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Lessons from Diné Weaving: Thoughts on Music from Connor Chee

Written By Connor Chee

We would like to thank Connor Chee for this excerpted text from his PEDx presentation at NCKP 2023: The Piano Conference. Chee is a Navajo pianist and composer. His award-winning works, featured globally, showcase his cultural heritage and technical mastery. He is also dedicated to music education and cultural preservation, inspiring the next generation of musicians. Learn more about him and his work in the Autumn 2024 issue of Piano Magazine.

Connor Chee, Ann DuHamel, Leah Claiborne, and Sara Davis Buechner after their NCKP 2023: The Piano Conference PEDx presentations
Connor Chee, Ann DuHamel, Leah Claiborne, and Sara Davis Buechner after their NCKP 2023: The Piano Conference PEDx presentations.

This is my grandmother, Alice Chee, and a friend of mine, Kevin Aspaas, incredibly talented weavers. Often I look at these blankets and rugs that they weave and think how perfect they are. But I can tell you 100% with confidence that these images that you’re looking at right now are not perfect. That’s not to disparage my grandmother or my friend Kevin. That’s because Navajo weavers are taught [that] you have to put a mistake in everything you do. Every weaving they do, there is somewhere in there, an imperfection, because that’s our way of staying humble, of recognizing our place as human beings, and having humility. You’re not supposed to try to be perfect, and these imperfect things can still be beautiful. It’s a different idea of beauty. 

And I realized in my own life when I was practicing, and I was, you know, satisfied in the practice room and in my lessons; I would get on stage, and it was just never good enough. I mean, I just didn’t know why. I talked to one of my professors, and she said, “You know, I notice sometimes people, they make this like their entire being. If you miss a note, you’re a bad person.” We had this conversation. I thought, yeah, I’m chasing perfection. Once I took that time to stop trying to be perfect, it freed up my mind. I started playing better, and it was just something that was so transformative for me. 

I think for students, it’s important to let them know, yes, we’re trying to learn, we’re trying to do our best, but perfection is not the goal. We’re looking for art. We’re looking for creativity. These things are super important. When you’re chasing this idea of perfection, it really limits you in what you can do as an artist. These lessons from weaving—I’ve learned so many things from a lot of the traditional arts, but that’s one that really stuck with me.

Pianist Connor Chee performs “Weaving” (from Scenes from Dinétah)

If you enjoyed this excerpt from Connor Chee’s PEDx talk at NCKP 2023: The Piano Conference, listen to our podcast episode with Connor Chee interviewed by Craig Sale on Apple Podcasts, Spotify, YouTube, or our website!

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Piano Inspires… Innovation: Innovation in Organizations
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Presenting at NCKP: My Experience and Why You Should Too

Written By Luis Sanchez

We are delighted to share this article on The Piano Conference: NCKP by Luis Sanchez. We invite you to submit your proposals to The Piano Conference: NCKP 2025 via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

The Piano Conference: NCKP online

The Piano Conference: NCKP 2025

The Piano Conference: NCKP offers you the opportunity to share your research and ideas, mingle with colleagues from all over the world, deepen your passion for teaching, and recharge your spirit before the new teaching year.  Whether you submit a proposal for a lecture recital, poster presentation, or one of the many other formats, you will not want to miss the opportunity to be a part of the NCKP 2025 program! Luis Sanchez below shares…

My Experience at NCKP 2021

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

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

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

Luis Sanchez

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

Luis Sanchez doing a presentation at The Piano Conference: NCKP online
The Piano Conference: NCKP online

Learn More

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

The National Committee of NCKP 2025 promises to curate a program that will invigorate, inspire, and innovate the piano teaching profession. If you are an educator, researcher, performer, or an emerging professional, you do not want to miss the chance to be part of this incomparable event!

Whether in person or virtually, see you at NCKP 2025!!

Do you have research you want to share with the piano pedagogy community? Register for our upcoming webinar, Effective Conference Proposals: Strategies for Success, on Wednesday, October 2nd at 11am ET. Once your materials are polished, submit a proposal to The Piano Conference: NCKP 2025 by clicking here.

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Teaching Demonstration (NCKP Rebroadcast)

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

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Piano Inspires Podcast: Frances Clark

Written By Frances Clark, Christopher Hepp

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

American piano pedagogues Frances Clark and Louise Goss.
Frances Clark at the piano with Louise Goss.

