In this episode of The Piano Inspires Podcast, Scott McBride Smith shares his unique journey in piano education and his perspectives on the evolving world of music teaching. As a leading pedagogue and advocate for creative, student-centered learning, Scott explores the changing landscape of piano education and how teachers can adapt to new challenges.
He reflects on the role of mentorship, the importance of finding the right teachers, and how to keep students engaged in an era of digital learning. Scott also shares his unconventional path to a career in piano pedagogy, offering valuable insights and inspiration for educators and musicians alike.
We would like to thank Connor Chee for this insightful articleon Indigenous composers. To read the full article, click here.The Frances Clark Center is excited to share our latest publication: Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, compiled and edited by Connor Chee and Renata Yazzie. Learn more and get your copy today by clicking here.
Connor Chee.
The autumn 2024 Piano Magazine article, “Breaking Stereotypes,” explored the deeply ingrained misconceptions surrounding Indigenous music and how important it is to approach these traditions with an open mind. For many, Indigenous music conjures images of static, ancient traditions—locked in time and space, unchanged by modern influences. But this couldn’t be further from the truth. Indigenous music, like any art form, is dynamic, evolving, and as complex as the many cultures from which it originates.
Today, Indigenous composers are redefining what it means to create music, blending traditional elements with contemporary sounds, working across genres, and in some cases, pushing the boundaries of what music itself can be.
Here, a group of composers who are challenging the stereotypes surrounding Indigenous music are introduced. Each of them brings a unique perspective to the musical landscape, crafting works that defy simplistic categorization. The works of these seven composers are proof that Indigenous music is not confined to the past but is very much alive and thriving in the present. Their work speaks to the diversity of modern Indigenous music and serves as a reminder that Indigenous composers should be given the freedom to explore new ideas, without being pigeonholed by expectations.
Raven Chacon (Diné)
Perhaps no one epitomizes breaking musical barriers quite like Raven Chacon. In 2022, he became the first Native composer to win the Pulitzer Prize in music for his piece Voiceless Mass, a powerful and avant-garde work that challenges our understanding of what music is supposed to be. Chacon is known for his experimental approach, working across media such as noise music, chamber music, and visual art installations. His music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer.
In Voiceless Mass, Chacon utilizes silence as a compositional tool, creating tension and unsettling spaces where the absence of sound carries as much weight as the sounds themselves. The piece, composed for organ and ensemble, explores ideas of representation and marginalization— who has a voice and who does not. Chacon’s music defies the notion that Indigenous composers must focus solely on traditional elements, offering instead a modern and avant-garde take on composition that breaks free from expectation.
Jessica McMann/V. Jessica Sparvier-Wells (Cree)
Jessica McMann, who is in the process of reclaiming her birth name and will soon be known as Virginia Jessica Sparvier-Wells, is a composer and flutist whose work artfully merges classical music with Indigenous traditions. Her compositions and performances are deeply connected to land, Indigenous identity, history, and language, reflecting a rich engagement with her Cree heritage. She often weaves Cree language and cultural elements into her music, enriching her classical training with a distinct cultural voice. McMann’s creative practice extends beyond traditional composition, focusing on land-based creation, where the themes of connection, disconnection, and home emerge as central to her work. This approach emphasizes the powerful ties between music, place, and identity, as she explores the intersections between the personal and the cultural, grounding her soundscapes in both the physical and spiritual aspects of Indigenous life.
Her work is a reminder that Indigenous composers are not bound by one medium or cultural tradition. McMann’s compositions break away from the stereotype that Indigenous music exists in a vacuum, disconnected from Western classical music or contemporary soundscapes. Instead, she skillfully weaves her cultural heritage into her music, making it clear that these two worlds can coexist and enrich one another.
