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Piano Inspires Podcast: Jess Johnson

Written By Jessica Johnson, Andrea Mcalister

To celebrate the latest episode of the Piano Inspires Podcast featuring Jess Johnson, we are sharing an excerpted transcript of her conversation with Andrea McAlister. Want to learn more about Johnson? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Johnson on Apple Podcasts, Spotify, YouTube, or our website!

Jessica Johnson.

Andrea McAlister: You mentioned this word “trust” a lot. I often share with my students that trust is really about having something that is so precious to you that you know you can share with another person, and everything will be fine. You’re making yourself vulnerable by taking that thing that is very precious and saying, “I trust you with this,” versus the opposite of, “I cannot share my vulnerabilities with you.” Right? 

And you are doing such amazing work with your students, sharing those vulnerabilities and saying, “You can trust me.” But what I love even more about what you’re saying is you are also showing them that they can trust themselves. 

Jess Johnson: That’s right.

AM: And with these reflective activities that you are helping them through. I think unless you are taught how to do that, then that is a missing component of that process of trust.

JJ: Absolutely, I couldn’t agree more. I know in my own journey, as somebody who has had generalized anxiety, that’s been something that, you know, those of us with trait anxiety are more likely to have performance anxiety. The data is clear, and it makes perfect, intuitive sense as well. Being afraid to put myself out there—I think of the things I didn’t do because I didn’t want to take the risk, but I also think of the things I did do even though they were really hard because [they] aligned with my values. 

When I went through a medical crisis about ten years ago, I started a mindfulness class. I learned stillness and sitting with my anxiety and holding it rather than resisting avoiding [it]. It transformed everything in my life, particularly my teaching, my performance, because then I was able to say, instead of, “Oh, it’s terrible. I can’t do this,” I would frame the conversation around principles of self-compassion: “This feels bad. I’m not happy.” Then with mindful curiosity: “What is it exactly? Oh, I don’t like the pacing in this transition,” or “I need to find a different fingering or a different gesture, a different way to group that so that it makes more sense.” And then you could strategize and find a way forward and meet yourself where you are. You’re your own teacher, right? And then that transformed my teaching because of helping them see where they are and what do I need, rather than the personal judgment [of] perfectionism. It is, “how can I solve this? What kinds of sounds can I make?” And then the joy and the playfulness comes through. I remember the second grader, you know the thing that I was so excited about. 

I always say, when I have those delightful moments with a student, I call them “moments of joy,” “cultivating joy,” where you catch somebody in the act and you’re connecting, and something’s happening. I’ll often point it out to them, “This is a moment of joy for me.” I’m really happy to be here right now, and modeling that and waking them up and drawing attention, and they’re like, “Oh yeah!” Because we’re so busy and the world is pushing us to be busy, [I appreciate] having some stillness where we’re just right here. I do things like body scans before the lessons, before my own practice, before my own work, things that help me declare it a sacred space that we’re coming together to connect, share, and trust each other, whether it’s alone or with a partner, whether rehearsal. It’s a great thing I’ve learned, and I’m so grateful that my path went in that direction and that I was able to explore that because it’s really revolutionized where I am and how I feel about being a professional musician and teacher.

AM: Yes, I so appreciate how you’re talking about mindfulness and meeting yourself, but meeting yourself with curiosity instead of judgment. And that is such a difficult thing for humans to do, because we are so naturally drawn to judgment first instead of curiosity. And maybe there are just people out there who just naturally do this. And I would love to be one of those people, but it’s something that—

JJ: Then you wouldn’t be who you are, which is your superpower.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Jess Johnson on Apple Podcasts, Spotify, YouTube, or our website!

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How an Alternatively Sized Keyboard Transformed my Artistry and Life as a Musician and Teacher
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Jess Johnson: Mindfulness, Joy, and Transforming Lives Through Piano | S2 E15

Written By Piano Inspires

In this inspiring episode, Jessica Johnson, professor of piano and pedagogy at the University of Wisconsin–Madison, shares how mindfulness and music transform lives. From her rural North Carolina roots to a career of teaching and advocacy, Jessica reflects on the piano as a source of healing, joy, and connection. She discusses overcoming perfectionism, empowering students to find their voices, and creating access to music for all. A must-listen for educators, musicians, and anyone moved by the transformative power of music.

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Transformative New Publication Launches from The Frances Clark Center

Written By Piano Inspires

Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers

PRESS RELEASE: 10 JANUARY 2025

The Frances Clark Center is pleased to announce our new publication Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, compiled and edited by Connor Chee and Renata Yazzie. This collection of beginner piano repertoire is written by the vibrant and diverse voices of Native and Indigenous composers from the Diné, Mohawk, Anishinaabe, Cree, Blackfoot, Jicarilla Apache, Choctaw, and Mohican communities.