Frances Clark: I do believe that music represents life, and if your life is maudlin or if it’s just doing one thing, doing page ten today and page eleven tomorrow, then there’s nothing very exciting about it. But if you have a sense of adventure, your students will have a sense of adventure. If you have a sense of drama, your students will have a sense of drama. I think the main thing really is in the children discovering for themselves that they can play beautifully. Discovering for themselves they can do anything. 

Christopher Hepp: So in Time to Begin, for example, in which its units of study are divided into discoveries and using what you’ve discovered, and the emphasis that I know you place on the sense of adventure—that all came out of the situation in the ’30s and ’40s in which you felt the materials were not providing that sense of discovery and adventure. Is that [right]?

FC: Well, I don’t think the materials do yet. I don’t think our materials do it. I think it’s the people who use them that do it. It’s the teachers. I have said many times that if I were on a far Island and the only books I had to teach were some books that I didn’t like at all, I could still teach. I could still use those books in some way. I can maneuver around. It’s the people. It’s what you’re thinking. What is your attitude? How do you feel about it? Is music an adventure for you? It’s the most contagious thing in the world, and to see children learn is the most thrilling thing to do.

CH: Can we call that a definition of teaching, perhaps? Is that who a teacher is—someone that brings a sense of adventure, a sense of discovery to a musical situation? To a piano lesson?

FC: Well, that’s certainly one of the ways. I would say a teacher creates the situation. Now, I don’t mean by the look of a room—or it’d be nice if it were pretty—and I don’t mean equipment. I mean the state of mind of that teacher. Does that teacher have time to teach? Is that student just the very student he wants to see at that moment? Is the new music he’s going to have this week going to be thrilling to both of you? You can’t teach a piece of music you don’t like. You’re undone the moment you do. It takes imagination. 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. 

CH: And one’s life has changed.

FC: Definitely.

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

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A Philosophy of Piano Pedagogy
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Piano Teachers Transforming Lives: The Power of a Piano Teacher

Written By Heather Smith, Piano Inspires, Lindsay Bastian, Maria Mueller, Stephanie Pestana-Konnersman, Lydia Sander

At The Frances Clark Center, we are honoring piano teachers who are working every day to make the world more empathetic, inclusive, and connected through the transformational power of music. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to the Frances Clark Center. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.

Margie Nelson and Maria Mueller at NCKP 2023: The Piano Conference.
Margie Nelson and Maria Mueller at NCKP 2023: The Piano Conference.

The teachers featured here are making profound contributions to students at all stages, from the youngest beginners to college students, and to those who study later in life. These inspirational, personal stories testify to the timeless impact piano teachers have on their students and their communities.

Join us by honoring your teacher today through the “Power of a Piano Teacher” campaign.

Stephanie Pestana-Konnersman honors Marilyn Slenk

I will be forever grateful to my first piano teacher, Marilyn Slenk, for setting me on a lifetime journey through the world of music. Over the course of nine years, her careful, nurturing guidance built a foundation on which the whole of my life arose. She instilled into my soul a deep love and respect for every aspect of art, while encouraging growth of freedom and my own unique artistic sensibility. Without her I would not be the person, pianist, or artist I am today! – Stephanie Pestana-Konnersman

Lydia Sander honors Christopher Fisher

I began lessons with Dr. Fisher during high school. At the time, I had lost interest in pursuing piano lessons further. Dr. Fisher quickly reignited my love for piano and music again like I had not felt before. After learning and growing under his excellent instruction during my pre-college years, I went on to pursue music during my undergraduate studies and I later pursued piano pedagogy in my master’s program. To this day, Dr. Fisher is one of my greatest inspirations as a teacher and mentor. His passion for music and pedagogy along with his commitment to student success is evident in all that he does! I can truly say that I wouldn’t have pursued music and all the wonderful things that have come along with it without his guidance and patience. – Lydia Sander

Christopher Fisher with Lydia Sander.
Christopher Fisher with Lydia Sander.

