como los temas u objetivos específicos de dicha conferencia. La temática elegida por el presentador debería desprenderse de sus propios intereses y experticia; asimismo, debería ser relevante para la comunidad a la cual está dirigida. Recuerde que el comité evaluador estará a cargo de calificar cientos de propuestas y frecuentemente la mejor manera de destacarse es demostrando la importancia, relevancia, y necesidad de dicha propuesta. Más aún, exprese que ha investigado extensamente y explorado en detalle el tema elegido y que tiene ideas originales, de vital importancia, listas para ser compartidas.

2. Enuncie claramente los objetivos y organización de su presentación

Dentro del resumen (abstract) de su propuesta, manifieste un claro entendimiento de lo que será llevado a cabo durante la presentación. Algunas preguntas para considerar incluyen: ¿Cuáles son sus objetivos específicos y sus resultados? ¿Qué ideas y recursos serán explorados? ¿Cómo estará organizada la temática de su propuesta? ¿Qué ejemplos y soportes visuales utilizará para facilitar el fluir de sus ideas? La propuesta debería demonstrar que su presentación agregará contenidos de profundidad para el programa de la conferencia y que su comunicación se realizará de forma efectiva.

3. Identifique de qué forma el tema es apropiado para la duración y formato estipulados

Cada uno de los distintos formatos y presentaciones tienen características únicas. Por ejemplo, una mesa redonda tiene un tema que se beneficiará a través de compartir múltiples perspectivas individuales, mientras que una presentación en un laboratorio de pianos (keyboard lab) tiene que demostrar el uso intencional del formato de piano grupal. La presentación de 50 minutos tiene un alcance y nivel de detalle que requiere de un margen de tiempo más largo. De forma alternativa, la charla relámpago (lightning talk) de 5 minutos necesita de un alcance más acotado, sin dejar de atender el interés del público. De esa manera, la propuesta puede reflejar claramente la elección de formato y tiempo, y también respaldar dicha elección.

4. Escriba una prosa efectiva en un estilo que corresponda con el tema.

Una presentación de investigación formal y un workshop interactivo tienen estilos diferentes de comunicación que son propios a cada formato. La propuesta puede reflejar esto al asegurarse de que se utilice un lenguaje académico cuando sea apropiado. Un enfoque y estilo más personal, aunque siempre profesional, puede ser usado en otros casos, si concuerda con el tema y formato elegido. Todo el texto (incluyendo título, resumen, descripción breve, y biografía) debe ser editado minuciosamente para facilitar la evaluación y potencial programación de su trabajo.

5. Siga las pautas

Por último, pero ciertamente no menos importante, tómese el tiempo de revisar cuidadosamente los requerimientos del llamado a propuestas antes de la fecha límite. Note los distintos formatos posibles, la información adicional que algunos requieren (como CVs y foto de retrato), el límite de recuento de palabras, y cualquier otro material adicional (como grabaciones). Lea los reglamentos y requisitos, notando detalles importantes. Estos incluyen asegurarse que el texto es adecuado para el proceso de revisión anónima, y que (en caso de una presentación grupal) todos los presentadores están de acuerdo con la propuesta. Si incluye links a páginas web, revise que su acceso no esté restringido. Para evitar problemas en el último minuto, complete su propuesta con antelación a la fecha de entrega, revisando cuidadosamente cada ítem antes de hacer click en el botón “enviar”. Luego de enviar la propuesta, verifique su dirección de correo electrónico para confirmar que su propuesta fue recibida correctamente

Submit your proposals for NCKP 2023: The Piano Conference by 11:59pm PT on Monday, October 17, 2022. 

Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor of Piano and Piano Pedagogy at the University of South Carolina. She is Director of Teacher Engagement for the Frances Clark Center and immediate past president of the South Carolina Music Teachers Association.
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Como escrever uma proposta de apresentação eficaz para conferências: 5 dicas de sucesso

Written By Sara Ernst

Estamos muito felizes em compartilhar as principais dicas da Dr. Sara Ernst sobre escrever propostas bem-sucedidas para conferências à medida que você elabora suas ideias para apresentações na NCKP 2023: a Conferência de Piano. Sara é diretora de engajamento de professores para o Centro Frances Clark e membro do Comitê Executivo da NCKP: a Conferência de Piano. Convidamos você a enviar suas chamadas através do nosso portal de submissão de propostas.