“As a Diné musician, this collaboration with the Frances Clark Center holds profound meaning for me. Growing up, there were Indigenous musicians creating incredible work, some of whom I’m honored to call colleagues today, but their contributions weren’t widely represented. This project changes that—not just by showing Native pianists that they belong in the world of piano, but by offering the world, for the first time, authentic pieces by Native composers from diverse tribes. These are not the stereotypical caricatures created by non-Native composers in the past, but works that share the richness and diversity of our heritage. It’s a step toward greater understanding and appreciation of who we truly are.” – Connor Chee

“Historically, piano literature, including pedagogical works, have glaringly omitted the voices of Indigenous composers and their music. From the time I was a young Diné piano student until I began teaching other young Diné musicians, the available repertoire remained relatively unchanged, until now. Ahéhee’ nitsaago—many thanks—to the folks involved in this project who are committed to elevating and sustaining Indigenous voices within music education and by doing so, are encouraging Native musicians in their own educational journeys. The pieces in this book offer a sonic tapestry that weave together Indigenous knowledges and histories, the contemporary livelihood of our ways, and our hope for the future in an accessible and engaging manner for beginner pianists of all backgrounds.” – Renata Yazzie

“We express our sincerest gratitude to this outstanding group of Native artists. Weaving Sounds is a transformative publication for elementary-level piano students. Through the beauty of the compositions, images, and text, students and teachers can authentically explore the music and culture of Native and Indigenous composers from diverse tribes. Supported in part by an NEA grant, we will distribute 1000 free copies of this meaningful publication to students in Indigenous communities. We are deeply honored by this collaboration and thank everyone involved, especially Connor Chee and Renata Yazzie for their dedicated work and leadership.” – Jennifer Snow, President and CEO, The Frances Clark Center

Each piece included in Weaving Sounds is a unique expression of the composers’ cultural roots and personal artistry, offering a tapestry of sounds that are both accessible to beginners and deeply meaningful. The pieces are presented in order of progressive difficulty and include information about the composers and their communities as well as duet parts. Colorful artwork by Diné artist Caitlin Begay accompanies each piece.

Weaving Sounds seeks to build a deeper understanding of Native and Indigenous culture through music study. The Frances Clark Center is dedicated to advancing the art of piano education and amplifying the transformative power of music making in the life of every person regardless of age, gender, ethnicity, or socio-economic status. We believe in access to music education as a human right for all learners, in the lifelong benefits of music education and its ability to cultivate a love for learning and personal growth, and in supporting teaching artists who inspire students to make a positive impact on their communities and the world. Learn more about us at pianoinspires.com.

We invite you to explore and purchase Weaving Sounds today by visiting pianoinspires.com/publications/weavingsounds. For more information on distribution of free copies for students in Indigenous communities, bulk orders, or other questions, email teachereducation@francesclarkcenter.org.

This book is supported in part by the National Endowment for the Arts.

This Month in Piano History – January 2025

Written By Megan Hall
Portrait of Alexander Scriabin

THIS MONTH IN PIANO HISTORY, we welcome the new year by remembering the births of two composers who changed the trajectory of piano repertoire and the death of a masterly and inventive harpsichordist and composer.

January 6, 1872 – Birth of Alexander Scriabin

Alexander Scriabin,a mysterious figure remembered for his association of color with musical keys and for his controversial views on pianists of his time, contributed greatly to the piano repertoire. His works bridge the Romantic and Contemporary eras and embrace creative systems of harmony and motivic development. His fascination with Chopin led him to write in many of the same genres in which Chopin was most prolific, including nocturnes, preludes, and mazurkas.

In this video, Thomas Lymenstull performs and shares teaching tips about Scriabin’s Nocturne for the Left Hand, Op. 9:

Scriabin: Nocturne for the Left Hand, Op. 9

January 19, 1795 – Death of Italian harpsichordist and composer Maria Teresa Agnesi

Maria Teresa Agnesi was a gifted composer, harpsichordist, and singer of the late Baroque period. She traveled Europe with her older sister, an accomplished mathematician, and performed for many prestigious figures. Unfortunately, the details of her life and education were mostly lost, but remnants of her music remain.

Learn more about Baroque era music by women composers in this Microcourse led by Ashlee Young, Susan Yang, Brendan Jacklin, and Annie Jeng:

A portrait of Maria Teresa Agnesi
Microcourse: Baroque Era Music by Women Composers (from Hidden Gems: Four Centuries of Piano Music by Women Composers)

January 27, 1756 – Birth of Wolfgang Amadeus Mozart

Mozart: Fantasie in D Minor, K.397

This month, we also celebrate the birth of composer and pianist extraordinaire, Wolfgang Amadeus Mozart. Mozart was incredibly prolific, and left an indelible mark on the Classical period, especially in the genres of solo piano repertoire and opera. His piece, Serenade in C, was recently unearthed by the Leipzig Municipal Libraries, creating a furor of renewed interest in Mozart’s musical portfolio.