Maria Mueller honors Margie Nelson

I met Mrs. Margie Nelson when I enrolled in beginning piano lessons at six years old at the New School for Music Study (NSMS). She would become my private teacher for the next twelve years and a mentor and inspiration to me for the rest of my life. She laid the foundation of my musical skills and built on it together with me as I grew and eventually aspired to become a piano teacher myself. More than an imparter of knowledge, Mrs. Nelson was my continual guide and compassionate resource. She encouraged me always and believed in my ability, guided me with thoughtful questions, delighted me with her humor, eased my performance nerves with her down-to-earth advice, challenged me with a wonderful variety of piano repertoire, and celebrated every breakthrough with me. I had the blessing of a growing and deepening teacher-student relationship with Mrs. Nelson for my entire precollege study. Flash forward to today and I now have a Bachelor of Music in Performance and Master of Music in Piano Pedagogy, and I am the primary piano instructor at a nonprofit music conservatory for precollege students. Few teaching days go by where I do not think of my own piano teacher and all the teachers I met at NSMS. If I could affect the life of one of my students the way Mrs. Nelson affected mine, my piano teaching career will have been a success. The last time we saw each other was at The Piano Conference: NCKP 2023—I’m so proud to join her in this transformative piano teaching profession! – Maria Mueller

Margie Nelson and Maria Mueller at NCKP 2023: The Piano Conference.

Lindsay Bastian honors Barbara Furr

Mrs. Furr was my piano teacher during my high school years and she put me on the path to becoming a music teacher myself! Her love for music and for me, her persistence in pushing me to improve, and her endless encouragement helped me to discover my own love for the piano and the ways in which music allows me to connect with others. As a teenager, I don’t think I recognized how effortlessly Mrs. Furr brought out the best in every one of her students, but I still remember how much I loved my lessons and came away from them feeling better about myself, no matter what else was going on in my life. I hope to encourage, inspire, and motivate my future students the way she did for me! – Lindsay Bastian

Barbara Furr with Lindsay Bastian.
Barbara Furr with Lindsay Bastian.

We welcome you to celebrate your own teacher by sharing a tribute with us and donating to the Frances Clark Center. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.

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The Power of a Piano Teacher
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How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for 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 proposals via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

A presentation at The Piano Conference: NCKP 2023.

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

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

2. Clearly state the objectives and organization of your presentation

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

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

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

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

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

5. Follow the guidelines

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

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.

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Teaching Demonstration (NCKP Rebroadcast)
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Edwin Gordon: Beyond the Keyboard

Written By Edwin Gordon

We would like to thank Edwin Gordon for the text from his 2015 keynote address at the National Conference on Keyboard Pedagogy in Lombard, Illinois. To read the full text, sign up for our course, Foundational Piano Pedagogy. Between August 5 and September 15, The Frances Clark Center is offering 20% off all full-length courses such as Foundational Piano Pedagogy. Check out our other courses here and use this discount code to get 20% of your order: BLOG20B2S.

Dr. Edwin Gordon, music educator
Edwin Gordon

Dr. Edwin Gordon was one of the most distinguished and influential music educators of the twentieth century. His work on the measurement of music performance, audiation, and Music Learning Theory had far-reaching implications for a wide variety of musical settings. In November of 2015, Dr. Gordon was named a Lowell Mason Fellow by the National Association for Music Education.

Dr. Gordon was invited to be a keynote speaker at the National Conference on Keyboard Pedagogy in Lombard [July 2015]. While health concerns prevented him from attending in person, his keynote address (read by Scott Price) was a highlight of the conference. […] We reprint his NCKP address here in its entirety.

Good morning to all. I am delighted to be invited to participate in your conference. Although I am not an accomplished pianist, I have been interested in piano pedagogy for many years. As a result, I am lead to believe that piano is taught to many persons by teachers who typically teach the way they were taught, rather than according to an objective learning theory and current research. With no intent of being critical, I am anxious to share concepts I suspect are unfamiliar to many of you. It is my hope that you will be inspired to give serious consideration to your approach to teaching piano, and, perhaps, be encouraged to embrace some new concepts in your pedagogy.

Language acquisition 

I will begin by talking briefly about language acquisition. There is a striking similarity between learning a language and learning music. Using language as an analogy should make it easier to grasp what I soon will be explaining about learning music, particularly piano instruction.

There are five language skill vocabularies. In sequential order of development they are listening, speaking, thinking, reading, and writing. Each provides readiness for learning the next. I must emphasize that listening comes first. It is fundamental. Without a firm listening vocabulary, the remaining four vocabularies can have only marginal development. Consider the following fact. Throughout history, humans have spoken more than 30,000 languages. Only 6,000 currently exist. The reason is that a language is no further from extinction than only one, just one, generation of adults not giving newborn and young children an opportunity to listen to that language. As an aside, only 200 of the 6,000 languages are written.

Without a rich listening vocabulary, development of a speaking vocabulary with proper pronunciation is restricted. I bring to your attention the unfortunate necessity of so many adolescents and adults to depend upon the words “like, you know, basically, I mean, whatever, awesome, and incredible.” These words represent the paucity of repetition in their narrow listening vocabulary. The chilling thought is that society is losing the wealth of our language heritage, and, due to similar neglect, our classical and Baroque music heritage is in jeopardy.