1. Proponha um tópico que o inspire e se alinhe à chamada da conferência

Uma forte proposta de conferência será formada a partir de um tópico ideal que seja específico para a conferência, considerando tanto seu público quanto o tema ou objetivos específicos. Seu tópico certamente deve crescer a partir de seus interesses e conhecimentos, sendo relevante para a comunidade em questão. Lembre-se de que o comitê de revisão terá centenas de propostas para ler e, muitas vezes, a maneira de distinguir a sua é demonstrar o significado, a relevância e a necessidade de sua apresentação. Além disso, transmita que você explorou e pesquisou completamente o tópico e que desenvolveu ideias únicas e vitais, prontas para serem compartilhadas.

2. Indique claramente os objetivos e a organização da sua apresentação

Dentro do resumo da proposta, dê ao leitor uma compreensão clara do que será realizado durante a apresentação. As perguntas a serem abordadas incluem: Quais são seus objetivos e resultados específicos? Quais ideias e recursos serão explorados? Como o tema será organizado? Quais exemplos e recursos visuais facilitarão o fluxo de ideias? A proposta deve demonstrar que a apresentação adicionará profundidade de conteúdo ao programa da conferência e será eficaz em sua entrega.

3. Identifique como o tópico é adequado para a duração e o formato propostos

Os vários formatos e durações de apresentação têm características únicas. Por exemplo, uma apresentação de painel tem um tema que se beneficiará do compartilhamento de múltiplas perspectivas individuais, enquanto um workshop de piano precisa demonstrar o uso proposital do formato do piano em grupo. A apresentação de 50 minutos tem um escopo e um nível de detalhe que exige o maior período de tempo. Alternativamente, a palestra relâmpago de 5 minutos precisa ser restrita em seu escopo, mantendo o interesse do público. A proposta pode, portanto, refletir e apoiar claramente as escolhas de formato e duração.

4. Escreva uma prosa eficaz, em um estilo que corresponda ao tópico

Uma apresentação formal de pesquisa e um workshop interativo têm diferentes estilos de comunicação que são inerentes a cada formato. A proposta pode refletir isso, garantindo que o estilo acadêmico seja utilizado quando apropriado. Um estilo mais pessoal, mas sempre profissional, pode ser usado em outros casos, de acordo com o tema e o formato. É recomendável que você peça a um colega de confiança para revisar sua proposta antes de enviá-la. Todo o texto – incluindo o título, resumo, breve descrição e biografia – precisa ser cuidadosamente editado para facilitar a revisão e a potencial  programação de seu trabalho.

5. Siga as orientações

Por último, mas certamente não menos importante, reserve um tempo para revisar minuciosamente os requisitos da proposta, antes do prazo. Observe os formatos possíveis, itens adicionais solicitados (como currículos e fotos de perfil), os limites de contagem de palavras e quaisquer materiais adicionais necessários (como gravações). Leia as regras e requisitos, observando detalhes importantes, como garantir que o texto seja adequado para revisão as cegas e que todos os co-apresentadores estejam de acordo com a proposta. Se você estiver incluindo links, verifique se eles podem ser visualizados por outras pessoas. Para evitar problemas de última hora, insira sua proposta antes do prazo, revisando cuidadosamente cada item antes de clicar no botão “enviar”. Após o envio, verifique o e-mail de confirmação para garantir que sua proposta foi recebida corretamente.

Submit your proposals for NCKP 2023: The Piano Conference by 11:59pm PT on Monday, October 17, 2022. 

Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor of Piano and Piano Pedagogy at the University of South Carolina. She is Director of Teacher Engagement for the Frances Clark Center and immediate past president of the South Carolina Music Teachers Association.
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Outono 2021: Celebrando um novo ano de estudo de piano: ideias para ensinar e aprender Piano Magazine, Volume 13, No. 3 Resumos

Written By Piano Inspires

Translations by Ana Paula Machado Simões

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

Brilhando sem se exaurir – Por Brenda Wristen, p. 51

O esgotamento profissional (burnout) tem sido apontado como o maior risco ocupacional do século XXI, e professores de piano podem estar especialmente sucetíveis. Este artigo discute os fatores relacionados às demandas de trabalho tanto de professores de piano empregados em uma instituição quanto de autônomos que contribuem para a exaustão, sugerindo estratégias para prevenir ou se recuperar do “burnout” através de um engajamento positivo com o trabalho.

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

Toque as oitavas com as duas mãos – Por Michael Clark, p. 18

Alguns pianistas acreditam que redistribuir notas entre as mãos viola as intenções do compositor e deve ser evitado. Mas e se os próprios compositores tivessem essa prática? Marcações escritas em partituras de alunos e comentários registrados de aulas revelam que tanto Chopin quanto Liszt ocasionalmente aconselhavam a redistribuição de notas entre as mãos nas suas próprias composições para solucionar problemas técnicos e musicais, incluindo evitar grandes alongamentos, facilitar saltos e melhorar o controle de som e articulação. Essas ocorrências de redistribuições por Chopin e Liszt sugerem que tais alternativas eram incontroversas no século XIX e argumentam para a continuidade da aceitação da prática hoje.

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

Recitais positivos para alunos jovens: criando um ambiente para o sucesso – Por Diane Briscoe, p. 38

Um recital de piano pode ser mágico: um local impressionante com um piano de cauda elegante, crianças bem vestidas e decorações de bom gosto, performances musicais polidas, uma bonita recepção com deliciosos petiscos, crianças felizes e animadas, pais radiantes e uma professora orgulhosa. Isso é o que muitos professores de música desejam para todos os seus alunos. Em um estúdio, no entanto, pode haver pianistas e pais que acham recitais solos formais angustiantes e têm medo que o público os julgue desfavoravelmente. Este artigo sugerirá maneiras como o professor pode preparar o ambiente do recital para ajudar a criar uma experiência mais positiva e bem-sucedida.

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

Reivindicando uma história alternativa: novas músicas para piano de Florence Price – Por Asher Armstrong, p. 8

Florence Price é uma das compositoras estadunidenses mais importantes e significativas do século passado. A atual renascença que envolve a reivindicação e redescoberta de sua grande obra para piano solo está apenas começando. Com a recente publicação de um grande número dessas peças, alunos e pianistas estão começando a perceber a grande parte do “repertório” que eles estavam perdendo. Este artigo pincela um pouco deste repertório recém-publicado, examinando seleções dos Prelúdios, Impromptu, Canções sem Palavras, Lullaby e muitas outras peças de Price.

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

Quando os recursos se esgotam: reascendendo a chama por ensinar – Por Amy Boyes, p. 45

Professores de música podem se sentir exaustos e esgotados ao final do ano, especialmente após a pandemia do COVID ter desafiado as práticas tradicionais de ensino. Este artigo delineia passos práticos para professores reascenderem o envolvimento emocional necessário para o ensino efetivo e empático.

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

Por onde começamos – Por Moegi Amano, p. 33

Quais são os passos concretos para se aprender uma nova peça com sucesso, enfatizando a importância da execução musical e expressiva? Em uma obra musical, há numerosos elementos, incluindo o título, as imagens, e as notas que indicam ritmo e altura. Todos esses elementos trabalham juntos para criar a peça, então qual deles nós priorizamos e focamos primeiro? Ensinar uma nova peça pode ser sufocante e você pode não saber por onde começar. Este artigo irá explorar os passos preparatórios a serem tomados antes de se tocar uma nova peça para que o aluno possa aprendê-la efetivamente.