Many cite Mozart’s Fantasie in D Minor, K. 397 as a favorite teaching piece. This piece features varied tempi, textures, and moods, exposing students to several different styles of Classical writing. In this video, Sean Schulze discusses the Fantasie in depth, and gives advice on preparing students for successful interpretation and performance:

Want to learn more about Mozart? Here are 5 Things You Might Not Know About Mozart.

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Piano Inspires Podcast: Anton Nel

Written By Artina McCain, Anton Nel

To celebrate the latest episode of the Piano Inspires Podcast featuring Anton Nel, we are sharing an excerpted transcript of his conversation with Artina McCain. Want to learn more about Nel? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Chee on Apple Podcasts, Spotify, YouTube, or our website!

Anton Nel

Artina McCain: What inspired you to make the switch from piano to fortepiano or harpsichord? I happen to know you have these at your house too.

Anton Nel: My place looks like a museum now. The first wonderful teacher I had when I lived on the farm, the man who started me really, he was—again, you know, you think back of these days and how wonderful these people were. I had never seen a harpsichord before or anything, but he had records of this instrument that this music was written for, and so he made cassette tapes of his records for me of the Bach harpsichord concertos and all this stuff. I was mesmerized by the sound of it, and just loved it.

Then I played on one of my earliest concerts. We went to Johannesburg. I was playing, I think, the Kabalevsky Third [Piano] Concerto on this program with other young people. You win these concerto competitions, right, and then you play in these concerts. The first piece on the concert was the Bach Concerto for Four Harpsichords. It’s the thing that’s like the Vivaldi Four Violin Concerto. Well, I had never seen a harpsichord before. I think I was maybe 13 or 14. My mother was beside herself. I had absolutely lost all interest in the piece that I was playing. I wanted to play on those harpsichords, and of course, and I caused such a consternation. And of course, everything was fine, you know, but then I subsequently got a small Italian single-manual instrument of my own. So I started to play when I was 15 or so, the harpsichord, and I played through school, and I also like the organ and so on.

The fortepiano—there’s a wonderful man in Austin whose name is Keith Womer, and he has a period instrument orchestra called La Follia. He had this idea that I would possibly take to playing the fortepiano. About ten years ago, he called me and offered me an opportunity to play a Mozart and a Haydn concerto with the orchestra. It was like a miracle that happened. I took this instrument and I absolutely loved it, and started to really learn it. And then suddenly, all of these things that I puzzled about for so many years—the articulations in Mozart, the dynamic markings, all this finicky stuff that on the modern piano is so tricky to negotiate—suddenly became second nature. So I really, really worked at it. Then, I brought my harpsichord playing back as well. So about a quarter of my engagements now I play these instruments, and it has opened my ears in ways I couldn’t even imagine. I always thought that I listened pretty well, but—and my students—this was a little bit before your time. I think my students now always know when I have a harpsichord or fortepiano concert coming up because I’m impossible. No slur is right, no articulation is right. I get all sort of OCD and persnickety and sort of fussy—I’m always a little difficult. So you talk of inspirations—that has made a big, big difference. It sort of added a new dimension to me as a musician, so that makes me happy. So, yes, playing that annually is always an adventure. I’ve learned so much new music too because of it.

AM: So do you now teach some of that to your students too? Do you have them over and they play it?

AN: I do sometimes. If I ever have a little bit more time in my schedule, I would like to teach a sort of a basic class. I’m not sure I would be qualified to actually teach anybody to play the instruments as a major. I don’t think my knowledge is quite—I’m not quite ready for it, but absolutely the basics I can. I think it’s important for pianists to know these things. Even if they don’t play them seriously, just to have the opportunity to try them, because it’s initially quite shocking. Still, when I go—I just had to play a fortepiano program the other day—you go to it, and for the first two or three hours on the instrument, if you’ve not played it for a while, you sound so bad. Oh, you sound so [bad] because you keep wanting to—and for those things, you have to let the instrument play you. You must not play it. You let it. It’ll show you, if you let it. But if you sort of take out your Rachmaninoff Third [Piano] Concerto chops, it’s not going to work.

AM: Definitely not.

AN: But, we all have tendencies, you know. So that’s awesome.

AM: Yeah, we don’t have enough opportunity to play period instruments as pianists. So that’s incredible that that’s a part of your engagements now, is to play those instruments.

