I received this in a forward. 20th C music folks would get a laugh out of this:
In case you haven't heard....
A new report now says that the Mozart Effect is a fraud. For you hip urban professionals: no, playing Mozart for your designer baby will not improve his IQ or help him get into that exclusive pre-school. He'll just have to be admitted into Harvard some other way.
Of course, we're all better off for listening to Mozart purely for the pleasure of it. However, one wonders that if playing Mozart sonatas for little Hillary or Jason could boost their intelligence, what would happen if other composers were played in their developmental time?
LISZT EFFECT: Child speaks rapidly and extravagantly, but never really says anything important.
RAFF EFFECT: Child becomes a bore.
BRUCKNER EFFECT: Child speaks very slowly and repeats himself frequently. Gains reputation for profundity.
WAGNER EFFECT: Child becomes a megalomaniac. May eventually marry his sister.
MAHLER EFFECT: Child continually screams - at great length and volume - that he's dying.
SCHOENBERG EFFECT: Child never repeats a word until he's used all the other words in his vocabulary. Sometimes talks backwards. Eventually, people stop listening to him. Child blames them for their inability to understand him.
BABBITT EFFECT: Child gibbers nonsense all the time. Eventually, people stop listening to him. Child doesn't care because all his playmates think he's cool.
IVES EFFECT: Child develops a remarkable ability to carry on several separate conversations at once.
GLASS EFFECT: Child tends to repeat himself over and over and over and over and over and over and over and over and over and over and over and over and over....
STRAVINSKY EFFECT: Child is prone to savage, guttural and profane outbursts that often lead to fighting and pandemonium in the preschool.
BRAHMS EFFECT: Child is able to speak beautifully as long as his sentences contain a multiple of three words (3, 6, 9, 12, etc). However, his sentences containing 4 or 8 words are strangely uninspired.
CAGE EFFECT: Child says nothing for 4 minutes and 33 seconds. Preferred by 9 out of 10 classroom teachers.
Wednesday, October 26, 2005
Monday, October 24, 2005
Of Shopping in China
My visit to China was great. I have a ton of piano music that I need to spend time looking at. I have the collected works of Chen Pei-Xun and Li Yinghai. I also managed to buy some anthologies of piano music by contemporary Chinese composers. I found all this in Guangdong and I'm sure the music shop was very happy with me as I made a $500 purchase. Considering that USD $1= 8 Chinese yuan, I didn't feel too bad about my shopping spree.
Also I realized that CDs are way cheaper there and they are the same artists & recordings. I did make sure they were licensed copies as I didn't want to get into trouble here. I own CDs of Lang Lang, Yundi Li and Yoyo Ma plus some other artists. I was particularly interested in the crossover genre. The CD of 12 Girls has garnered quite a bit of attention in Japan. These young ladies play Western music on Chinese instruments. Interesting sounds and I particularly liked the theme from Riverdance.
Unfortunately, I couldn't feed my love of clothes. I found out that most everything was a little too small. Most clothing here in the USA is too big for me. It is rather ironic that I couldn't find much in China where I'm pushing the average size. Win some lose some.
Also I realized that CDs are way cheaper there and they are the same artists & recordings. I did make sure they were licensed copies as I didn't want to get into trouble here. I own CDs of Lang Lang, Yundi Li and Yoyo Ma plus some other artists. I was particularly interested in the crossover genre. The CD of 12 Girls has garnered quite a bit of attention in Japan. These young ladies play Western music on Chinese instruments. Interesting sounds and I particularly liked the theme from Riverdance.
Unfortunately, I couldn't feed my love of clothes. I found out that most everything was a little too small. Most clothing here in the USA is too big for me. It is rather ironic that I couldn't find much in China where I'm pushing the average size. Win some lose some.
Accompanist Frustrations
I didn't think I would return to accompanying. Yes, my graduate assistantship is in accompanying. I haven't decided whether I just dislike it or hate it. After not sightreading for a couple years, my skills are pretty rusty. I think that would only improve with time. I'm glad that my technique has certainly grown over the past three years. I'm not sure that I'm as confident an accompanist as I am as a soloist.
A couple of things to ponder have crept up. It is hard to collaborate with other musicians whose level of skill and musicianship do not match yours. Either you are better than they are or worse than they are. Singers have very little idea that the piano accompaniments can be much harder than their parts and therefore need more time to perfect. I have had students throw me their oratorio accompaniments and expect me to be ready for their lessons in a week. I guess it is only important if they can sing it. I could sing it in one week too since I did take voice lessons for three years.
However, on the other hand I do have students that are just starting their musical journey of rhythms and notes. I do not mind coaching and teaching those but most of them refuse to be corrected. I guess I have to keep covering their mistakes or risk being called incompetent and unable to follow a singer.
I think I heard this saying in a class here: "Lead, Follow or Get Out of the Way!" I do have singers who can't or refuse to lead and put the blame on me. Had someone yell at me for not following her. I have not had much patience with students like her, all I say is, "then you have to lead better".
In short, I'd rather teach!
A couple of things to ponder have crept up. It is hard to collaborate with other musicians whose level of skill and musicianship do not match yours. Either you are better than they are or worse than they are. Singers have very little idea that the piano accompaniments can be much harder than their parts and therefore need more time to perfect. I have had students throw me their oratorio accompaniments and expect me to be ready for their lessons in a week. I guess it is only important if they can sing it. I could sing it in one week too since I did take voice lessons for three years.
However, on the other hand I do have students that are just starting their musical journey of rhythms and notes. I do not mind coaching and teaching those but most of them refuse to be corrected. I guess I have to keep covering their mistakes or risk being called incompetent and unable to follow a singer.
I think I heard this saying in a class here: "Lead, Follow or Get Out of the Way!" I do have singers who can't or refuse to lead and put the blame on me. Had someone yell at me for not following her. I have not had much patience with students like her, all I say is, "then you have to lead better".
In short, I'd rather teach!
Saturday, July 23, 2005
Piano Festival in Kuala Lumpur, Malaysia
HSBC Classics Piano Festival in Kuala Lumpur Malaysia Aug 9-14 but I will miss it cos I will be in China. Interesting program by Esther Budiardjo featuring Exotique - Danse Javanaise by Tansman and Godowsky's Java Suite.
Wednesday, June 29, 2005
Chinese Piano Music for Children
This book is a collection of piano pieces by Chinese composers: He Luting (1903-), Ding Shande (1911-), Wang Lisan (1933-)& Shang Tong (1923-). The title "Chinese Piano Music for Children" can be rather vague or misleading. The pieces contained are suitable for an intermediate to early advanced student. They are not meant for beginners as it could suggest. The title alludes to the names of the compositions found within.
