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Collegiate Essay Winner: Emerging Adulthood and Undergraduate Group Piano

Written By Melody Morrison

We would like to thank Melody Morrison for this insightful article on adulthood and collegiate group piano. This year more than a dozen collegiate students submitted essays in the collegiate writing competition. The topics were varied and the entrants, who came from eleven different universities, were at different stages of undergraduate, master’s, and doctoral degrees. The judges chose a winner, runner-up, and an honorable mention. We are printing all three of these essays, as they represent the top “collegiate voices” from the 2023 competition. We thank pedagogy faculty Dr. David Cartledge (Indiana University), Dr. Meg Gray (Wichita State University), and Dr. Ivan Hurd (University of Texas–San Antonio) for completing blind reviews of the entries and for reaching consensus on the 2023 winners. Thanks to the pedagogy instructors who mentor their students as they refine their ideas and write their essays. We encourage all collegiate students to enter the 2024 competition (essays will be due on May 1, 2024).

Typical college students find themselves in a phase of life that has been identified as “emerging adulthood”— a time when characteristics of both children and adults are present in individuals who are in their late teens to early twenties.1 Collegiate group piano classes consist of mostly first- and second-year students (likely seventeen to twenty years old) and are in the beginning stages of emerging adulthood.2 Because the students who are in undergraduate group piano classes exhibit traits of children and adults, elements from both pedagogical and andragogical teaching approaches should be applied. It is therefore beneficial for a teacher to understand the teaching methodologies which highlight the adjustment of one’s teaching style according to the age of the student.3

This discussion will synthesize the research literature related to the differences between pedagogy and andragogy, and undergraduate class piano. In conclusion, implications and suggestions for teaching undergraduate class piano and this age population will be presented.

Pedagogy and Andragogy: History, Characteristics, and Differences

Pedagogy has often been used to encompass learning in all stages of life. However, the word “pedagogy” is derived from the Greek words paidos and agogus which translate to “child” and “leader of” respectively.4 Pedagogy, therefore, can be defined as the art and science of teaching children.5 European monks between the seventh and twelfth centuries began to observe how children learn and developed the first pedagogical concepts. Ideas from this era were eventually seen in schools throughout Europe and North America in the eighteenth and nineteenth centuries, and educational psychologists continued to study and develop the pedagogical model.6

A new focus on effective adult learning within the United States in the 1920s demonstrated that pedagogical concepts did not appear to work with the same success rate in adult students. Different teaching methods for adults began to develop throughout the twentieth century, and in the 1960s American educator Malcolm Knowles popularized the term andragogy. Andragogy originates from the Greek words aner whose stem andra means “man,” not “boy,” and agogue which means “leader of.” Knowles emphasized that andragogy was different from pedagogy, the latter referring to the education of children.7

The differences between pedagogy and andragogy can be summarized in six “assumptions” found in Figure 1.8 One of the noticeable differences between children and adult learners is that children often willingly receive instructions from a teacher if the directions are clear, while an adult learner will want to know the importance of a concept before they take the time to study it. Adult learners also carry with them many life experiences which will affect numerous areas of their learning.9 Children on the other hand come to a learning environment with more of a “clean slate.” Another difference between pedagogy and andragogy is that children often are motivated by outside forces, while adults demonstrate more internal motivation.10 Lastly, adults have shown preference toward self-directed learning.11

If you enjoyed this excerpt from Melody Morrison’s article “Emerging Adulthood and Undergraduate Group Piano,” you can read more here: https://pianoinspires.com/article/collegiate-essay-winner-emerging-adulthood-and-undergraduate-group-piano/.

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Collegiate Essay Winner: Emerging Adulthood and Undergraduate Group Piano
SOURCES

1 Jeffrey J. Arnett, “Emerging Adulthood: A Theory of Development from the Late Teens through the Twenties,” American Psychologist 55, no. 5 (2000): 469–480.

2 Christopher Fisher, Teaching Piano in Groups (New York: Oxford University Press, 2010); Pamela D. Pike, Dynamic Group-Piano Teaching (New York: Routledge, 2017).

3 Malcolm S. Knowles, The Modern Practice of Adult Education: From Pedagogy to Andragogy (Englewood Cliffs: Cambridge Adult Education, 1980); Joseph Mews, “Leading through Andragogy,” College and University 95 (2020): 65–68.

4 Malcolm S. Knowles, The Adult Learner: A Neglected Species (Houston: Gulf Publishing Company, 1973); Malcolm S. Knowles, Elwood F. Holton III, and Richard A. Swanson, The Adult Learner (New York: Taylor & Francis, 2012).

5 Geraldine Holmes and Michele Abington-Cooper, “Pedagogy vs. Andragogy: A False Dichotomy?” The Journal of Technology Studies 26 (2000). doi.org/10.21061/jots.v26i2.a.8

6 Knowles, The Modern Practice of Adult Education.

7 Ibid.; Joseph Davenport, “Is There a Way Out of the Andragogy Morass?” Lifelong Learning 11, no. 3 (1987): 17–20.

8 Darcy B. Tannehill, “How Do Post-Secondary Institutions Educate and Service Adult Learners?” EdD diss., (University of Pittsburgh, 2009).

9 Sang Chan, “Applications of Andragogy in Multi-Disciplined Teaching and Learning,” MPAEA Journal of Adult Education 39, no. 2 (2010): 25–35.

10 James A. Draper, “The Metamorphoses of Andragogy,” Canadian Journal for the Study of Adult Education 12, no. 1 (1998), 3–26; Mews, “Leading through Andragogy.”

11 Sharan B. Merriam, “Andragogy and Self-Directed Learning: Pillars of Adult Learning Theory,” New Directions for Adult and Continuing Education, (Spring 2001): 3–14. doi.org/10.1002/ace.3

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5 Reasons You Should Include Asian Repertoire in Your Studio

Written By Shuk-Ki Wong

We would like to thank Shuk-Ki Wong for this insightful article on including repertoire by Asian composers in the piano studio. Want to learn more about music from Asia? Register for the free webinar, “Composers and Music of Asian Heritage” presented by Yoshiko Arahata, Kairy Koshoeva, and Gulimina Mahamuti, with Chee-Hwa Tan, moderator and Luis Sanchez, host on January 10. Learn more and register here: https://pianoinspires.com/webinar/1-10-24-webinar/.

1. Only 1.77% of scheduled pieces in concert halls were composed by Asian composers.

Despite efforts to diversify music and concert programming, works of long-deceased white male composers still make up 76.4% in 2021-2022 season programming in concert halls around the globe.1 While there is marginal improvement in the representation of Black and women composers (with 3.39% and 7.7% of the 20,400 works performed respectively), Asian composers only comprise 1.77%––a total of 361 works were presented on stage last year. Such data shows the urgency to accelerate change by actively boosting diversity and inclusion in our studio and programming.