Jeremy Dutcher (Wolastoqiyik)
Jeremy Dutcher is an artist whose work defies easy classification. A classically trained tenor and performer, Dutcher’s album Wolastoqiyik Lintuwakonawa won the Polaris Music Prize for its blend of classical and Indigenous Wolastoqiyik music. He recorded the album after a research project on archival recordings of traditional Wolastoqiyik songs at the Canadian Museum of History, many of which are no longer being passed down to the tribe’s youth. What makes Dutcher’s work on this album particularly powerful is how it incorporates archival recordings of traditional Wolastoqiyik songs, reworking them into new, contemporary forms that include their traditional singing style.
By bringing the voices of his ancestors into the present, Dutcher’s music is a dialogue between the past and the future. His songs are a testament to the idea that Indigenous music is not static or locked in the past but is a living, evolving tradition. Dutcher shows that Indigenous musicians can both honor their heritage and innovate within it, creating music that is as forward-thinking as it is deeply rooted in cultural memory.
We hope you enjoyed this excerpt from Connor Chee’s article, “Breaking Stereotypes: Indigenous Composers Defining New Musical Frontiers.” Read the entire article by clicking here, and learn aboutIndigenous composers, including Beverley McKiver (Anishinaabe), Brent Michael Davids (Mohican/Munsee Lenape), Jerod Tate (Chickasaw), Dawn Avery (Mohawk), and Sonny-Ray Day Rider (Blackfoot).
To celebrate the latest episode of the Piano Inspires Podcast featuring Penelope Roskell, we are sharing an excerpted transcript of her conversation with Sara Ernst. Want to learn more about Roskell? Check out the latest installment of the Piano Inspires Podcast. To learn more, visit pianoinspires.com. Listen to our latest episode with Roskell on Apple Podcasts, Spotify, YouTube, or our website!
Penelope Roskell
Sara Ernst: I’ve heard you talk about—I think the phrase you used was “duty of care.” And that comes into my mind hearing you speak about this.
Penelope Roskell: Yeah. I feel as teachers, what I’ve been talking about really already, we have a responsibility to look after our students physically and also to nurture them as artists now—to instill a love of music, [a] love of art, and the higher things in life. Really, the things that we really live for, as musicians.
We can’t always get that right, and there are things that every teacher will do wrong and regret and look back and think, “Oops, I really got it wrong with that in that lesson” or whatever. But I think if that’s what we set ourselves as our challenge, then we’ll get somewhere along that. Especially if you’re a young teacher, you’re not going to get everything right. And you know, maybe a student will be practicing in a very unwise way, and they might hurt their hand. Maybe it’s something you couldn’t prevent. You just didn’t have the knowledge. You didn’t have the experience.
So in that case, you ask somebody who does have the experience for the extra support, or you find it out online, or wherever you go. And then you come back, and you will probably have learned from that experience, and you’re an even better teacher in the future from it. So we learn from our mistakes, don’t we?
SE: We do, and it’s one of those things that I’m so grateful we have such a community in our field of people and experts and other teachers.
If you enjoyed this excerpt from Piano Inspires Podcast’s latest episode, listen to the entire episode with Penelope Roskell on Apple Podcasts, Spotify, YouTube, or our website!
The Winter 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 Winter Issue.
The Winter 2025 issue of Piano Inspires Kids celebrates the theme of Music & Nature, offering a wealth of activities, repertoire, and inspiration to bring this connection to life in your studio. From the beautiful cover art by Skyela Marie, the winner of the Design the Cover Contest, to engaging explorations of nature-inspired music, this issue provides countless ways to enrich lessons and spark students’ creativity.
Explore the Connection Between Music and Nature
How did composers represent nature in their music? This issue features pieces by composers such as Debussy, Price, Burgmüller, and others who drew inspiration from nature. Assign these pieces to your students and discuss how the composers used melody, harmony, and texture to evoke natural imagery. Explore nature-inspired music using the listening guides throughout the issue, and prompt your students to write down their own thoughts about how composers expressed the sounds of nature through music. Use this activity as a homework assignment or a studio-wide project. Students can share their reflections during lessons or as part of a group discussion. This not only improves their listening skills but also deepens their appreciation of music’s expressive power.
The 2025 Composition Contest
Have your students ever dreamed of composing music for movies? Now’s the chance! With our 2025 Piano Inspires Kids Composition Contest, young pianists can take on the exciting role of a movie soundtrack composer.