Contents:
He Luting, The Young Shepherd & His Flute (alt. Buffalo Boy & Flute)
Ding Shande, Suite for Children
Shang Tong, Seven Little Pieces after Folk Songs from Inner Mongolia
Wang Lisan, Sonatina
The book also contains valuable background information regarding the pieces and the composers in German & English. Titles of the pieces are given in three languages: Chinese, German & English. The book is published by Schott and is available here.
Contents:
He Luting, The Young Shepherd & His Flute (alt. Buffalo Boy & Flute)
Ding Shande, Suite for Children
Shang Tong, Seven Little Pieces after Folk Songs from Inner Mongolia
Wang Lisan, Sonatina
The book also contains valuable background information regarding the pieces and the composers in German & English. Titles of the pieces are given in three languages: Chinese, German & English. The book is published by Schott and is available here.
Saturday, June 25, 2005
Reality TV - For A Piano Competition?
Would they feature pianists fighting over pianos? Yes, definitely!
What would the challenges be?
How many pianists would it take to move a piano?
What would the little rewards be? Extra practice time? Extra hall time? Choice of piano? A massage & spa?
How would they handle the repertoire aspect? Since we play a piece over and over again.
What mean judges are they going to get? Who would be "Simon"? There are plenty of those around in the classical music world.
Would the dreaded "boardroom" be the concert hall?
Would the audience be able to swing the judges vote?
What would the grand price be? Maybe they'd get a little more creative than a Steinway and a recording contract. (Those are great, don't get me wrong)
Biggest question: Would anyone watch? LOL nah just the piano nerds. No offense
If you are like me, I dislike reality tv shows. I think they are taking up too much airtime and I'd just like an "old-fashioned" fiction anytime. Sorry this is silly but the idea came to me when the "Dancing With the Stars" commercial came on. If some producer takes up this idea, I want to be paid! Another Gloria-ism :)
Any thoughts or comments? Post them.
What would the challenges be?
How many pianists would it take to move a piano?
What would the little rewards be? Extra practice time? Extra hall time? Choice of piano? A massage & spa?
How would they handle the repertoire aspect? Since we play a piece over and over again.
What mean judges are they going to get? Who would be "Simon"? There are plenty of those around in the classical music world.
Would the dreaded "boardroom" be the concert hall?
Would the audience be able to swing the judges vote?
What would the grand price be? Maybe they'd get a little more creative than a Steinway and a recording contract. (Those are great, don't get me wrong)
Biggest question: Would anyone watch? LOL nah just the piano nerds. No offense
If you are like me, I dislike reality tv shows. I think they are taking up too much airtime and I'd just like an "old-fashioned" fiction anytime. Sorry this is silly but the idea came to me when the "Dancing With the Stars" commercial came on. If some producer takes up this idea, I want to be paid! Another Gloria-ism :)
Any thoughts or comments? Post them.
Thursday, June 23, 2005
Did I Really Do That?
I have had more feedback about my playing in Grace UMC in Winfield on Mother's Day. I recorded my ecstatic feelings that day in an earlier post. I don't think the performance was recorded but I will always remember the feeling.
A couple weekends ago, my godmother threw me a farewell party in Winfield as I'm going to leave pretty soon. I overheard that there were people that cried after I finished playing Beethoven's Rondo at church. It leaves me to wonder as to why they did.The pastor later told me he cried and there were a few teary eyes in the congregation. He said the music was so beautiful and it was almost unbelievable.
I am pleased that I communicated to my listeners. To me it is the most important thing in performing. But what was it that came across to them? I did wear my heart on my sleeve that day and I gave it all I had, since I thought it was the last I would play of that piece. However I wasn't going to throw my music out the window.. not that church anyway since there are really nice stained glass ;) I will always cherish that performance of the Rondo (which wasn't my favorite piece of my grad recital) as it was a spring board to a nice, secure audition. I think I gained a lot of confidence back in that 4 1/2 minutes.
So did someone else in the congregation... It happened that a gal is learning the Granados waltz that I chose to play. The 1st waltz from Valses Poeticos is a piece I like to play very late at night.. usually past midnight. It made her day that it was something I chose to program. Her mom said that she said.. Gloria played it so I must not be doing too bad. Ah put on a pedestal.. ah! I guess I must have hit more notes correctly than I thought.
I look forward to putting another program together and will anticipate my next "Winfield" experience.
A couple weekends ago, my godmother threw me a farewell party in Winfield as I'm going to leave pretty soon. I overheard that there were people that cried after I finished playing Beethoven's Rondo at church. It leaves me to wonder as to why they did.The pastor later told me he cried and there were a few teary eyes in the congregation. He said the music was so beautiful and it was almost unbelievable.
I am pleased that I communicated to my listeners. To me it is the most important thing in performing. But what was it that came across to them? I did wear my heart on my sleeve that day and I gave it all I had, since I thought it was the last I would play of that piece. However I wasn't going to throw my music out the window.. not that church anyway since there are really nice stained glass ;) I will always cherish that performance of the Rondo (which wasn't my favorite piece of my grad recital) as it was a spring board to a nice, secure audition. I think I gained a lot of confidence back in that 4 1/2 minutes.
So did someone else in the congregation... It happened that a gal is learning the Granados waltz that I chose to play. The 1st waltz from Valses Poeticos is a piece I like to play very late at night.. usually past midnight. It made her day that it was something I chose to program. Her mom said that she said.. Gloria played it so I must not be doing too bad. Ah put on a pedestal.. ah! I guess I must have hit more notes correctly than I thought.
I look forward to putting another program together and will anticipate my next "Winfield" experience.
Camp Allegro
Camp Allegro at Prairie Pines, Wichita KS June 20-24
Things I learned at camp:
1. You always need to have more activities than you think! I remember my music ed professor saying that all the time.
2. Kids always love games and stories.. no matter what age.
3. Any variant of tag works great.
4. They will always say they hate theory but then tell their parents it was their favorite class.
5. It is somewhat possible to teach beginning piano to 7-yr-olds and 14-yr-olds in the same class. (Basic Piano Course.. Martha Hilley & Lynn Freeman Olson)
6. It is good to laugh or scream sometimes. :) I've not played games in a long time!
7. It is easier to say goodbye at camp to people I know I won't see for a long time. It's hard to cry when you're taking care of a whole bunch of kids.
8. The combination of sunscreen and bugspray can smell pleasant.
9. It is better to break a tree branch than to keep running into it.. except when the kids don't succeed in breaking it off!
