Grooving to the Beat: Mastering Counting with Metronome Fun! (Vol.2)
Mi Sun Cheong, Boyoon Choi, Sangsoo Kim
University of North Texas; Oscar Macchioni, faculty mentor
Teaching Beginner Piano Students to Read Modern Notation: A Case Study of George Crumb’s Makrokosmos I
Xinyue Gu, Miao Ma
University of Kansas; Yiyang Chen, faculty mentor
Thanks to All Submitters and Faculty Mentors
Palm Beach Atlantic University; Jackie Yong
Southern Methodist University; Catharine Lysinger
State University of Maringá; John Kennedy Pereira de Castro
Universidade Federal de Juiz de Fora; Fernando Santana
University of Cincinnati, College-Conservatory of Music; Lynn Worcester Jones
University of Kansas; Yiyang Chen
University of Michigan; Paola Savvidou
University of Michigan; Christopher Harding
University of Missouri; Curtis Pavey
University of North Texas; Oscar Macchioni
University of Oklahoma; Sara Ernst
University of Oregon; Grace Ho
Utah Valley University; Carmen Hall
West Virginia University; Peter Amstutz
We look forward to highlighting the outstanding work of pedagogy and collegiate groups and to foster global community engagement among our collegiate cohorts and faculty. Register today to attend the event!
The Committees of The Piano Conference: NCKP 2025 work to research, compile, or otherwise address issues of ongoing significance to our participants and the piano teaching public in meaningful and substantive ways. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks. Keep reading to see what you can expect from the Technology and New Professionals Conference Tracks! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.
Technology
Stella Sick, Chair
Online: Sunday, June 8, 4-5:30pm
In-Person: Friday, July 25, 10am-12pm
The Piano Conference: NCKP offers a deep dive into the role of technology in music education, providing insights on how AI and other innovations can enrich our studios. Whether attending the online conference in June or the in-person event in July, educators can look forward to sessions that will equip them with practical strategies for embracing these changes.
The Panel on AI addresses the development of AI and its relationship to piano study. AI now permeates every aspect of our lives, often seamlessly integrated into our daily routines. It holds immense potential to simplify tasks and improve efficiency. However, as AI enters the music teaching space, where human connection and physical engagement are key to a meaningful learning experience, the music teacher community must carefully navigate both its positive and negative impacts.
The Tech Track will also continue to offer sessions on other relevant topics. Piano Recording: Aesthetic, Acoustic, and Sound Criteria for Classical Music Production explores patrimonio acústico (acoustic heritage) and focuses on preserving the unique characteristics of iconic halls, real and virtual spaces, alongside the distinctive properties of the instrument’s sound. Attendees will learn how modern production techniques enhance these acoustic elements while ensuring historical, artistic fidelity, and performance quality.
The lecture recital What Can Students Learn from Playing Schubert on a Digital Piano? Understanding Historical Piano Conventions through Modern Digital Instruments will share the presenters’ personal journey in finding an accessible, realistic alternative to recreate the historical instrumental experience on a modern digital piano.
The Piano Tech Expo interactive workshop offers a hands-on opportunity to explore technology’s role in lessons, home practice, and performances. Led by tech experts and passionate educators, this session provides practical demonstrations and ideas to inspire and elevate your teaching with technology.
These presentations offer a unique chance to connect with forward-thinking educators, gain new skills, and prepare for the future of piano education. From immersive media to AI-powered tools, you’ll walk away with fresh ideas to inspire your students and streamline your teaching practice.
Don’t miss your opportunity to be part of this transformative experience. Register now and secure your spot at the forefront of piano pedagogy!
New Professionals
Allison Shinnick Keep, Chair
Online: Saturday, June 7, 4:00pm-5:30pm
In-Person: Thursday, July 24, 10:30am-12:30pm
The New Professionals’ track will offer new and seasoned professionals alike the chance to consider fresh career possibilities through panel discussions, networking sessions, and deep dives into practical topics. The in-person session “Designing Your Life: Perspectives and Tips from Emerging Piano Professionals” will highlight the experiences and lessons learned by several new professionals in lightning talks, followed by guided brainstorming and networking sessions to assist attendees in applying these new perspectives to their own careers. The online event will feature a panel on “Leading and Navigating Change: Personal and Institutional Growth in the Evolving Landscape of Music Education.”