There are five parallel music skill vocabularies. In sequential order of development, they are 1) listening, 2) singing and chanting, 3) audiating and improvising, 4) reading, and 5) writing. As with language, listening is basic in piano instruction as well as all music instruction. Unfortunately, in typical instruction, listening is disregarded, often leading to detrimental results.

We hope you enjoyed this excerpt from Edwin Gordon’s keynote address at the National Conference on Keyboard Pedagogy in 2015. To read the entire text, sign up for our course, Foundational Piano Pedagogy.

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Foundational Piano Pedagogy (Self-Guided)
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This Month in Piano History – September 2024: Celebrate Classical Music Month

Written By Megan Hall

September 1994

Classical Music Month was established by President Bill Clinton, who greatly appreciated the unifying power of classical music. On August 22, 1994, President Clinton spoke about the power of music:

Classical music is a celebration of artistic excellence. Great art endures through the ages… Classical music plays in harmony with that energy and spirit to become reinvigorated and reinvented with each new orchestra or chamber group, with every performance that rings out new and fresh.

This month we exalt the many talented composers, conductors, and musicians who bring classical music to our ears. These artists carry on a great tradition of musical achievement, and we are proud of their outstanding accomplishments. Whether in new American works or in the masterpieces of the great composers of old, music is a unifying force in our world, bringing people together across vast cultural and geographical divisions. Classical music speaks both to the mind and to the heart, giving us something to think about as well as to experience.1

September 18, 1899

On this day in piano history, Scott Joplin received copyright for the Maple Leaf Rag by the US Copyright Office. The Maple Leaf Rag grew to become the most famous ragtime composition, and Joplin became known as the “King of Ragtime.”  Listen to a recording of Reginald Robinson performing the Maple Leaf Rag here!

Pianist Reginald Robinson performs Scott Joplin’s Maple Leaf Rag.

September 30, 1935

The original cast of Porgy and Bess.
The original cast of Porgy and Bess.2

George Gershwin’s opera Porgy and Bess premiered in Boston and appeared shortly afterward on Broadway. Porgy, as it was originally titled, cast and celebrated African American singers, including the first African American woman to be admitted to the Juilliard School, Anne Brown, who played the role of Bess. Brown’s singing so captivated Gershwin that he expanded her role and changed the title of the opera to include Bess.

Notes
  1. William J. Clinton, “Proclamation 6716—Classical Music Month, 1994 Online by Gerhard Peters and John T. Woolley,” The American Presidency Project. https://www.presidency.ucsb.edu/node/218266.

2. Richard Tucker, The cast of Porgy and Bess, October 10, 1935. Photo courtesy of Library of Congress.

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“Hidden Figures” in Piano Pedagogy: Leveling Piano Music by Black Composers
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An Invitation to the Piano Inspires Book Club – Part 2

Written By Piano Inspires, Marvin Blickenstaff

As we approach the new school year, we invite you to join us for the Piano Inspires Book Club! The first book club will focus on Marvin Blickenstaff’s new book Inspired Piano Teaching. Learn more and register here.

August 26, 2024

Dear Frances Clark Center Community,

As we approach the new school year, we invite you to join us for the Piano Inspires Book Club! The first book club will focus on Marvin Blickenstaff’s new book Inspired Piano Teaching.

Join author Marvin Blickenstaff and host Sara Ernst for a four-part, open-access series discussing Inspired Piano Teaching by Marvin Blickenstaff. Each meeting will cover one portion of the book, with guided conversation. Participants are encouraged to attend all four meetings, or attend as their schedule permits. All are welcome!

  • Tuesday, September 10, 2024, 11AM EDT | Introduction: Why We Teach – Foundational Principles in Piano Pedagogy
  • Tuesday, October 8, 2024, 11AM EDT | Exposition: Practical Teaching Principles in Piano Pedagogy
  • Tuesday, November 12, 2024, 11AM EDT | Development: Advancing Piano Pedagogy – Theory, Performance, and Technique
  • Tuesday, December 10, 2024, 11AM EDT | Recapitulation: Interpretation and Stylistic Performance in Piano Pedagogy

The first meeting (September) will center around foundational principles of music making and piano teaching, along with important questions such as “Why do we teach?” and “Why should students learn?” Participants are recommended to read pp. ix-23, and to prepare any questions or thoughts they would like to share.

