Sister sites:
***** 
***** 
Compiled by Members of the NCKP Historical Perspectives Committee
Connie Arrau Sturm (CAS) – Committee Chairman
Debra Brubaker Burns (DBB)
Anita Jackson (AJ)General historical surveys
Boardman, Roger Crager. “A History of Theories of Teaching Piano Technic.” Ph.D. diss., New
York University, 1954.Boardman investigated how theories of teaching piano technique changed from 1753 to 1953.
He classified the theories into three categories - finger technique, use of the arm, and
weight/relaxation. Within each category of theories, he not only analyzed how the body was used and
how it interacted with the instrument, but also discussed how these techniques were taught.
Boardman’s comparisons among theories helped pinpoint when important changes occurred,
revealing the special contributions of each pedagogue. Boardman concluded that concepts of piano
technique evolved from use of fingers only, to the coordination of the entire body (highlighting the
importance of the brain). He also noted the strong influence of environmental factors (e.g., changes in
the instrument, changes in the repertoire, and inspiration of great performers of the day) on the
development of theories of teaching piano technique. (CAS)Bomberger, E. Douglas, Martha Dennis Burns, James Parakilas, Judith Tick, Marina Tsvetaeva,
and Mark Tucker. “The Piano Lesson” In Piano Roles: Three Hundred Years of Life with the
Piano. James Parakilas, 133-179. New Haven, Connecticut: Yale University Press, 1999.This chapter chronicled how teaching piano and studying piano have changed over the
centuries. The authors described the evolution of piano study from eighteenth-century daily
lessons, where students practiced in the presence of the piano teacher, to nineteenth-century
weekly lessons that required long hours of daily practice in between. They also traced the
evolution of the teacher from an eighteenth-century music generalist (a musician who played
other instruments, composed, etc.) who taught a broad music curriculum, to a nineteenth-century
specialist in piano who prepared students primarily for the performance of virtuosic piano solo
repertoire. Other themes explored in this chapter include the influence of the Machine Age on
piano study (mechanical technique regimens and the tyranny of the metronome), and the gender
differences experienced by boys and girls studying piano. A historical overview of piano study at
conservatories and portrayals of different kinds of piano teachers and students are also included in
this interesting survey. (CAS)Camp, Max W. Developing Piano Performance: A Teaching Philosophy. Chapel Hill: Hinshaw
Music, Inc., 1981.In a chapter on the history of piano teaching, Camp described approaches to keyboard
instruction from the late sixteenth century to the present. After explaining the finger technique
emphasized in early keyboard treatises, Camp discussed how the musical and technical approach
to piano playing and teaching changed in the nineteenth century. Finally, to document the
continued evolution of pedagogical thought in the twentieth century, Camp summarized the
teaching philosophies and approaches of over two dozen prominent pianists and pedagogues,
including Hofmann, Matthay, Lhevinne, Gieseking, Petri, Marcus, Fleisher, Neuhaus, Schnabel,
Whiteside and many others. (CAS)Gerig, Reginald. Famous Pianists & Their Technique. Washington: R.B. Luce, 1978.
This well-researched and well-written text examined the technique and pedagogy of
keyboard musicians from many different countries from around 1600 to the present day. Gerig’s
scholarly but very readable discussions of technique and teaching philosophies often include
extended quotations from treatises, letters, and other primary source material. Certainly one of the
most frequently cited sources on the history of keyboard technique and pedagogy, Gerig’s text is
a valuable contribution to the professional literature. (CAS)Golz, Anne Leland. “Piano Technique and Pedagogy through Two Centuries of the Development
of the Instrument and its Literature.” M.A. thesis, University of Rochester, 1944.Golz’s 1944 thesis surveyed keyboard instruments and approaches to technique and
pedagogy from the time of J.S. Bach through the teachings of Matthay. She examined material
from sources by K.P.E. Bach, Czerny, Kullak, Amy Fay, W.S.B. Mathews, Malwine Bree,
Matthay, Levinskaya, Cortot, Paderewski, and others. Unfortunately, the fifty pages she devoted
to this survey allowed for only a cursory and superficial treatment of information. For example,
her chapters, “J.S. Bach and the Invention of the Pianoforte” and “Piano Methods of K.P.E. Bach,
Marpurg and Turk” are each only two and one-half pages in length. Her remarks seem to be
aimed at teachers and performers, whom she advised to study the methods of others, but
eventually to develop their own systems of teaching and performance. (CAS)Keeves, June Kelk. “A Study of Piano Pedagogy: Its History, Theory, Psychology and Practical
Application.” M.M. thesis, Rhodes University, 1984.This thesis was not available for review through inter-library loan. However, a copy may
be purchased from Rhodes University in South Africa. Purchase prices quoted in April 2005 were
$71.57 (shipped by surface mail) or $102.13 (shipped by airmail). (CAS)Kochevitsky, George. The Art of Piano Playing: A Scientific Approach. Princeton: Summy-
Birchard Music, 1967.Kochevitsky’s book begins with a historical survey of how piano technique was taught
from the time of the invention of the piano to 1967, the time of publication. He traced the
evolution of piano technique theories and practices from the use of fingers only, through the
growing use of the arm and other parts of the body, to the increased awareness of technique as
centered in the brain. (CAS)Kramer, Dean Fredric. “The Old School and the New School: A Comparative Study in the Art of
Interpreting Piano Music.” D.M.A. diss., The University of Texas at Austin, 1992.This comparative study focused on the lives of Sergei Rachmaninoff, Artur Schnabel,
Arthur Rubinstein, Alfred Brendel, and Vladimir Ashkenazy – five significant performers who
influenced the art of musical interpretation during the past hundred years. Following an abridged
biography of each artist, Kramer presented data obtained from recorded interpretations of their
performances to determine significant pattern changes that occurred or trends that were
evidenced. (AJ)Laor, Lia. “Piano Pedagogy (1800-1850): History and Methodology.” Ph.D. diss., Tel-Aviv
University, 1989.The evolution of piano pedagogy from 1800 to1850 is traced with focus on the influence