AN: Yes, because, I mean, again, it’s something that becomes very specialized. The groups I play with are 100% authentic. I mean, last year I had this fabulous opportunity—I played the Beethoven Fourth [Piano] Concerto on an instrument from about 1809 with about a fifty piece all-original instrument orchestra. Even the clarinet[ist]s made their own instruments, so it’s something I’ll never forget as long as I live. I had to relearn the whole thing, of course, and the instruments still had knee pedals, just like my fortepiano at home, and also all his instructions about how to use the una corda and all this and in the slow movement. It was a transformative thing. I’ll never forget it.

AM: Wow.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Anton Nel on Apple Podcasts, Spotify, YouTube, or our website!

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An Interview with Anton Nel
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Anton Nel, South African Concert Pianist and Professor of Piano and Chamber Music | S2 E14

Written By Piano Inspires

Join host Artina McCain as she interviews Anton Nel, South African Concert Pianist and Professor of Piano and Chamber Music at Butler School of Music – University of Texas at Austin.

Listeners will gain valuable insights into Nel’s teaching philosophy, the importance of nurturing creativity in students, and his passion for period instruments like the fortepiano and harpsichord. He also reflects on the role of music in the world today, the challenges of inspiring younger generations, and the joy of collaboration with fellow musicians.

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5 Reasons to Participate in The Piano Conference: NCKP 2025

Written By Megan Hall, Curtis Pavey

We would like to thank Megan Hall and Curtis Pavey for this insightful article about why you should submit to our Call for Participation at The Piano Conference: NCKP 2025. The last chance to submit your teaching video, performance, e-poster, or Collegiate Connections project is Monday, March 31, 2025. Learn more at: https://pianoinspires.com/nckp-the-piano-conference/.

A presentation at The Piano Conference: NCKP 2023.
The Piano Conference: NCKP.

1. Share your teaching practices, performances, and research.

The Piano Conference seeks innovative ideas, fresh perspectives, and inspired thinking for the future of piano education worldwide. Whether your research focuses on diversity, equity, and inclusion; creative music making; or interdisciplinary studies; we look forward to exploring trailblazing ideas. Although the call for proposals has now ended, we are accepting teaching videos, e-posters, performances, and Collegiate Connections projects through Monday, March 31, 2025.

Nanyi Qiang speaks at The Piano Conference: NCKP 2023.
Nanyi Qiang

2. Connect and network with professionals in the field.

Pianists and music teachers from around the globe attend The Piano Conference and the gathering in 2025 is on track to be the most exciting event yet. The opening one-day summit provides an interactive gathering for all to collectively share and exchange ideas around the immediate challenges, opportunities, and global impact of piano education. Come ready to share and learn from members of our community.

Young professionals at The Piano Conference: NCKP 2023.
Young professionals at The Piano Conference: NCKP 2023.

3. Build your resume.

Presenting at The Piano Conference provides resume-building presentation experience. Each performance, teaching video, and e-poster presentation adds to your professional portfolio and increases individual marketability. The program results from a rigorous blind review and committee process, which ensures there is a wide range of presenters and topics at The Piano Conference. Additionally, being aware of these current trends and research will inform attendees’ next professional steps.

Allison Keep speaks at The Piano Conference: NCKP 2023.
Allison Keep

4. Learn more about the art of piano pedagogy.

Inspired teachers create inspired students. In the words of Frances Clark, “A piano lesson should be a happening. Something happens at a piano lesson so that when you walk out of the studio, you feel different from when you walked in.” Learning to inspire the next generation of musicians, teachers, and music lovers requires striving for the highest standards. Come to learn more about how members of our community are inspiring their students.

Vanessa Cornett speaks at The Piano Conference: NCKP 2023.
Vanessa Cornett

5. Engage with luminaries in the field!

Hear words of wisdom and motivation from pedagogical leaders and be inspired to refresh your teaching, performing, and professional life. Keynote and PEDx speakers will remind you of your positive impact on your communities and the world.

Jennifer Snow speaks at The Piano Conference: NCKP 2023.
Jennifer Snow

Do you have research you want to share with the piano pedagogy community? The last chance to submit your teaching video, performance, e-poster, or Collegiate Connections project is Monday, March 31, 2025. Learn more at: https://pianoinspires.com/nckp-the-piano-conference/.

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Teaching Demonstration (NCKP Rebroadcast)
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This Month in Piano History – A Month of Celebration

Written By Curtis Pavey

December is a time of giving and celebration. Holidays celebrated by cultures around the world fill this month with joy, reflection, and renewal. In addition to these celebrations, there are numerous birthdays and important events from piano history throughout December. Read below to discover more about a premiere, a famous work given copyright status, and the births of two underrated composers.

The original production of The Nutcracker, Imperial Mariinsky Theatre, Saint Petersburg,1892.

