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This Month in Piano History – Les femmes du musique

Written By Megan Hall
Photo of Maria Callas from the television talk show Small World. The program aired in 1958 and was hosted by Edward R. Murrow.

This November, we celebrate three inspiring women: soprano Maria Callas, composer and pianist Fanny Hensel, and composer, pianist, and organist Emma Lou Diemer.

November 1, 1954: The American Operatic Debut of Maria Callas

Greek-American soprano Maria Callas personified the “diva” and held many successful roles in Italy and South America before her American debut as Norma in Chicago in 1954.  Her role in Bellini’s opera augmented the reputation of the newly-established Lyric Opera of Chicago, and garnered high praise from reviewers such as this acclaim from Musical America: “She molds a line as deftly as she tosses off cruelly difficult ornamentations in the highest register […]. It was a great night for Chicago […]. It may prove an even greater night for opera in America.” – Musical America.1

November 14, 1805: Birth of Fanny Hensel

Fanny Hensel, 1842, by Moritz Daniel Oppenheim.

A gifted composer and performer, Fanny Hensel spent much of her life in the shadow of her younger brother, Felix Mendelssohn. Her compositions for piano number over 125, and many are beginning to receive the recognition they deserve. Many of Hensel’s works have been featured in Piano Magazine and on PianoInspires.com, including:

Fanny Hensel: Song for Piano in B Minor, Op. 8, No. 1
Microcourse: Romantic Era Music by Women Composers (from Hidden Gems: Four Centuries of Piano Music by Women Composers)
DIGITAL-ONLY CONTENT: Music for the Intermediate Pianist by Eight Women Composers

November 24, 1927: Birth of Emma Lou Diemer

Diemer was an American composer of pedagogical and advanced works. Her compositions span myriad genres, and often include keyboard instruments besides the piano, including the organ and carillon. Her works vary wildly in style and sparkle with personality, as did Diemer herself.

In an interview with Bruce Duffie in 1988, Diemer said:

“I’d rather compose than eat hot fudge sundaes, particularly if it’s going well, and if you think you have something worthwhile to say.”2

Christie Sowby demonstrates Echo Dream by Emma Lou Diemer.

Two of Diemer’s works for intermediate solo piano have been featured on PianoInspires.com:

Diemer: Echo Dream
Microcourse: 20th- and 21st-Century Music by Women Composers (from Hidden Gems: Four Centuries of Piano Music by Women Composers)
Sources
  1. Davis, Ronald. Opera in Chicago. New York: Appleton Century and Croft, 1965.
  2. Diemer, Emma Lou, interview by Duffie, Bruce, bruceduffie.com, 1988. https://www.bruceduffie.com/diemer.html.
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Pete Jutras, Award-Winning Professor and Educator | S2 E7

Written By Piano Inspires

This episode features Pete Jutras, award-winning professor and educator, and current Dean of the University of Cincinnati College-Conservatory of Music. Listen to host Jennifer Snow interview Jutras as they discuss his introduction to piano pedagogy, his career focused on education, and advice for budding pianists and teachers.

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A Look Inside “A Pianist’s Guide to Teaching Recreational Music Makers”

Written By Amy Perdew

We would like to thank Amy Perdew for her contributions to this article on Recreational Music Making. Interested in learning more about RMM? Our latest course, A Pianist’s Guide to Teaching Recreational Music Makers, is available for purchase. Learn more and enroll here. Use code RMMLAUNCH2024 for an exclusive $25 off.

Marketing is the process of promoting and selling products or services. Although our school years were not spent in business or marketing classes, teachers are still salespeople. The image of a hustler or peddler pushing their product on customers can seem off-putting; we are educators and musicians, not hawkers or pitchmen. But if you genuinely love what you do, and truly believe in the benefits it can bring students, then you can embrace marketing and be proud and excited to promote your studio’s offerings.  

Even if you don’t yet think of yourself as a salesperson, you are the best advocate for your studio. If you are offering Recreational Music Making (RMM) lessons, it is because you already believe in the benefits they provide your students. Part of your job, then, becomes educating people about those benefits and getting them as excited about learning music in a RMM setting as you are about teaching them.