10. If a challenge was involved, kids would memorize Italian terms and even pronouce them correctly.
11. Pencils, stickers and candy always make good bribes ..other people call it rewards.
Things I learned at camp:
1. You always need to have more activities than you think! I remember my music ed professor saying that all the time.
2. Kids always love games and stories.. no matter what age.
3. Any variant of tag works great.
4. They will always say they hate theory but then tell their parents it was their favorite class.
5. It is somewhat possible to teach beginning piano to 7-yr-olds and 14-yr-olds in the same class. (Basic Piano Course.. Martha Hilley & Lynn Freeman Olson)
6. It is good to laugh or scream sometimes. :) I've not played games in a long time!
7. It is easier to say goodbye at camp to people I know I won't see for a long time. It's hard to cry when you're taking care of a whole bunch of kids.
8. The combination of sunscreen and bugspray can smell pleasant.
9. It is better to break a tree branch than to keep running into it.. except when the kids don't succeed in breaking it off!
10. If a challenge was involved, kids would memorize Italian terms and even pronouce them correctly.
11. Pencils, stickers and candy always make good bribes ..other people call it rewards.
Wednesday, June 22, 2005
30 Famous Chinese Piano Pieces
This book offers a good selection of Chinese piano music by current composers. The score for the pieces I chose for my senior and graduate recital are found here. The paper quality of the book is rather poor. It would be advisable to make photocopies when learning a new piece. Markings would easily damage the score. I'm sorry I don't know whether it is an acid-free edition since it is published in China.
I do intend to talk about each piece and composer in brief, with the hopes that this would be a source of information for pianists and teachers alike. In my research I have found that the little information is scattered in many different websites and references. And of course it would also help me keep track of the information I have found. There is just too much note paper scattered in my apartment too.
The only website that sells this book for a decent price is China Sprout. While you are at this site, check out some of their other offerings. I will be investing in a couple more books later this year.
I do intend to talk about each piece and composer in brief, with the hopes that this would be a source of information for pianists and teachers alike. In my research I have found that the little information is scattered in many different websites and references. And of course it would also help me keep track of the information I have found. There is just too much note paper scattered in my apartment too.
The only website that sells this book for a decent price is China Sprout. While you are at this site, check out some of their other offerings. I will be investing in a couple more books later this year.
Tuesday, May 31, 2005
I got IT!!
Yes, the full assistantship with the tuition waiver and monthly stipend. I can afford to go to doctoral school now. I could have screamed that out on the sidewalk after I put down the phone.
I was practicing this morning when I received a call from the graduate coordinator. I met him but I can't remember his name. He called to offer me the full assistantship and asked if I was planning to come to school. I told him I had already made plans to move to Alabama and that I accept the assistantship. My contract is in the mail and now I guess I really have to start packing.
I'm very excited to study with Amanda Penick. I had no idea who this lady is, but she is so incredibly sweet. It'll be hard not to like her. I found out more about her in this article written by her daughter-in-law. Read all about her. I am sure I will benefit from her teaching very much. Hence, I'm still practicing and practicing.
I was practicing this morning when I received a call from the graduate coordinator. I met him but I can't remember his name. He called to offer me the full assistantship and asked if I was planning to come to school. I told him I had already made plans to move to Alabama and that I accept the assistantship. My contract is in the mail and now I guess I really have to start packing.
I'm very excited to study with Amanda Penick. I had no idea who this lady is, but she is so incredibly sweet. It'll be hard not to like her. I found out more about her in this article written by her daughter-in-law. Read all about her. I am sure I will benefit from her teaching very much. Hence, I'm still practicing and practicing.
Monday, May 30, 2005
Chinese Piano Music: a beginning post
I have been approached many times by people wanting to know more about Chinese music. I have to admit that my knowledge of this subject is limited and I am researching more into this genre. To save me from repeating myself too often, I am going to start posting on this subject and if applicable, post links as to where the information, scores, CDs can be found. Hopefully this will be of help to people researching orientalism or Chinese music.
Some good CDs to start off with are:
Chinoiserie, Jenny Lin performer. BIS #1110
This CD is a compilation of Western piano compositions influenced by the Orient. I found the two pieces that I performed on my graduate recital on this CD. Some of the pieces bear more similarities to Chinese music than others. Composers like Arensky, Grainger, Busoni, Cyril Scott, John Adams, Tcherepnin and Rossini are featured. I will discuss what I know about the pieces on other posts. Buy Chinoiserie CD
Three Chinese Piano Concertos, Eileen Huang. ASV 1031
This CD contains the Yellow River Concerto and the Chinese Youth Piano Concerto. The third concerto "The Moon's Reflection of the Second Springs" is not really a concerto but an ensemble of Chinese instruments with the piano. I performed the piano solo version of this piece on my graduate recital. Also found on this CD is the "Autumn Moon Mirrored in the Lake" which was programmed on my senior recital at Southwestern College. Buy Chinese Piano Concertos
Ancient & Modern Chinese Music, Eileen Huang. Appassionato #69306
A collection of piano works by 20th century Chinese composers. These pieces are a good sample of the compositional styles and are considered to be famous works. Most of the pieces are suitable for college or advanced pianists. There is a second volume but I have not been able to obtain it.
Some good CDs to start off with are:
Chinoiserie, Jenny Lin performer. BIS #1110
This CD is a compilation of Western piano compositions influenced by the Orient. I found the two pieces that I performed on my graduate recital on this CD. Some of the pieces bear more similarities to Chinese music than others. Composers like Arensky, Grainger, Busoni, Cyril Scott, John Adams, Tcherepnin and Rossini are featured. I will discuss what I know about the pieces on other posts. Buy Chinoiserie CD
Three Chinese Piano Concertos, Eileen Huang. ASV 1031
This CD contains the Yellow River Concerto and the Chinese Youth Piano Concerto. The third concerto "The Moon's Reflection of the Second Springs" is not really a concerto but an ensemble of Chinese instruments with the piano. I performed the piano solo version of this piece on my graduate recital. Also found on this CD is the "Autumn Moon Mirrored in the Lake" which was programmed on my senior recital at Southwestern College. Buy Chinese Piano Concertos
Ancient & Modern Chinese Music, Eileen Huang. Appassionato #69306
A collection of piano works by 20th century Chinese composers. These pieces are a good sample of the compositional styles and are considered to be famous works. Most of the pieces are suitable for college or advanced pianists. There is a second volume but I have not been able to obtain it.
Sunday, May 29, 2005
Performance Anxiety, Practice Tips (NGR) Part 4
"Notes from the Green Room" by Paul Salmon & Robert Meyer
Discomfort with Performance-Related Sensations
- Do a "cold" run-through with minimal warm-up.