December 2, 1866 – Birth of Harry T. Burleigh

Harry T. Burleigh, born Henry Thacker Burleigh, was a Black composer, pianist, and music editor. He studied at the National Conservatory of Music in New York City where he had the opportunity to study with Victor Herbert and Antonín Dvorak, among others.1 His time at the Conservatory was fruitful as he had the opportunity to work for Dvorak as a copyist and he introduced Dvorak to numerous spirituals, which likely helped to inspire some of the writing in Dvorak’s Symphony No. 9 (“New World”).2 Although Burleigh is particularly well known for his song literature, he also wrote for piano, including his work From the Southland. Want to learn more about this piece? Listen to this Inspiring Artistry video by Roger McVey featuring this piece:

Burleigh: From the Southland

December 14, 1789 – Birth of Maria Szymanowska

Pianist and composer Maria Agata Szymanowska was born in Warsaw, Poland and lived until her death at age 41 in July 1831. A celebrated pianist of her time, Szymanowska toured Europe performing for the public and for royalty in concerts throughout Russia, Italy, England, Germany, and France, among others.3 Among her piano works are the Vingt exercices et préludes, dozens of mazurkas, and several nocturnes, which scholars have suggested may form the link between John Field and Frederic Chopin.4 The Frances Clark Center recently published an Inspiring Artistry video by Kristina Henckel, who discusses a selection from Szymanowska’s Six Minuets.

Szymanowska: Minuet No. 1 from Six Minuets for Piano

December 18, 1892 – Premiere of The Nutcracker

Tchaikovsky’s famous ballet The Nutcracker may be mainstream today, but in 1892, attendees of the premiere were not as thrilled as today’s audiences. The ballet is based on a story by E. T. A. Hoffman, which tells the tale of a young girl named Clara and a magical journey she shares with a nutcracker that comes to life in her dream. One of the most magical moments of the ballet occurs in the “Dance of the Sugar Plum Fairy,” which features the celesta, a newly invented keyboard instrument at that time. Writing to his publisher, Tchaikovsky announced, “I have discovered a new instrument in Paris, something between a piano and a glockenspiel, with a divinely beautiful tone. I want to introduce this into the ballet and the symphonic poem. The instrument is called the ‘Celesta Mustel,’ and costs 1,200 francs. You can only buy it from the inventor, Mustel, in Paris. I want to ask you to order one of these instruments […] Have it sent direct (sic) to Petersburg; but no one there must know about it. I am afraid Rimsky-Korsakov and Glazounov might hear of it and make use of the new effect before I could. I expect the instrument will make a tremendous sensation.”5 Learn more about the ballet and the celesta in this post on our Discovery Page.

December 29, 1902 – Scott Joplin Copyrights The Entertainer

On this day in 1902, Scott Joplin copyrighted several works including his famous rag, The Entertainer. Although born in Texas, Joplin spent a considerable amount of time in Missouri and moved to St. Louis in 1901.6 The piece, a favorite in piano recitals, has been arranged numerous times for pianists of all levels. In a form characteristic of ragtime music (AABBAACCDD), the piece repeats the famous opening melody once again in the middle of the piece, and contains other memorable sections. Many of Joplin’s other rags continue to be popular including his piece The Easy Winners. Learn more about this piece in Kate Acone’s Inspiring Artistry video:

Joplin: The Easy Winners
notes
  1. Jean Snyder, “Burleigh, Henry [Harry] T(hacker),” Grove Music Online, 16 Oct. 2013; Accessed 26 Nov. 2024, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002248537. 
  2. Snyder, “Burleigh,” 2013.
  3. Zofia Chechlińska, “Szymanowska [née Wołowska], Maria Agata,” Grove Music Online. 2001; Accessed 26 Nov. 2024, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000027327. 
  4. Chechlińska, “Szymanowska,” 2001.
  5. Modeste Tchaikovsky, Life and Letters of Peter Ilich Tchaikovsky, trans. And ed. Rosa Newmarch (New York: Haskell House Publishers Ltd., 1970): 663.
  6. Edward A. Berlin, “Joplin, Scott,” Grove Music Online, 16 Oct. 2013; Accessed 26 Nov. 2024, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002253061.
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Szymanowska: Minuet No. 1 from Six Minuets for Piano
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Why I Give to The Frances Clark Center: A Testimonial from Linda M. Fields

Written By Linda M. Fields

We would like to thank Linda M. Fields for sharing why she gives to The Frances Clark Center. Although #GivingTuesday has concluded, the opportunity to contribute remains open. This special day is just one part of our broader Annual Fund initiative, where every gift helps sustain our vital work. Please consider an additional gift today to help us reach even greater heights: https://pianoinspires.com/donate/.