While many professional pianists may be excited by a variety of career paths, some feel inadequately prepared for positions that encompass more than teaching or performing. Leadership skills and writing skills are key factors for many jobs in the arts, but few graduate programs emphasize these skills. Attendees of the New Professionals’ track at the in-person conference will benefit from two sessions aimed to equip pianists with skills to excel as writers and leaders: “Writing Skills for Creative Expression: Practical Tips for Pianists’ Career Development” and “I Graduated! Now What?” The online track includes a presentation on honing teaching skills in “Professor’s Corner: Teaching Piano Master Classes.”
Be on the lookout for more information about additional conference events including New Professionals Concerts and a New Professionals Pizza Reception.
Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’ to find your discount code. Learn more and register for The Piano Conference by clicking here.
We would like to thank Rentana Wu for this article on pianist and composer Lisan Wang. Interested in learning more about Lisan Wang? Attend her session at The Piano Conference: NCKP 2025 on Saturday, July 26 from 11:00 AM – 11:25 AM in Grand Ballroom IJ. Learn more and register for the conference here.
Lisan Wang.
1. A Trailblazer in East Meets West.
Lisan Wang (1933-2013) was a trailblazer in combining Chinese national elements with Western classical techniques. Born into a culturally rich family, Wang was deeply influenced by traditional Chinese art forms such as Peking Opera and calligraphy. His exposure to both Chinese and Western classical education led him to craft a distinctive compositional style that integrated folk melodies and modern Western methods, like Bartók’s use of ostinato, into a seamless fusion. Wang’s works exemplify a perfect marriage of nationalism and Westernism, providing a unique pathway for musicians to explore and appreciate global musical traditions.
Lisan Wang’s influences.
2. Impressionism Through A Chinese Lens
Lisan Wang’s piano compositions often evoke vivid imagery and abstraction, reminiscent of Impressionist painting. The piano suite Impressions of Paintings by Higashiyama Kaii draws inspiration from Japanese modern landscapes, blending the pentatonic scale and Japanese modes with Debussy’s coloristic techniques. This fusion of Eastern and Western ideas allows students to experience Impressionism in a new light, making it more accessible while still maintaining its original emotional depth and complexity.
Painting by Higashiyama Kaii and poem by Lisan Wang.
3. Reinventing Folk Music for the Piano
Wang was highly influenced by folk music, and his works often incorporate traditional Chinese melodies reinterpreted through a Western harmonic lens. A prime example is his use of pentatonic scales and Japanese modes, which not only preserve the authenticity of folk tunes but also employ sophisticated Western compositional techniques. This combination results in a sound that is both familiar and innovative, providing a fresh approach to teaching folk-based classical music.
Score excerpts from Lisan Wang’s “Winter Flower” and Debussy’s L’isle joyeuse.
4. Unlocking Emotional Depth and Sensitivity
Wang’s music is rich in emotional depth and sensitivity, often requiring performers to engage with the characters or narratives he suggests through his pieces. For example, in the movement “The Sound of Waves,” the music evokes the epic journey of Master Jian Zhen, using dynamic shifts and rhythmic patterns to represent both the struggle and determination of the character. Teaching Wang’s works encourages students to delve into these emotional narratives, fostering not just technical ability but emotional intelligence and interpretative skill.
“The Sound of Waves” from piano suite Impressions of Paintings by Higashiyama Kaii.
5. The Perfect Gateway to Contemporary Repertoire
Lisan Wang’s compositions serve as ideal preparatory works for students approaching the complexities of twentieth and twenty-first-century repertoire. His use of modern techniques such as dissonance, rhythmic complexity, and coloristic textures prepares students for the challenging works of composers like Debussy, Bartók, and Ravel. Wang’s pieces provide a culturally enriched foundation, making it easier for students to tackle the challenges of contemporary Western music with greater confidence and depth.