Guiding Intermediate Pianists Abstracts for Volume 13, No. 3

Written By Piano Inspires

Translations by Ricardo Pozenatto

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

Uma caça ao tesouro de Hummel – Por Joanne Haroutounian, p. 39

Este artigo descreve a jornada pessoal na pesquisa de um concertino para piano de Johann Nepomuk Hummel durante a década de 1980, antes das conveniências da Internet. Desde a primeira vez que ouviu a música em um rádio-relógio, a autora pesquisou na Biblioteca do Congresso e na Biblioteca Britânica, localizando o Concertino para Piano, opus 73. No processo, ela descobriu o principal tratado pedagógico de Hummel que incluía informações abrangentes sobre como ensinar piano em 1800. O volume também incluía um tesouro de peças charmosas de nível intermediário que não estavam prontamente disponíveis. Sua pesquisa levou à publicação do concertino para piano assim como peças miniaturas para piano.

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

Album des enfants de Cécile Chaminade: Um tesouro de peças de ensino para o pianista intermediário – Por Adrienne Wiley, p. 33
É uma pena que a música para piano de Chaminade tenha sido literalmente varrida para baixo do tapete. Ela, entre outras compositoras, forneceu uma riqueza de composições para o pianista em formação: sua música é pedagogicamente sólida, musical, tecnicamente apropriada e, francamente, bastante convidativa em som e estilo. Sua produção composicional para piano conta com mais de 200 peças. Este artigo tratará das obras encontradas em seu Album des enfants, livros 1 e 2.

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

Estudando ao lado de nossos alunos intermediários – Por Sara Ernst, p. 11

Depois que os hábitos fundamentais são estabelecidos durante o estudo elementar, os anos intermediários se tornam um período para adquirir uma caixa de ferramentas de técnicas

práticas. Idealmente, a tarefa semanal de piano fornece ao pianista intermediário um esboço equilibrado do estudo, incluindo aquecimentos, música para diversão pessoal, repertório nos estágios de aprendizagem e repertório que está sendo aprimorado para execução. A preparação para o estudo em casa ocorre durante a aula de piano, de forma que o professor orienta a prática em todas as aulas e frequentemente pede ao aluno que demonstre estratégias específicas. Por meio do uso de abordagens pedagógicas essenciais, os professores podem levar seus alunos a uma maior independência e prontidão para a performance.

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

Ensinando técnicas contemporâneas de piano para alunos de piano intermediários com Star Light, Star Bright de Alexina Louie – Por Lynn Worcester Jones, p. 17
Apresentar aos alunos de piano intermediários as técnicas e estilos composicionais dos séculos XX e XXI é essencial, especialmente à medida que passamos dos alunos da Geração Z para os da Geração Alfa (nascidos no início de 2010). Essas técnicas incentivam os alunos a desenvolver um maior controle rítmico, perceber seu som de maneira diferente, explorar novas liberdades e construir seu maestro interior à medida que absorvem a importância dos valores rítmicos e novas abordagens de tempo e espaço. Este artigo oferece conselhos pedagógicos sobre o ensino dessas técnicas com Star Light, Star Bright de Alexina Louie – um conjunto musicalmente rico e celestial de nove peças pedagógicas de piano solo feitas sob medida para essa finalidade.

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

O Legado de Frances Larimer – Por Yeeseon Kwon, Gayle Kowalchyk e E. L. Lancaster, p. 46

Quando Frances Larimer faleceu em 21 de outubro de 2021, a comunidade americana da pedagogia do piano perdeu um pioneirismo no campo do piano em grupo, pedagogia do piano e formação de professores de piano. Três ex-alunos e influenciadores da pedagogia refletem sobre a vida de Larimer, o desenvolvimento do programa na Northwestern University e a orientação que se estendeu e deixou um legado duradouro em nosso campo.

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

O Legado de Miriam Hyde – Por Jerry Wong, p. 25

Miriam Hyde (1913-2005) foi uma figura proeminente na vida musical da Austrália por décadas. Compositora, pianista, educadora e jurada frequente, ela se destacou em todas as áreas de sua vida artística. Após estudos no exterior no Royal College of Music em Londres, ela voltou para a Austrália e deu início a uma produção composicional significativa que era frequentemente vinculada ao plano de estudos do Australian Music Examinations Board. Seus trabalhos variam de materiais para leitura à primeira vista a obras de concerto, e uma investigação sobre seu estilo composicional revela níveis iguais de expressividade e intenção pedagógica.