Linda M. Fields at the piano.

Why have I chosen to support the Frances Clark Center for the past many years?   Since the 1970s, The New School for Music Study and the Music Tree curriculum have had a major influence on my teaching. The philosophies of Richard Chronister, Frances Clark, and Louise Goss were an inspiration to me and a guiding light in my career.  Continuing the philosophy of its namesake, The Frances Clark Center is still embracing a sense of adventure. The Piano Conference: NCKP, Piano Inspires publications, and the New School push the envelope in teaching, learning and performing. The Center’s advocacy for training the ear and the body from early childhood on, has been exciting for me to witness and champion. It is my honor to support the ongoing efforts of The Frances Clark Center in promoting cutting edge approaches in America and around the world. — Linda M. Fields 

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Piano Inspires Podcast: Jeremy Siskind

Written By Jeremy Siskind, Andrea Mcalister

To celebrate the latest episode of the Piano Inspires Podcast featuring Jeremy Siskind, we are sharing an excerpted transcript of his conversation with Andrea McAlister. Want to learn more about Siskind? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Siskind on Apple Podcasts, Spotify, YouTube, or our website!

Jeremy Siskind.

Andrea McAlister: I did want to ask you about the work that you’ve done in Lebanon. I don’t know if you’re continuing to do that work, but I know recently, you’ve done some work with students through a program there. Can you talk a little bit about the work you’ve done and the impact? 

Jeremy Siskind: Yeah, absolutely. There are a couple of different organizations, but principally there’s this organization called Jazz Education Abroad, and I’ve gotten to go to China, Thailand, Lebanon, Cyprus, Tunisia [to] teach jazz. And you know, jazz is, as Duke Ellington would put it, America’s classical music. Jazz is quintessentially American music, and so the mission is always to teach people about, hopefully, one of the best parts of American culture. We know that America, [to] different parts of the world, is not necessarily considered the greatest friend or the greatest peacemaker, and so to be able to go in and share our values through our music, right? Jazz is so intertwined with American values, right? Jazz is democratic. Everybody in the band gets to contribute, right? Jazz is liberated. You don’t have to stay on this score. You get to express yourself, right? Jazz is the free speech of music. 

So as we go around and, of course, we’re not proselytizing, but we do try to show how beautiful the music is, of course, and how beautiful these values can be. And, we always learn as much as we teach when we go to these places, because we see how people live. We see how enthusiastic they are about all kinds of music. We see how enthusiastic they are about being creative, about how they’re living their life, about how they’re supporting, you know, their communities, how they’re contributing to their communities through music. And it’s always really moving.

Particularly, I’ll share something about our program in Cyprus. So Cyprus is a small island in the Mediterranean. I’m going to get the history wrong, so I’m not going to say anything, any exact dates. But at a certain point it was Greek-owned, and then there was a Turkish–some would say invasion, some would say liberation. I’m going to leave that to–

AM: Leave that to history. 

JS: But the island basically was split in a two, and it has been for many years. And the capital, I think, is the last split capital, the last divided capital, [since] the Berlin Wall fell. As you could imagine, politically, it’s a little bit tense, and people on the Turkish side, you know, don’t necessarily have the warmest feelings [towards] people on the Greek side, and etc. And the expressed purpose of the camp in Cyprus is that we are putting students from both sides into the same ensembles and allowing them to find common ground through music. And it’s just so beautiful to see, because, you know, there can be tensions, but it’s hard to dislike somebody who you’re getting to make amazing music with, who you’re like working together with to form a musical goal. We’ve seen these friendships form, we’ve seen people’s walls come down, and that’s just been like a really phenomenal experience. You know, I’m just trying to teach them how to play jazz, but there’s all this other stuff happening, administratively, behind the scenes, to make it this powerful game changer culturally.

AM: Yes, and you’re teaching them so much more than jazz. You’re teaching them collaboration and friendship that they otherwise wouldn’t get. And that’s—you’re saving the world through music. 

JS: I won’t take credit for that. We’re doing, you know, we’re doing our best, bit by bit.

AM: One person at a time. Bit by bit, bird by bird.

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Jeremy Siskind on Apple Podcasts, Spotify, YouTube, or our website!

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Creating New Piano Music in the Digital Age
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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Jeremy Siskind, Award-winning Jazz Pianist, Composer, and Educator | S2E13

Written By Piano Inspires

Host Andrea McAlister welcomes award-winning jazz pianist, composer, and educator Jeremy Siskind for an inspiring conversation on jazz, piano pedagogy, and the art of improvisation. Explore Jeremy’s innovative teaching methods, his passion for connecting classical and jazz traditions, and his journey as a musician shaping the future of piano education.

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Holiday Deals 2024!