Fig. 1. Total number of scheduled pieces in 2021-2022 concert halls.
Data from Equality & Diversity in Global Repertoire, a report published by Donne––Women in Music in 2022.

2. Learning diverse repertoire is an enriching musical experience that sparks creativity and collaboration with students.

As the student population continues to become more diverse, it is critical to support our learners by providing an enriching musical experience that connects students’ upbringing, as well as their rich, unique musical cultures. The perpetual foreign stereotype of Asian Americans has not only caused identity denial in Asian students, but also contributes to the invisibility of such a student body. Being open-minded and accepting of Asian repertoire can transform our studio into a creative space for interactive music activities while embracing diverse cultures. For instance, imitating Asian musical instruments on the piano and experimenting with simple music writing with non-Western notation systems are great ways to (re)introduce the richness and significance of Asian musical cultures to our students.

3. Asian student-musicians may face more barriers in classical music than you think.

The deep-rooted model minority stereotypes of Asian and Asian-identified students create a number of obstacles in music learning. In addition to emotional distress, invalidation of achievements, and conflicts with peers and family members, such misconceptions may also lead to the neglect of musical development and limitations to resource access. For instance, students may be falsely assumed to understand musical concepts faster, come from a background with economic advantage, and face less systemic racism and discrimination.2 An initial step to embracing Asian repertoire is a powerful agent for social change while elevating Asian and Asian-identified students.

4. Diversifying standard repertoire does more beyond connecting minority students.

While we witness the power of introducing refreshing repertoire in the connection and growth in students, such endeavors foster belongingness in our students, especially pianists in the historically marginalized community. All young musicians need a safe musical space that embraces their backgrounds and identities. They also need to see themselves in this deep-seated, white-centric classical music world. Not only can diversifying standard repertoire reaffirm the uniqueness of our diverse students, but also uplift and empower students of color while enabling other learners to recognize the artistic values of musical works beyond tradition.

5. Yes, we really can make a difference in our students!

Never underestimate the impact an inclusive and comprehensive teaching approach can have on our students––it is far beyond just learning new and diverse repertoire. We expose our students to diverse music, equip them necessary skills to navigate this fast-growing multicultural society, and create awareness of diverse cultures while advocating for marginalized populations through our studio. We can and we are making a difference!

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SOURCES
  1. “Equality & Diversity in Global Repertoire,” Equality & Diversity in Global Repertoire (Donne, Women in Music, September 2022), https://donne-uk.org/wp-content/uploads/2021/03/Donne-Report-2022.pdf.
  2. Angela Kim and Christine J. Yeh, “Stereotypes of Asian American Students,” Stereotypes of Asian American students (The Educational Resources Information Center, February 2002), https://files.eric.ed.gov/fulltext/ED462510.pdf.
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Create to Motivate: Using Repertoire to Incorporate Creativity in Lessons

Written By Chee-Hwa Tan

We would like to thank Chee-Hwa Tan for this insightful article on creative activities to explore with your students. Want to apply these tips with your students? We encourage your students to submit to the Piano Inspires Kids 2024 Composition Contest. Student applicants are tasked with composing a fanfare inspired by the upcoming 2024 Summer Olympics. Learn more here: https://kids.pianoinspires.com/composition-contest/.

The ability to experiment and create with our instrument is an important part of piano study. Yet I would venture that for many of us who teach, this component of piano study presents a logistical challenge as we juggle the many aspects of music study. We may feel defeated at our inability to include creative activities like ear training, improvisation, transposition, musical composition, and analysis within lesson time, experience an existential crisis at the prospect of teaching what we did not ourselves learn, or feel overwhelmed about plowing through stacks of resources purchased at a workshop. On the other hand, when we do include these activities, perhaps our student freezes like a “deer in the headlights” when asked to improvise or create. If any of these scenarios are relatable, you are in good company.

This article will explore how we can use repertoire assignments to integrate experimentation and creation into regular lessons. Repertoire study is a staple of every lesson; assigning pieces that meet performance study needs, and that also serve as inspiration for creative assignments, is a way to meet both goals in a sustainable manner. This approach can be utilized during summers, several times a year, every other month, or with alternating pieces. 

I will address this topic from the following framework:

  1. A “whole” teaching philosophy: I start with this because our teaching philosophy impacts how we motivate students and whether we prioritize time for creativity.
  2. Repertoire selection: How to select the right kind of music to organically incorporate creative activities in your lessons, without designing a whole separate track.
  3. Basic principles: What to do with repertoire that you assign in your lessons.
  4. Examples: Practical applications from a selection of pieces at different levels. 

A “Whole” Teaching Philosophy

Our teaching philosophy states WHY we teach and WHAT is important to us in our teaching. A teaching philosophy serves as a compass—a “priority check” for us when we feel overwhelmed by all the teaching to-dos and performance deadlines. As educators, it is good to revisit our teaching philosophy periodically to allow for personal growth and adjustments. Here, I share here my personal teaching philosophy:

I teach…

  1. To nurture a love and understanding of music.
  2. To create a pathway to lifelong music making at the piano, for both the hobbyist and the professional. 
  3. To equip my students with skills that will make them independent learners and to give them ownership of their music.
  4. To pursue music making with joy, with abandon, without guilt.
  5. So that my students will be more whole from the experience. 

As teachers, we imprint a “feeling“—a feeling about the student’s identity in relationship to their music study. Long after formal lessons have ended, our students may not remember much of what they learned or even how to play what they learned, but they will remember how they felt in their lessons. This feeling will spur them to continue to pursue music in some shape or form, or this feeling will cause them to be afraid to try because they feel they are “not good enough” to meet the standards or expectations. Reviewing my teaching philosophy helps me to remember to prioritize the emotional connection with my student and the music making process and then to ask myself: What skills do I want my student to still have twenty to thirty years from now? 

A lot of what we do as teachers focuses on the “what” and the “how”—specific skills for teaching repertoire and technique, materials, how to practice, style and interpretation, pedaling, theoretical knowledge—the list goes on. However, far more important than this is teaching the “why?” Do our students know the overarching purpose behind the concepts and skills that we teach them? Are they able to take what they learn in their music and apply it for their own purposes? Students who can do this are students who will make music for the rest of their lives.

Why is it important to encourage students to create? 
  1. When we create, we get ownership of our learning.
  2. Ownership empowers.
  3. This makes us curious to learn more. 
  4. Curiosity is motivating!

If we have not experienced this type of process ourselves, this can be intimidating. The underlying philosophy is to nurture a sense of wonder and curiosity about this amazing process we call music. From the very beginning of piano study, slow down and reinforce theory and musical concepts by helping the student discover or identify the sounds in each of the pieces they study. Then, experiment with at least one of these concepts through listening and explorative play with the student.