Yours,

Piano Inspires

An Excerpt from Inspired Piano Teaching (ix-x)

Foreword

by Sara Ernst

It is humbling to write the preface to a book on piano teaching by Marvin Blickenstaff, a man who has transformed the piano teaching profession throughout his phenomenal career of more than sixty years. Marvin is a paragon in our profession: a pianist of expressive artistry and technical command, a master teacher of all ages and stages, an affirming person who teaches anyone with a desire to learn, an encouraging and altruistic mentor, and a model of the richness found in lifelong teaching and learning. He was even unofficially given the title “the best-loved piano teacher in America” by Louise Goss and Samuel Holland. As former student Joel Harrison (University of North Carolina at Chapel Hill, 1970–73) stated, “Marvin is a ‘giver.’ He offers you the best he has, whether it is musical or otherwise, virtually without limits.”1 With this indomitable spirit, Marvin has provided us with this impressive compendium of his work as a piano teacher. This resource details the philosophies and approaches behind the tens of thousands of lessons Marvin has taught and the hundreds—if not thousands—of workshops he has given. It is with honor that I will share a snapshot of Marvin Blickenstaff, the educator, musician, and person, as an introduction to his book.

Marvin’s teaching is reverently described with words like magical and transformative. He makes the student feel immediately valued and full of potential, and his approach inspires joy-filled music making. This is palpable for the students on the bench, others sharing in the class, and those observing. During his master classes at conferences, a scan of the audience will reveal faces in awe of the ease of his instruction and his uncanny ability to heighten a student’s understanding and artistry. His former student Nina Austria at the New School for Music Study (NSMS, 2011–20) eloquently expressed:

Every lesson is a joy and a highlight of my week; Mr. Blickenstaff’s passion for music is so contagious, and his kindness and positivity constantly inspire me to push myself to improve…Because of Mr. Blickenstaff, practicing piano does not feel like a task, but rather a treat or even a gift.2

Marvin ensures that his students know he appreciates them and enjoys their work, and this sentiment was echoed by Kelly Marquis Freije (precollege student in Indiana, 1995–97): “All I knew was he loved being there with me, helping me with music, and helping me to grow.”3 His group instruction is equally invigorating, especially how he cultivates artistic growth through peer collaboration. Zack Kleiman (NSMS, 2005–14) described Marvin’s skillful process:

It was through this class, too, that Marvin cultivated my love for the deeply collaborative nature of solo piano—seemingly paradoxical but as we performed for each other during class, Marvin’s great big laugh and smile served as a warm invitation for us to provide feedback and give our two cents. I distinctly remember hearing other students perform and, after several rounds of class input, being able to trace certain parts of their performances to individual comments we had each made—and of course, present in each was a deeply musical narrative guided by Marvin’s expert hand.4

Marvin has an impressive depth of knowledge in piano literature, and at the core of his teaching is the artistic interpretation of the repertoire. His students learn to carefully read the score and to express the meaning and emotion behind the music: “Mr. Blickenstaff enables us to not merely learn a piece, but to understand and feel it,” Anya Smith (NSMS, 2014–20).5

Notes
  1. “A Tribute to Marvin Blickenstaff,” Piano Magazine 12, no. 1 (Spring 2020), 12. This tribute was printed in celebration of Marvin’s eighty-fifth birthday.
  2. “A Tribute to Marvin Blickenstaff,” 16.
  3. Kelly Marquis Freije, telephone interview by Sara Ernst, March 5, 2010.
  4. “A Tribute to Marvin Blickenstaff,” 13–14.
  5. “A Tribute to Marvin Blickenstaff,” 16.

About Inspired Piano Teaching

Inspired Piano Teaching book by Marvin Blickenstaff

Inspired Piano Teaching is filled with practical advice on teaching students at all levels. It is dedicated to keeping inspiration and artistry alive for every student in every lesson. Topics range from proactive teaching, the interview, and the first lesson to technical gestures, guidelines to interpretation, and coaching a piece to performance. After reading the book, teachers will feel like they have attended a multi-day workshop with Marvin.

Purchase your copy today to read and participate in the Piano Inspires Book Club! Use code MARVINCLUB15 at checkout for 15% off list price.

Purchase Here

About the Author

Marvin Blickenstaff joined The New School for Music Study in 1999, and serves as co-director of the PEPS Program. Blickenstaff holds degrees from the Oberlin Conservatory of Music and Indiana University, where he received both academic and performance honors. He is well-known across the country and in Canada for his frequent presentations at state and national conferences.