Written By Piano Inspires

This holiday season, explore curated bundles from The Frances Clark Center—the perfect gifts for your personal library, students, or loved ones.

The New Professionals Bundle includes practical resources to jumpstart a teaching career. With access to 1500+ articles, 250+ webinars, and many more resources on PianoInspires.com, new professionals will find answers to all of their questions about piano teaching, learning, and performing. Jane Magrath’s book is an invaluable resource for teachers, students, and performers. It features works from the Baroque through Contemporary periods and includes annotations with composer biographies, musical characteristics, and pedagogical considerations. Finally, our online course, A Pianist’s Guide to Studio Management, will assist new professionals in managing their studios, from studio policies and budgets to marketing and professional goals.

The New Professionals Bundle includes:

  • Digital Subscription: PianoInspires.com
  • Book: Piano Literature for Teaching & Performance by Jane Magrath
  • Course: A Pianist’s Guide to Studio Management

Over 40% off, a $174.99 value for only $99.99!

The Marvin Blickenstaff Bundle is created for teachers of all ages and experience levels. Inspired Piano Teaching is filled with practical advice on teaching students at all levels and is dedicated to keeping inspiration and artistry alive for every student in every lesson. Marvin’s inspiring words of wisdom and enthusiastic teaching demonstrations can be found within the 1500+ articles, 250+ webinars, and many more resources found on PianoInspires.com. Microcourse: Teaching Piano Skills gives teachers insight into the best practices of teaching and learning scales, chords, and arpeggios at the piano. Contributors to this microcourse include Marvin Blickenstaff, Scott McBride Smith, and Forrest Kinney.

The Marvin Blickenstaff Bundle includes:

  • Digital Subscription: PianoInspires.com
  • Book: Inspired Piano Teaching by Marvin Blickenstaff
  • Microcourse: Teaching Piano Skills

Over 30% off, a $115.99 value for only $79.99!

This bundle equips teachers of beginners with activities, lesson plans, foundational pedagogy skills, and inspiration. Piano Inspires Kids is a quarterly print publication with access to digital back copies and resources. Inspired Piano Teaching is filled with practical advice on teaching students at all levels and is dedicated to keeping inspiration and artistry alive for every student in every lesson. The Beginner Course is a comprehensive online course designed to provide the knowledge and skills necessary for working with beginning pianists (age 5-8 years old) in the most important year of piano study–the first. 

The Teaching Beginners Bundle includes:

  • Print + Digital Subscription: Piano Inspires Kids
  • Book: Piano Literature for Teaching & Performance by Jane Magrath
  • Course: The Beginner Course (Self-Guided)

Over 30% off, a $218.98 value for only $149.99!

This bundle is designed for teachers of intermediate students (approximately Levels 3-7). Piano Inspires Kids is a quarterly print publication with access to digital back copies and resources such as improvisation activities and articles about music history. Jane Magrath’s book features works from the Baroque through Contemporary periods and includes annotations with composer biographies, musical characteristics, and pedagogical considerations, all labeled with the appropriate level. The Intermediate Course is intended for those who are just beginning their teaching careers as well as experienced teachers seeking to expand their teaching skills related to intermediate study, and is designed to introduce important concepts and material related to the teaching of intermediate students.

The Teaching Intermediate Students Bundle includes:

  • Print + Digital Subscription: Piano Inspires Kids
  • Book: Piano Literature for Teaching & Performance by Jane Magrath
  • Course: The Intermediate Course

Over 30% off, a $218.98 value for $149.99!

The Inspiring Stories Bundle contains a wealth of motivational and inspirational material. The Autumn 2024 issue of Piano Magazine features Connor Chee, who shares the story of his cultural identity and artistic expression. Recollections gathers dozens of articles written by Robert Weirich that address many aspects of making a career in music. Inspired Piano Teaching is filled with practical advice on teaching students at all levels and is dedicated to keeping inspiration and artistry alive for every student in every lesson. Hidden Gems and Unsung Heroes are two online courses, rich in diverse repertoire written by female and Black composers. This bundle also includes subscriptions to PianoInspires.com and Piano Inspires Kids. PianoInspires.com includes over 1500 Piano Magazine articles, 250 webinars, and 200 videos available to subscribers. Piano Inspires Kids is a quarterly print and digital publication exploring the world through the music, cultures, and people that connect us to one another.

The Inspiring Stories Bundle includes:

  • Back Copy: Piano Magazine, Autumn 2024
  • Book: Recollections by Robert Weirich
  • Book: Inspired Piano Teaching by Marvin Blickenstaff
  • Course: Hidden Gems
  • Course: Unsung Heroes
  • Digital Subscription
  • Print + Digital Subscription: Piano Inspires Kids

$100 off, a $329.97 value for only $229.97!