of the philosophies of Jean Jacques Rosseau, Immanuel Kant, Georg Welhelm Friedrich Hegel
and Jean Paul (Johann Paul Friedrich Richter). Laor examined how piano teaching was affected
by the application of the ideas of Johann Heinrich Pestalozzi and Claude Adrien Helvatius, two
leading educators of this era. Pedagogical methods and analyzation of educational options are
considered (AJ)Loesser, Arthur. Men, Women, and Pianos: A Social History. New York: Simon and Schuster,
1954.This fascinating book described the piano and its changing place in European and
American societies over three hundred years. Written in a highly entertaining style, this book
recounts not only the development of the instrument and its music, but also describes customs
(e.g., the piano’s role in courtship), tastes (e.g. in repertoire) and fads (e.g., piano/sewing machine
combinations) related to the piano at various times in history. (CAS)Norman, John Love. “A Historical Study of the Changes in Attitudes toward the Teaching of Piano
Technique from 1800 to the Present Time.” Ph.D. diss., Michigan State University, 1968.Norman investigated how the teaching of piano technique (specifically, finger technique) had
evolved from 1800 to the date of his study (1968). He also examined the relationships among
pedagogical changes, the development of the instrument, and changes in the piano literature. His
study includes a historical overview of various keyboard instruments (organ, monochord, echiquier,
virginal, clavichord, harpsichord, and piano), analyses of technical aspects of keyboard repertoire by
twenty-six composers from Scarlatti to Cage, and discussions of the technical approaches of thirty
pedagogues from Girolamo Diruta to William S. Newman. Norman concluded that while the
development of the instrument and its repertoire have strongly influenced approaches to teaching
technique, perhaps the most important instigator for change has been the performer, who has
frequently requested improvements to the instrument and who probably mastered certain aspects of
technique before they were called for in new compositions. Norman suggested that the role of the
teacher in the evolution of technique is more reactive than proactive, devising technical studies and
regimens to meet existing technical requirements. (CAS)Richards, William Henry. “Trends of Class Piano Instruction 1815-1962.” D.M.A. document,
University of Missouri at Kansas City, 1962.Richards surveyed trends in group-piano teaching, from J.B. Logier's piano classes of
Dublin, Ireland in 1815 through classroom practices in the United States up to 1962. He focused
on developments of class piano instruction within the United States, which included group
instruction in Southern "female schools" around 1860, piano class instruction established in
public schools around 1915, the piano class explosion from 1926 to 1931, college-level training
of classroom teachers by 1929, and trends in class piano during the mid-20th century. Other topics
were discussed such as in-service training for piano teachers and past criticisms of class-piano
teaching. (DBB)Uszler, Marienne, Stewart Gordon, and Scott McBride Smith. The Well-Tempered Keyboard
Teacher. New York: Schirmer Books, 2000.This widely used piano pedagogy textbook contains an excellent historical overview of
keyboard pedagogy. After acknowledging the various factors that influence keyboard teaching
and performance, Stewart Gordon surveyed the technical and pedagogical philosophies of Diruta,
Couperin, Rameau, C.P.E. Bach, Turk, Clementi, Hummel, Czerny, Deppe, Liszt, Leschetizky,
Breithaupt, Matthay, Ortmann, Schultz and others. Following Gordon’s overview, Marienne
Uszler examined the development of the American piano method from the nineteenth century to
the present. She described trends in teaching reading, rhythm, technique, musicianship and
jazz/pop music in method series for elementary-age students, and then discussed methods for preschool
children, methods for adults, and educational computer programs and videos. In the final
chapter of this text, Elyse Mach shared quotes from thirty-seven renowned contemporary pianists
on topics ranging from learning new music, technique, memorization, improvisation, performance
anxiety, contemporary repertoire, competitions, and teaching. (CAS)
History of Piano Pedagogy in Eastern and Western Europe
Burns, Debra Brubaker, Anita Jackson, and Connie Arrau Sturm. “Contributions of Selected British
and American Women to Piano Pedagogy and Performance.” Journal of the IAWM (International
Alliance for Women in Music) 8 nos. 1-2 (March 2002): 1-9.See annotation under the “History of Piano Pedagogy in America” category.
Chang, Anita Lee-ling. “The Russian School of Advanced Piano Technique: Its History and
Development from the 19th to 20th Century.” D.M.A. diss, University of Texas, Austin, 1994.The technical, musical, and pedagogical approaches developed by Anton Rubinstejn,
Theodor Leschitzky, Vasilij Safonov, Isabelle Vengerova, Josef Lhevinne, Genrih Nejgauz,
Joseph Hofmann, and Vladimir Horowitz (Russian pedagogues who taught during the second half
of the nineteenth century and the early twentieth century) were examined. After discussing the
teachers' principles of the physical apparatus of piano playing (i.e., posture, position, exercises,
scales, arpeggios, chords and octaves, and articulations), Chang determined their aesthetic
approaches, as discerned in some of their most famous pupils, and then summarized what were
considered common traits of the Russian school of piano technique. (DBB)Dahl, Christine. “Early Pianos and Performance Practice: Evolution of Performance and
Pedagogy in the Viennese and English Schools.” M.M. thesis, Bowling Green State University,
1976.In her overview of the so-called English and Viennese schools of piano performance and
construction, Dahl examined three important treatises: C.P.E. Bach’s Essay on the True Art of
Playing Keyboard Instruments, Clementi’s Introduction to the Art of Playing the Pianoforte, and
Hummel’s A Complete Theoretical and Practical Course of Instructions on the Art of Playing the
Pianoforte. Her comparison of discussions of hand position, fingering and touch in the three
treatises combined with information on period piano construction and performance styles led her
to draw the following conclusions: 1) changes in the instrument itself brought about changes in
performance style and vice versa, 2) pedagogical information in treatises did not always keep
pace with changes in performance practices, and 3) descriptions of piano technique in the sources
examined were imprecise but could suggest possible interpretative goals for music of that period.