Why use repertoire as the basis for composition or improvisation? 
  1. Using specific pieces provides a natural structure from which to take off—a blueprint for concrete inspiration. This is common practice throughout music history.
  2. It is less intimidating to have a few guidelines or a “track” to stay within.
  3. Students need to learn that there is structure in creativity.
  4. Music is all about structure—neurological studies show that our brains automatically search for aural patterns in music.
  5. Everything has a form and structure—rhythmically, melodically, and harmonically. Entities that do not have clear form tend to lack longevity.

If you enjoyed this excerpt from Chee-Hwa Tan’s article “Create to Motivate: Using Repertoire to Incorporate Creativity in Lessons,” you can read more here: https://pianoinspires.com/article/create-to-motivate-using-repertoire-to-incorporate-creativity-in-lessons/.

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Spring 2022: Create to Motivate: Using Repertoire to Incorporate Creativity in Lessons

Chee-Hwa Tan has served as the Head of Piano Pedagogy at the University of Denver Lamont School of Music, as well as on the piano pedagogy faculties at the Oberlin Conservatory and Southern Methodist University. Ms. Tan is the author of internationally acclaimed A Child’s Garden of Verses and other piano collections. Her music is published by Piano Safari; with selections included in the Repertoire and Study series of the Royal Conservatory of Music, Canada, and the Associated Board of the Royal Schools of Music, London.

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Gratitude from the Frances Clark Center Team

Written By Heather Smith

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.

The Frances Clark Center staff at NCKP 2023: The Piano Conference.

During this holiday season, we want to take a moment to extend our deepest thanks for your incredible support of The Frances Clark Center this past year.

Your dedication to the power of music has been pivotal in our ability to provide quality resources and programs for piano teaching and learning. This season, we reflect on the impact your support has had in shaping a brighter future for piano educators and students worldwide.

Thank you for being an essential part of our journey. Your continued support means the world to us.

Wishing you a joyous holiday season!

Warm regards,

The Frances Clark Center Team

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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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Five Things You Might Not Know About Florence Price

Written By Lia Jenson-Abbott

We would like to thank Lia Jenson-Abbott for this insightful article on Florence Price. Want to learn more about Florence Price? The winter issue of Piano Inspires Kids will explore her life, music, and work. Our first batch just shipped, but there is still time to receive a copy by subscribing today.

Florence Price

1.  At age 18, Florence Price graduated from the New England Conservatory of Music with two degrees:  Teachers Diploma in Piano and Soloists Diploma in Organ.1

It is extremely difficult to earn a single music degree at a major conservatory. Students who pursue double degrees have an even more ambitious workload to undertake, thus, it is rare for students to pursue two degrees simultaneously. That Florence Price achieved two degrees concurrently in three years is nothing short of astonishing and further underscores her work ethic and her abilities.

The Soloists Diploma was the highest attainable certificate awarded by the Conservatory.

Rae Linda Brown2
Price’s Class at New England Conservatory

2. While we know about her classical compositions, many may be surprised to learn that Florence Price also composed popular music for radio commercials and theater under the pen name, “VeeJay.”3

When Florence Price arrived in Chicago, she devoted more time to composition. As a composer, Price was ultimately trying to support her family as well as to write music which would find a larger performing base for her music. Clearly, Price felt the financial need to work in the popular music industry along with the Classical art music realm. While this music has not been given as much scholarly critical consideration to date, it would certainly be interesting to study these works to help complete the history of her amazing compositional output. 

The Heart of a Woman: The Life and Music of Florence B. Price by Rae Linda Brown

That Price was invited to conduct her Concerto in this star-studded venue for so large an audience is testimony to the high esteem with which she was regarded as a composer by the early 1930s.

Rae Linda Brown4

3. In 1933, Price was invited to conduct the orchestra while her former student, Margaret Bonds, played her Piano Concerto in One Movement at the Century of Progress Exhibition.5

Florence Price was a gifted composer, but also a gifted and dedicated teacher. Her student Margaret Bonds, herself a tremendous musical talent both as a pianist and as a composer, had a close relationship with Price and was instrumental in helping to disseminate Price’s music. 

4. In the spring of 1941, Florence Price moved to the Abraham Lincoln Center, where she taught close to one hundred piano students.6

While Price taught so many students due to economic necessity, the physical and mental energy needed to sustain this kind of teaching underscores a certain aspect of Price’s nature, notably her drive to have a career in music. From this evidence, one can conclude that Price obviously worked tirelessly to serve her students, her family, and her career. Given the obstacles she faced, her achievements become that much more historically exemplary. 

As the most well-trained piano teacher at the center, Price had a huge studio. She taught both beginners and advanced students, numbering at one time close to one hundred.

Rae Linda Brown7

5. In 2021, after learning about Florence Price, the students at Kaufman Music Center in New York City, were inspired to write a children’s book about Florence Price.

Over recent years, Price’s music has finally received the critical reception it has always deserved. For children to be so intrigued and genuinely compassionate about telling the story of an overlooked musical role model might underscore Price’s legacy in the most genuine and most resonant means possible. Price was a lifelong educator, with a great deal of her compositions devoted to teaching music. It is a fitting tribute to this dedicated teacher, composer, and performer, to have a new generation of children become her voice.

The book is called Who is Florence Price? Young Musicians Tell the Story of a Girl and Her Music. It was written and illustrated by the middle school students at Special Music School. It is available for purchase on Amazon.

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Sources
  1. Brown, Rae Linda, Guthrie P. Ramsey, and Carlene J. Brown. The Heart of a Woman: The Life and Music of Florence B. Price, 53. University of Illinois Press, 2020.
  2. Ibid.
  3. Ibid, 90.
  4. Ibid, 157.
  5. Ibid.
  6. Ibid, 201-202.
  7. Ibid.
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A Genuine Place of Love and Kindness: Honoring Marvin Blickenstaff

Written By Rebekah Hood

We would like to thank Rebekah Hood for this tribute to her teacher, 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.

Rebekah and Mary Hood visiting with Marvin at Daynes Music in Salt Lake City, Utah during the Marvin Blickenstaff Tour on October 16, 2023.

I met Mr. Blickenstaff when I was in the 4th grade. After the death of my first piano teacher and an unhappy experience with a second teacher, I was reluctant to continue my studies. Admittedly, I grew fond of the idea of never having to attend a piano lesson on Monday afternoon ever again—that is, until I met Mr. Blickenstaff.

On the day of my first lesson, I felt anxious and jittery. My mom drove me to his home, just five minutes away from our neighborhood, and I approached his front door with dread. But the moment we walked into his home, I met a man who was lively, kind, passionate, and gentle. When I played the piano for him, he offered the sincerest praise and encouragement. He made up words to fit the melodies of my pieces. He sang beautifully, his strong vibrato filling the room, while I barely moved my lips and shyly mouthed the words to the fabricated lyrics. I felt more at ease and more willing to try out lessons for a few months.