Marvin Blickenstaff

About the Host

Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor and Director of Piano Pedagogy at the University of Oklahoma in Norman. For the Frances Clark Center, she is Director of Teacher Engagement and leads programming for NCKP: The Piano Conference.

Sara Ernst

Questions? Please contact teachereducation@francesclarkcenter.org.

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Piano Inspires Book Club | Introduction: Why We Teach – Foundational Principles in Piano Pedagogy
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Unveiling the New Season of Peer Connections Gatherings

Written By Yeeseon Kwon

We would like to thank Yeeseon Kwon for this exciting message about the new season of Peer Connections events. Interested in participating? Our first event is Peer Connections: Advancing Your Opportunities and Professionalism, which occurs on Friday, October 4th at 11AM ET. Learn more and register here.

Brenda Wristen and collegiate students at the Piano Conference: NCKP 2023

The start of a new school year brings with it a flurry of activities for both students and teachers. What I like about this time of year is that it brings about new energy and a sense of hopeful awareness in anticipation of the possibilities that will transform each of us during the new academic year.

This year at The Frances Clark Center, the opportunities for professional development and community engagement are not only abundant but aim to serve the young and emerging professionals in our field. Peer Connections and Collegiate Connections are professional and community engagement events for young professionals to meet and begin building a broader professional network.

Peer Connections is a live virtual gathering of young professionals in various stages of career and professional life. Wherever you are in your professional path, join our community to engage with relevant topics and expert panelists and presenters.

October 4, 2024: Peer Connections: Advancing Your Opportunities 

Eden Esters Brown and Pamela Pike discuss advancing career development and professionalism. Connect with fellow professionals to explore growth opportunities and get involved at The Frances Clark Center.

February 7, 2025: Peer Connections: Belonging in Professional Spaces

Join Leah Claiborne and your colleagues in this virtual gathering to share teaching strategies and ways to engage your students and cultivate diverse teaching spaces. Share and reflect on thriving professionally as your authentic self.

April 11, 2025: Peer Connections: Wellbeing in the Professional Life

Mingle with Jess Johnson, Midori Koga, and Paola Savvidou to discuss strategies for fostering professional wellbeing. Discover roadblocks to finding balance in your workspace and explore how to manage and positively contribute to your creative and professional development.

These are such timely and relevant topics that will inspire your teaching and impact your professional growth. Come join and participate in the 2024-2025 Peer Connections Events!  

Collegiate Connections is a program that provides opportunities for collegiate groups and classes to submit term and annual projects to be showcased at our online, international conference. Projects may cover a wide range of topics such as creative teaching projects, lecture and musical presentations, community engagement, social justice, business entrepreneurship projects, and more. The program aims to foster peer connections and collaboration through the exchange of ideas, scholarship, and dialogue from across the country.

The Call for Proposals will be released this fall, so start planning your group projects now. Proposals will be peer-reviewed, and selected during early spring. Drum roll please…..We will showcase these exceptional final projects in a live webinar presentation at The Piano Conference: NCKP 2025 Online Event.

As the Director of Institutional Engagement, I look forward to seeing you at these Peer Connections events and witnessing your group participation in the Collegiate Connections. 

Let’s meet up at The Piano Conference: NCKP 2025 in June and July and celebrate together!

Interested in participating in Peer Connections: Advancing Your Opportunities and Professionalism on Friday, October 4th at 11AM ET? Learn more and register here.

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An Invitation to the Piano Inspires Book Club

Written By Piano Inspires, Marvin Blickenstaff

As we approach the new school year, we invite you to join us for the Piano Inspires Book Club! The first book club will focus on Inspired Piano Teaching by Marvin Blickenstaff. Learn more and register here.

August 26, 2024

Dear Frances Clark Center Community,

As we approach the new school year, we invite you to join us for the Piano Inspires Book Club! The first book club will focus on Marvin Blickenstaff’s Inspired Piano Teaching.

Join author Marvin Blickenstaff and host Sara Ernst for a four-part, open-access series discussing Inspired Piano Teaching by Marvin Blickenstaff. Each meeting will cover one portion of the book, with guided conversation. Participants are encouraged to attend all four meetings, or attend as their schedule permits. All are welcome!