(CAS)Kofman, Irena. "The History of the Russian Piano School: Individuals and Traditions." Ph.D.
diss., University of Miami, 2001.This work analyzed and described the development of the Russian piano school in the
nineteenth and twentieth centuries. Kofman described the school's evolving characteristics, its
tendencies and styles, and how it received worldwide recognition. The Russian pedagogues that
are presented include the brothers Rubinstein who founded conservatories, Theodor Leschetizky,
Nikolay Rubinstein, Alexander Goldenweiser, Samuil Feinberg, Henrich Neuhaus, Sviatoslav
Richter, Emil Gilels, Lev Naumov, Stanislav Neuhaus, Eugene Malinin, Aleksey Lyubimov, and
others. Various pedagogical trees of piano teachers and students are provided to help trace the
musical influences that were passed from teacher to student, and that formed the basis for various
contemporary piano schools, colleges, and conservatories. Included is a diagram of the traditional
Russian system of music education, detailing the age of students and years of study. (DBB)Leffler, Darrell G. “Czerny, Leschetizky, Vengerova: A Genealogical Study of Piano Pedagogy
Technique.” M.A. thesis, San Jose State University, 1998.This thesis described the teaching philosophies of Carl Czerny, his student Theodore
Leschetizky and Leschetizky's student, Isabelle Vengerova, and then compared their theories on
hand position and posture, tone and articulation, and scales and pedaling. Leffler concluded
which of their theories could be appropriately applied to students today. (DBB)
History of Piano Pedagogy in America
Allen, Doris. “Women's Contributions to Modern Piano Pedagogy.” In The Musical Woman:
An International Perspective, ii: 1984-1985, ed. Judith Lang Zaimont, 411-444. Westport, CT:
Greenwood Press, 1987.Allen was one of the first authors to recognize and formally acknowledge American
women’s significant contributions to twentieth-century piano pedagogy. She noted some of the
prejudices they faced and challenges they overcame. This chapter summarizes some important
accomplishments of twentieth-century women such as founding music schools and
conservatories, concertizing, promoting music through women’s clubs and professional music
organizations, composing, authoring method series and piano pedagogy textbooks, and teaching
in colleges and universities. Allen also profiled the achievements of several notable women
including Frances Oman Clark. (CAS)Boyd, Patricia Williams. “Performers, Pedagogues and Pertinent Methodological Literature of the
Pianoforte in Mid-Nineteenth Century United States, ca 1830-1880: A Socio-Cultural Study.”
D.A. diss, Ball State University, 1973.Boyd presented an extensive socio-cultural study of piano instruction in mid-nineteenthcentury
United States, with topics including the European inundation and the American struggle
for identity, the age of piano virtuosity, short biographical sketches of performers and
pedagogues, pedagogical practices of the time, and indigenous as well as European method books
used during the period. Appendices list additional tutor books not discussed in the main study,
American composers born before 1860 who composed for solo piano, and American piano
manufacturers. (DBB)Burns, Debra Brubaker, Anita Jackson, and Connie Arrau Sturm. “Unsung Heroines:
Contributions of Selected Early Twentieth-Century Women to American Piano Pedagogy.”
American Music Teacher 52 no. 3 (December-January 2002-2003): 24-28, 93.A tribute to unsung heroines, this article delineated some of women’s most significant
contributions to twentieth-century piano pedagogy and performance. Following a narrative that
traces the elevation of women in music from traditional amateur status to documented high levels
of professional achievement, six American female musicians were featured. Julie Rivé-King was
among the first American women recognized as an international concert pianist. Fannie
Bloomfield-Zeisler was an extraordinary teacher/performer. Olga Samaroff was influential as a
teacher, performer and critic. Angela Diller and Elizabeth Quaile made significant contributions
through innovative pre-college curricula. Edna Burnam’s contributions include her six-book
methods series, Step by Step, and over 300 original piano works. (AJ)Burns, Debra Brubaker, Anita Jackson, and Connie Arrau Sturm. “Contributions of Selected British
and American Women to Piano Pedagogy and Performance.” Journal of the IAWM (International
Alliance for Women in Music), 8 nos. 1-2 (March 2002): 1-9.A concise chronicle of the rise of British and American women pedagogues and performers
from the nineteenth through the twenty-first centuries, this article included a brief history describing
the inferior roles for women during this era. The lives of eight women illustrate the progression from
women being relegated to perform as an emblem of social status to being acknowledged prominently
in professional circles. The authors summarized contributions of these women: Annie (Jessy)
Curwen, a leading figure in the Tonic Sol-Fa system in England; Kate Sara Chittenden, the co-author
of one of the earliest American piano methods using the multi-key approach; Nellie C. Cornish, a cofounder of NASM; Florence Price, a pioneer who promoted the understanding of African-American
musical expression in relationship to the totality of American Music; Myra Hess, a distinguished
English pianist; Rosalyn Tureck, a Bach specialist; and Corola Grindea, the founder of the European
Piano teachers Association. (AJ)Chittenden, Kate S. “Salient Changes in Music Teaching in the Last Fifty Years – I. Piano.” In
Studies in Music Education – History and Aesthetics: Papers and Proceedings of the Music
Teachers National Association Annual Meeting – Fiftieth Year, December 28-30, 1926. Hartford,
Connecticut: Music Teachers National Association, 1927, 23-26.To commemorate the fiftieth anniversary of MTNA, Chittenden summarized some of the
most significant changes in piano teaching that occurred during that half century (1876-1926).