The Benefits of RMM Lessons

One of the first steps to being ready to promote RMM lessons passionately in your studio is being specific about the benefits. Spend some time listing the advantages of the RMM format, then you can clearly explain the benefits of RMM lessons to your customers.

Some of those benefits might include: 

  1. Playing for fun. There is no pressure in RMM to prepare for performance, recitals, and competitions. RMM is designed for players to enjoy music—just for the sake of music. There is more time to focus on enjoyment and pleasure in a lesson when a lot of time doesn’t have to be devoted to preparing for performances.  
  2. Playing for process. RMM lessons focus on enjoying the process of music making without students worrying about the final product.  A student who wants to be challenged, meet high goals, and measure quick progress might not be the right fit for a RMM lesson. A student who wants to actively enjoy the process of learning and creating without the stress of focusing on an end product probably will be a good fit. 
  3. Playing to reduce stress. RMM offers the opportunity to enjoy the benefits of music making, of being creative and expressive, without the stress or pressure of a more disciplined approach. RMM relieves stress!

If you’re offering your RMM classes in a group setting, there are additional benefits inherent to shared lesson time: 

  1. Building skills. Making music in a group inherently improves counting skills, sight-reading skills, ear-training skills, and overall musicianship skills.
  2. Game play. Any time learning can be turned into a game there is an increase in student engagement and motivation. Group lessons offer the perfect setting to gamify lessons. Anything can be turned into a game and students will simultaneously learn and have fun—how perfect!
  3. Increased learning. If your group lessons are an hour long (rather than the traditional 30-minute, 1:1 lesson format), you have doubled the lesson, learning, feedback, and practice time for your students.
  4. Social learning. One of the greatest benefits students recognize (both children and adult students) is the social aspect of making music with friends and learning with others. 

A quick note about “shy” students—parents of a shy child may believe their child will do better in a 1:1 lesson since their child is shy.  Be sure to point out that a 1:1 lesson puts more of the spotlight and pressure on the individual student. A group format can make a shy student feel more comfortable since all the attention is not directed at them.  

Be very clear about these benefits (and any others you personally feel are important) and be ready to share them passionately whenever the topic arises. Be ready to deliver an elevator pitch (the brief summary you would give someone in an elevator about your studio and why they should take lessons with you) on the spot. Be so comfortable with your version of the benefits of RMM lessons that it becomes part of your studio pitch.

Want to learn more about Recreational Music Making? Our new course A Pianist’s Guide to Teaching Recreational Music Makers is now available for purchase. Register to learn more about choosing repertoire, marketing your classes, and inspiring recreational music-makers. Use code RMMLAUNCH2024 for an exclusive $25 off.

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Recreational Music Making: 5 Discoveries We Made as RMM Teachers

Written By Debra Perez, Craig Sale, Rebecca Bellelo, Emily Book McGree, Megan Hall, Curtis Pavey

We would like to thank Debra Perez, Craig Sale, Rebecca Bellelo, and Emily Book McGree for their contributions to this article on Recreational Music Making. Interested to learn more about RMM? Our latest course, A Pianist’s Guide to Teaching Recreational Music Makers, was just released. Learn more and enroll here. Use code RMMLAUNCH2024 for an exclusive $25 off.

1. Discovering Support: RMM classes are filled with students who are excited to learn and cheer on their classmates.

“RMM is not about exceptional performance—it’s about exceptional support and personal experience. RMM classes are not about the final product as much as they are about the joy found in the process along the way. Classmates encourage and support one another as they make music together. They enjoy the social aspects of learning with others. Regardless of background or age, the common thread for the students is their love of music. And they enjoy sharing this love of music with others.” – Debra Perez

2. Discovering Play: Giving students the permission to experiment and play in class leads to more curious and engaged students.