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

Written By Piano Inspires

Translations by Ricardo da Silva Pozenatto

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

Criar para motivar: usando o repertório para incorporar criatividade nas aulas – Por Chee-Hwa Tan

A capacidade de experimentar e criar com o nosso instrumento é uma parte importante do estudo do piano. Contudo, incluir atividades criativas como treinamento auditivo, improvisação, transposição, composição musical e análise dentro do tempo de aula pode criar um desafio logístico para os professores. Este artigo explora como tarefas através do repertório podem ser usadas para integrar experimentação e criação nas aulas de piano. O tema é abordado através de uma filosofia de ensino, seleção de repertório, princípios básicos e exemplos práticos. Esta abordagem pode ser utilizada durante as férias, várias vezes por ano, a cada dois meses ou com peças alternadas.

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

Gabriela Montero: da advocacia à arte—uma entrevista com Luis Sanchez, pág. 8

Nascida na Venezuela, Gabriela Montero tocou com muitas das principais orquestras do mundo e se apresentou como recitalista em locais de renome internacional. Seus muitos reconhecimentos incluem prêmios no Concurso Chopin e o Prêmio Internacional Beethoven. No entanto, seu trabalho e impacto não se limitam aos grandes palcos do mundo ou ao estúdio de gravação. Defensora comprometida dos direitos humanos, a Sra. Montero foi nomeada Cônsul Honorária pela Anistia Internacional em 2015, e a Fundação de Direitos Humanos a honrou com um prêmio Trabalho de Destaque no Campo dos Direitos Humanos por seu compromisso contínuo com a defesa dos direitos humanos na Venezuela. Luis Sanchez conversou com Montero sobre sua carreira, seu apoio e defesa a causas, e seus conselhos para aspirantes a músicos.

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

O Festival Internacional de Piano Gilmore: um motor para a atividade criativa – Por Pamela D. Pike, pág. 19

O Festival Internacional de Piano Gilmore, em Kalamazoo, Michigan, influencia ambos pianistas profissionais e amadores por meio de sua oferta e desenvolvimento de experiências inspiradoras e de classe mundial ao teclado. O festival de várias semanas é realizado bienalmente, mas o Gilmore também identifica e apoia Artistas Gilmore e Jovens Artistas, oferece programas de educação de piano para músicos iniciantes de todas as idades na região e garante que novas músicas para teclado sejam encomendadas e executadas regularmente. Em comemoração ao Festival International de Piano Gilmore 2022, este artigo explora as muitas facetas do Gilmore e como o trabalho impacta a comunidade.

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

Os sete tipos de descanso: estratégias de recuperação – Por Paola Savvidou, pág. 44

Este artigo convida os leitores a imaginar uma vida cotidiana em que reservamos tempo para descansar. O descanso nos permite parar de “fazer” e simplesmente “ser”. Por meio de descanso físico, pausas mentais, descanso sensorial, descanso criativo, descanso emocional, descanso social e descanso espiritual, os leitores podem explorar maneiras de ensinar e criar a partir de um local de descanso ao invés de exaustão.

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

Indefinido pela perda auditiva: minha carreira na música – Por Cherisse W. Miller, pág. 37

Ser capaz de ouvir nos ajuda a sentir incluídos em conversas e em sons compartilhados. Quando perdemos parte da audição, o som é diminuído ou até mesmo eliminado completamente, comprometendo a forma como entendemos o mundo ao nosso redor. Com boa atitude e determinação, pode-se aprender a conviver com a perda auditiva e até mesmo ter uma carreira de sucesso na música. Neste artigo, a autora explora sua experiência com a perda auditiva e fornece informações sobre como os professores podem ajudar as pessoas com perda auditiva a se envolverem na produção e no aprendizado da música.