Starting from the time when pianists were flocking to Europe to study and Amy Fay’s Music
Study in Germany had just been published, Chittenden outlined changes in technique (e.g., new
technical devices, relaxation in performing), discussed significant performers (e.g., Paderewski)
and teachers (e.g. Leschetizky), noted the founding of major American conservatories (e.g., New
England Conservatory, Peabody Conservatory, and others), and noted changes in the piano itself
and in recording technology. In addition, she paid tribute to women such as Annie Curwen, Jessie
Gaynor, and others whom she felt had positively influenced how children were taught piano in
the United States. (CAS)Clark, Frances. “Perspective on Piano Teaching.” Clavier 21 no. 1 (January 1982): 44-45.
On the twentieth anniversary of the founding of Clavier magazine in 1962, Frances Clark
considered how the state of piano teaching had changed during those past two decades. She
discussed the number of pianos sold, the rise in adult piano study, the rise in group piano
teaching, changes in piano methods and materials, the increasing professionalism of piano
teachers, the growth of MTNA, and the growth of collegiate pedagogy programs. Her conclusions
on the importance of the independent piano teacher and the responsibilities of colleges and
universities are as timely today as they were in 1982. (CAS)Hull, Jean. “Issues in Piano Pedagogy III” The American Music Teacher 34 no. 3 (January 1985):
17-19.Jean Hull, Project Director for Public-School Credit/Released Time for the National
Piano Foundation Education Advisory Board, surveyed the history of public-school credit for
performance instruction back to the 1920’s, and summarized the state of such programs when this
article was written (1985). She also detailed the advantages of school-credit programs, discussed
potential problems and solutions, described conditions for success, and underscored the
importance of continuing efforts to establish and support such programs. (CAS)James, Michael Joseph. “The Evolution of Pedagogical Thought in American Piano Teaching of
the Twentieth Century.” D.M.A. diss, University of South Carolina, 1994.After providing a historical overview of piano teaching practices, James summarized the
teaching philosophies and approaches of twenty-seven prominent American pianists and
pedagogues of the twentieth century. Based on these summaries, he outlined five ideas/premises
that have come to define American piano pedagogy. He found that technique is inseparable from
musical conception and interpretation; that the whole body must be involved in performance; that
rhythmic control is a source of musical organization and continuity; that concentration, listening
and self-evaluation are crucial aspects of study and performance; and that piano instruction must
be tailored to a student’s individual needs. (CAS)James, Richard Lee. “A Survey of Teacher Training Programs in Music from the Early Musical
Convention to the Introduction of Four-Year Degree Curricula.” Ed.D. diss., University of
Maryland, 1968.This research documented the roles of individuals, educational institutions and
professional organizations as they influenced advancements in music education programs. The
history of college music education programs is traced from the musical conventions (1829),
normal schools (1839), the normal musical institute (1853) and textbook institutes (1886). James
emphasized that American conservatories, in contrast to their European prototypes, offered
programs for training music teachers. The New England Conservatory, Chicago Musical College,
the Cincinnati College of Music, the Institute of Musical Art and the Oberlin Conservatory are
cited. Early curricula included applied music, music history, music theory and harmony, and
music methods. James concluded that university music education programs are essentially a
twentieth-century development, which thrived as a result of cooperation between music schools
and schools of education. (AJ)Laudon, Robert T. Minnesota Music Teachers Association – The Profession & the Community
1901-2000. St. Paul: Minnesota Music Teachers Association, 2000.Laudon’s well-written and interesting text documented the history of MMTA, from its
founding in 1901 to the end of the 20th century. Laudon chronicled the development of the
organization as a whole, while providing much information that is of particular interest to piano
teachers. Laudon described how the tradition of “massed piano concerts” began (from the first
one held during the state convention of 1936 and conducted by Percy Grainger), and also outlined
the development of the state’s piano/theory examination syllabus (a model cited by James Bastien
in How To Teach Piano Successfully). In addition, Laudon traced the evolution of Minnesota’s
teacher certification program (established quite early _ in 1912), and MMTA’s efforts to have
public-school credit granted for private music instruction. In the area of pedagogy, Laudon
discussed philosophical differences between teachers who focused primarily on training amateurs
to love and appreciate the art of music, and teachers who placed primary emphasis on mastering
the performance of an instrument. On a broader scale, Laudon’s survey of MMTA’s history
provides insight into the growth and development of music performance and teaching in
twentieth-century America. (CAS)Lucas, Mary Scott. “A History of Piano Pedagogy in the United States from 1780.” M.A. thesis,
University of Nebraska at Lincoln, 1948.Lucas traced the history of American piano pedagogy from a modest cultural beginning
and dependence on European guidance to its increased independence and world leadership. She
stressed that progress in piano pedagogy closely paralleled the development of the piano and
general economic and industrial environments. She observed that piano technique had moved
from stiff playing positions where water wouldn't spill from a glass placed upon a wrist, to
technical approaches where freedom of movement or flexibility, relaxation and weight-playing
became the norm. Increased availability of trained pre-college and college teachers was also
noted. Lucas anticipated increased technological advancements and a wider use of psychological
principles in piano pedagogy. Her projections were obviously quite realistic. (AJ)Matthiesen, Mary Balderston. “Significant Figures in American Piano Pedagogy: A Survey and
Evaluation.” M.A. thesis, Claremont College, 1947.In Matthiesen’s research, a philosophical introduction was followed by five chapters that
describe the status of piano pedagogy from 1850 to 1920. Considerations were given to the
evolution of the piano and its subsequent effect on teaching and performing. William Mason,
W.S.B. Mathews, William H. Sherwood, Edward M. Bowman, A.K. Virgil, B.J. Lang, Emil
Liebling, Carl Faelten and Calvin Cady were cited as nine builders of American piano pedagogy.