Warm-up? What warm-up? This was what happened at almost every masterclass at WSU that I played in: tumble out of bed and get to WSU. Sorry Dr. T, it was just too early in the morning!
- Play immediately after physical exercise.
Play just after you run from the parking lot into the hall because you are running late again! Or like after you've been lost for an hour and pulled into the parking lot late to your doctoral school audition.
- Play just after drinking caffeinated coffee.
Only if you can take caffeine. Neither the authors nor I advocate the use of drugs to alter your physical state.
- Practice while playing a cassette tape of audience noises or other simulated background effects.
Umm screaming baby.. if one is not present, a yowling cat will do too. Burmese are great at that. Turn on the tv, those car salesmen will really test your concentration, if not make you wanna gag them. I would not ever buy a Ford from you-know-who for those of you that live in Wichita KS
- Make a video or audio cassette recording of preliminary performances.
This is a good one as knowing that you're being recorded always adds more pressure. Plus it is good to review your playing at home and see for yourself what you're doing on stage. You may be playing faster than you need to .. somehow I always find that out a little too late. Also, facial expressions can be pretty misleading as to what the music is actually portraying/presenting. No sticking out your tongue every time you make a mistake!
Buy Notes from the Green Room
Discomfort with Performance-Related Sensations
- Do a "cold" run-through with minimal warm-up.
Warm-up? What warm-up? This was what happened at almost every masterclass at WSU that I played in: tumble out of bed and get to WSU. Sorry Dr. T, it was just too early in the morning!
- Play immediately after physical exercise.
Play just after you run from the parking lot into the hall because you are running late again! Or like after you've been lost for an hour and pulled into the parking lot late to your doctoral school audition.
- Play just after drinking caffeinated coffee.
Only if you can take caffeine. Neither the authors nor I advocate the use of drugs to alter your physical state.
- Practice while playing a cassette tape of audience noises or other simulated background effects.
Umm screaming baby.. if one is not present, a yowling cat will do too. Burmese are great at that. Turn on the tv, those car salesmen will really test your concentration, if not make you wanna gag them. I would not ever buy a Ford from you-know-who for those of you that live in Wichita KS
- Make a video or audio cassette recording of preliminary performances.
This is a good one as knowing that you're being recorded always adds more pressure. Plus it is good to review your playing at home and see for yourself what you're doing on stage. You may be playing faster than you need to .. somehow I always find that out a little too late. Also, facial expressions can be pretty misleading as to what the music is actually portraying/presenting. No sticking out your tongue every time you make a mistake!
Buy Notes from the Green Room
Erratic Memory, Practice Tips (NGR) Part 3
"Notes from the Green Room" by Paul Salmon & Robert Meyer
Erratic Memory
- Use alternate measure (A/B) half scores.
The authors suggest covering every other measure of the score (1,3,5). After which, the performer should switch to the covering the opposite set (2,4,6). Post-it Notes may work very well for this. The score preparation may take a lot of time but this suggestion may be worthwhile experimenting with.
- Imagine playing a piece through in its entirety.
I tend to do this if I can't sleep or ... There was one night I had the 1st mvt of Beethoven's Pastorale Sonata replaying over and over again in my sleep. When I woke up, I knew I had the piece memorized! Didn't get much rest though.
- Practice with memory-enhancing sound cues.
When I understand this, I will try to explain.
- Transcribe challenging passages into a notebook or log.
This task may prove to be too challenging for me. I'll try the other three, thanks though.
Buy Notes from the Green Room
Erratic Memory
- Use alternate measure (A/B) half scores.
The authors suggest covering every other measure of the score (1,3,5). After which, the performer should switch to the covering the opposite set (2,4,6). Post-it Notes may work very well for this. The score preparation may take a lot of time but this suggestion may be worthwhile experimenting with.
- Imagine playing a piece through in its entirety.
I tend to do this if I can't sleep or ... There was one night I had the 1st mvt of Beethoven's Pastorale Sonata replaying over and over again in my sleep. When I woke up, I knew I had the piece memorized! Didn't get much rest though.
- Practice with memory-enhancing sound cues.
When I understand this, I will try to explain.
- Transcribe challenging passages into a notebook or log.
This task may prove to be too challenging for me. I'll try the other three, thanks though.
Buy Notes from the Green Room
Lack of Sensory Awareness, Practice Tips (NGR) Part 2
"Notes from the Green Room" by Paul Salmon & Robert Meyer
Lack of Sensory Awareness
- Practice in the dark.
The constant blackouts in my hometown, Kampar made me do this quite often.
- Practice silently.
Find an electric keyboard and practice with it turned off. Or practice with the volume off and hit the record button, for some auditory feedback after you finish the piece.
- Visualize hand and foot movements in detail.
I am a dancer but only at the piano, unless a barn dance counts.
- Make a slow-motion analysis of movement patterns.
Think nice fluid motions.. we're not talking jerky motions here.
Buy Notes from the Green Room
Lack of Sensory Awareness
- Practice in the dark.
The constant blackouts in my hometown, Kampar made me do this quite often.
- Practice silently.
Find an electric keyboard and practice with it turned off. Or practice with the volume off and hit the record button, for some auditory feedback after you finish the piece.
- Visualize hand and foot movements in detail.
I am a dancer but only at the piano, unless a barn dance counts.
- Make a slow-motion analysis of movement patterns.
Think nice fluid motions.. we're not talking jerky motions here.
Buy Notes from the Green Room
Practice Tips Part 1 from "Notes from the Green Room" by Paul Salmon & Robert Meyer
I have been reading this book just for leisure. It is a pretty interesting study of stress and anxiety in dealing with musical performance. The book delivers some insights into performance issues and I hope that helps me understand people who have a hard time being on stage. I have found the book to be a little more of a psychology study and at times just found it boring. Also reading about performance anxiety and stage fright just agitated me so I decided to just read what I wanted to read. Here's what I found most interesting:
Practice Tips or Problem-Oriented Experiments p. 39
Troublesome Learning
- Do competing tasks.
(eg. pedal while moving a pencil ...How am I supposed to do this exactly? Oh, this example is meant for an organist.)
- Vocalize polyphonic lines one by one.
May be a good sight singing exercise on its own. This would heighten awareness of the other parts in a piece and help the encoding or memorizing process.
- Learn a new piece from end to beginning.
Hmm do they mean by sections or measures. I think some pieces would be cool to put in retrograde motion although I would not like to sightread that way.
- Transpose challenging passages.