After choosing one of the four video shorts found on our YouTube channel @pianoinspireskids, download the Movie Soundtrack Activity to help create music that captures the emotions and tells the story behind the scenes. Use the ideas found in the Winter issue to create the sounds of cats, birds, wolves, and other animals seen in the videos.
Play New Music by V. Jessica Sparvier-Wells
This issue spotlights “pîwan,” a new work by indigenous composer V. Jessica Sparvier-Wells. Share the piece with your students and discuss its cultural and environmental themes. This is a wonderful opportunity to introduce students to contemporary music and diverse voices in classical composition. Incorporate a discussion about how music can tell stories and reflect the composer’s environment and heritage.
For more compositions by Indigenous composers, check out Weaving Sounds: Elementary Piano Pieces by Native and Indigenous Composers, now available from Piano Education Press.
Answer the Reader Poll
This issue’s Reader Poll asks students whether they prefer books or digital scores. Read the pros and cons of each format, and ask students to share their thoughts on analog vs. digital scores. Encourage students to cast their votes on the magazine’s website and share their opinions during lessons. Poll results will be posted in the Spring issue. Check back to see which format is preferred by all of our readers!
Plan a Nature-Inspired Studio Project
After reading about practice-a-thons and Ann DuHamel’s commissioned project Prayers for a Feverish Planet, ask students how they might want to use music to help others. Whether raising money for a worthy organization, asking local composers to write music based on a theme, or organizing a recital themed around music and nature, we can all use our music to make the world a better place!
Decorate A Piano
In the Winter issue, we explore keyboard instruments as early as the 11th century all the way to the modern day, including some surprisingly colorful instruments. Some keyboards of the past, like harpsichords, were often adorned with beautiful artwork. In the 20th century, Liberace was known for performing on pianos covered with crystals!
Piano Inspires Kids is encouraging readers to design their own piano! Visit our website to download and print a ready-to-design picture of a grand piano. Get out your art supplies and decorate. Once the artistic piano is complete, take a picture of your artwork, and share it with us. Student pianos might be featured in a future issue of the magazine or on our website.
By integrating the Winter 2025 issue of Piano Inspires Kids into your teaching, you can cultivate a deeper connection between your students, music, and the natural world. This unique approach will inspire creativity and broaden their musical horizons.
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.
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.
The Piano Conference: NCKP 2025 is pleased to announce the Keynote Speakers, Jazz Artists, PEDx Speakers, and Celebration Concert Artists. See each presenter’s bio on our website and register for the conference here.
KEYNOTE SPEAKERS
JAZZ ARTISTS: Concert & PEDx Panel
PEDx SPEAKERS
CELEBRATION CONCERT ARTISTS
We are pleased to offer multiple opportunities for participation in The Piano Conference: NCKP 2025! We seek programming in a variety of formats and are currently accepting submissions of Collegiate Connections Projects, E-Posters, Performance Videos, and Teaching Demonstrations. The deadline to submit is Monday, March 31, 2025, at 11:59 PM Pacific. Learn more at: https://pianoinspires.com/nckp-the-piano-conference/.
In this insightful episode, host Sara Ernst is joined by special guest Penelope Roskell, acclaimed pianist, pedagogue, and author of The Complete Pianist, who shares her wisdom on nurturing resilience, artistry, and a love of music in students.
Roskell reflects on her journey as a performer and teacher, the transformative power of music, and her innovative approach to healthy piano technique. She also discusses the importance of community, adapting teaching methods to modern learners, and fostering lifelong connections to music.
We are delighted to share top tips from Dr. Sara Ernst on recording effective teaching demonstrations as you compile your teaching video submissions for The Piano Conference: NCKP 2025. Sara is Director of Teacher Engagement for The Frances Clark Center and a member of the Executive Committee for The Piano Conference: NCKP. We invite you to submit your teaching videos via our proposal submission portal by Monday, March 31, 2025, at 11:59PM PDT.