Their pedagogical approaches were characterized by relaxation, efficient use of energy, and the
teaching of both musicality and technique from the very beginning of piano study. The
specialized European musical temperament was contrasted with the broader American concept.
The author emphasized that although the superiority of American educational methods had been
generally recognized, contributions to piano pedagogy had been neglected. Matthiesen concluded
by observing unprecedented progress in piano pedagogy during these years that witnessed the
elevation of performance standards and musical taste. (AJ)Monsour, Sally Alicia. “The Establishment and Early Development of Beginning Piano Classes
in the Public Schools, 1915-1930.” Ed.D. diss, The University of Michigan, 1960.Much of Monsour’s authoritative report describing public-school piano classes during
their heyday was drawn from first-hand accounts from leaders in the field. Information gleaned
from letters and interviews with C.M. Tremaine, Joseph E. Maddy, Hazel Gertrude Kinscella, W.
Otto Miessner, Ella Mason Ahern, Naomi Evans, Olga Prigge, David Mattern and others is
particularly valuable since these people were directly responsible for the initiation and
development of these classes. Monsour described the forces that helped launch the piano-class
movement, chronicled its expansion, noted important centers of activity and contributions of
leading teachers, detailed support as well as criticism from other professionals, and provided
information relating to instructional and administrative issues such as scheduling, finances,
equipment, classroom management, determining appropriate class sizes and evaluating student
progress. She also described teacher training, and analyzed and compared material in the first
editions of leading class piano method books used at that time. This dissertation is a valuable
resource for anyone interested in the history of public school piano classes at the elementary
school level. (CAS)Mueller, Sheryl Maureen Peterson. “Concepts of Nineteenth-Century Piano Pedagogy in the
United States.” Ph.D. diss, University of Colorado at Boulder, 1995.Mueller’s interesting dissertation surveyed American piano pedagogy during a time of
musical and social change. She chronicled the evolution of nineteenth-century piano instruction
from a narrow focus on theoretical fundamentals and technical proficiency to a wider focus
encompassing other areas of musicianship. She described the influences of European pedagogy
and educational theory, social and scientific advances, changes in instrument construction, and
increased emphasis on musical expression. Her study includes analysis of forty nineteenthcentury
piano methods and discussion of numerous journal articles. (CAS)Pearce, Elvina Truman. “Issues in Piano Pedagogy II.” The American Music Teacher 34 no. 3
(January 1985): 14-16.Elvina Truman Pearce, who was National Chairman of the MTNA Certification Board,
traced the history of MTNA certification, described the state of this program in 1985, and offered
a prognosis for its future. Her discussion of the standards for independent teachers, the purpose of
certification, strategies for educating the general public about the importance of music teacher
certification, and the benefits of a strong certification program underscores the continued
importance of this program. (CAS)Perkins, Carol Compton. “The Piano in an American Society: The Coalfield Area of Bluefield,
West Virginia.” D.M.A. diss., University of South Carolina, 1994.In this interesting dissertation, Compton described musical activity in Bluefield, West
Virginia in the late nineteenth and early twentieth centuries. In contrast to the harsh realities of
coal mining that dominated life in this community, piano playing provided a source of hope and
beauty for people of varied cultural backgrounds and socio-economic levels. Compton found the
piano to be the most important musical instrument in the area, prominent in homes, schools,
churches, theatres, dance halls etc. She profiled dedicated piano teachers, described the teaching
methods they used, and by examining recital programs from various piano studios, she
documented changes in recital repertoire, duration, proportion of male-to-female performers, and
cultural background of performers. (CAS)Sturm, Connie Arrau, Michael James, Anita Jackson, and Debra Brubaker Burns. “Celebrating
100 Years of Progress in American Piano Teaching, Part I: 1900-1950.” American Music Teacher
50, no. 2 (October-November 2000): 29-32.Part I of this two-part series looked back at piano pedagogy developments in the United
States during the first half of the twentieth century. The mechanical, strict finger technique of the
nineteenth century was compared to the more musical or child-centered approaches of the
twentieth century. Topics addressed include new piano methods, professionalism, teacher
training, universities, colleges and professional organizations that significantly impacted the
quality of piano teaching. The authors indicated that while great strides were made in this area,
societal changes dictated less participation by amateur musicians, a decrease in piano production,
and the marketing of music merchandise that resulted in a type of musical elitism during the first
fifty years of the twentieth century. (AJ)Sturm, Connie Arrau, Michael James, Anita Jackson, and Debra Brubaker Burns “Celebrating
100 Years of Progress in American Piano Teaching, Part II: 1950-2000.” American Music
Teacher 50, no. 3 (December-January 2000-2001): 24-28.The last fifty years of the twentieth century were covered in Part II of this series. Events
included significant technological advancements and renewed emphasis on sound psychological
principles in piano pedagogy. Humanistic teaching and learning dominated pedagogical thought.