I think I'm going to try this one. The author suggests that this will help one achieve a stable cognitive representation that does not depend on a certain set of notes or fingerings.
Buy Notes from the Green Room
Practice Tips or Problem-Oriented Experiments p. 39
Troublesome Learning
- Do competing tasks.
(eg. pedal while moving a pencil ...How am I supposed to do this exactly? Oh, this example is meant for an organist.)
- Vocalize polyphonic lines one by one.
May be a good sight singing exercise on its own. This would heighten awareness of the other parts in a piece and help the encoding or memorizing process.
- Learn a new piece from end to beginning.
Hmm do they mean by sections or measures. I think some pieces would be cool to put in retrograde motion although I would not like to sightread that way.
- Transpose challenging passages.
I think I'm going to try this one. The author suggests that this will help one achieve a stable cognitive representation that does not depend on a certain set of notes or fingerings.
Buy Notes from the Green Room
"Commercial" Practice
In teaching music, a teacher always has to struggle with getting a student to practice. While most older students will practice on their own, (given their intrinsic motivations), the much younger ones need creative ways to get them practicing.
Even though it is not the best, my students are at the stage where external motivation is most suitable. My students get a sticker on the page they pass at each lesson. Some of them earn pieces of candy as the lesson progresses dependent on the completion of each task.
I have a 7-yr old who has the hardest time practicing any of her pieces. I was beginning to really lose interest in teaching and had a hard time getting through her lesson. I asked her how much she watched tv a day and she said, "quite a bit". I asked her to do a "game" for me. Each time a commercial break occured she was to run to the piano and play through her pieces. When the programme resumed, she could stop and go back to watching tv.
I had way more progress with her than I had in weeks. As a recital approached, I found she wasn't progressing as much as needed and I checked with her on how much she was practicing. She answered, "I'm doing the commercial practice." I was pretty amazed and told her that we had to suspend the "commercial practice" for a special practice that would get her in good shape for the recital.
She took to the "regular" practicing instructions very well:
1. Sing your piece.
2. Sing and play your piece.
3. Practice measure 4-5.
4. Play whole piece with score.
5. Try it by memory.
We tried it a couple times in her lesson and she was very happy at her own progress. We wrote down the instructions in color together. She was so excited to go try this "special" practice at home. I think she saw the rewards immediately.
I guess maybe she could be weaned slowly from the "commercial practice" a term she coined. I will keep my fingers crossed.
Even though it is not the best, my students are at the stage where external motivation is most suitable. My students get a sticker on the page they pass at each lesson. Some of them earn pieces of candy as the lesson progresses dependent on the completion of each task.
I have a 7-yr old who has the hardest time practicing any of her pieces. I was beginning to really lose interest in teaching and had a hard time getting through her lesson. I asked her how much she watched tv a day and she said, "quite a bit". I asked her to do a "game" for me. Each time a commercial break occured she was to run to the piano and play through her pieces. When the programme resumed, she could stop and go back to watching tv.
I had way more progress with her than I had in weeks. As a recital approached, I found she wasn't progressing as much as needed and I checked with her on how much she was practicing. She answered, "I'm doing the commercial practice." I was pretty amazed and told her that we had to suspend the "commercial practice" for a special practice that would get her in good shape for the recital.
She took to the "regular" practicing instructions very well:
1. Sing your piece.
2. Sing and play your piece.
3. Practice measure 4-5.
4. Play whole piece with score.
5. Try it by memory.
We tried it a couple times in her lesson and she was very happy at her own progress. We wrote down the instructions in color together. She was so excited to go try this "special" practice at home. I think she saw the rewards immediately.
I guess maybe she could be weaned slowly from the "commercial practice" a term she coined. I will keep my fingers crossed.
Friday, May 20, 2005
Alabama, Here I Come!!
Yes, it has finally happened. I guess all the practicing and hanging in there paid off finally. I played a decent audition for once. I was very comfortable and played the Italian Concerto really well. I didn't play as well on the Beethoven and Grieg cos I was so dehydrated that day. I had to leave out a few notes on the Chinese pieces too.
After I finished the Bach we had to switch gears and go into a accompanying audition. The voice faculty were present and some piano faculty were present, so there were about 6 people. I played the accompaniment to Gretchen Am Spinrade and sightread an aria from La Boheme while one of the profs sang. He was so loud I couldn't hear myself so I kept fumbling around. I guess I must have never established a key since after I finished the piano prof asked for a D-flat major chord.
Anyway, the piano area coordinator there has accepted me and wants me to study with her. She is a very nice lady and her credentials are awesome, but she was willing to put herself in a vulnerable position when she said, "I hope this professor (hand on her heart) would be loved as much as you do your current professor". She understands that it will be hard for me to leave my professor here.
I think I have all the answers about the university. Words I have been waiting to hear so that I know it is the right school. She did mention that the school strives to work with students individually and also is a nurturing school. She cares about her students very much and I can tell that. I think I will work well with this professor.
So now I will wait to hear news of the assistantship and the official acceptance letter from the graduate school.
After I finished the Bach we had to switch gears and go into a accompanying audition. The voice faculty were present and some piano faculty were present, so there were about 6 people. I played the accompaniment to Gretchen Am Spinrade and sightread an aria from La Boheme while one of the profs sang. He was so loud I couldn't hear myself so I kept fumbling around. I guess I must have never established a key since after I finished the piano prof asked for a D-flat major chord.
Anyway, the piano area coordinator there has accepted me and wants me to study with her. She is a very nice lady and her credentials are awesome, but she was willing to put herself in a vulnerable position when she said, "I hope this professor (hand on her heart) would be loved as much as you do your current professor". She understands that it will be hard for me to leave my professor here.
I think I have all the answers about the university. Words I have been waiting to hear so that I know it is the right school. She did mention that the school strives to work with students individually and also is a nurturing school. She cares about her students very much and I can tell that. I think I will work well with this professor.
So now I will wait to hear news of the assistantship and the official acceptance letter from the graduate school.
Thursday, May 12, 2005
One More Audition - Last Bus?
Before I lose the grin on my face, I should write about how I landed next week's audition opportunity. I am working for the Success For All Foundation as one of their contract test administrators. The job pays nicely and has alleviated a lot of my financial worries. I agreed to travel out-of-state for them since they would reimburse all my expenses including airfare, hotel, rental car and meals too.
I will be heading to Eutaw, AL next week, flying into Birmingham and staying in Tuscaloosa. I wanted to keep practicing even while I'm there since I really want to learn my Haydn and Bach pieces. As I was looking for a place to stay and possibly practice, I came across the University of Alabama. Upon searching their website, I found out that they have a DMA program in piano.