A categorization of Lisan Wang’s piano compositions.
References
Wei, Tingge. 中国近现代音乐家的生平简介 (The Modern Chinese Musician’s Biographies). Shenyang, China: Spring Wind Cultural Press,,1994.
Bian, Meng. 《中国钢琴文化之形成与发展》 (The Formation and Development of Chinese Piano Music Culture). 北京:华乐出版社 (Beijing: Huayue Press), 1996.
Dai, Baisheng. “中国传统文化的象征–汪立三钢琴曲《#F商:书法与琴韵》中的” 中国风格”探析” (The Symbol of Chinese Traditional Culture). Journal of Wuhan Conservatory of Music, 2004.
Su, Lanshen. “纵一苇之所如凌万顷之茫然——汪立三先生访谈录” (“An Interview with Mr. Wang Lisan”). Piano Artistry, no. 2 (1998): 4–9.
Wei, Tingge. “探求新的美的境界——评钢琴曲《夕阳箫鼓》、《涛声》” (“To Explore A New Beauty: On The Piano Piece ‘Sunset Drum’ ‘The Roaring Waves’”). In Wei Tingge Music Anthology, 2-5. Beijing: People’s Music Publishing House, 2007.
Wei, Tingge. “汪立三的钢琴创作” (“Wang Lisan’s Piano Works”). In Wei Tingge Music Anthology, 2-8. Beijing: People’s Music Publishing House, 2007.
Xu, Pan. “中国钢琴作品民族风格的初探—解析汪立三《东山魁夷画意》之四《涛声》” (“National Style of Chinese Piano Works: Analysis of Wang Lisan’s Piano Piece “The Roaring Waves”). Art and Literature for the Masses 242, no. 4 (2010): 130.
Wang, Wenjun. “《涛声》的教学分析” (“The Analysis on Teaching of Piano Piece ‘The Roaring Waves’”). National Music 178, no. 5 (2004): 35.
The committees of The Piano Conference: NCKP 2025 contribute to the program of the conference by curating topic-based tracks from the call for proposals. These unique scheduling blocks allow attendees to explore a series of presentations that have been thematically grouped for a deep learning experience. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks of conference programming. Keep reading to see what you can expect in the International Track! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.
Submitted by Dr. Luis Sanchez – Director of International Engagement – International Committee Chair.
The Piano Conference International Committee has expanded its scope from the last two piano conferences to include tracks in Korean and Mandarin to the already existing tracks in English, Spanish and Portuguese. All sessions in foreign languages will include English closed captioning to make it accessible for all.
The English International Track includes a series of rich and diverse sessions exploring global piano music. Renata Wu and Lisa Wang’s Echoes of East and West delves into the evolution of the Colombian pasillo through piano compositions by Fulgencio García, Adolfo Mejía, Carolina Calvache, and Victor Agudelo, highlighting the fusion of traditional, classical, jazz, and avant-garde styles while celebrating underrepresented voices. George Lopez’s session, African and European Influences on Cuban Salon Piano Music, covers the development of Cuban salon music from the 19th to 21st centuries, focusing on works by Saumell, Cervantes, and Lecuona, and offering practical teaching tips to diversify piano pedagogy. Yoshiko Arahata’s Sounds from Guatemala: Music by Ricardo Castillo showcases the vibrant rhythms and harmonies of Guatemalan composer Castillo’s piano suites, exploring their unique musical qualities. Koeun Grace Liee presents Contemporary Korea on Piano: Texu Kim’s Co.Ko. – un poco Loco (2017), a whimsical exploration of Korean traditions combined with Western styles, offering insights into Korea’s dynamic musical identity. Tsz Hin Lam’s Unveiling the Approaches of Renowned Chinese Educator Dan Zhaoyi explores Dan Zhaoyi’s influence on early childhood piano education, emphasizing cultural understanding and integrating non-Western methods. Alejandro Cremaschi’s Developing a Sense for Rhythm and Timing with Latin American Piano Pieces addresses the rhythmic complexities of Latin American piano music, providing strategies for enhancing students’ sense of rhythm. Finally, Hyrum Arnesen’s Approaching Global Repertoire: Identifying and Interpreting Argentine Folk Songs and Dances immerses participants in the rich musical world of Argentine folk genres, offering pedagogical insights for interpreting these styles in piano repertoire.