Scholarly research in the areas of group learning, psychomotor developments, brain hemispheric
study, cognitive psychology, and neurophysiology helped to provide new, modified or eclectic
approaches. The authors gave credit to professional journals, technological advancements,
electronic equipment, increased quality and quantity of piano pedagogy programs, and
cooperative efforts between professional organizations, independent teachers and higher
education institutions for contributions to positive trends. (AJ)Timberlake, Donald Lester. “College Music Teaching: 1914-1989, Objectives As Stated in
Periodical Literature.” Ed.D. diss., East Texas State University, 1993.Objectives for teaching college music in America from 1914 to 1989 were identified and
classified, as presented in selected professional periodicals. Using a historical research approach,
Timberlake applied the article/objective selection criteria to catalogue statements into
Knowledge, Process, Attitude and Interest, or Cultural Awareness categories. A total of twelve
resulting objective types produced data that were recorded within and across sub-periods
according to frequency of occurrence, percentage, category authorship, and year. In-depth results
were reported in 105 tables. Timberlake concluded that the most important objectives for this
period were Processes, Skills and Techniques, Major Facts, Principles or Fundamentals, and
Application of Music to Daily Life. A secondary finding was that while educators in community
or junior colleges were the least active writers, a consistent increase in writing was evident with
each succeeding sub-period. Timberlake stated that this study is significant because it is the first
extended music-related research designated to identify and classify aims and objectives for
teaching music as stated in selected periodical literature. (AJ)Ulrich, Homer. A Centennial History of the Music Teachers National Association. Cincinnati:
Music Teachers National Association, 1976.Ulrich’s history of MTNA reflects the evolution of music making and music teaching in
American society. He traced the development of the MTNA Divisions, state associations, student
auditions, boards and special programs. In addition to providing information on MTNA charter
members and the MTNA constitution, Ulrich also listed titles of all MTNA convention papers
and American Music Teacher journal articles (through 1975) grouped by subject area. (CAS)Uszler, Marienne. “Issues in Piano Pedagogy I.” The American Music Teacher 34 no. 3 (January
1985): 10-13.In this overview of piano teaching and pedagogy from the late nineteenth century to
1985, Uszler discussed aspects of teacher training and qualifications, piano methods and
materials, class piano teaching, workshops and clinics, and collegiate piano pedagogy programs
and degrees. She concluded that piano teachers who choose to take advantage of the many
educational opportunities available to them could become excellent teachers and help raise the
standards of the profession. (CAS)Van Loan, Vera Esther. “Historical and Psychological Bases of Pianoforte Pedagogy.” M.A.
thesis, Claremont Colleges, 1939.This 288-page thesis was divided into three sections: the evolution of the pianoforte
instrument; the history of pianoforte teaching; and the psychological foundations of pianoforte
teaching. The history of pianoforte teaching was further divided into the time periods of
Virginalist to J.S. Bach (to 1750); English and Viennese Schools, Romantic movement; Pianistic
Titans, Impressionism and Nationalism; and Post World War I (1918-1939). Van Loan researched
books that were either written about the pedagogy of a specific keyboard teacher or written by
better-known keyboard teachers (primarily European) such as François Couperin, J.S. Bach,
Leopold Mozart, Friedrick Wieck, Adolph Kullak, Isidore Philipp Ludwig Deppe, Tobias
Matthay, William Mason, and others. The third section of the thesis, a discussion of the
psychological foundations of pianoforte teaching, demonstrates the strong influence of
educational psychology, particularly Gestalt learning theory, in early twentieth-century American
music education. The author provided short commentaries on a number of topics, which included
popular music, class piano, musical competitions, fingering principles, musical perception, and
practicing with hands separately and together. Van Loan documented books and articles
published in the late nineteenth and early twentieth centuries that were considered important
resources for a progressive piano teacher in the late 1930s. (DBB)Wolverton, Byron Adams. “Keyboard Music and Musicians in the Colonies and United States of
America Before 1830.” Ph.D. diss., Indiana University, 1966.Wolverton gave an overview of keyboard music and musicians in the American colonies
and United States before 1830. During that period of time, only a minimum of distinction was
made among the roles of the piano composer, teacher, and performer, and thus Wolverton had
limited specifics on piano pedagogy. Nevertheless, information on Hewitt, who wrote The
Complete Instructor for the Piano Forte, and other keyboard performers-composers-teachers can
be gleaned for a view of the growing interest in piano study in the early 1800s. (DBB)
History of Piano Pedagogy in Asia
Tzeng, Chen-Li. “The Development of Piano Pedagogy in Taiwan, with Portraits of Eight
Important Teachers.” D.M.A. diss., University of Maryland, College Park, 1994.This study traced the evolution of piano pedagogy in Taiwan from its beginning around
1940, identified the trend of various time periods, and surveyed the teaching and contributions of
eight important Taiwanese piano teachers. The pianists who influenced piano pedagogy in
Taiwan include a group of Japanese-trained Taiwanese pianists beginning around1940; Japanese
Azusa Fujita, Austrian-American Robert Scholz, and Chinese Wu Emane in the early 1960s; and
a new generation of European-trained Taiwanese pianists in the 1970s. After examining Taiwan's
overall musical development and current piano education system, an evaluation of the current
Taiwanese piano pedagogy and music education system as well as suggestions for future success
were given. Tzeng concluded that the training of Taiwanese piano students approached that of
Western countries. (DBB)Xu, Keli. “Piano teaching in China during the Twentieth Century.” D.M.A. diss., University of
Illinois at Urbana-Champaign, 2001.This study reviewed the history and influence of western music and piano in China, as
well as the changes and developments in the methods and educational systems of piano teaching
in twentieth-century China. The history traced the adoption of the European musical education
system and piano teaching method (the National Music Institute in Shanghai) in the 1920s and
1930s; the influence of a Russian piano school (the Central Conservatory of Music in Beijing);
the development of piano teaching in the 1950s and 1960s; piano teaching during the Cultural
Revolution; and new developments of piano teaching after 1980, which included formal study of
piano pedagogy and aesthetics. The thesis also presented a background of Chinese piano
repertoire, describing the changing musical characteristics of the literature over time. (DBB)
Historical Surveys of Piano Materials: Method Books and Periodicals
Amaize, Ho Pai-Hwa. “Musical Concepts for Fostering Expressivity and Interpretation in Piano
Playing: A Content Analysis of Selected Written Materials (1892-1992).” D.M.A. diss.,
University of South Carolina, 1993.This study identified and categorized, through content analysis of 123 selected written
materials (1892-1992), musical concepts that were emphasized by various pianists, piano
teachers, and music pedagogues for fostering the creative processes of expressivity and
interpretation in piano playing. Twenty-nine musical concepts such as tone, mental practice and
tempo were identified and subsequently ranked, and then grouped into the ten larger categories of
1) musical analysis; 2) sound elements; 3) rhythm; 4) style; 5) imagination and emotionalism; 6)
aural involvement; 7) holistic approach; 8) technique; 9) psycho-physical traits; and 10) imitation.