“RMM is not about teaching people to play—it’s about giving people the permission to play. Public perception about the talent required to play a musical instrument has kept people from trying. We believe that every life needs music and anyone can learn to play. The desire to play is the only prerequisite to this RMM program. [Students] are not convinced that they actually can learn to play the piano as an adult. It is important to honor the courage that is required for the adult to sign up for lessons. They simply need to be shown they can learn.” – Debra Perez

3. Discovering Balance: I needed RMM classes to balance out my other teaching commitments.

“Teaching RMM classes brought balance to my teaching life. Every hour of my usual teaching week was spent working with children to achieve higher levels of musical understanding and achievement—very intense work for both the student and me. Having a couple RMM classes during the same week, focusing on enjoying and experiencing music together, lightened my heart. Teaching in both worlds did not create a conflict in my professional life because when teaching in each of these worlds, I am meeting the needs of the student. However, they are vastly different needs. In so doing, I meet my need—my need to make music a positive force in the student’s life.” – Craig Sale

4. Discovering Repertoire: Instructors should carefully select methods and repertoire that best suit each class.

“If you are a new RMM teacher, you may wonder where to start when selecting music books or ‘methods’ to use in your classes. While no one method series is a perfect RMM curriculum, some selections are stronger candidates to use for your main curriculum based on the following: 

  • Are the reading, musical, and technical demands all accessible enough for my beginner RMM classes?
  • How much theory or technique is included in the book?
  • How are concepts presented, and what is the sequencing?
  • How much review or supplemental material is available?
  • Is the music exciting and engaging for home study?
  • What is the cost associated with the curriculum? 
  • How much supplementation will I need to use? 
  • Does the curriculum offer more advanced materials past the beginner or primer level?”

– Rebecca Bellelo and Emily Book McGree

5. Discovering Classroom Management: It’s important to create a positive learning environment to benefit student and teacher alike.

“The true success of an RMM class relies on the instructor’s ability to manage the room. Each class you teach will have different needs and as a result, will look different from a management perspective. Ages, ability levels, personality types, and learning styles all require shifts from the instructor. Flexibility is important and an effective teacher can read the room and adjust as needed. This takes practice! Above all, I try to remember the famous Maya Angelou quote – ‘I’ve learned that people will forget what you said, people forget what you did, but people will never forget how you made them feel.’ Positive environments, where students have good relationships with the teacher and other students, are easier to manage and have positive impacts on the productivity and progress in the classroom.” – Rebecca Bellelo

Want to learn more about Recreational Music Making? Enroll in A Pianist’s Guide to Teaching Recreational Music Makers to learn more about choosing repertoire, marketing your classes, and inspiring recreational music-makers. Use code RMMLAUNCH2024 for an exclusive $25 off.

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Piano Inspires Podcast: Dennis Alexander

Written By Dennis Alexander, Jennifer Snow

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

Dennis Alexander, pianist and pedagogical composer
Dennis Alexander.

Jennifer Snow: You work a lot with young people. One of the things I find so wonderful about your music [is] first beauty and [to] make the piano always sound so big and gorgeous. That beauty of sound [is] just so important, making beautiful sounds [and] expressing through sound. But also you make pieces that are from a sequential learning perspective very achievable. So as a young student, you can achieve. You sound like a pianist. Yes, you don’t sound like you’re just, “I’m learning piano.” You’re like, “I can perform this piece.” Is that something that is sort of the way your mind works? Is it something you’re very purposeful about when you’re thinking about levels and how the hand sizes and how the patterns go?

Dennis Alexander: Absolutely. When I first started writing for Alfred, my keyboard editors, Gayle Kowalchyk and E. L. Lancaster, developed a very, very comprehensive listing of traits that needed to be within each level. I tried to adhere to that as much as possible. Writing at the elementary or late-elementary level is much more challenging for me as a composer than writing at the intermediate level, where you have so much more leeway and options to choose from for things to do. Finding ways to write elementary pieces that are interesting, fun, and creative pieces that kids want to practice—like to practice—is very, very challenging. 

And in fact, whenever I sometimes get asked by budding composers out there, they’ll ask if I could possibly look at some things they’ve written and give them advice. I find that for most of them, they want to turn in materials for me to look at that are more advanced. And I’ll ask them, “Could you please write a couple of elementary pieces that have certain restrictions? No sixteenth notes, no even dotted quarter followed by an eighth note rhythm that covers a fairly wide range of the instrument, and show me what you can write that’s fun and interesting and somewhat novel. I’m amazed at how hard that is for lots of younger composers to do. But if they ever want to get their foot in the door from a compositional standpoint, writing for educational companies, they need to be able to come up with interesting, exciting things at that elementary level. 

JS: Yeah, the accessible level.