A few months became nine years. Through that period, I broke two fingers, suffered various illnesses, experimented with many unfortunate fashions, vowed to quit piano upon receiving my first Rachmaninoff piece, cried in the middle of a studio recital, bickered with my parents about piano practice, and eventually prepared an hour-long senior recital. Mr. Blickenstaff witnessed my growth throughout that entire journey. He continued to make up song lyrics for my pieces. He taught me how to waltz after introducing Chopin’s Waltz in A Minor. He changed up the articulation for the “Allemande” from Bach’s French Suite in G Major every single week. He encouraged me when I felt embarrassed even to step through his door due to my lack of consistent piano practice.

About a month after my senior recital, Mr. Blickenstaff and I sat by his piano and we reminisced about favorite pieces, fond memories, and past performances. He said, “Bekki, you came to me when you were terribly shy and unsure of yourself. Now, it’s like you’ve blossomed into a butterfly.” When I got home from my lesson, I immediately recorded his words in my journal. It meant a lot to me, and I often think about what he said, especially when I find myself bogged down by discouragement, maladaptive perfectionism, and frustration. Mr. Blickenstaff’s influence on my life has been immeasurable. Not only did my appreciation for music flourish under his direction, but my confidence increased. He showcases the change and growth that can come from teaching music—not from a place of fear or shame, but from a place of genuine love and kindness.

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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Piano Inspires Kids: Winter Issue Sneak Peak

Written By Sara Ernst, Andrea McAlister

The Winter 2024 Issue of Piano Inspires Kids is coming soon! Subscribers will be receiving the print issue in their mailboxes in the coming weeks. Not a subscriber? Subscribe by Thursday, December 14 at kids.pianoinspires.com/subscribe to receive the issue and give the gift of music to the musicians in your life! Keep reading for a sneak peek into the Winter issue.

1. The Winter 2024 issue of Piano Inspires Kids celebrates the music of Florence Price.

Readers will learn about the life and music of Florence Price, find out more about the recent discovery of her music in an Illinois home, and listen to a performance of Piano Sonata in E Minor, performed by Karen Walwyn. A guide is provided to give listeners a deeper understanding of this fascinating piece. 

2. Play new music by Artina McCain!

Add new music to your repertoire with Artina McCain’s new solo David, Plays! Based on the spiritual Little David, Play on Your Harp, students will have fun learning this energetic solo with its syncopated rhythms, quick dynamic changes, and playful use of rests. 

3. Learn how to host a Silent Film Recital.

Looking for new recital ideas? Learn how to host a Silent Film Recital in your studio! Students will be excited to choose a film, turn down the sound, and create their own musical score. A link to the Utah Silent Film Celebration will give teachers and students the inspiration they need to get started. 

Dr. Sara Ernst, Co-Editor-in-Chief of Piano Inspires Kids
Dr. Andrea McAlister, Co-Editor-in-Chief of Piano Inspires Kids

4. Join our community through student submissions. 

Students from around the country wrote in to tell us about their musical accomplishments, how they prefer to practice, and showcase their artwork. Now it’s your turn! Read the magazine and go to kids.pianoinspires.com/submit to send us your thoughts on memorizing, performance videos to share, or tips to help other students in their piano learning. Responses will be shared in the Spring 2024 Piano Inspires Kids issue. 

5. Calling all composers! Write a fanfare to be featured in the Summer 2024 Piano Inspires Kids. 

Help us celebrate the Summer Games by writing a fanfare, to be featured in the Summer 2024 issue! Read the Winter issue to get tips on style, form, and notation programs and go to kids.pianoinspires.com/submit to read more about submitting your composition. We look forward to hearing and sharing your fanfares! 

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: https://pianoinspires.com/webinar/10-11-23-webinar/.

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Piano Inspires Kids: An Interview with Co-Editors-in-Chief Andrea McAlister and Sara Ernst
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Four Powerful Lessons in Piano Pedagogy: Honoring Carmen Cambronero, Katia Guevara, Gregory Sioles, and Willis Delony

Written By Carla Salas-Ruiz

We would like to thank Carla Salas-Ruiz for this tribute to her teachers, Carmen Cambronero, Katia Guevara, Gregory Sioles, and Willis Delony. 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.

Carla Salas-Ruiz chatting with Professor Sioles at the end of her Master’s graduation commencement.

Lessons Beyond the Keys with Mrs. Carmen

When I was six years old, I had a little red piano as a toy, and I’d spend hours playing it.

Though I couldn’t articulate what I was doing, playing with this “toy” was wonderful. I distinctly recall urging my mom to sign me up for piano lessons, driven by my desire to explore this captivating instrument. One day, my mom said, “Ok, let’s put you in piano lessons.” What a joy! It marked one of the happiest moments of my life. A couple of weeks later, my mom took me to my very first lesson, introducing me to Mrs. Carmen. Mrs. Carmen graciously welcomed me into her studio, and over the years, she nurtured my love for music. With her remarkable expertise and ability to simplify complex concepts, she guided me through harmonization, improvisation, transpositions, memorization, and various other musical principles. To this day, I attribute the solid foundation Mrs. Carmen provided me as my secret weapon in the challenging music theory classes of grad school. 

In my fourth year with Mrs. Carmen, she communicated to my mom that “it was time for me to move forward.” My mom explained to me that Mrs. Carmen suggested I consider continuing piano lessons in a different program. Although my heart was set on continuing study exclusively with Mrs. Carmen, I placed my trust in her judgment and auditioned for this new program. The last day I spent with Mrs. Carmen was bittersweet. However, she said that it was time for me to transition to another school that could offer what I needed. What a transformative lesson it turned out to be! Mrs. Carmen not only taught me the musical ABCs but also imparted a profound introduction to piano pedagogy.

New Beginnings with Professor Guevara

With Professor Guevara, I encountered my first Chopin, my first Bach, and the works of many other composers. She helped me to reach the “next level” and did so with abundant care, empathy, love, and respect. Our weekly lessons became the highlight of my week. Professor Guevara approached each session with meticulous attention to both technical and musical details, instilling in me the understanding that in music, there is always more to learn, and multiple approaches exist for exploring a piece; there is never a single correct answer. 

As I approached the end of my high school years, the decision loomed about whether to pursue music in college. While I was certain that music was an integral part of my life, I had doubts that  I possessed the skills necessary for college success. I confided in Professor Guevara, expressing my uncertainty. In response, she posed a series of questions that resonated with me. “Carla, can you envision yourself doing something other than being a musician?” I replied, “No.” She continued, “Can you picture a day without talking, playing, and thinking about music?” Again, my answer was “No.” With that, she stated, “There you have your answer.” What a powerful lesson! Professor Guevara consistently guided me to address my questions, leading me to discover my own answers. Her teaching approach helped me find my voice, as she encouraged me to explore and identify what I wanted and needed for both myself and my music.

