Video Presentation Abstract Summaries - Read Below!
Modern technology combined with the traditional techniques of the past is the most effective method of instruction moving forward. This presentation will focus technological resources rooted in tradition to motivate and keep your students engaged. Presented by Dr. Wei Jao and Dr. Jacob Hahn.
This presentation, by Andrea Arevalo Cuellar, will give teachers an overview of different emotional and mental processes that can help prepare students for specific performance settings, from a casual studio recital to an advanced-level competition.
Covid-19 has fundamentally altered the way in which music is presented in society. In this talk, I discuss the methodologies that were implemented to adapt as a teacher and performer to this new landscape. Presented by Dr. Clara Yang.
In this lecture-recital, musicologist Dr. Kristen Turner and performer Dr. Olga Kleiankina will feature keyboard music by forgotten women composers active in the Classic period: Anna Bon (?-1767), Marianna Auenbrugger (1759-1782), Marianne Martinez (1744-1812), and Maria Hester Park (1760-1813). CLICK for HANDOUT
Pianist Ignacy Jan Paderewski appeared nine times in North Carolina—Asheville, Charlotte, Durham, Greensboro, and Raleigh—each important. Mary McMillan of Raleigh was a close friend. His impact on the state was most significant. Presented by Brenda Bruce and Mark Fountain.
Hypermobility (double-jointedness) is a genetic condition in which joints extend beyond a healthy range of motion. In pianists, this can cause involuntary compensation for joint instability. Learn identifying signs, consequences and accommodations for pianists! Presented by Bethany Cothern, NCTM.
This presentation is representative of research that elucidates culturally respectful methods to communicate racial and gender roles in music history, share grade level literature and how to incorporate in pedagogical approaches. Presented by Jeanetta Powell Hopkins.
This presentation will explore the basic principles of performance psychology and provide music teachers with the strategies needed to help students incorporate mental skills training into their practice sessions and performances.
How do we teach students “how” to play the piano? This presentation will demonstrate how teaching technique, keyboard skills, and artistry separately can help students integrate these skills into a technically fluent, musically engaging performance. Presented by Scarlette Kerr and Celeste Watson. CLICK for HANDOUT
Presented by Dr. Annie Jeng, A Seat at the Piano (ASAPiano) is a new initiative that promotes and advocates for the inclusion, study, and performance of a more equitably representative body of piano works.
Tchaikovsky, The Seasons, op.37a - approach to musical ideas, demonstration of technical methods related to sound control, balance, phrasing, and expression. The presenter will share views on physical and energetic impact over the sound/touch, the values of release and developing phrasing flow. Presented by Dr. Bair Shagdaron.
Presentation of three Lyric Pieces by Grieg for online teaching (Papillon, March of the Gnomes, and To Spring.) Various ways of using technology for effective teaching will be discussed. Each piece will be performed, discussed with Q and A and then performed again. Presented by Dr. Rodney Reynerson.
It’s time for an evolution. The confines musicians are facing during COVID-19 can seem insurmountable. Join Annie Jeng and Andy Hudson to explore ways to transform these “walls” into “ladders” towards innovation, creativity, and growth. Presented by Dr. Annie Jeng and Dr. Andy Hudson.
Presenter Dylan Savage gives his vision for expanding the parameters of the traditional music lesson, with detailed examples. During the conversation, Dylan will discuss a number of non-traditional uses for music, including how live performance can be used to help people in non-music fields learn new approaches for applying universal skills. He will also cover in detail new ideas for how we might further expand the boundaries of the traditional music lesson to teach universal skills and concepts to students who will use them as a springboard to non-music careers, making the primary goal of the lesson life-skill proficiency, rather than instrument proficiency.