  • Tuesday, September 10, 2024, 11AM EDT | Introduction: Why We Teach – Foundational Principles in Piano Pedagogy
  • Tuesday, October 8, 2024, 11AM EDT | Exposition: Practical Teaching Principles in Piano Pedagogy
  • Tuesday, November 12, 2024, 11AM EDT | Development: Advancing Piano Pedagogy – Theory, Performance, and Technique
  • Tuesday, December 10, 2024, 11AM EDT | Recapitulation: Interpretation and Stylistic Performance in Piano Pedagogy

The first meeting (September) will center around foundational principles of music making and piano teaching, along with important questions such as “Why do we teach?” and “Why should students learn?” Participants are recommended to read pp. ix-23, and to prepare any questions or thoughts they would like to share.

Yours,

Piano Inspires

An Excerpt from Inspired Piano Teaching (p. 29-31)

Theme I: Teaching Principles

Chapter 5
TERRAC:
The Well-Rounded Lesson

Lesson planning is an important topic in every piano pedagogy course, and thoughtful planning is crucial to the success of any lesson. Frances Clark suggested planning months in advance for end-of-the-year recital repertoire, goals for technical skills, and other milestones. Without a plan, we flounder. Long-term goals may prove to be the most important ones; once these are established, we are forced to devise a strategy for reaching those goals, and this strategy can inform our week-to-week teaching.

All too often, a typical lesson might proceed as follows. The student arrives at the lesson and hands a spiral-bound lesson-assignment notebook to the teacher. The teacher looks up the most recent page and says, “I see that you were assigned a new movement in the Clementi Sonatina. Play that first page” The teacher then turns to the next page in the assignment book and writes comments and suggestions for next week’s work on the Clementi. And the lesson proceeds in like manner. No planning. Little progress.

Let me be so bold as to suggest that the student deserves to have each lesson planned, just as the teacher deserves to expect that the student has practiced. Both teacher and student have their assignments to fulfill. These can be summarized by two simple expectation equations:

STUDENT = PRACTICE

TEACHER = PLANNING/PREPARATION

There is so much to be covered in a piano lesson, and it often feels like there is insufficient time available to us. We can easily fall into a lesson routine of scales, Hanon, repertoire. While this has some benefits, there are many more skills and areas that students need for their musical development. It is far too easy to let lesson after lesson go by without realizing what each lesson might be missing. Covering all the components that students need—with proper presentation, reinforcement, and follow-through—is a serious challenge.

To help me ensure that each lesson is musically well rounded, I have developed the acronym TERRAC. Each letter of the acronym represents a topic to be covered in a lesson.

  • T echnique
    • E xpression
      • R eading
        • R hythm
          • A ural Skills (ear training)
            • C reativity

The acronym does not indicate the order in which these concepts are to be covered, and it is possible that a single lesson activity might combine two or three of the concepts. Keeping this acronym in mind, however, helps ensure that students are covering the basic musical elements and skills in every lesson.

As you prepare for a lesson, write TERRAC at the top of a blank page. You will already have your own categories for the lesson, which might include the following:

  • Warm-ups 
  • Études or technical studies
  • New pieces
  • Review pieces
  • Duets
  • Sight-reading
  • Ear training
  • Creative projects

When devising your lesson plan, look for ways in which you can incorporate the TERRAC concepts into the lesson. For instance, when working on new repertoire, you will most likely have students sight-read portions of a new piece, then offer them suggestions that facilitate the reading. That can suffice as the reading R portion of the lesson. In that same introductory activity, students may also be asked to tap and count certain challenging measures. That rhythm activity covers the rhythm R.

TERRAC helps us view the lesson in a well-rounded, holistic manner, and it helps us avoid gaps in our instruction. Without this formula, many lessons may take place with no attention to A (aural skills) and C (creativity). 

About Inspired Piano Teaching

Inspired Piano Teaching is filled with practical advice on teaching students at all levels. It is dedicated to keeping inspiration and artistry alive for every student in every lesson. Topics range from proactive teaching, the interview, and the first lesson to technical gestures, guidelines to interpretation, and coaching a piece to performance. After reading the book, teachers will feel like they have attended a multi-day workshop with Marvin.

Purchase your copy today to read and participate in the Piano Inspires Book Club! Use code MARVINCLUB15 at checkout for 15% off list price.

Purchase Here

About the Author

Marvin Blickenstaff joined The New School for Music Study in 1999, and serves as co-director of the PEPS Program. Blickenstaff holds degrees from the Oberlin Conservatory of Music and Indiana University, where he received both academic and performance honors. He is well-known across the country and in Canada for his frequent presentations at state and national conferences.