This study evaluated any perceivable difference in the occurrence of the identified concepts and
categories before and after 1960, around the time when several university-level piano pedagogy
programs began. Little difference occurred in the rankings except for the statistically significant
move of "balance/voicing" from a rank of 20 before 1960 to a rank of 6.5 after 1960. The study
quoted various twentieth-century piano pedagogues who gave advice on expressivity and
interpretation. (DBB)Bashaw, Donna R. “The Evolution of Philosophies and Techniques of Piano Pedagogy from 1750
to 1900 Traced Through the Teachings of C.P.E. Bach, Clementi, Czerny, Chopin, and
Leschetizky.” M.A. thesis, California State University at Fullerton, 1980.This thesis traced changes in the teaching philosophies and piano technique between the
years 1750 and 1900 through the study of pedagogical works written by or about C.P.E. Bach,
Clementi, Czerny, Chopin, and Leschetizky. Bashaw discussed the early influences on each
pianist, the development of the piano during the pianist's lifetime, the performance practices of
the particular pianist, the method that he wrote or recommended, his students, and the pedagogic
aspects of his compositions and influence on piano pedagogy. Topics such as changes in hand
positions, increasing complexity of compositions, and the influence of additional pedals are
presented. (DBB)Bostrom, Marvin John. “Keyboard Instruction Books of the Eighteenth Century.” Ph.D. diss.,
The University of Michigan, 1961.Eighteenth-century keyboard instruction books were reviewed for their pedagogical
content. Part I included General Description elements while Part II and Part III covered a Survey
of Teaching Methods and a Music Supplement respectively. Bostrom chose six specific areas for
examination: General Description of Keyboard Treatises; Description of the Individual Keyboard
Treatises; Pedagogical Principles; Presentation of Basic Fundamentals; Presentation of
Technique; and Instruction In Interpretation. (AJ)Breazeale, Charlene H. “An Analysis and Evaluation of Piano Teaching Methods.” M.M. thesis,
University of Mississippi, 1956.Breazeale cataloged forty-two piano methods published in the United States from the late
1890s to early 1950s, evaluating their physical formats, the type and technical aspects of the
musical pieces, the introduction of time and key signatures, the method writer's aim, the rhythmic
and melodic variety, the presentation of fingering, and the approach to early music reading. The
descriptions of the physical format of the piano methods, as well as their more technical details,
illustrate some of the trends and changes in American piano methods of the early twentieth
century. (DBB)Brubaker, Debra. “A History and Critical Analysis of Piano Methods Published in the United
States from 1796 to 1995.” Ph.D. diss., University of Minnesota, 1996.This extensive dissertation provided a 200-year history of American piano methods from
the earliest known indigenous piano tutor published in 1796 to computer-assisted keyboard
methods introduced in the 1990s. The development of piano teaching materials is discussed in the
context of the scientific investigations, technological advances, shifting cultural values,
educational trends, psychological research, technical requirements of concert repertoire, and the
goals or perceived needs of pianists. The text provides a descriptive analysis of the content and
teaching philosophy for over one hundred innovative, influential and representative piano
instruction books or series that were published in the United States, as well as a chronological,
annotated bibliography of over five hundred piano instruction books and method series. (DBB)Burtness, Rhoda. “Methods of Instruction in Public School Piano Classes.” Master's Thesis,
University of Southern California, 1933.This study outlined the growth of public-school piano class instruction in the 1920s, the
teaching methods used around 1930, and proposed improvements to the classroom instruction.
After describing the advantages of piano classes in public schools and the first musical activities
recommended by leading pedagogues, Burtness described the changes and trends in the teaching
of ear training, rhythm and time, mechanics and technique, and musical interpretation. The 112-
citation bibliography lists early twentieth-century sources for topics related to group music
instruction, progressive education, and eurhythmics. (DBB)Edwards, Jacqueline Sue. “A History of The Piano Quarterly." Ph.D. diss, The University of
Oklahoma, 1994.Edwards documented the history of The Piano Quarterly (1952-1992), detailed its
conversion to Piano & Keyboard, compared its focus and format with other piano periodicals,
and outlined its contributions to piano pedagogy and piano performance. She used player-oriented
and teacher-oriented categories as the basis for the comparative section. Interviews with
prominent pedagogues added notable support for this research. Edwards emphasized that the
change in name and focus provided space for additional instruments and accommodated a wider
variety of teachers and performers. Recommendations highlighted the need for additional
research on other periodicals. (AJ)Maris, Barbara English. “Fifty Years of American Music Teacher.” American Music Teacher 50
no. 6 (June-July 2001): 13-19.Maris, who was the American Music Teacher's editor for articles and reviews, traced that
journal's history since its inception in 1951. The changing content of this journal, which is the
professional journal for MTNA, mirrored the evolution and development of the music teaching
profession. For example, topics highlighted in theme issues have reflected areas of special interest
to music teachers over the years. Maris chronicled the significant changes and developments to
the American Music Teacher that occurred under the leadership of each of its editors. (CAS)Miller, Frances Louisa. “An Analytical and Comparative Survey of Eighteen Class Piano
Methods.” M.A. Thesis, State College of Washington, 1943.This thirty-page thesis surveyed eighteen elementary class-piano methods that were first
published from 1925 to 1941, representing the trends of class piano methods in the mid-twentieth
century. For each method, Miller outlined in chart form its publication information, educational
philosophy, music selections, teaching aids, supplemental materials and physical format, as well
as the key characteristics of how notation, theory, ear training, musical interpretation,
transposition, creativity, sight reading, memorization and technique were presented. The writers
of the analyzed pedagogical materials include: 1) Bauer, Diller and Quaile, 2) Burrows and
Ahearn, 3) Curtis, 4) Fischer, 5) Freed, 6) Frost, 7) Hirschberg, 8) Kammerer, 9) MacLachlan and
Aaron, 10) Mason, 11) Miessner, 12) Nash, 13) Schelling, Haake, Haake, and McConathy
(Oxford), 14) Nahum, Wolfe and Kosakoff, 15) Thompson, 16) Wagness, 17) Williams, and 18)
Daniels and Leavitt. (DBB)Montandon, Maria Isabel. “Trends in Piano Pedagogy as Reflected by the Proceedings of the
National Conference on Piano Pedagogy (1981-1995).” Ph.D. diss, The University of Oklahoma,
1998.A content analysis that verified the frequency of topics and variation of formats found in
the Proceedings of the NCPP formed the basis for this research. Montandon identified trends in
American piano pedagogy by classifying articles from papers and committee sessions according
to their nature, content, and frequency, and by identifying conference activities, the structure of
teaching demonstrations and the kinds of committees. Philosophical perspectives from NCPP
executives provided additional data. Montandon’s analysis revealed that the majority of articles
and reports were self-reflective. Conference topics covered most frequently were: Practice
Teaching, Pedagogy Curriculum Programs, Technology, Learning Theories, Literature, and
Performance. (AJ)Piersel, David Thomas. “Ornamentation as Presented in Piano Method Books, ca. 1790-1850.”