Teaching demonstrations have a long history at The Piano Conference: NCKP, the roots of which can be traced back to Frances Clark. At the New School for Music Study in the 1970s, Frances Clark and Louise Goss were innovators in teacher education as they began videotaping classes and lessons. They were using reel-to-reel tapes and large camcorders! Thankfully today we can rely on cell phones and digital cameras to capture amazing high-definition video, and we can edit, post, and share with relative ease.
Different from a masterclass, a teaching demonstration showcases a student working with the primary teacher in a customary studio setting. Through the use of lesson videos, we observe a snapshot of music learning and explore best practices by discussing individualized teaching approaches. This provides us an opportunity to reflect upon learning, music making, and pedagogical process, especially in how teachers meet the unique needs of students.
Consider submitting a video of your teaching for an opportunity to share this at The Piano Conference: NCKP 2025. Read below for several strategies to create effective teaching demonstration videos:
1. Select students based on strengths
There will be certain students in your studio who will be ideal for a recording project. Those include students who are regularly interactive and engaged. Avoid students whose learning may be negatively impacted by the pressure of video recording, and those who may become overly distracted by the presence of cameras. There are also ideal times for recording videos. Great moments can often be captured in lessons that prepare for recitals or events, or when a student has reached a period marked by growth and motivation.
2. Receive approval and consent
Whenever documenting lessons with video recording, it is crucial to receive approval and signed consent from parents/guardians and students. Some students and/or caregivers may be hesitant with the prospect of recording lessons; sharing how the video will be used and the purpose of the project will often quell any concerns. If you are teaching at a school, academy, or other institution, there may be specific approvals and requirements. If applicable, check with the administration or board. Keep records of approval and consent as you build your video library.
3. Invest time in setting up
An ideal camera angle will capture the student, the teacher, and the piano. This is often an exacting, finicky task, especially with a smaller room. These strategies may help:
Use a tall tripod for security and stability. An ideal tripod will extend to 60 inches in height.
Place the camera/tripod on a table top, desk, or piano lid to find ideal angles.
Position the camera near shoulder height, angled slightly down. This can often capture a wider view.
Mark the tripod height and location to easily reset the tripod another day.
Check your angle and device to avoid these common problems, as much as possible:
A blocked student: if both teacher and student are seated, often the teacher will completely cover up the view of the student.
A cutoff teacher: if you often stand while teaching, ensure the camera catches you when standing, as well as seated.
Poor audio for voices: if the camera is too far away, the microphone will not pick up portions of the spoken dialogue.
Incomplete video: plug the camera in to power (or fully charge your phone battery), and check the device storage to ensure ample space for a long video.
Poor file quality: verify that your device is set to high-definition audio and video quality.
If you are recording an online lesson, set the platform to create a “gallery” video, recording a continuous stream of both student and teacher. This will allow for the viewer to follow the lesson content and the interaction.
4. Record several weeks of entire lessons
The goal with a teaching demonstration is to highlight student learning and teaching process as it authentically occurs. Even with the proliferation of recording today, students and teachers will initially adjust their behaviors when being videotaped. If many entire lessons are recorded, both teacher and student will adapt over time—in other words, they will eventually just be themselves! Then, the camera lens can capture great moments of teaching and learning.
5. Organize your videos and take post-lesson notes
One challenge of recording today is keeping track of all the files! Download and save your videos with logical titles (student name and date, for instance). After each lesson, take dated and detailed notes about the lesson, including the order of activities, the student’s assignment, notable moments, and pedagogical reflections. This will help you recall, analyze, and discover ideal segments for a teaching demonstration video.
6. Find ideal segments to submit
Ideal teaching demonstration videos (10-minute maximum) will show students engaged in deep learning experiences. The segment could highlight:
A student who demonstrates comprehension in a compelling way.
A student with a palpable motivation to try and explore new concepts.
A multi-week sequence of activities that culminates in a student’s increased ability/knowledge.
A coaching session that results in a student’s artistic performance.
A student’s inspiring and creative approach to learning and playing.
