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"The fact is, you will teach."from the Foreword by Stephen Clapp, Dean Emeritus, The Julliard School.Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire.
How can piano teachers successfully foster student participation and growth from the outset? How can teachers prepare and sustain their influential work with beginner student musicians? This book presents answers to these questions by making important connections with current music education research, masters of the performance world, music philosophers, and the author’s 30-year career as a piano pedagogy instructor in Canada, the USA, Australia, New Zealand, and Japan. It investigates the multilayered role piano teachers play right from the very beginning – the formative first four to five years during which teachers empower students to explore and expand their own emerging musical foundations. This book offers a humane, emancipatory, and generous approach to teaching by grappling with some of the most fundamental issues behind and consequences of studio music teaching. More experiential than abstract and cerebral, it demonstrates how teaching beginner piano students involves an attentiveness to musical concerns like our connection to music, learning to play by ear and by reading, caring for music, the importance of tone and technique, and helping students develop fluency through their accumulated repertoire. Teaching beginner students also draws on personal aspects like independence and authenticity, the moral and ethical dignity associated with democratic relationships, and meaningful conversations with parents. Further, another layer of teaching beginners acknowledges both sides of the coin in terms of growth and rest, teaching what is and what might be, as well as supporting and challenging student development. In this view, how teachers fuel authentic student musicians from the beginning is intimately connected to the knowledge, beliefs, and values that permeate their thoughts and actions in everyday life. Fundamentals of Piano Pedagogy stands out as a much-needed instructional resource with immense personal, practical, social, philosophical, educational, and cultural relevance for today’s studio music teachers. Its humanistic and holistic approach invites teachers to consider not only who they are and what music means to them, but also what they have yet to imagine about themselves, about music, their students, and life.
The repertoire files of the late Dr. Barbara Doscher, in which she noted her tips, observations on each particular piece, and notes on how to best teach it, comprise a unique trove of wisdom unmatched by any other source. Laboriously transcribed and annotated by John Nix, one of Doscher's students, the notes are presented here as a companion volume to her best-selling text, The Functional Unity of the Singing Voice. Entries are divided by broad category (art song, arias, folk songs, oratorio, musicals, etc.) and are arranged by song title. Each entry includes author, poet or librettist, key(s) available, ranges (for each key), tessitura, difficulty level, voice types, comments, a summary of the text, and notes as to genre, language, and editions available. Five comprehensive indexes facilitate searching. As a guide to selecting vocal repertoire, this book's practical and sometimes colorful comments on each song or aria will assist the vocal instructor in matching the student's ability and range to the appropriate piece. This distillation of Barbara Doscher's many years of experience in the teaching studio is a necessary addition to any vocal instructor's collection, as well as a valuable resource for the individual singer.

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