The Spanish International Track sessions cover a diverse range of topics in piano pedagogy and music. Melinda Marcos’ Afro-Porteño Composers from 19th-Century Buenos Aires explores key Afro-Porteño composers, blending historical context with their biographical details and music. Marcelo Lian’s The Pedagogical and Artistic Legacy of Vincenzo Scaramuzza focuses on Scaramuzza’s influence as a piano teacher, featuring his rarely heard mazurkas. Karina Glasinovic’s Poetic Pieces for Children examines 22 piano pieces inspired by Gabriela Mistral, presenting technical and interpretative challenges for young students. Daniel Goldstein and Elaine Rusk’s Argentine Panorama provides a historical overview of Argentine music, accompanied by a piano recital. Camila Osses’ Defining the Composer-Pianist in 20th-Century Chile highlights the work of three Chilean female composers through biographical discussions and performances. Jackeline Gutierrez’s Neurosciences, Piano and Pedagogy explores the connection between brain activity and piano performance, emphasizing neuroeducational methods. Alejandro Cremaschi’s Five Sonatinas from Argentina and Brazil discusses the stylistic and pedagogical richness of five sonatinas from Latin American composers. Maria Isabel Benitez’s Lines, Spaces and Notes addresses challenges faced by Spanish-speaking children in learning music. Anamarie Sabbagh’s Music Education Marketing emphasizes the cognitive and emotional benefits of early music education. Carla Salas-Ruiz’s Motivation and Development of Interest in Adolescent Piano Students presents strategies for sustaining motivation in adolescent piano learners. Guillermo Carro’s Ernesto Drangosch—Pianist and Pedagogue reflects on Drangosch’s legacy as a pedagogue and composer. Lastly, Jessica Alarcon’s Resignification of Functional Diversity through the Piano shares her experience teaching piano to children with intellectual disabilities, breaking the stigma surrounding their ability to learn music.
The Portuguese International Track will feature eleven presentations on various innovative approaches to piano teaching, with an emphasis on technology, pedagogy, and emotional engagement. Caroline Silva will discuss Guerra-Peixe’s Suíte Infantil No. 1 in her session Why Wait? Exploring Modern Music for Pre-Intermediate Levels. Ana Filipa Neves Ferreira’s The Relevance of Emotional Engagement and Neuroplasticity Principles in Piano Learning explores how neuroplasticity principles, such as repetition and specificity, enhance piano teaching by integrating emotional engagement. This approach fosters a holistic artistic development, strengthening technical, expressive, and emotional skills. Fabiana Bonilha’s Technologies for Transcribing and Reading Piano Works in Braille focuses on tools for transcribing piano works into Braille, improving access to piano repertoire for blind pianists. Fatima Corvisier and Ellen Miyashiro’s Polyphonic Repertoire at Elementary and Intermediate Piano Levels investigates the importance of introducing polyphonic pieces early in piano learning, using historical and modern works to facilitate understanding of this technique.