DA: The accessible level because first of all it’s what publishers sell the most. And you know, the sales go down at higher levels. I think a lot of young composers who are interested in a career doing this don’t understand that yet. 

JS: I also think it’s connected to your deep passion for teaching and also teacher education. You came to composition as an outgrowth of your love and passion for playing piano, teaching piano, and helping others teach better. And therefore your awareness and understanding of who you’re writing for. That’s probably something that many young composers haven’t thought through. Actually, if I spend time with the group of people I’m writing for, I’ll begin to understand better how they would respond or how they learn. 

DA: Yeah, they have to know how a child thinks. They need to know what works for the young hand or the small hand. So yeah, when I’m writing music at those levels, I think very, very hard about what feels good in the hand for the smaller hand. Or I try and write pieces that are so interesting from either a harmonic or rhythmic or melodic standpoint, that the child will want to practice it and grow from it. And I love it. For me, the nicest compliment I can get from a teacher is for them to tell me, “Your music works so well for my kids because it fits their hands, and it stays within the level.” You know, that’s another important thing.

JS: And it sounds beautiful. 

DA: And it makes them sound better than they are.

JS: It makes them sound big.

DA: I love it whenever I hear things like that.

JS: I think we need a course on piano pedagogy for composers. Really! I mean, when you think about it all, you get asked that question so frequently, yeah. So here I am recruiting you to do something else. [laugh]

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

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An Interview with Dennis Alexander
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Dennis Alexander, Educational Piano Music Composer | S2 E6

Written By Piano Inspires

Join host Jennifer Snow as she interviews Dennis Alexander, who has an international reputation as one of the world’s most prolific and popular composers of educational piano music for students at all levels. Listen to Alexander’s start to the piano, his path as a composer, and the advice he shares for students and composers.

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Final Call: Proposals for The Piano Conference: NCKP 2025

Written By Sara Ernst
A presentation at The Piano Conference: NCKP 2023.
The Piano Conference: NCKP 2023.

The Piano Conference: NCKP 2025 advances and supports the international field of piano teaching, learning, and performing. To innovate for the future, we seek programming that explores the challenges and opportunities of the present day and the future for practitioners and performers, arts leaders and advocates, professors and administrators, and new professionals and students.

The Piano Conference: NCKP 2025 expands internationally, and is proud to call for proposals in Spanish, Portuguese, Mandarin, and Korean.

The deadline to submit proposals is Monday, October 21, 2024, at 11:59PM Pacific. Submit your proposals via our proposal submission portal today!

Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here or click the following links to read the call for proposals in Spanish, Portuguese, Mandarin, and Korean.

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Piano Inspires Podcast: Annie Jeng

Written By Annie Jeng, Craig Sale

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

Annie Jeng - A Seat at the Piano
Annie Jeng.

Annie Jeng: When I started the project [A Seat at the Piano], it was difficult because I was born in America, I’m Asian American, but I didn’t know if I was the right person to be doing this work, which sounds weird.

Craig Sale: Yeah, tell me about that.

AJ: Within the music and piano community, I don’t think I’m necessarily a minority. There’s a lot of students and pianists who are Asian, and I knew that I wanted to lift up the voices of a lot of my BIPOC peers and friends. I just wanted to make sure that I was doing it thoughtfully, that I wasn’t mishandling a lot of information, and [that I was] presenting it in a way that was respectful. 

I remember, actually, I called up Leah Claiborne when I started doing all of this. I was like, “I’m working on this project. Do you think this is okay? Am I an okay person to be doing [it]?” She’s like, “Well, yeah, I think this is important work.” And I mean, I’m not gonna try and quote her because this was many, many years ago, but just to have that comfort [that] this work needs to be done and this work needs to be shared. I think the fact that I was even thinking about that, hopefully, that by itself, was showing that I really do care about this, and I want it to be done in the right way. 

CS: Yeah. With this subject and when you’re dealing with issues of diversity and trying to bring people in who haven’t been invited in, it’s important to recognize them, give them their own space in place. And it sounds like you didn’t want [to], you were afraid of perhaps intruding on that a bit.

AJ: Yeah.

CS: All I can say is, you know, all one can do is, first of all, embrace the cause because it’s that’s pure and good, but then seek help and advice. You did that when you reached out to Leah, and then you have these other people that joined you. I think that takes some of the pressure off when you have other voices around you. It’s an interesting situation to be in when you’re trying to do good, but you also don’t want to be offensive. 