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Why I Give to The Frances Clark Center: A Testimonial from Dennis Alexander

Written By Dennis Alexander

We would like to thank Dennis Alexander for sharing why he gives to The Frances Clark Center. Although #GivingTuesday has concluded, the opportunity to contribute remains open. This special day is just one part of our broader Annual Fund initiative, where every gift helps sustain our vital work. Please consider an additional gift today to help us reach even greater heights: https://pianoinspires.com/donate/.

Dennis Alexander

Fortunately, I’ve had the opportunity and honor to teach piano to students of all ages and abilities for over 54 years. When I think back on those days in 1969-70, there were very few resources available to young, aspiring piano performance majors who possessed a desire to teach as well as perform. That’s one reason why I’m so grateful that this void has been filled with the extraordinary work being done by The Frances Clark Center, in addition to the multitude of offerings from the National Conference on Keyboard Pedagogy—invaluable resources for training our “teachers of tomorrow”!  As a composer of pedagogical materials at all levels, I’m deeply grateful for the recognition that The Frances Clark Center has given me over these many years. I was thrilled to receive the “Lifetime Achievement Award” in 2015 from The Frances Clark Center for Keyboard Pedagogy, and even more honored when my two books of Nocturnes for Piano were selected as the recipient of the 2020 MTNA/Frances Clark Pedagogy Award. Even though I’m no longer composing, I continue my love of teaching all levels of adult students. The Frances Clark Center recognizes young, new composers as well as composers who have been neglected over the years! I am proud to be a supporter of this important organization, and I hope that teachers everywhere will continue to support the expanding mission of The Frances Clark Center in the years to come. — Dennis Alexander 

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The Power of a Piano Teacher
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Piano Inspires Podcast: Martha Hilley

Written By Martha Hilley, Artina McCain

To celebrate the latest episode of the Piano Inspires Podcast featuring Martha Hilley, we are sharing an excerpted transcript of her conversation with Artina McCain. Want to learn more about Hilley? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Hilley on Apple Podcasts, Spotify, YouTube, or our website!

Martha Hilley.

Artina McCain: We always like to end the interview with, “how does piano inspire you?” which I feel like you’ve already told us. But how do you feel like piano inspires you in this portion of your life?

Martha Hilley: Ah. [pause] Number one, I have never dreaded going into a classroom. The fact that I was given the opportunity to teach piano, the way I taught it in groups, changed my life. And the fact that I figured I would die at the University, just in my studio or classroom, someday. I wasn’t going to retire.

Well then, I became president of MTNA, and I knew that I couldn’t do a college job and MTNA at the same time [and]do the kind of job I wanted to do. So I retired. But I knew what I wanted to do was what I’m doing now because piano has shown me, not only does it inspire me to be the best teacher I can possibly be, but it inspires everybody that gets involved with it, if you allow them to be inspired. You know?

And group piano gives you the chance, as the teacher, to shut up. I know people think, “God, you talk all the time,” but I shut up every once in a while and let the students talk about the mistakes they’ve made or a particular way they practiced on something. So they have the opportunity of not only having a teacher, but [also] having peers in the same room with them that have the same problems that they have. They found a solution, so they talk about it, and it’s not coming from me all the time.

AM: Right. 

MH: And you’ve been on the website before that goes along with the classes. I’ve had students that come up to me and they say, “Hilley! I cannot get away from you! I go to the website, and I turn on a sound file, and there you are!” And I said, “Well, honey, I [will] go to the practice room with you, to try to talk through things, because I have an idea of the mistakes you might be making and things like that.” So, you know, I inspire them, maybe, but they inspire me more. And they inspire me because of what they do with the piano. So the piano is my life.

Now, I’m not a performer, you know. A stroke in 1993 when I was 49 took care of that from the standpoint of what it has done to my left hand. But that’s okay. I can still play chords and things like that. But piano will never leave my life. It just won’t, yeah. So I guess that’s [how I am] inspired.

AM: That is very [inspiring]. And you inspire us. You’ve inspired me. You always made me feel seen, even in places where other people didn’t see me. So I just wanted to tell you that. We love you, Hilley. 

MH: Oh, and the love is coming back. [laugh]

If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Martha Hilley on Apple Podcasts, Spotify, YouTube, or our website!

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I Don’t Get It
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Martha Hilley, Professor Emeritus at UT Austin, Butler School of Music | S2 E12

Written By Piano Inspires

Martha Hilley, Group Piano and Pedagogy Distinguished Teaching Professor Emeritus, shares her inspiring story on this episode with host Artina McCain. Listen to Hilley reflect on her long career at the Butler School of Music, her advice for young professionals, and her love for group piano and pedagogy.

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