I wrote to the piano area coordinator and asked if I could meet with her and visit the school. She replied very quickly and said that if I was experienced with choral/vocal accompanying, they'd like to hear me play next week. Several emails later, I found out that someone who had originally accepted the assistantship in accompanying backed out on Friday. I had emailed her on Monday. I hope my accompanying experience and vocal diction background will help me get in. I think I'm playing well these few weeks so I'm in good shape to take on the challenge. I hope I am the person they are looking for and this is the school I'm looking for as well.
I guess I'll get a paycheck plus an all-expense paid audition in Alabama. I'm more than thrilled to say the least!
I will be heading to Eutaw, AL next week, flying into Birmingham and staying in Tuscaloosa. I wanted to keep practicing even while I'm there since I really want to learn my Haydn and Bach pieces. As I was looking for a place to stay and possibly practice, I came across the University of Alabama. Upon searching their website, I found out that they have a DMA program in piano.
I wrote to the piano area coordinator and asked if I could meet with her and visit the school. She replied very quickly and said that if I was experienced with choral/vocal accompanying, they'd like to hear me play next week. Several emails later, I found out that someone who had originally accepted the assistantship in accompanying backed out on Friday. I had emailed her on Monday. I hope my accompanying experience and vocal diction background will help me get in. I think I'm playing well these few weeks so I'm in good shape to take on the challenge. I hope I am the person they are looking for and this is the school I'm looking for as well.
I guess I'll get a paycheck plus an all-expense paid audition in Alabama. I'm more than thrilled to say the least!
Tuesday, May 10, 2005
Why I Like Practicing Hanon
Why I Find the "Mundane" Extremely Interesting
Yes, finally I am doing Hanon exercises. Some of you must be wondering why now, after all these years. I remember one summer a long time ago, I was so bored at home that I sat down and sightread most of the Book I & II. I felt indifferent about them then. I also remember watching my then would be professor burn the book at his Piano Magic event. I don't know whether I've ever shared that sentiment and I don't think he does.
I love geometry and jigsaw puzzles. Something in the exercises really appeal to me in the head. Playing the first half of each exercise just makes me try to figure out how the second half would be, as they are meant to be symmetrical. I find it pretty fascinating and I can just feel my mind working in a different way when I practice them. It is like I'm putting a jigsaw together in my head and I get to imagine the colors.
As for the "other" benefits of those exercises, I'm sure much has already been discussed by other pianists and pedagogues. It is almost a relief to practice repeated patterns and just concentrate on motifs after doing recital repertoire for a long time. It also got my sightreading back into shape very quickly since I had to accompany for a living lately. My prof did ask me to memorize each exercise and that is good advice, as I can focus on getting the coordination required. It does slow me down and makes me study them with more depth.
I play a whole bunch of them every day before I jump into my new literature. I work on memorizing some of them, giving the next set more detailed attention and just playing through the others at whatever speed is comfortable. The metronome is my friend. I keep Post-It flags at the piano and mark the ones that are tricky for me. When I come to a flagged page, I pay more attention to make sure I'm not hurting myself by going too fast or allowing weird movements. No pain is definitely more gain at the piano!
Yes, finally I am doing Hanon exercises. Some of you must be wondering why now, after all these years. I remember one summer a long time ago, I was so bored at home that I sat down and sightread most of the Book I & II. I felt indifferent about them then. I also remember watching my then would be professor burn the book at his Piano Magic event. I don't know whether I've ever shared that sentiment and I don't think he does.
I love geometry and jigsaw puzzles. Something in the exercises really appeal to me in the head. Playing the first half of each exercise just makes me try to figure out how the second half would be, as they are meant to be symmetrical. I find it pretty fascinating and I can just feel my mind working in a different way when I practice them. It is like I'm putting a jigsaw together in my head and I get to imagine the colors.
As for the "other" benefits of those exercises, I'm sure much has already been discussed by other pianists and pedagogues. It is almost a relief to practice repeated patterns and just concentrate on motifs after doing recital repertoire for a long time. It also got my sightreading back into shape very quickly since I had to accompany for a living lately. My prof did ask me to memorize each exercise and that is good advice, as I can focus on getting the coordination required. It does slow me down and makes me study them with more depth.
I play a whole bunch of them every day before I jump into my new literature. I work on memorizing some of them, giving the next set more detailed attention and just playing through the others at whatever speed is comfortable. The metronome is my friend. I keep Post-It flags at the piano and mark the ones that are tricky for me. When I come to a flagged page, I pay more attention to make sure I'm not hurting myself by going too fast or allowing weird movements. No pain is definitely more gain at the piano!
Monday, May 9, 2005
A Kite
I think life is sometimes like a kite. You need wind that's blowing against you and resistance to fly. The stronger the resistance the higher up you soar but first you have to be willing to run against the wind. Because God is the one holding the other end, I can afford to run against the wind. Isaiah 40:30-31
Sunday, May 8, 2005
"I Nailed That Stinker!!"
I think someone should record my first reactions after I finish performing. Today was the first time in a long while that I was truly happy with my playing. I finally played my heart out in the Beethoven Rondo as it is the last time I intend to play it for now. I gave all I had to give. I was very comfortable with the piece and did more with the expression, and pulled several surprises. The best thing is that I knew I had an audience even though there was a crying baby through the first part of the piece. I held them with me till the end.
I always enjoy playing in Winfield. I listened to two senior recitals on Saturday. After those two performances, I had to sit down and practice in Messenger. My usual SC habit was to practice late into the night and be the last to leave the building after security has locked it. Thursday this week was a significant day. Something just snapped and I got mad at my piano professor for the first time. A casual question became a catalyst. I cried for hours that afternoon and just poured out my frustrations and disappointments with not getting into doctoral school. So in Messenger, I played through all my pieces and was just so relieved to know that I can still play. It was all I needed and Sunday was great!!
Someone came up to me after the service and asked me a lot of questions. He finally said that his wife has a scholarship for Kansas graduates to attend the Aspen Music Festival and he wanted to know whether I would be interested. I left him my business card and I hope to hear from this person. We will see what happens.
I always enjoy playing in Winfield. I listened to two senior recitals on Saturday. After those two performances, I had to sit down and practice in Messenger. My usual SC habit was to practice late into the night and be the last to leave the building after security has locked it. Thursday this week was a significant day. Something just snapped and I got mad at my piano professor for the first time. A casual question became a catalyst. I cried for hours that afternoon and just poured out my frustrations and disappointments with not getting into doctoral school. So in Messenger, I played through all my pieces and was just so relieved to know that I can still play. It was all I needed and Sunday was great!!
