Committee on Independent Music Teachers
Arlene Steffen, Chair, Immanuela Gruenberg, David Husser, Gail Lew, Elissa Milne, and Jason Sifford
Recharge Your Studio!
Pre-Conference Seminar, Wednesday, July 26
2:15pm Private Studio Challenges: Dealing with 5 of about 1000 Counter-Productive Issues: Policy, Procedure, Fees, Scheduling... and... the Errant Parent!
Most teachers with private education studios will eventually deal with various counter-productive issues that creep into their routine of "doing business." A productive balance of teaching music and maintaining a professional business environment can be successfully achieved. This is especially true when elements are carefully set in place before students are accepted into a private studio. Ideas on how to mitigate the occasional bump-in-the-road will also be shared, focusing on a select group of challenging issues that are common to running a successful private studio.
Edward Francis leads a versatile career in music as a pianist, educator, administrator, and arts advocate. He holds degrees in piano performance from California State University, Northridge, and also attended the Aspen Music School & Festival.
3:30pm Meaning, Mastery, Autonomy: Teaching Students to Prepare and Play Like a Pro
4:45pm Where the Roadmap Ends: How (and when) to leave method books behind
The goal of beginning methods is the same – to help students build the musical and technical skills necessary to grow as young artists. However, there comes a time when the path they’ve been traveling has either ended or no longer meets their needs. Join our panel of experienced teachers as we discuss how best to serve our students as they leave the familiar territory of methods and begin to explore their own artistic interests.
Jason Sifford is a freelance pianist, teacher, clinician, and composer with a wide range of abilities and interests. He maintains an independent teaching studio in Iowa City and is an active composer of teaching literature. His music is published by the FJH Music Company.
Immanuela Gruenberg presented concerts, lectures, and masterclasses in the US, Israel, Argentina, and China. She’s editor and recording artist for Hal Leonard/Schirmer Performance Editions and for Boosey & Hawkes. Holds DMA from Manhattan School of Music. Studied piano with Arie Vardi and Constance Keene, chamber music with Boris Berman.
Arlene Steffen maintains an active private piano studio and teaches piano and piano pedagogy at Fresno Pacific University. She serves as chair of the NCKP Independent Music Teachers committee and has served as president of MTAC Fresno County Branch from 2012-2015.
Elissa Milne has been innovating in music education and piano pedagogy for over two decades. A regular presenter at piano pedagogy conferences and courses the world over, Elissa also is also an awardwinning song-writer, lyricist and composer of music theatre. In addition, Elissa has long been a passionate advocate for Australian and New Zealand music.
Gail Lew is an editor, arranger, piano teacher, clinician, adjudicator, and nationally-respected leader in the field of piano pedagogy. She is an independent studio teacher in the San Francisco Bay Area, and a judge for state, national, and international piano events. Gail holds degrees and credentials in piano performance, music history, and music education. Highlights of her 30-year career in music included tenure as senior piano editor for Kjos Music and director of keyboard publications for Warner Bros. Music.
Jodi Stewart-Moore maintains a studio in Perkasie, Pennsylvania and also teaches piano privately at United Friends School as part of an after-school enrichment program for students grades K-8. She holds a B.A. in History with minors in Music, Education, and Anthropology from James Madison University and an M.A. in Cultural Anthropology and a minor in Archaeology from the University of Florida.
6:00pm Dinner break
7:15pm Why Mnemonics and Sight Reading Don’t Mix
This session explores the various ways in which pitch notation is introduced, in particular the (somewhat controversial) use of mnemonics such as ‘Every Good Boy Deserves Fudge’. Whilst many teachers find that mnemonics work well, the extra layer of mental processing impedes pattern recognition and negatively impacts sight-reading fluency later on. Pianists in particular need to have an excellent grasp of patterns in order to sight read at any sort of reasonable speed. It is not possible to accommodate multiple layers of processing note names whilst trying to read several notes on two different staves simultaneously. As part of this session I will break down the elements of sight reading, such as rhythm, patterns, intervallic relationships, chord reading, and the all-important skill of scanning the music before playing. In addition to an in-depth analysis of what happens when we sight-read music, this session attempts to show how the use of mnemonics slows reading down, through an effective and hilarious demonstration that transports us all back to our non-reading days.
Samantha Coates is a Sydney-based pianist and teacher with over 25 years’ experience in both private and group tuition. She is also the author and publisher of BlitzBooks, a music education series that has brought fun and laughter to the areas of music theory, instrumental technique, general knowledge and sight reading.