Fernando Corvisier’s The Sound Universe of Almeida Prado: Cartas Celestes XIII presents an interpretative analysis of the Brazilian composer’s work, examining compositional techniques and pedagogical aspects in contemporary piano literature. Henrique Villela’s Teaching Practice in Piano Bachelor’s Degree Courses discusses how Brazilian piano bachelor programs integrate pedagogical training to prepare students for teaching careers. Isis Natali Cardoso’s Lorenzo Fernandez: Didactic Piano Music as a Pedagogical and Artistic Tool examines Fernandez’s intermediate compositions, highlighting their technical and creative potential for piano education. Gil Peijnenburg’s From Drum to Piano: Adaptation of Congo Capixaba from Barra do Jucu for Solo Piano will share techniques for transferring percussive style to the piano. Lully Benassi and Fernando Corvisier’s Extended Techniques in Teaching Piano Repertoire explores the incorporation of contemporary Brazilian repertoire with extended techniques, encouraging students to engage with new sounds and develop their instrumental skills. Patricia Melo’s Experiential Knowledge in the Construction of Piano Teaching highlights the importance of practical pedagogical experience in undergraduate piano courses at Brazilian universities. Lastly, Rafael Gomes’ Group Piano Teaching: Expanding Harmonic Possibilities presents a group teaching approach to studying harmony through improvisation and harmonization.
The Korean International Track includes three engaging sessions aimed at enhancing music education. The first session, titled Summer Piano Camp Program that Enhances the Joy of Learning, presented by Chee Hyeon Choi, explores creative ways to make piano learning enjoyable during the summer. It emphasizes group classes, improvisation, and thematic pieces to help students of all levels quickly grasp the essence of piano music. The second session, The Magical Fusion of Different Music: The Encounter Between Korean Geomungo and Piano Music, delves into the fusion of Korean geomungo and piano music, offering an overview of composers and available repertoire, along with live performances to demonstrate this unique blend. The final session, Understanding and Supporting Students with ADHD in Music Classes, discusses strategies for teaching students with ADHD, providing twelve practical methods across three stages—before, during, and after the lesson—to ensure effective learning in music classes.
The Mandarin International Track covers a variety of topics related to piano health, career prospects, and education. Juyang Qi’s lecture explores performance-related musculoskeletal disorders (PRMDs) in pianists, focusing on causes, prevention, and treatment, especially for injuries to the upper limbs, neck, and back, and emphasizes the importance of ergonomic keyboards. Zhenzhen Su’s presentation discusses the role of piano performance in promoting physical and emotional health, drawing from Colette Maze’s philosophy of connecting through music and visual art to foster social interaction and well-being. Yingzhou Hu’s speech addresses the employment prospects for piano majors in American colleges and universities, providing guidance on career planning and the challenges students may face.
These 37 sessions that have been carefully curated by the committee explore not only repertoire from different corners of the world but also delve into the current research on learning and teaching that is carried out beyond the United States’ borders.
Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 8, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’ to find your discount code. Learn more and register for The Piano Conference by clicking here.
Thanks to the generosity of supporters around the world, The Marvin Blickenstaff Teaching Excellence Fund is advancing high-quality teacher education and raising the standard of piano instruction. Since its launch in 2023, the fund has supported new courses, teaching resources, and initiatives that reflect Marvin’s philosophy that piano teachers change lives and help create a more beautiful world.
As Marvin’s 90th birthday approaches on May 19, 2025, we are just $45,000 away from reaching our $250,000 fund goal. We invite you to join this meaningful effort by making a contribution to help complete this tribute in time for his milestone birthday.
Words cannot adequately express my gratitude for the role model Marvin Blickenstaff has provided, and continues to be, as a musician, teacher, and human being. From the first time I saw him in a masterclass at Southern Methodist University in the early 1990’s until today in 2025, I have always admired how he articulates and connects us all to the beauty and relevance of music making. These aspects of his teaching have made me think, “When I grow up, I want to be just like Marvin.” Fast forward to February of 2023 when I got to watch private lessons in his home, enjoy his generous hospitality, and ride with him to the New School for my teaching residency. I will never forget the privilege and joy of getting to host Marvin and Jennifer Snow in Colorado Springs for his “Colorado Tour” in October of 2023. What a glorious time for all of us. I thank him for being such an inspiration and encouragement of a life artistically and beautifully played and lived.
