Teaching comrades Alison Barr, Debi Fishbein Adams and I have led this distinctive venture for ten years now, on the lovely campus of Williams College in Massachusetts.
Back in 2005 I taught my first music listening course at the LIFE Institute (Lifelong Learning Program). It was very well received and sent me off in a stimulating new direction, crafting music appreciation workshops based on the progressive learning principles of the adult education movement. I have since taught several different listening courses for LIFE (“Learning is Forever”), and do something for them about once a year.
I have been a member of this large American organization of independent music teachers for many years, written for its journal, and lectured at its conferences.
Smaller and less corporate than its US counterpart. I have given workshops to local teacher branches in Ontario, and lectured at the national conference.
I have been a member of this organization of classical music journalists for many years. (No surprise, it’s smaller now than when I joined, given the decline of newspapers and fine arts coverage.) I received fellowships to attend two helpful training seminars in my early years as a critic.
I started writing for the well-known American piano magazine Clavier back in the 1990s, and eventually became a contributing editor and regular essayist. It was a lovely writing berth, and I worked with a terrific editor. More recently the magazine was sold and merged with another US publication, and now I contribute occasionally to this successor piano teaching journal.
Toronto’s comprehensive guide to classical music concert life in this metropolis of five million. Also contains music articles and reviews – sometimes by me.
More than 80,000 online members of this group of discussion sites devoted to all things piano-related. Confession: I’m on here for hours each week, either reading or posting.
The late pianist/dancer/teacher Donald Himes first got me involved with the eurhythmics approach to music learning through physical movement and improvisation, here in Toronto; other exponents from the American Dalcroze community have also guided me at various workshops and courses.
This newsletter issue features my remembrance of Donald Himes, my wonderful music-and-movement mentor.
Quite similar in spirit to the Dalcroze music education concept, Carl Orff’s music pedagogy is better known and perhaps easier to understand.
Carl Orff’s holistic music education pedagogy first reached N. America not via the US but right here in Toronto, Ontario in the 1950s.
Not partisan to one pedagogical approach, like the Dalcroze or Orff folks are, but much overlap.
American piano teaching sage Matthew Harre of Washington, DC keeps this splendid site alive and humming with ideas about adult music-making. More people should know about it.
This small firm based in Kitzingen, Germany is not famous, but builds high-end pianos. I own a 6’9″ grand as my principal playing and teaching instrument: it is presently souped up with Bösendorfer hammers. The piano was hand-picked for me at the German factory by Don Stephenson, noted Canadian piano technician/builder/educator.