Maria, Carla, and Professor Guevara celebrating at the conclusion of Carla’s pre-college program recital.

Pursuing Education Overseas 

Choosing to leave Costa Rica and fully immerse myself in the world of piano pedagogy led me to Louisiana State University, where I had the privilege of studying under Professor Sioles. Over the span of two years, he not only transformed my understanding of music but also encouraged me to embrace new ideas. Throughout this period, I faced challenging circumstances, including the loss of my grandfather, a dear aunt, and navigating my father’s cancer treatment. Professor Sioles consistently offered unwavering support. With his mastery, he provided advice through the language of music, clarifying concepts that had eluded me for a long time while simultaneously calming my mind. All of this through music! His constant presence reassured me that my music was always there for me.

Professor Sioles and Carla during a summer camp at the University of Costa Rica.

I will never forget the minutes before my final master’s recital, feeling very nervous backstage. While I was in the green room, Professor Sioles came to me and asked how I was feeling. I confessed, “Professor Sioles, I am very nervous; do you think I’ll be able to make it happen?” He responded, “Carla, you ALREADY made it happen! Today, you’re sharing your story with us—share your voice; we want to hear you!” I will never forget this moment. What a powerful lesson! I carry this answer with me every day, sharing it with my students and reminding myself every time I’m about to walk on stage.

Adapting to Change and Concluding Processes

I began lessons with Professor Delony in Spring 2020—do you recall that semester? We navigated the challenges of the pandemic together, progressing from fully masked lessons to nearly mask-free sessions, and eventually rejoicing in the return to in-person studio parties. He adjusted to all this with such mastery and compassion. 

From the very first day, Professor Delony treated my playing with profound respect, consistently encouraging me to “consider multiple perspectives” regarding pedaling, phrasing, articulations, and more. While he discerned my needs from the outset, he patiently guided me through the process. Professor Delony always challenged me to give more while understanding the demanding hours I had to dedicate to writing and research daily. I left his studio feeling capable of anything. Beyond being a mentor for musical matters, he served as a sounding board for decisions both in music and life.

Left: Carla after her last lesson with Professor Delony. Right: Carla and Professor Delony pictured after she received the “2021 LSU Teaching Assistant of the Year” award.

I distinctly recall a conversation about taking risks. He said, “Carla, there are opportunities you need to seize because if you don’t, you will never know what you could have achieved or experienced. Sometimes, the most rewarding outcomes come from stepping out of your comfort zone and embracing the uncertainties that accompany taking risks.” Professor Delony not only attended my recitals but also made a point to be present at my research defense. Acknowledging my varied interests, he offered steadfast support, guiding me through every aspect of my academic journey.

Thank you, Mrs. Carmen, Professor Guevara, Professor Sioles, and Professor Delony, for four powerful lessons in piano pedagogy and beyond.

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Carla Salas-Ruiz holds a Bachelor’s degree from the University of Costa Rica and a Master’s and PhD from Louisiana State University. She is a piano instructor at Brazosport College, dedicated to fostering a supportive, inclusive, and stimulating learning environment. Her research focuses on motivation, interest development, and effective practice strategies in piano education. Carla has presented her research at national and international conferences and contributed to research journals.

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Every Student Has a Voice the World Needs to Hear | Honoring Carole Ann Kriewaldt

Written By Leah Claiborne

We would like to thank Leah Claiborne for this tribute to her teacher, Carole Ann Kriewaldt. This week, we also celebrate Leah, founder of Ebony Music, INC., who received a $150,000 grant from the Sphinx Venture Fund to develop The Ebony Music Project! 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.

Leah Claiborne on the far right, directly next to her teacher, Carole Ann Kriewaldt (red shirt).

In the summer of 1995, I had no idea the path my life would take once Carole Ann Kriewaldt entered my life.

It’s amazing the small details you remember in pivotal moments of your life. My mom informed me that we would be meeting with a woman to see if she might accept me as  a piano student. My mom made it very clear that this was not a lesson—it was a trial, an interview, nothing had been decided yet. Five-year-old me heard this and thought, “challenge accepted!” I wanted to do whatever it would take to be able to start piano lessons.

Before going to Broken Reed Court, my soon-to-be second home, I asked my mom if I could wear my favorite summer dress. It was a white linen dress that had big strawberries all over it. I thought it was the prettiest dress ever made, and I only wore it for special occasions. My mom obliged, so I quickly changed and got in the car.

When my parents knocked on the door to this brown townhouse, the door opened and this towering woman stood there. She invited us in; the house smelled like French-vanilla candles. My parents sat down and I remember knowing I should have sat down right next to them—but I didn’t. I went straight for the piano bench. It’s amazing to think how small I must have been because I struggled to get on top of the bench—but I was determined. When my parents saw this struggle, my dad called my name. Before I could get off the bench to go sit next to him, I was lifted up by this woman. She took me into her arms, looked straight at me and said, “Well, aren’t you the prettiest strawberry shortcake I have ever seen!” (She was on my side.)

Leah Claiborne and Carole Ann Kriewaldt

She positioned me on the bench and sat down right next to me. She said that she was going to show me where middle C was on the piano. Before she could stretch out her hand to do so, I put my thumb on middle C. And then with some makeshift fingering I said, “CDEFGABC, and then it keeps repeating.” She said, “OH!!!! We have a smart one here, don’t we, Strawberry Shortcake?”

I laughed so hard and questioned momentarily if she knew my name wasn’t Strawberry Shortcake. It was a laugh that I would continue to experience only with her. I looked at my parents and they approved with laughter. At that moment, I didn’t realize that those three people were always, always going to be on my side. They were there making sure I worked to my best ability, moving mountains on my behalf until I realized that I could move them on my own.

It’s hard to capture a twenty-five-year relationship. The moments I think about most have nothing to do with music, but it all started there.

She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear.

Mrs. Carole was home. She had an open-door policy (literally), and she was a person I knew would always be awake in the middle of the night for a phone call (she never slept)! Our relationship became one that held every dream, secret, desire, problem, fear, or ambition of mine. She knew it all. Before any recital, performance, or competition she would say, “Go knock em’ dead, kid” in her big southern, Texas accent. She nurtured what it meant to be “Leah” and made me believe that the world needed to hear from me. 

I vividly remember one holiday when we went shopping for red boots for her granddaughter. We went all over town looking for these boots and I was just so happy to be spending the day with her. In one store a sales associate asked her, “Now, who is this little one in relation to you?” Mrs. Carole said, “That’s my grand baby!” The sales associate was shocked by her response, and it never occurred to me why. But now, I imagine that in our little town, a German woman born in Texas, saying a little Black girl was her granddaughter might have been shocking to some. I reflect on this a lot because it is a constant reminder to me how music has a profound way of building deep relationships, and how music cuts through social barriers with shared culture and life experiences.