Marvin Blickenstaff with Laura Harding
From Laura Harding:
I want to express my gratitude to Marvin Blickenstaff for being an inspiring piano teacher. His presentations, writings, and discussions have provided me and so many others with numerous, valuable teaching tools. I will always treasure the memory of my son, John, performing “Starfish at Night” in his master class; it was indeed a special moment.
He is not only an incredible piano educator but also a wonderful person. His influence has profoundly affected my life.
The Spring 2025 issue of Piano Inspires Kids is available now! Click here to receive the issue and give the gift of music to the musicians in your life! Keep reading for a sneak peek into the Spring Issue.
Listening is an important part of being a musician, and in this issue, readers learn about how musicians hear and the structures of the human ear. This issue explores:
The Science of Listening
Audiation
Perfect and Relative Pitch
How to Protect Our Ears
Today, we can listen to music easily on our phones. But this hasn’t always been the case! In “Now & Then,” learn about how sound recordings developed from over 100 years ago with the earliest phonograph recordings. Other issue highlights include tips for playing chords and inversions, a Happy Birthday activity, and an exploration of the musical term rubato.
The featured composer of Spring 2025 is the wonderful Kevin Olson, with the duet Common Ground. Olson described his piece as “a cheerful, pop-inspired piano duet that’s all about teamwork and balance.” This issue also covers tips for ensemble practice and how to prepare for performance.
To get ideas on using this issue of Piano Inspires Kids in the studio, find these ready-made lesson plans on our website:
Discover: Audiation Exercises
Explore: The History of Recorded Music
Play: Ensemble Practice
Share: Protecting Our Ears (Reader Poll)
A look inside:
Want to learn more about Piano Inspires Kids? Watch our webinar, “Inside Piano Inspires Kids: A New Publication of the Frances Clark Center” with Co-Editors-in-Chief Sara Ernst and Andrea McAlister: click here.
Giveaway: Come try the Clefer app at our booth and you’ll be entered to win a $500 gift card to your favorite music store.
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TBD
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We would like to thank Sarah Masterson for this article on pianist and composer Philippa Schuyler. Interested in learning more about Philippa Schuyler? Attend her session at The Piano Conference: NCKP 2025 on Thursday, July 24 from 11:30 AM – 11:55 AM in Lilac B. Learn more and register for the conference here.
Philippa Schuyler
1. Famous as a child prodigy, Schuyler wrote fifty compositions by age ten.
Composing by age four, Schuyler began performing her own music in concerts at age six. Her childhood works tend to be related to events in her life or books she read. For example, the book 1001 Tales of the Arabian Nights inspired her Suite from the ArabianNights, while Cockroach Ballet tells the story of the roaches that lived in her kitchen. In1946, at age 15, Time Magazine called her the “brightest young composer in the U.S.”1
Philippa Schuyler
2. She performed in approximately 80 countries on five continents.
When Schuyler was 19, she embarked on her first solo concert tour, without any chaperone, beginning with a performance at the 1950 inauguration of Haitian president Paul Magloire. Traveling nearly continuously, Schuyler went on to visit 35 countries on five continents by age 23. Her first adult compositions arrange folk music heard on her travels.
3. As a journalist, she reported on the 1960 Congo Crisis.
In 1960, Schuyler was invited to perform for the inauguration of the new Congolese president and prime minister on the occasion of the Congo’s independence from Belgium. In the days following, the country descended into chaos. Rather than immediately fleeing the violence, Schuyler stayed several days to try to get the story, only leaving for her next concert engagement in Ghana. In subsequent months, she interviewed survivors in Belgium and returned to the Congo, reporting on the violence resulting from the state of Katanga’s recent secession. She remained there for weeks, investigating politics and possible war crimes.
Philippa Schuyler; Photographer: Fred Palumbo
4. She premiered her piano concerto Nile Fantasy with the Cairo Symphony in 1965.
Schuyler’s piano concerto Nile Fantasy premiered with the Cairo Symphony in December 1965, with Schuyler at the piano and Dennis Gray Stoll at the podium. Its four movements—“Rebellion,” “Inshallah,” “The Terror,” and “The Road to Victory”—orchestrate sections from her White Nile Suite and Seven Pillars of Wisdom. The concerto’s final documented performance occurred at Schuyler’s 1967 memorial.