Someone came up to me after the service and asked me a lot of questions. He finally said that his wife has a scholarship for Kansas graduates to attend the Aspen Music Festival and he wanted to know whether I would be interested. I left him my business card and I hope to hear from this person. We will see what happens.
Monday, May 2, 2005
Adjudicating Piano Festivals .. You are a candidate for "What Not to Wear"
I have just ventured into adjudicating piano festivals this year. I am glad that Winfield (Walnut Valley Music Teachers' Assoc) piano teachers remembered me and have graciously asked me to judge their students. I also adjudicated at the Ark City Middle School Festival.
I seem to have the reputation of being a nice person.. though I often feel I'm pretty hard on students. It is nerve racking at times what to say and what to write and what ratings to give. Of course in the mini masterclass settings, their parents and often very young siblings (I mean toddlers) could be in the room. I have heard of horror stories of a student not being able to take even the kindest critique and worse, having his/her parent/s jump on you.
Thankfully the comments I have received from the teachers about my rating sheets were complementary. I think after growing up in the Asian education system, I am much more careful not to attack the performer but just critic the performance. I remembered my ABRSM exams and the comments examiners gave me. They never attacked me, but they never really encouraged me either, mostly stated just as a matter of fact. I'm glad I took the time to carefully phrase my sentences and choose my words. I almost wanted copies of all my own rating sheets so I could see which words I overused (perhaps I still do). I hope I addressed the problem (if present) and offered enough comments/suggestions for the student & teacher to ponder. I dislike it when my students get comments that leave us nowhere to go.
I framed my comments in the context of whether the student displayed a basic understanding of the piece they were presenting. I didn't really care whether it was as fast as it should be (they were just in middle school) but I wanted to hear clear balance, some understanding of the technique required, some sense of phrasing and musical style. I found the most difficult task was giving an actual number rating. I hope my comments justified the rating I gave.
At times, I couldn't help but notice the stage etiquette. I think I lived with a theater costumer enough that I hope her great dress sense rubbed off on me. My favorite two comments that I wrote and may get me really famous in Winfield are:
"Your choice of footwear interferes with pedalling" She was wearing flipflops and there was little control of the damper pedal marring an otherwise decent rendering of an arrangement of Mozart's Turkish March.
"Remember every performance is a formal event and it is never too young to learn to dress professionally" This kid came in with uncombed hair (a huge unstyled afro), a t-shirt, ragged jeans and dirty sneakers. He looked like he rolled out of bed straight into the concert hall.
I will reserve the comment, "You are a candidate for "What Not to Wear" on TLC Fridays 7/8 Central" for the future. So until I judge more advanced students, I will continue to ponder all these and come up with more creative ways to critique but encourage.
I seem to have the reputation of being a nice person.. though I often feel I'm pretty hard on students. It is nerve racking at times what to say and what to write and what ratings to give. Of course in the mini masterclass settings, their parents and often very young siblings (I mean toddlers) could be in the room. I have heard of horror stories of a student not being able to take even the kindest critique and worse, having his/her parent/s jump on you.
Thankfully the comments I have received from the teachers about my rating sheets were complementary. I think after growing up in the Asian education system, I am much more careful not to attack the performer but just critic the performance. I remembered my ABRSM exams and the comments examiners gave me. They never attacked me, but they never really encouraged me either, mostly stated just as a matter of fact. I'm glad I took the time to carefully phrase my sentences and choose my words. I almost wanted copies of all my own rating sheets so I could see which words I overused (perhaps I still do). I hope I addressed the problem (if present) and offered enough comments/suggestions for the student & teacher to ponder. I dislike it when my students get comments that leave us nowhere to go.
I framed my comments in the context of whether the student displayed a basic understanding of the piece they were presenting. I didn't really care whether it was as fast as it should be (they were just in middle school) but I wanted to hear clear balance, some understanding of the technique required, some sense of phrasing and musical style. I found the most difficult task was giving an actual number rating. I hope my comments justified the rating I gave.
At times, I couldn't help but notice the stage etiquette. I think I lived with a theater costumer enough that I hope her great dress sense rubbed off on me. My favorite two comments that I wrote and may get me really famous in Winfield are:
"Your choice of footwear interferes with pedalling" She was wearing flipflops and there was little control of the damper pedal marring an otherwise decent rendering of an arrangement of Mozart's Turkish March.
"Remember every performance is a formal event and it is never too young to learn to dress professionally" This kid came in with uncombed hair (a huge unstyled afro), a t-shirt, ragged jeans and dirty sneakers. He looked like he rolled out of bed straight into the concert hall.
I will reserve the comment, "You are a candidate for "What Not to Wear" on TLC Fridays 7/8 Central" for the future. So until I judge more advanced students, I will continue to ponder all these and come up with more creative ways to critique but encourage.
Saturday, April 30, 2005
Of Nerves and Such
Tomorrow I play at my church, Central Christian on N. Rock Road Wichita Kansas. I never thought I would be so nervous the night before a performance. Usually I am eating my favorite food and watching tv. Tonight, I find myself thinking a lot about the one piece I have to play and my practice is a little frantic even though I know it well. I wonder whether it is the sheer size of the congregation (around 2000) that is unnerving me, or that my piano professor will be coming, or that many of my friends there have never heard me play.
I also may have another opportunity to audition at another university. I don't know whether this would be the golden opportunity that I shouldn't miss or the straw that breaks the camel's back. I think that my confidence is in shreds and my nerves are shot, after the last audition. I wonder whether there are universities out there that would focus on what they can do for me, rather then just only on what I can do for them. I will write to the dept chair and see what I can find out. In the meanwhile, I have my cv, repertoire lists and what-nots ready to be mailed at anytime now.
Anyhow, I'm practicing dilligently and I'm doing alright financially at this point. I started a temp. job with the Sucess for All Foundation and I like it. That eases a lot of the worry as to whether I'll be able to survive through the summer.
Sleep beckons as a great opportunity awaits me tomorrow morning.
I also may have another opportunity to audition at another university. I don't know whether this would be the golden opportunity that I shouldn't miss or the straw that breaks the camel's back. I think that my confidence is in shreds and my nerves are shot, after the last audition. I wonder whether there are universities out there that would focus on what they can do for me, rather then just only on what I can do for them. I will write to the dept chair and see what I can find out. In the meanwhile, I have my cv, repertoire lists and what-nots ready to be mailed at anytime now.
Anyhow, I'm practicing dilligently and I'm doing alright financially at this point. I started a temp. job with the Sucess for All Foundation and I like it. That eases a lot of the worry as to whether I'll be able to survive through the summer.