AJ: Exactly. I think that what you just said is totally right. And it felt really good to not have to have all that pressure once I started to ask for advice and to ask for help and to build our team. Expanding the team was so wonderful because my team members also then brought in their perspectives and their thoughts and their expertise. Just within personalities, we were able to complement each other really well.

CS: And the end product is… Well, it’s not an end. It is continuing. 

AJ: Oh yeah, it’s forever going. [Laugh] I had someone today ask me, “Well, what about four-hand and duo music?” And I said, “Hopefully one day!”

CS: It’s right. When you’re uncovering a whole new world, it’s a whole new world, not just little pieces. There’s a lot to do there. But you know, I think that the result where you are now is just a tremendous asset for us, and it’s a big step forward in our profession, and it’s a wonderful resource.

AJ: Thank you, and it’s really inspiring to see that this is [a] lasting change. Yeah, we’ve gone over the fact that this is not a phase, this is here to stay, and it’s only going to get bigger and more impactful from here.

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

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Hidden Gems: Four Centuries of Piano Music by Women Composers
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A Master at Work: Marvin Blickenstaff

Written By Gail Berenson

We would like to thank Gail Berenson for this tribute 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.

Marvin Blickenstaff receiving the MTNA Lifetime Achievement Award in 2009, with Gail Berenson and Gary Ingle. 
Marvin Blickenstaff receiving the MTNA Lifetime Achievement Award in 2009, with Gail Berenson and Gary Ingle. 
Photo: Harry Butler Photography, Copyright MTNA 2023.

Marvin Blickenstaff is an amazing pianist and teacher, respected and revered by all who have met him. He is also one of the kindest and most giving individuals I know. I have learned something valuable in every presentation I have heard him give, and these have been numerous. No matter what the topic, how large the audience or how prestigious the event, attendees are provided a stellar, educationally stimulating presentation and leave the event with countless essential teaching strategies that will revolutionize their teaching. Marvin offers an incredibly wide range of topics, each of critical importance to teachers and presented in a way that captures everyone’s attention and benefits all who are in attendance.  

Watching him work with students in a master class setting is a pedagogy class for all in attendance. Every student I have seen work with Marvin departs the stage feeling excited about their performance and eager to try out the new ideas he suggested they consider when they return home. And those in the audience have had the privilege of seeing a master at work, both for the concepts he is teaching and the way in which he nurtures the students’ love of music.

Not only is Marvin a gifted teacher and lecturer, but he is also a magnificent performer. I will never forget hearing him perform a recital of all the Chopin Preludes. It was amazing and memorable! It is easy to understand why Marvin Blickenstaff is so in demand as a guest artist/clinician, having presented in nearly every state and around the world. I am honored to count Marvin as a friend and want to extend my best wishes to him!

The Marvin Blickenstaff Institute for Teaching Excellence

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.

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rom Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now

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Performance Anxiety Management: How to Prepare for Your Best Performance

Microcourse Only

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Rhythm and Movement in Beginning Piano Study

from The Beginner Course

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Romantic Era Music by Women Composers

from Hidden Gems: Four Centuries of Piano Music by Women Composers

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Romantic Piano Masters

Microcourse Only

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Teaching Adult Piano

Microcourse Only

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Teaching Adults in Groups

from a Pianist’s Guide to Teaching in Groups

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Teaching Beginning and Elementary Children in Groups

from A Pianist’s Guide to Teaching in Groups

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Teaching Collegiate Group Piano

from A Pianist’s Guide to Teaching in Groups

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Teaching Elementary Technique and Music Reading at the Piano

from The Beginner Course

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Teaching Exemplary Performance

from The Beginner Course

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Teaching Improvisation and Composition

from The Beginner Course

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Teaching Jazz at the Piano

Microcourse Only

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Teaching Musical Concepts

from The Beginner Course

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Teaching Piano Skills

Micrcourse Only

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Teaching Young Children in Groups

from A Pianist’s Guide to Teaching in Groups

5 Reasons to Submit a Proposal to 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 a proposal to The Piano Conference: NCKP 2025. The last chance to submit your proposals via our proposal submission portal is 11:59pm PDT on Monday, October 21, 2024. 