And more…
Please consider submitting a video for an opportunity to participate in a teaching demonstration at The Piano Conference; NCKP 2025. Review all submission and video requirements by clicking here.
We would like to thank Drew Turock, Arlene Steffen, and Catherine Kautsky for these tributes to Marvin Blickenstaff. As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.
One of the most joyous experiences of my life has been the opportunity to study with Marvin. With him, I found someone that was as passionate about great music as I have always been. His teaching style and skill brought my capabilities to a level I never thought possible. And his kind soul shined through each lesson and made it something to be excited about each week. Thank you so very much Marvin. Happy 90th Birthday! – Drew Turock
Arlene Steffen with Marvin Blickenstaff over the years.
Towards the end of my freshman year at Goshen College, Marvin Blickenstaff became my faculty advisor. Being a student who liked to plan ahead, I laid out my course plan as a music education major for the rest of my college career before we met for review. Marvin took one look at the plan and said, “But you haven’t signed up for Introduction to Piano Pedagogy.” “Well, no,” I said. “I don’t want to be a piano teacher.” “But you play the piano. You need to learn how to teach it.” “But I don’t want to be a piano teacher.” “Look. Someday, someone will ask you to teach their child. You need to know what you’re doing.” “But it’s another 2 + 2 credits in my already jammed schedule.” “You need to take the course.” Sigh. All that work I had put into arranging the next three-and-a half years would go down the tubes. Fitting in one course over the next two trimesters threw everything out of whack.
So began the course—two lectures each week followed by observations of Marvin teaching both a beginner group lesson and a private lesson of one of the children. Each pedagogy student taught two of the beginning students, turning in the lesson report and an audio tape of the lessons every week. Marvin followed up with a written evaluation every Monday with concrete and creative suggestions on how to improve. He was determined to make us the best teachers we could be. I still marvel that he listened to every thirty-minute tape of fifteen lessons every week. But that’s Marvin. He always expects the best out of you and makes sure he gives you the tools to make it happen. He’s generous with his time, honest and enthusiastic with his encouragement, and always raising the bar a little at a time. Forty-three years after that conversation, Marvin is in my studio every day through the lessons he taught, the confidence he instilled, and the joy he infused by connecting with students through music. Generations of students are filled with the magic of music because of Marvin and his legacy. – Arlene Steffen
I’m not quite sure when I first met Marvin, but I do know that our first long conversation took place at an MTNA Conference long, long ago. I don’t think either of us ever forgot that conversation, and we’ve done our best to duplicate it at every MTNA and NCKP meeting since.
Our other encounters have been so varied. They’ve of course included his wonderful classes, both at conferences and as an honored guest at Lawrence University, where I teach. And then there’s been his attendance at my own conference sessions and his precious encouragement of my every activity. I’ve learned from him on every occasion. Marvin speaks about music in language that is unforgettable and simple, and in that unassuming language he manages to convey subtleties of music typically presented in far drearier form.
When all is said and done, though, it’s when you add the whole person to the well-chosen words, that you really understand what makes Marvin so extraordinary. His warmth, generosity, and optimism are unequalled. Every encounter, not just a 90th birthday, is a celebration! – Catherine Kautsky
Marvin Blickenstaff, Allison Shinnick Keep, and Catherine Kautsky.
In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page.
We extend a heartfelt invitation to join us in commemorating Marvin Blickenstaff’s remarkable contributions by making a donation in his honor. Your generous contribution will help us continue his inspiring work and uphold the standards of excellence in piano teaching and learning for generations to come. To make a meaningful contribution, please visit our donation page today. Thank you for being a part of this legacy.
Contact: Heather Smith, Director of Development and Advancement
hsmith@francesclarkcenter.org
The Frances Clark Center for Keyboard Pedagogy proudly announces the establishment of The Frances Clark Center Endowment and the launch of the Piano Inspires Legacy Circle. These initiatives represent a pivotal moment in the Center’s history, securing the future of piano education and advancing the mission to inspire and support the next generation of piano teachers and students worldwide.