About the Host

Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor and Director of Piano Pedagogy at the University of Oklahoma in Norman. For the Frances Clark Center, she is Director of Teacher Engagement and leads programming for NCKP: The Piano Conference.

Questions? Please contact teachereducation@francesclarkcenter.org.

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Piano Inspires Book Club | Introduction: Why We Teach – Foundational Principles in Piano Pedagogy
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How to Write an Effective Conference Proposal: 5 Tips for Success

Written By Sara Ernst

We are delighted to share top tips from Dr. Sara Ernst on writing successful conference proposals to support you as you draft your session ideas for 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 proposals via our proposal submission portal by 11:59pm PDT on Monday, October 21, 2024. 

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

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

2. Clearly state the objectives and organization of your presentation

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

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

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

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

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

5. Follow the guidelines

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

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.

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Piano Inspires Kids: Student Spotlights

Written By Piano Inspires

The Summer 2024 Issue of Piano Inspires Kids is here! Not yet a subscriber? 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 Summer Issue.

Calling all Piano Inspires Kids readers;

we want to hear from you about you!

What is a Student Spotlight?

You can share about your interests, what inspires you, what music you enjoy, and how piano is a part of your life. Visit the online form to discover the wide variety of questions you can answer as part of a student spotlight. Selected responses will be featured in upcoming issues of Piano Inspires Kids.

Read this recent student spotlight from Rachel in California.

Looking for other ways to submit and get involved?

Check out our submit page: https://kids.pianoinspires.com/submit/.

Submit

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.

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Piano Inspires Kids: An Interview with Co-Editors-in-Chief Andrea McAlister and Sara Ernst
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Effective, enforceable piano studio policies

Written By Wendy Stevens

We would like to thank Wendy Stevens for this article about studio policies. To read the full article, click here. Between August 5 and September 15, The Frances Clark Center is offering 20% off all full-length courses such as A Pianist’s Guide to Studio Management. Check out our other courses here and use this discount code to get 20% of your order: BLOG20B2S.

Why do I need policies?

Constructing effective and enforceable policies is ultimately about preserving relationships with our piano families. By communicating our expectations formally, we are making space to concentrate on what is most important—teaching. It may feel a bit stiff to require that parents read and sign a contract, but clarifying expectations for both sides and procedures for resolving common situations is comforting and freeing for everyone. An effective, enforceable policy will ensure that our minds are free to teach creatively, parents and students have confidence in our plans, and everyone understands that common issues will be handled in a consistent and courteous manner.

Carefully thinking through how you want your business to look, where you want it to go, and how you want it to function will help you articulate clear policies that are effective and allow you to focus on teaching. To make them enforceable, ensure that the policies are read, signed, and dated by the responsible parent or adult. This gives you a legally binding document, and your business will appear more serious and professional

The key ingredients of effective, enforceable policies

A clear policy along with each family’s consent to your policy will help ensure that the business side of teaching piano runs smoothly.

A personal note. Because a contract with specific terms and conditions can seem stiff and formal, it’s important to include an introductory paragraph in your policy to kindly explain that the policies they are reading are meant to ensure that they will receive the most creative, energetic, and committed teaching from you!

Thank you for choosing me as your piano teacher! In order to ensure that you or your child get the most effective and creative teaching possible, I have established the following policies

Tuition structure, schedule, late fees. Briefly explain your tuition structure, basing it on a “yearly package” deal rather than a weekly lesson rate. It is also important to state exactly when you expect parents to pay and what will happen if payments are late.

Yearly tuition for 45 minute lessons is $xxx. Your tuition guarantees that I will be present to teach 40 weeks and will be divided into equal payments of $xxx. Tuition is due by the 10th of every month from September through May.* A $15 late fee will be assessed for late payments. 

Missed lessons. This is your “makeup” policy, but using the term “missed lessons” will subtly remind parents that they are choosing to miss a lesson and that their choice does not require you to give them an additional lesson time. We will address creative ways of dealing with missed lessons in a future article, but it’s important to give parents a few options in case they need to miss.

If a student misses a lesson, he or she will simply miss the benefit of that lesson. Remember that your tuition pays for far more than just lesson time with your child. You can also opt to use the swap list, Facetime, Skype, or simply call to chat about your child’s progress during the time that is reserved for your child.

If you have to miss a lesson, you can address how you will handle payments in the same email in which you inform them that there will be no lesson.

We hope you enjoyed this excerpt from Wendy Steven’s article “Effective, enforceable studio policies.” To read the entire article, click here.

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