Ph.D. diss., University of Iowa, 1970.This dissertation investigated the practice of keyboard ornamentation in the early
nineteenth century as presented in piano method books of Hook, Kollman, Hüllmandel, Dussek,
Milchmeyer, Pleyel, Viguerie, McKerrell, Clementi, Adam, Graupner, Steibelt, Corri, Hummel,
Challoner, Czerny, Kalkbrenner, Latour, Hünten, Molt, Herz, Bertini, Spencer, and Richardson.
Along with descriptions of pedagogic material on ornaments given by the aforementioned
pedagogues, the study offers biographical information for the authors and overall descriptions of
the contents of each instruction book. (DBB)Potter, Susan Marie. “The Piano Method in Mid-Nineteenth Century America: A Study of
Method Writers and Their Works Published in the United States.” D.M.A. diss., Temple
University, 1994.The purpose of this study was to examine the role of the piano pedagogue in midnineteenth-
century America by investigating the careers and methods of more than thirty method
writers whose piano methods were published in the United States between 1820 and 1870. After
providing background material relative to the publishing industry, the main body of the thesis
presents the background of the method writers, descriptions of their pedagogical publications, and
brief assessments of the methods' general characteristics. Potter described piano methods of
Graupner, Shaw, Challoner, Cramer, Burrowes, Jackson, Hummel, Logier, Hünten, Molt, Howe
Jr., Henri and Auguste Bertini, Beyer, Czerny, Petersilea, Fenollosa, Knorr, Richardson, Grobe,
Winner, Burgmüller, Mason, De La Motte, Paige, New England Conservatory, Boston
Conservatory, Linley, Clementi, Von Heeringen, Carr, and Root. More than one hundred
additional methods are listed, many with information on the method writer and libraries having
copies of the method. (DBB)Rivers, Travis Suttle. “The Etude Magazine: A Mirror of the Genteel Tradition in American
Music.” Ph.D. diss., University of Iowa, 1974.The Etude magazine, which was published from 1883-1957, provides an interesting
reflection of musical life in America during the late nineteenth and early twentieth centuries.
Since its readership consisted primarily of piano teachers, piano students, and amateur pianists,
the magazine provides much information on piano teaching and piano performance during this
period. Rivers’ survey of The Etude’s changing content and emphases over the years offers data
and highlights trends in piano teaching. This magazine covered topics such as piano repertoire
assignment, grading of repertoire, and the development of piano technique; it also included
“lesson articles”, pedagogical discussions by John Thompson, interviews with famous musicians,
“question and answer” columns (by Guy Maier and later, Maurice Dumesnil) and articles
addressed to parents. (CAS)Spangler, Harry S. “History of Pianoforte Methods.” Ph.D. diss., University of North Dakota,
1951.Spangler’s history of keyboard methods focused on the teaching of technique. After
discussing developments in musical notation, keyboard instruments, and musical composition and
how these affected the teaching of keyboard technique, Spangler reviewed treatises from the early
Baroque period to the twentieth century. While the teachings of various pedagogues were
described, Spangler spotlighted Leschetizky, Breithaupt, and Matthay by devoting separate
chapters to discussions of their pedagogical approaches. In addition to his historical overview,
Spangler highlighted several concepts and conclusions he drew from his survey. He noted
performers’ difficulties in adapting to changing characteristics of the piano using knowledge and
expertise acquired from outdated keyboard instruments and treatises. He also observed that an
understanding of the skeletal structure could help performers hone their technique. Finally,
Spangler discussed the importance of the kinesthetic sense and explained aspects of the piano
playing mechanism. Spangler concluded his study with experiments that suggested that pianists
do not have a consistent concept of the force needed to produce specific dynamic levels of sound.
(CAS)
***** *****
All rights reserved: This text is presented on the Internet on the condition that it shall not, by way of trade or otherwise, be lent, sold, rented out or otherwise circulated in any form without the publisher’s prior consent and without a similar condition being imposed on any subsequent purchaser or borrower.
Notice of copyright must appear on the title or copyright page as follows: “Text taken from Alan Fraser’s Website, copyright 2011 by Maple Grove Music. Used by permission of the publisher. All rights reserved.”