A Vision Rooted in Legacy
“We are overwhelmed with gratitude for our donors who make it possible for us to establish The Frances Clark Center Endowment. It is a significant moment as we build for future sustainability in support of our mission and the transformative power of music. The endowment allows us to amplify our impact and create enduring support for piano education and our inspiring community,” said Dr. Jennifer Snow, President and CEO.
The Frances Clark Center was founded in 1998 to preserve and extend the transformational legacy of Dr. Frances Clark. Her groundbreaking approach to piano education emphasized the power of music-making to enrich lives, foster understanding, and cultivate a love for learning and personal growth.
“Inspired by Dr. Frances Clark’s belief that there is music in every person, the Center has been a driving force in shaping the landscape of piano education for over 25 years,” said Dr. Samuel S. Holland, Chairman of the Board of Trustees.
Investing in the Future of Piano Education
The Frances Clark Center Endowment represents the Center’s most ambitious financial initiative to date. This long-term fund is designed to provide enduring resources for programs, publications, and educational outreach, ensuring the sustainability of the Center’s mission.
Seeded by a financial gift Dr. Frances Clark herself left, the endowment reflects her belief in the power of music education to change lives and her commitment to ensuring that piano education continues to flourish for generations to come.
“Endowments are markers of mature, responsible, and sustainable organizations because they provide a stream of revenue in perpetuity,” said Holland. “Now when we approach individual donors, philanthropists, foundations, and grant-making organizations, we can do so from a position of confidence that our organization and its transformative work will live on into the future and that gifts will make a lasting difference.”
Join the Piano Inspires Legacy Circle
The Piano Inspires Legacy Circle offers an opportunity for supporters to play a vital role in advancing the field of piano education while helping ensure that Dr. Frances Clark’s legacy continues to inspire generations to come. Supporters of the Piano Inspires Legacy Circle have the opportunity to make a profound impact on the future of piano education by contributing $5,000 or more or by including the Center in their estate plans.
Building a Global Community
The Frances Clark Center has long been a hub for innovation and collaboration in piano education, offering a wide range of initiatives that inspire and empower educators and students alike. These include The Piano Conference: NCKP, The New School for Music Study, the Marvin Blickenstaff Institute for Teaching Excellence, Teacher Education programs, Piano Education Press, and publications such as Piano Magazine, Piano Inspires Kids, and Journal of Piano Research.
As the educational needs of students and teachers evolve, the Center continues to respond with forward-thinking programs and resources that address these challenges. Through the establishment of the Endowment and the Piano Inspires Legacy Circle, the Center is prepared to expand its reach, ensuring the sustainability and excellence of piano education for future generations.
Be Part of the Legacy
The Frances Clark Center invites you to be part of this historic initiative. To learn more about The Frances Clark Center Endowment and the Piano Inspires Legacy Circle, visit The Frances Clark Center Endowment or contact Heather Smith, Director of Development and Advancement, at hsmith@francesclarkcenter.org.
Together, we can honor Dr. Frances Clark’s legacy while building a future that uplifts and inspires the entire piano education community.
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!
PIANO MAGAZINE ARTICLE: How Do You Teach the Dotted-Quarter Eighth Note Rhythm? by Craig Sale, Sharon Reich Walton, Amy Glennon, Janine Cook, Jonathan Klein, Rachel Mauricio Mills, Jennifer Stadler, Zachary Lopes, Jess Johnson, and Rachel Kramer
PIANO MAGAZINE ARTICLE: Tips for Healthy Remote Teaching by NCKP Committee on Wellness for the Pianist, Jess Johnson, Lesley McAllister, Laura Amoriello, Vanessa Cornett, James Litzelman, Artina McCain, Paola Savvidou, Carina Joly, Brenda Wristen
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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.
Transformative New Publication Features Works by Composers from Vibrant and Diverse Tribal Communities.
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.
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:
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:
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:
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!
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.
!["His [Chanon's] music does not always reference his Navajo heritage directly, but rather embodies the spirit of innovation and exploration that drives his work as a composer." - C. Chee](https://pianoinspires.com/wp-content/uploads/2025/01/image-2.png)