The greatest lesson I learned from Mrs. Carole is the lesson I try to give to each of my students every week. She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear. We have the privilege as educators to tap into that voice, through music, and prepare them to step out on any “stage” with the confidence of knowing that the world needs to hear from them.

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Leah Claiborne, D.M.A. promotes diversity in the arts by championing piano music by Black composers in her performances, research, and teaching. She serves as Director of Diversity, Equity, and Inclusion for the Frances Clark Center/National Conference of Keyboard Pedagogy.

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A Tribute to John Salmon

Written By Heather Hancock

We would like to thank Heather Hancock for this tribute to her teacher, John Salmon. 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.

Heather Hancock at the piano.

Writing about someone whose significance continues to expand in the world and, in my own life, is a daunting task. Words seem too small! I can only hope that somehow, my black and white text might serve as a constellation guide, sharing some of my own admiration, wonder, and gratitude for someone who has been and continues to be such a luminous presence. 

I first met Dr. John Salmon in 1991 at my audition at UNC-Greensboro. Auditions were being held in a small faculty studio, where no one was more than three feet away from anyone else, creating a heightened sense of exposure. As always, after playing, I felt incredibly vulnerable and had an acute desire to dissolve into the air along with the last note. I sat anticipating the familiar, awkward silence where, typically, there is no acknowledgement of what has just transpired, only the sound of judges, jurors, or faculty scribbling down their critique. But the silence never came. Instead, John eagerly piped up, saying, “What beautiful, heartfelt playing! What are your SAT scores?” I was so taken aback by his uninhibited enthusiasm that tears sprang to my eyes, and it took me a moment to respond. This was the last of my college auditions, and UNC-Greensboro was the only university on my audition roster.  Every other school was a conservatory of music and honestly, UNCG had been my last preference. After my audition, John found me sitting on a bench in the School of Music and came right over and THANKED ME!! 

Weeks later, as I was trying to make my final decision about where I would attend, I kept coming back to John’s incredibly generous, kind, and encouraging response to my audition. I didn’t have the language for it then. I just felt drawn to his sincerity and willingness to engage, so unconstrained by the power dynamics and nit-picking critiques that seemed a sad but predictable norm of classical piano culture. John’s warmth, immediate encouragement, and passion for music were unique. I had the privilege of studying with him for four years at UNCG, where I got to behold his rare, multi-layered brilliance and captivating personality in action. I watched him as he tirelessly birthed Focus on Piano Literature, an annual symposium featuring world class performing artists and pedagogues from around the globe. I heard several phone conversations between he and Dave Brubeck, saw letters he exchanged with Kapustin, and routinely attended his dazzling performances, which often showcased his duo virtuosities as both a jazz and classical pianist. 

John Salmon.

My lessons were always a rich synthesis of ideas and inspirations; we talked about politics, religion, philosophy, ethics, recordings, performances, art exhibits, languages, and so much more. John was eager to engage in whatever was engaging to me. He understood that, for some of us, there is no separating artistry and pianism from the rest of life, that music and its making are not confined to a field of study. Music, like air, is an essential element of being human and therefore relevant to everything. Before social justice initiatives and strides toward equity, diversity, and inclusion were topics of inquiry in academia, I watched John break racist barriers, advocating for and collaborating with musicians of every color, spanning the gamut of musical genres. He understood the conditions of his own privilege and was using his music as a resource for making things better. To me, this exemplifies a true artist; someone who views their craft as a continuous invitation to serve and better the world.

John and I have remained close friends for the last three decades and my respect and admiration have continued to grow. As a college student, I was aware of John’s brilliance and cherished his expertise, kindness, and generous guidance. Now, having a broadened perspective of the world, I appreciate how rare John’s profound artistic and personal integrity are, and how these have imprinted on every aspect of my life. This is the power of a piano teacher, and now it is my turn to eagerly pipe up and say, “What beautiful, heartfelt teaching. THANK YOU!!!”

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As a Performing Artist, Pedagogue and Activist, Heather Hancock is passionate about the intersection of artistry and social justice. Currently, Heather is a DMA candidate (Piano Performance) at The University of Georgia where she is a Teaching Assistant. Her research explores solo piano works that directly engage social justice issues. As a collaborative pianist, Heather delights in exploring works by under represented composers as well as newly discovered and contemporary composers.

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Thank You!

Written By Heather Smith, Jennifer Snow

As we enter 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.

We extend our deepest gratitude for your incredible support on #GivingTuesday!

Together, we’ve accomplished something truly remarkable. Thanks to your generosity, we exceeded our $10,000 goal, including a matching gift of $5,000, in support of The Frances Clark Center’s mission to empower teachers, inspire students, and enrich communities through music education.

Your donations will have a substantial impact, and we are immensely grateful for your contribution. Your belief in our cause propels us forward in our efforts to make a difference.

Even though #GivingTuesday has concluded, there is still an opportunity to donate. While this day holds immense significance, it is just one moment within our broader Annual Fund initiative.  

Help us continue this vital work by contributing today:

Give now

We deeply appreciate your ongoing support and dedication to music and piano education. Together, we’re creating meaningful change and shaping brighter futures through the power of music.

With heartfelt thanks,

Dr. Jennifer Snow

CEO and Executive Director

[email protected]

Heather Smith

Director of Development and Advancement

[email protected]

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.

Donate Online

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Dr. Jennifer Snow is an internationally recognized executive, artist, educator, and thought leader. She leads all divisions of the Frances Clark Center: Piano Magazine, NCKP: The Piano Conference, New School for Music Study, Piano Education Press, International Teacher Education, Piano Inspires, and Piano Stories on Stage concert series. Passionate about the transformative power of the arts, Jennifer is dedicated to serving and advancing the mission of the Center.

Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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Engaging the Brain: Practice Tips from an Interview with Spencer Myer

Written By Barbara Fast, Spencer Myer

We would like to thank Barbara Fast and Spencer Myer for this insightful interview on practice. Want to learn more about practicing? Register for the free webinar, “#100daysofpractice: Selection and adaptation of self-regulated learning strategies in an online music performance challenge” presented by Camilla dos Santos Silva and Helena Marinho, hosted by Alejandro Cremaschi on November 29. Learn more and register here: https://pianoinspires.com/webinar/11-29-23-webinar/.

I attended Spencer Myer’s practicing workshop at the NCKP 2019 Conference. His emphasis on engaging the brain in variable practice techniques sparked my interest and supports research on how we learn. I thought I knew every possible practice suggestion, but Spencer presented and demonstrated many new and unusual ideas that he was using in practicing and teaching. I found myself using the notes I had taken for my own practicing workshops and classes, and knew I needed a concrete way to share his tips with other musicians. I interviewed Spencer Myer on February 2, 2020, as a way to share his thoughts on practicing with piano teachers throughout the world. The article is the essence of our interview together.

