Professional Documents
Culture Documents
Piano teacher redirects here. For other uses, see The bachelor, master, or doctoral degree at music colleges
Piano Teacher (disambiguation). or conservatories. The undergraduate level may require
This article is about the study of teaching music. For the many years of prior piano studies and previous teach-
Anna Goldsworthy memoir, see Piano Lessons (book). ing experience as prerequisites for application. At the
graduate level, many schools require applicants to have
Piano pedagogy is the study of the teaching of piano some teaching experience and at least a bachelor of mu-
or equivalent experience in piano performance and/or
playing. Whereas the professional eld of music educa- sic [2]
tion pertains to the teaching of music in school classrooms pedagogy.
or group settings, piano pedagogy focuses on the teach- Although virtually all piano pedagogy programs include a
ing of musical skills to individual piano students. This is signicant portion of performance requirement, the ped-
often done via private or semiprivate instructions, com- agogy major may be distinct from the performance major
monly referred to as piano lessons. The practitioners of at some schools. Some members of the latter group may
piano pedagogy are called piano pedagogues, or simply, have the option to take courses in the teaching of piano,
piano teachers. but not all do.[3]
1
2 3 TOPICS OF STUDY
and history examinations that accompany each certi- 3.1 Ear training
cate program which must be completed. There is also
a Piano Teachers Federation based in Vancouver, British Main article: Ear training
Columbia.
Dr. Bryanskaya argues that the foremost task for piano
teachers at the beginning of a students study is the intro-
2 Notable piano pedagogues in his- duction of a habit of listening to quality performances of
descriptive and strikingly expressive music, as a means
tory for sensitizing [the student] to the meaning of music.[4]
3.5 Improvisation
3 Topics of study
Main article: Musical improvisation
Piano pedagogy involves the study and teaching of mo-
tor, intellectual, problem-solving, and artistic skills in- Modern piano lessons tend to emphasize learning nota-
volved in playing the piano eectively.[3] Citing the inu- tion, and may neglect developing the creative spirit and
ence of Zoltn Kodly, Carl Or, mile Jaques-Dalcroze, sensitive ears which lead to expressive music-making.
Russian-American piano pedagogue at Longy School Studies point to the need for using multiple approaches
of Music, Dr. Faina Bryanskaya, advocates a holistic in learning musical skills which engage both sides of the
approach which integrates as many aspects of music- brainthe analytical and the intuitivefor students to
making as possible at once would result in the most ef- master all aspects of playing.[5] Therefore, teaching im-
fective piano teaching.[4] provisation skills may help students take ownership of the
3
expressive quality of the music they make, and to keep Notebook for Anna Magdalena Bach (1725) by fam-
music learning and practicing alive and interesting.[6] One ily and friends of J.S. Bach
way to do so is to make up stories full of dierent emo-
tions through improvising, in order to reinforce music Klavierbchlein fr Wilhelm Friedemann Bach, Lit-
theory concepts already introduced and to develop a wide tle Preludes and Fugues, Inventions and Sinfonias, &
range of touch and tone production.[4] the Well-Tempered Clavier by J.S. Bach
Some mainstream piano methods, such as Faber Pi- Sonatinas by Muzio Clementi
ano Adventures, have started oering improvisation
options.[7] But in most methods, improvisation remains Album For the Young, Op. 68 (1848) by Robert
supplemental, with the core curriculum centering around Schumann
notation, theory, and technique.[8][9][10] There are excep-
tions, such as The Music Tree, where every unit in the Album For the Young, Op. 39 (1878) by Pyotr
core lesson book has an improvisation activity.[11] One Ilyich Tchaikovsky
playing-based piano method, Simply Music, includes im-
provisation beginning at the very rst lessons and contin- Music for Children, Op. 65 (1935) by Sergei
uing throughout the students learning experience.[12] Prokoev
[4] Bryanskaya, Faina (2nd Ed. 2007). Teaching Funda- 8 External links
mentals of Music Making: A Holistic Integrated Approach,
A Handbook for Piano and Music Teachers. Brighton,
Music Teachers National Association - MTNA
MA (USA). LC 2003-552304. http://www.chipublib.
(USA)
org/search/details/cn/1902269
The Frances Clark Center for Keyboard Pedagogy
[5] Chappell, Sally. Developing the complete pianist: a
study of the importance of a whole-brain approach to pi- National Guild of Piano Teachers
ano teaching. Piano Journal, Winter 2000.
Piano Teachers Congress of New York
[6] Kampmeier, Valerie. Intuitive Improvisation: A Guide
for Beginners. American Music Teacher. Dec/Jan 07-08. Robert Schumanns Rules for Young Musicians
7 Further reading
Bryanskaya, Faina (1988). The Key to Music Making: Pi-
ano Method for Beginners, Parts I, II, & III. Providence,
RI: White Lilac Press. ISBN 0-929571-00-2, ISBN 0-
929571-01-0, ISBN 0-929571-02-9
Gerig, Reginald (2nd Ed. 2007). Famous Pianists and
their Technique. Indiana University Press. ISBN 0-253-
34855-2
Magrath, Jane (1995). Pianists Guide to Standard Teach-
ing and Performance Literature. Alfred Publishing Co.
ISBN 0-88284-655-8
5
9.2 Images
File:Bechstein_Schriftzug.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/05/Bechstein_Schriftzug.jpg License: CC-
BY-SA-3.0 Contributors: Own work Original artist: KarlKunde