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

1. Share your teaching practices, scholarship, 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. See the wide range of topics at the proposal page!

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, dialogue, 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 lightning talk, lecture recital, workshop, keyboard lab, panel, and 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.

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? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

MORE ON THE PIANO CONFERENCE: NCKP
Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Demonstration (NCKP Rebroadcast)
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Recreational Music Making: 5 Discoveries We Made as RMM Teachers

Written By Debra Perez, Craig Sale, Rebecca Bellelo, Emily Book McGree, Megan Hall, Curtis Pavey

We would like to thank Debra Perez, Craig Sale, Rebecca Bellelo, and Emily Book McGree for their contributions to this article on Recreational Music Making. Interested to learn more about RMM? Our latest course, A Pianist’s Guide to Teaching Recreational Music Makers, is available for presale purchase. Learn more and enroll here. Use code RMMLAUNCH2024 for an exclusive $25 off.

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1. Discovering Support: RMM classes are filled with students who are excited to learn and cheer on their classmates.

“RMM is not about exceptional performance—it’s about exceptional support and personal experience. RMM classes are not about the final product as much as they are about the joy found in the process along the way. Classmates encourage and support one another as they make music together. They enjoy the social aspects of learning with others. Regardless of background or age, the common thread for the students is their love of music. And they enjoy sharing this love of music with others.” – Debra Perez

2. Discovering Play: Giving students the permission to experiment and play in class leads to more curious and engaged students.

“RMM is not about teaching people to play—it’s about giving people the permission to play. Public perception about the talent required to play a musical instrument has kept people from trying. We believe that every life needs music and anyone can learn to play. The desire to play is the only prerequisite to this RMM program. [Students] are not convinced that they actually can learn to play the piano as an adult. It is important to honor the courage that is required for the adult to sign up for lessons. They simply need to be shown they can learn.” – Debra Perez

3. Discovering Balance: I needed RMM classes to balance out my other teaching commitments.

“Teaching RMM classes brought balance to my teaching life. Every hour of my usual teaching week was spent working with children to achieve higher levels of musical understanding and achievement—very intense work for both the student and me. Having a couple RMM classes during the same week, focusing on enjoying and experiencing music together, lightened my heart. Teaching in both worlds did not create a conflict in my professional life because when teaching in each of these worlds, I am meeting the needs of the student. However, they are vastly different needs. In so doing, I meet my need—my need to make music a positive force in the student’s life.” – Craig Sale

4. Discovering Repertoire: Instructors should carefully select methods and repertoire that best suit each class.

“If you are a new RMM teacher, you may wonder where to start when selecting music books or ‘methods’ to use in your classes. While no one method series is a perfect RMM curriculum, some selections are stronger candidates to use for your main curriculum based on the following: 

  • Are the reading, musical, and technical demands all accessible enough for my beginner RMM classes?
  • How much theory or technique is included in the book?
  • How are concepts presented, and what is the sequencing?
  • How much review or supplemental material is available?
  • Is the music exciting and engaging for home study?
  • What is the cost associated with the curriculum? 
  • How much supplementation will I need to use? 
  • Does the curriculum offer more advanced materials past the beginner or primer level?”

– Rebecca Bellelo and Emily Book McGree

5. Discovering Classroom Management: It’s important to create a positive learning environment to benefit student and teacher alike.

“The true success of an RMM class relies on the instructor’s ability to manage the room. Each class you teach will have different needs and as a result, will look different from a management perspective. Ages, ability levels, personality types, and learning styles all require shifts from the instructor. Flexibility is important and an effective teacher can read the room and adjust as needed. This takes practice! Above all, I try to remember the famous Maya Angelou quote – ‘I’ve learned that people will forget what you said, people forget what you did, but people will never forget how you made them feel.’ Positive environments, where students have good relationships with the teacher and other students, are easier to manage and have positive impacts on the productivity and progress in the classroom.” – Rebecca Bellelo

Want to learn more about Recreational Music Making? Our new course A Pianist’s Guide to Teaching Recreational Music Makers is coming soon. Sign up to learn more about choosing repertoire, marketing your classes, and inspiring recreational music-makers. Use code RMMLAUNCH2024 for an exclusive $25 off.