Barbara Fast: What prompted your interest in the topic of practicing?

Spencer Myer: I discovered the practice techniques that I’ll be discussing during the period of my life when I was entering competitions. I was practicing with the intent of complete cleanliness and solidity. I thought, “how am I going to get to the point where I can walk on stage and not be afraid of having a memory slip?” I started to explore what seemed at a time to be different, crazy, and random practice techniques.

BF: What are your foundational ideas about practicing for performance?

SM: I feel that our memory is made up of 80% muscle memory and 20% other memory. Of course, playing an instrument is physical, so muscle memory has to be part of the equation. We are all human; memory slips happen for everyone, and relying on muscle memory from hours of repetition can be an aid to get through a memory slip. But strengthening our brain, getting away from relying only on muscle memory, that other 20%, is where we find the mental solidity that we’re going for in a performance.

BF: Strengthening the brain: how does that help you go beyond muscle memory?

SM: The point about muscle memory is that studies have shown it’s impossible for our brains to multitask; we can’t think about two things at once. Removing muscle memory, taking it away in our practice, increases the brain’s involvement in our memory. The idea is how to make the passage feel different or foreign to our body so that our brain is forced to engage.

BF: What’s your first practice tip for changing physical sensation in the body?

SM: The most obvious example for changing physical sensation is slow practice. It’s a useful tool for drilling and refining minor muscle motions that we are required to use with great speed in performance. Slow practice is often viewed as a tedious or brainless exercise that our teachers tell us to do. Actually, it really engages the brain, because it deviates from the repetition we are so used to. Practicing the music in a way that feels physically different—slowly, or with inconsistent tempos—that is the key.

BF: Practicing with inconsistent tempo – that’s an unusual idea.

SM: Inconsistent tempo is something that I often utilize in practice. It’s similar to slow practice because inconsistency forces the brain to think about every next note more consciously. Changing tempo also allows us to practice in a much more improvisatory way. It’s much more fun and propels exploration of phrasing and musical intent, which further engages the brain.

BF: Do you also use alternating rhythm practice?

SM: Alternating rhythms is something we tell our students to do and it can often be mindless. But, I think it’s a great exercise for the brain because it’s a huge changeup. For me it works best with challenging sections, such as scales and arpeggios in the repertoire. The basic idea is utilizing dotted rhythms, and their reverse, in place of even rhythms. Triplets and groups of four notes can also be performed, with length added to any chosen note of each group. These alternating rhythms can be random or much more regular. But again, it’s the extreme change in physicality that engages our brain that is important.

If you enjoyed this excerpt from Barbara Fast and Spencer Myer’s interview “Engaging the Brain: Practice Tips from an Interview with Spencer Myer,” you can read more here: https://pianoinspires.com/article/engaging-the-brain-practice-tips-from-an-interview-with-spencer-myer/.

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Barbara Fast is Piano Chair and Director of Piano Pedagogy, coordinates the group piano program and teaches graduate piano pedagogy at the University of Oklahoma. An active workshop clinician, she co-founded the Group Piano/Piano Pedagogy (GP3) Forum. She is the co-author of iPractice: Technology in the 21st Century Music Practice Room.

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The Joy of Giving

Written By Heather Smith

As we enter 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.

As the year draws to a close, I find myself reflecting on how giving has profoundly influenced my life. I have experienced the joy, fulfillment, and transformation of being on both the receiving and the giving ends. The act of giving, whether through financial contributions, volunteering, or acts of kindness, has enriched my life in ways that are immeasurable. It has allowed me to connect and learn from inspiring individuals, and this has expanded and clarified my purpose.

In my journey through the world of music education and my experience with the Frances Clark Center, I have had the privilege of witnessing the incredible power of giving. My first encounter with the Frances Clark Center was as a subscriber to Clavier Companion, now Piano Magazine. I read an article by Scott Price that left a lasting impression on me. The article discussed how piano lessons can be more than just an educational experience for a student with disabilities. It was a powerful reminder of the broader impact music education can have on individuals.

One of the most significant moments in my teaching journey came when I had the opportunity to work with a student with cerebral palsy. This student, whom I adored, came to her piano lessons each week with unwavering enthusiasm and a radiant smile. She progressed at her own pace and motivated me to be a better teacher every week. She inspired me through her pure love for music.

This student struggled at school due to bullying and isolation from her peers. The world was a challenging place for her, but during our piano lessons, she found solace and a sense of belonging. She looked forward to her lessons because she loved music, and more importantly, she felt accepted and cared for.

It was through this experience that I truly grasped the significance of the Frances Clark Center. The magazine article helped me realize that the impact of music education goes far beyond the notes and the keys. It is a gateway to a brighter, more inclusive world for those who need it most.

The joy of giving lies in the transformation it brings to both the giver and the recipient. I am reminded of the inspiring words of Kathy Calvin, United Nations Foundation CEO, who said, “Giving is not just about making a donation. It is about making a difference.” The Frances Clark Center’s unwavering dedication to support piano teachers and students resonates with my own experiences and values in a profound way. Its sole purpose is to uplift and empower piano teachers, and I have seen this firsthand. 

As the Director of Development and Advancement for The Frances Clark Center, I have witnessed the tireless efforts put forth to support piano teachers and their invaluable work in shaping the lives of students.

Heather Smith
Director, Development and Advancement

What makes this journey even more enriching is hearing the countless testimonials from teachers whose lives have been touched by The Frances Clark Center. I have listened to their heartfelt stories, their triumphs, and their challenges. I am deeply moved by the impact this organization has had on their lives.

One teacher from the southwestern United States expressed that The Frances Clark Center is her lifeline to the music community. She described how isolated she has felt in her remote area, and that The Frances Clark Center’s programs are her only source of connection and professional development. This testimony, along with many others, underscores The Frances Clark Center’s significance. It has not only provided these educators with invaluable resources but also a sense of belonging to a broader community of like-minded individuals.

Recently, a long-time subscriber of Piano Magazine made the decision to continue making monthly donations even after she retired from active teaching. Her contribution directly impacts the sustainability of the publication for years to come. This type of giving reflects her belief in the core mission of The Frances Clark Center, which supports piano teachers who, in turn, make a transformative impact in the lives of their students and a positive impact in society.

As we approach the end of the year, I invite you to consider making a tax-deductible gift to The Frances Clark Center. Your generosity makes a significant difference in the lives of others, and is vital in helping us continue our mission.

The joy of giving comes from knowing that your contributions are making a profound difference in the lives of teachers and students. We are sincerely grateful for your support.