Otoño 2021: Celebrando un nuevo año de estudios de piano: Ideas para la enseñanza y el aprendizaje Piano magazine, Volumen 13, No. 3 (Resúmenes)

Written By Piano Inspires

Translations by Luis Sanchez

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

Como trabajar duro sin agotarse – Por Brenda Wristen, p. 51

El agotamiento ha sido referido como el mayor riesgo laboral del siglo XXI, y los profesores de piano pueden ser especialmente susceptibles. Este artículo analiza los factores que contribuyen al agotamiento en relación con las demandas laborales de los profesores de piano tanto institucionales como privados, y sugiere estrategias para prevenir o recuperarse del agotamiento a través de un compromiso laboral positivo.

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

Ejecución de octavas con dos manos – Por Michael Clark, p. 18

Algunos pianistas creen que redistribuir notas entre las manos viola la intención del compositor y debe ser evitado. ¿Pero que sucedería si los mismos compositores fueran los que lo hacen? Las anotaciones en las partituras de los estudiantes y los comentarios registrados en las lecciones revelan que tanto Chopin como Liszt ocasionalmente aconsejaron redistribuir las notas entre las manos en sus propias composiciones para resolver problemas técnicos y musicales, ya sea para evitar extensiones amplias, facilitar los saltos y mejorar el control del sonido y la articulación. Estos hechos documentados de las redistribuciones de Chopin y Liszt sugieren que tales alternativas no eran controvertidas en el siglo XIX y abogan por la aceptación continua de la práctica en la actualidad.

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

Recitales positivos para jóvenes estudiantes: Como preparar el escenario para el éxito – Por Diane Briscoe, p. 38

Un recital de piano puede ser mágico: un lugar impresionante con un elegante piano de cola; niños bien vestidos y adornos de buen gusto; actuaciones musicales pulidas; una hermosa recepción con deliciosos refrigerios; niños felices y emocionados, padres radiantes y una maestra orgullosa. Esto es lo que muchos profesores de música desean para todos sus alumnos. En un estudio, sin embargo, puede haber algunos jóvenes pianistas y padres que encuentren estresantes los recitales formales y temen que el público los juzgue desfavorablemente. Este artículo sugiere formas en las que el profesor puede configurar el entorno del recital para ayudar a crear una experiencia más positiva y exitosa.

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

Recuperando una historia alternativa: nueva música para piano de Florence Price – Por Asher Armstrong, p. 8

Florence Price es una de las compositoras estadounidenses más importantes y significativas del siglo pasado. El renacimiento en curso que se enfoca en la recuperación y redescubrimiento de su gran producción para piano es solo el comienzo. Con la publicación muy reciente de un gran número de estas obras, los estudiantes y pianistas comienzan a aprender qué gran parte del “repertorio” se estaban olvidando. Este artículo es una introducción a parte de este repertorio recién acuñado, y analiza obras como los Preludios de Price, Impromptu, Canciones sin Palabras, Lullaby y muchas otros.

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

Cuando el pozo está seco: Como reencender la chispa por la enseñanza – Por Amy Boyes, p. 45

Los profesores de música pueden sentirse agotados y exhaustos al final del año, especialmente después de que la pandemia de Covid desafió las normas tradicionales de enseñanza. Este artículo describe pasos prácticos para que los maestros reactiven la participación emocional necesaria para una enseñanza eficaz y empática.

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

Por dónde empezamos – Por Moegi Amano, p. 33

¿Cuáles son los pasos concretos para aprender una nueva pieza con éxito, que enfatiza la importancia de la musicalidad y la interpretación expresiva? En una pieza musical, hay numerosos elementos, incluido el título, las imágenes y las notas que indican el ritmo y el tono. Todos estos elementos trabajan juntos para crear la pieza, entonces, ¿cuál priorizamos y en cuál nos enfocamos primero? Enseñar una pieza nueva puede resultar abrumador y es posible que no sepa por dónde empezar. Este artículo explorará los pasos preparatorios a seguir antes de tocar una nueva pieza para que el estudiante pueda aprenderla de manera efectiva.

Invierno 2021-2022 (Resúmenes)

Written By Piano Inspires

Translations by Luis Sanchez

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A Hummel Treasure Hunt – By Joanne Haroutounian

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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