MORE ON RECREATIONAL MUSIC MAKING

Not yet a subscriber? Join for only $7.99/mo or $36/yr.
A Pianist’s Guide to Teaching Recreational Music Makers
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5 Reasons to Submit a Proposal to 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 a proposal to The Piano Conference: NCKP 2025. The last chance to submit your proposals via our proposal submission portal is 11:59pm PDT on Monday, October 21, 2024. 

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

1. Share your teaching practices, scholarship, 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. See the wide range of topics at the proposal page!

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, dialogue, 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 lightning talk, lecture recital, workshop, keyboard lab, panel, and 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.

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? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

MORE ON THE PIANO CONFERENCE: NCKP
Not yet a subscriber? Join for only $7.99/mo or $36/yr.
Teaching Demonstration (NCKP Rebroadcast)
Back to Discovery Page

Piano Inspires Podcast: Karen Walwyn

Written By Leah Claiborne, Karen Walwyn

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

Karen Walwyn, pianist
Karen Walwyn.

Karen Walwyn: When I went to [the] University of Michigan, then I met Dr. Willis Patterson.

Leah Claiborne: So, yes. [Laugh] Karen and I, we would both agree Dr. Willis Patterson is our mentor.

KW: Yes.

LC: Biggest advocate, [the] person you call [and] sit down [with]. Just the most beautiful person, I believe, in our industry. For those who do not know Dr. Willis Patterson, could you give a quick synopsis of Dr. Patterson?

KW: I first met him actually because he did a Black Music Symposium in 1985. I was a master’s student still at University of Miami. When I got to go to the symposium, I got to go as a student participant. And while I was there, I actually played. The chair of the piano department heard me play, and he said, “You need to come here for your doctoral degree.” Moving forward, I did receive a full scholarship to enter the University of Michigan. Of course, you know, I was the accompanist for Our Own Thing Chorale with Dean Patterson. 

LC: I didn’t know that, wow. 

KW: Yeah! For years, we get in the car, ride over to the rehearsals, [and] chit chat. 

LC: In Jefferson Church. 

KW: Yeah. But one day he saw me in the hall, and he said, “Karen! Do you know any pieces by any African American composers?” And I wanted to slip under the floor because I felt so guilty. I feel like I’m supposed to have known. But none of my previous teachers were on that track because usually, the typical repertoire for competition is A, B and C, but not including African American literature. 

“No…?” He said, “Come here!” We went into his office, and he said, “Look around.” This entire wall, full of music and books and scores and records. [He] gave me the key so I [could] go in there and just study everything that was in his room. I spent years, I think, in his room. 

LC: That’s incredible. 

KW: Essentially, just going through stuff. And that’s when I said, “Why, I’ve got to do something here!” And then I came across Althea Waites’s album that had the Florence Price recording on it, and many other composers. So I said, “Okay, I’m going to do one of my doctoral lecture recitals on a composer.” I chose Adolphus Hailstork. And we got to have a lot of time interviewing him and learning his music. 

Of course, I was chosen to do his chamber work, a trio for piano, violin, and cello. The last movement was in 11/8. I [was] like, “Look, how am I supposed to count? It’s like an Allegro, 1-2-3-4-5-6-7-8-9-10-11, 1-2-3-4-5-6-7-8-9-10-11.” And he said, “No, no, no, no, no, no, no, no.” I said, “Why did you make this so hard anyway?” That’s how we clicked instantly. “No, it’s 12-12-123-12-12 // 12-12-123-12-12.” I was like, “Oh, okay! All right, I understand it.” We started developing a beautiful friendship. Once I completed my lecture recital, his piano sonata, which is hefty.

LC: Putting it lightly, yes.

KW: That was on one of my lecture recitals. Later on, after I finished my degree, I was lucky to become tenure-track inside the dance department, where I spent my two years accompanying ballet and [teaching] some of the music teaching subjects there. It was then that I won over $55,000 in grant money to record the two albums, Dark Fires.

LC: Beautiful.

KW: Of course, Adolphus Hailstork was on that, Alvin Singleton, Tania León, Ellis Marsalis, and David Baker. The list goes on. That’s all because Dean Patterson came out to me and said, “Come here!” [Laugh]

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

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This is What Diversity Sounds Like
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