Schuyler outside the premiere’s venue.
5. She spent months reporting on the Vietnam War, buying fatigues on the black market to “view ACTION.”2
In September 1966, Schuyler traveled to Vietnam to perform at the Saigon Conservatory and stayed to report on the war. On a second trip in 1967, she spent most of her time in Hue. Disguising herself as Vietnamese, she hid with locals to avoid mandatory evacuation, unwilling to leave “at the very moment that Hue [was] becoming interesting.”3 She helped evacuate women, children, and clergy to safer areas, getting them on military flights and, by her count, evacuating over seventy people. It was on one of those flights that she died at age 35, when her helicopter crashed yards from shore.
Philippa Schuyler
Footnotes and Sources
1. “Music: Original Girl,” Time, March 25, 1946. https://time.com/archive/6824347/music-original-girl/.
2. Philippa Schuyler to Josephine Schuyler, September 15, 1966, box 73, folder 4, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, NY.
3. Philippa Schuyler to Father Lyons, n.d., box 22, folder 1, Schuyler Family Papers, Schomburg Center for Research in Black Culture: Manuscripts, Archives, and Rare Books Division, New York, NY.
Masterson, Sarah. Snapshots of Forgotten Adventures: Rediscovering the Piano Musicof Philippa Schuyler. Pomaria: Tyger River Books, 2024.
With over 30 years in music publishing, Tom Gerou founded TOMGEROUMUSIC.COM®, bringing his expertise to the industry. Joined by talented authors, the company is dedicated to exceptional educational music publications.
The Piano Detectives Club is a vibrant, engaging, age-appropriate group curriculum for teachers to use with five- and six-year-old beginning pianists. Come explore our materials, resources, and training options and see why this program would be a vital addition to what you already offer in your studio or institution.
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Last chance to participate in The Piano Conference: NCKP 2025! The deadline to submit Collegiate Connections, E-Posters, Performances, and Teaching Demonstrations is Monday, March 31, 2025, at 11:59 PM Pacific.
Collegiate Connections
We invite collegiate groups in pedagogy, repertoire, and related performance classes along with their faculty to participate. Projects may cover a wide range of topics such as creative teaching, lecture and musical presentations, community engagement, and business entrepreneurship. We welcome all group proposals; note that proposals by individual presenters will not be considered.
The Piano Conference seeks e-poster presentations from educators, researchers, and performers, and encourages proposals from emerging professionals and students. E- posters can include topics related to general pedagogy or those based upon research.
The in-person conference program will include an inspiring main-stage concert highlighting multiple performers from the community. Ideal concert selections will bring awareness to expanding the piano repertoire with music by underrepresented composers and pieces that are lesser known.
The Piano Conference seeks to highlight excellence in teaching practice and music learning, and calls for submissions of piano lesson videos for the plenary teaching demonstrations, online and in person. All piano educators, emerging professionals, and students are welcome to submit videos.
Full conference registration includes four days of engagement, including the Innovation Summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available.
All are invited to join us for the NCKP Innovation Summit on Wednesday, July 23, starting at 9:00 AM. Through dynamic collaboration, bold idea-sharing, and inspiring discussions, we’ll work together to build a forward-thinking vision for teaching and learning. Don’t miss this exciting opportunity to innovate, connect, and help redefine what’s possible—your ideas matter! Take the Pre-Summit survey here.
Not sure if you will attend? Check out our schedule to see everything you can learn at The Piano Conference: NCKP 2025!
Early-bird registration is available until May 1, 2025, at 11:59 PM Pacific.
Missed the special discount on The Piano Conference: NCKP? Subscribers receive an additional 10% off registration. Log in to pianoinspires.com and navigate to ‘My Discounts’ to retrieve your discount code.