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Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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A Symphony of Gratitude

Written By Ricardo Pozenatto

We would like to thank Ricardo Pozenatto for this tribute to his teacher, Diana Dumlavwalla. 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.

Diana Dumlavwalla with Ricardo Pozenatto after presenting at the Florida Music Education Association (FMEA).

In the world of music education, there are those who teach, and then there are those who inspire. Diana Dumlavwalla, my piano pedagogy mentor, dissertation advisor, and now colleague and friend is undoubtedly the latter—a guiding star in the constellation of my musical journey. With every word of wisdom, she has illuminated my path, making my pedagogy not just a skill but a lifelong commitment.

I first met Diana during a national conference of music teachers, and her grace and professionalism immediately set her apart from other teachers. Diana, who was not my teacher (yet) at that time, made sure I felt welcome to my first conference ever. She connected with the teaching community and introduced me to colleagues and friends. I knew then I was in the presence of a kind soul.

As the conference days passed by, I noticed that Diana was dear to so many in the teaching community. She was also respected and admired. After watching her presentation at the conference, I could feel nothing short but inspired, and at that moment, I realized where I wanted to be.

The decision was made. The following academic year, I started my doctorate, a piano pedagogy program at Florida State University, under the guidance of Diana, or should I say, Dr. Dumlavwalla back then. After three years of dedicated work, I graduated, and while I was sad to leave, I was extremely happy with my musical, professional, and personal growth, mostly thanks to her guidance and supervision.

Dumlavwalla and Pozenatto after a successful recital at Florida State University.
A picture taken before the Florida State University graduation ceremony.
Happy smiles while presenting together at the Florida Music Education Association.

Diana held my hands from the beginning to the end of the program, and especially during the COVID-19 pandemic (yes, I was a student during that world-changing event), she made sure all her students felt safe, protected, and psychologically healthy as we resumed our teaching assistant duties after the brief pause. For her, our mental and physical health were always a priority, and I am so grateful for that.

Diana is a special teacher. But what makes her so special? Diana possesses an uncanny ability to breathe life into her students, and I feel so privileged to be one of them. She imparts the secrets of a holistic approach to piano pedagogy with patience and kindness while also nurturing creativity and individuality in her students. True gifts, one may agree. She encouraged me to find my own voice, allowing my unique teaching personality to flourish. Her unwavering belief in my potential was (and is) a constant source of inspiration, driving me to push my boundaries and reach my highest goals.

Beyond all those admirable qualities, Diana acknowledges the human soul in every student. Her unwavering support and encouragement in times of personal self-doubt were a source of strength that helped me persevere through challenges, both in my music studies and in my personal life. I am indeed so grateful for that.

Diana has been my guiding light. She has been my safety harbor. She has always been my supporter. Now, we are friends and colleagues. We attend conferences together, we present in conferences together, and every time we connect over the phone, the hour-long conversation passes by quickly, filled with laughter and joy. Above all, we celebrate one another acknowledging that teaching is learning, and that learning is teaching.

Diana, I hope you realize how important you are for the lives of many. Be certain that the piano teaching community is more vibrant with you, and we are all grateful for that.

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Ricardo Pozenatto, a native of Brazil, earned a PhD in Music Education with focus in Piano Pedagogy from Florida State University. He has presented at MTNA and NCKP conferences, and at Canadian and Brazilian conferences. Besides being a Coordinator of International Engagement at the Frances Clark Center, Ricardo also serves as the Florida State MTA Teacher Awards Chair.

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Honoring Amy Merkley and Irene Peery-Fox

Written By Hyrum Arnesen

We would like to thank Hyrum Arnesen for this tribute to his teachers, Amy Merkley and Irene Peery-Fox. As we enter 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.

Irene Peery-Fox with her students.

Six months ago I had my last piano lesson. Leaving behind my student life has left me to ponder the monumental impact my piano teachers have had on my personal growth. During my childhood, youth, and young adult years, my piano teachers were constants amid continual change, ever-present mentors and friends. My teachers taught me more than music; they taught me diligence, determination, motivation, humility, and courage to face and overcome my fears. I appreciate them now not only because they are inspiring musicians but because they cared for me as a person. I would like to take this opportunity to tell you about my teachers Amy Merkley and Irene Peery-Fox. 

Amy Merkley taught me in her home from the time I started piano lessons at age 6 until I graduated high school. I can vividly remember learning the names of the piano keys in my first lesson with her over two decades ago – nervous and excited, feeling like I was a “big kid” taking piano lessons. Throughout our twelve years of lessons she instilled in me a deep love for music. Words that immediately come to mind are kindness, consistency, welcoming, and dedication.

In high school my lessons were at 6:00 a.m. every Monday morning. This taught me the value of consistent sacrifice. More importantly, it taught me that she really cared about me and my progress. Amy was always there, awake and ready to focus on me, my music, and my life.  

Amy Merkley with Hyrum Arnesen.
Irene Peery-Fox with Hyrum Arnesen.

Amy consistently inspired confidence in me. She taught without “bells or whistles” – few trinkets, cute awards, or flashy studio marketing. Instead she simply gave us opportunities to perform, prepared us well, and then our success motivated us to become better. Most lessons before competitions were filled with encouraging words recognizing how much I had improved. I still remember her first words right after playing for my fellow students days before my college audition – “Isn’t Hyrum going to do so great?” I hadn’t felt great about my performance, I was extremely nervous for my audition, but her faith in me gave me the confidence I needed. 

Irene Peery-Fox was my undergrad teacher. I not only studied with her for five years but also saw her interact with her pre-college students as I accompanied them for concerto competitions. When I began studying with her, I was completely intimidated; over the following years she became my most trusted mentor and one of my greatest friends. Dr. Peery-Fox had an incredible ability to motivate students. You simply did not let her down; you simply did not let yourself down. I remember many moments when I felt discouraged and she would look me in the eyes, raise a clenched fist, and say “Go for it, Hyrum!” 

Dr. Peery-Fox gave her students unwavering support. She was strict, exacting, detailed, and careful with praise yet she matched her intensity with the conviction that we could accomplish what she was asking. During lessons with pre-college students, I saw many tears of frustration, but I saw equal amounts of hugs, power fists, and “you can do it!.” As I looked forward with trepidation to a career in music, her faith in me imbued me with the confidence I needed to continue. 

Amy and Dr. Peery-Fox believed in me, supported me, engaged my musicality, and fostered my personal growth. I will forever be grateful for their influence and hope to pass on a piece of their legacy to my own students. 

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Hyrum Arnesen is finishing a DMA from the Cincinnati Conservatory of Music while working as a Visiting Assistant Professor of music at Southern Virginia University. He is an active soloist, collaborator, and teacher with particular research interests in Argentine piano repertoire, building strong technique, and fostering motivation in students.

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