Sleep beckons as a great opportunity awaits me tomorrow morning.
Thursday, April 7, 2005
Piano Library Database
A couple years ago, I started putting all my piano books and vocal books into a database. It's a time consuming effort but I think it's worth it. I finally had a total sum of the money I've spent on piano literature and what the current value of those books are. Phewy!! I will consider insuring my library.
However, I have not entered my piano pedagogy materials and musicology related books into my database. Perhaps I will do so soon. What I'd really like is an embossing seal for all my books. So if anyone decides to steal my books, they'd have to cut out quite a few pages.
If you walked into my apartment now, you'd see piles and stacks of books everywhere. I have effectively run out of bookshelves to store all my books. At least, my piano books are shelved alphabetically by composer so there is some sense of order, though it doesn't seem so at first glance. I think every musician has a stack of music somewhere that isn't organized :)
However, I have not entered my piano pedagogy materials and musicology related books into my database. Perhaps I will do so soon. What I'd really like is an embossing seal for all my books. So if anyone decides to steal my books, they'd have to cut out quite a few pages.
If you walked into my apartment now, you'd see piles and stacks of books everywhere. I have effectively run out of bookshelves to store all my books. At least, my piano books are shelved alphabetically by composer so there is some sense of order, though it doesn't seem so at first glance. I think every musician has a stack of music somewhere that isn't organized :)
Wednesday, April 6, 2005
Upcoming Performances
April 29, 2005, 7:00 pm
Wichita Area Technical College Commencement.
Prelude Music, Processional and Recessional.
May 1, 2005, 8:45 am & 10:30 am Services
Central Christian Church, 2900 N Rock Rd. Wichita KS
Special Music: Beethoven, Sonata No. 15 in D major "Pastorale" - Rondo (4th mvt)
May 8, 2005, 10:50 am Service
Grace United Methodist Church, 320 College St. Winfield KS
Special Music: Granados, Valses Poeticos - Introduction & Vals 1
Offertory: TBA
Wichita Area Technical College Commencement.
Prelude Music, Processional and Recessional.
May 1, 2005, 8:45 am & 10:30 am Services
Central Christian Church, 2900 N Rock Rd. Wichita KS
Special Music: Beethoven, Sonata No. 15 in D major "Pastorale" - Rondo (4th mvt)
May 8, 2005, 10:50 am Service
Grace United Methodist Church, 320 College St. Winfield KS
Special Music: Granados, Valses Poeticos - Introduction & Vals 1
Offertory: TBA
CMS Paper "Jasmine Flower in Three Different Lights"
Abstract:
The East has always held a seductive grasp on the West. Considered unusual, yet highly regarded, many artists looked to the East for inspiration, blending the exotic and their own authenticity. The famous Chinese melody, “Jasmine Flower” or “Mor Li Hua” has been used by at least three different composers as the basis for their works. It is the only authentic Chinese melody in Puccini’s opera. “Turandot” and Australian-American composer, Percy Grainger and Russian composer, Anton Arensky both have piano settings of this tune. The simple tune, based on the pentatonic scale is raised to a higher level of art by elaboration and/or harmonization. Percy Grainger’s work successfully captures the authenticity of the Chinese theme through pentatonic harmonization, but Arensky’s and Puccini’s works display the exoticism of the melody through diatonic harmonization. Grainger, who based his work on Joseph Yasser’s earlier harmonization of the tune, proves that even the most superficial use of the Chinese pentatonic scale has beauty in its simplicity. Arensky displays the more sentimental aspect of this tune, but elaborates it into a sparkling display of piano technique. Puccini associates the main character, a foreign princess, of his opera with this melody. The three different settings of “Mor-li-hua” display the three different approaches to the assimilation of orientalism into their compositions intended for Western instruments and audiences.
A complete understanding of orientalism in art and music in the Western world remains incomplete even though much research has been done. Much of the research on this topic has been slanted by Edward Said’s view that orientalism is a form of imperialism fraught with political agendas. Even though I am Asian and am aware of some instances where the East has been exploited, I approach this research project with an opposite focus that the West does not always mean to deprecate the East when it adapts Oriental idioms. Artists and composers are frequently uninterested in politics and would probably prefer to remain uninvolved. On the other hand, this does not mean they are unobservant of the times and the social issues that are at hand; sometimes they are simply caught in between art and politics. I would argue that the composers I wish to discuss today used an oriental tune in their compositions, but had no political agendas and treated this melody respectfully.
“Jasmine Flower” or “Mor-li-hua,” a famous Chinese melody, has been documented by many, transcribed by many, and creatively used by several different composers. This tune, a simple melody based on the pentatonic scale, was performed at the closing ceremony of the Olympics in Athens last year to anchor the opening ceremony of the Beijing 2008 Olympics––thus is the popularity and patriotism this melody symbolizes for the people of China. Opening with a Chinese instrumental ensemble, accompanied by a modern techno beat, and closing with an unaccompanied version of this song sung by a child, the melody retains its charm. It is unquestioningly one of the most famous Chinese folksongs today. There are about six known variants of this melody. The most famous variant, made well-known by Giacomo Puccini in Turandot is utilized by Anton Arensky in his Etude op. 25 no 3, by Percy Grainger in Beautiful Fresh Flower and in a more recent rendering by award-winning Chinese composer, Tan Dun, in the first movement of his Symphony 1997.
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For a copy of the paper, you can feel free to email me. If you know of any more resources that you think would be of interest to me, do contact me. Of course, you can feel free to post your comments and suggestions on this topic.
The East has always held a seductive grasp on the West. Considered unusual, yet highly regarded, many artists looked to the East for inspiration, blending the exotic and their own authenticity. The famous Chinese melody, “Jasmine Flower” or “Mor Li Hua” has been used by at least three different composers as the basis for their works. It is the only authentic Chinese melody in Puccini’s opera. “Turandot” and Australian-American composer, Percy Grainger and Russian composer, Anton Arensky both have piano settings of this tune. The simple tune, based on the pentatonic scale is raised to a higher level of art by elaboration and/or harmonization. Percy Grainger’s work successfully captures the authenticity of the Chinese theme through pentatonic harmonization, but Arensky’s and Puccini’s works display the exoticism of the melody through diatonic harmonization. Grainger, who based his work on Joseph Yasser’s earlier harmonization of the tune, proves that even the most superficial use of the Chinese pentatonic scale has beauty in its simplicity. Arensky displays the more sentimental aspect of this tune, but elaborates it into a sparkling display of piano technique. Puccini associates the main character, a foreign princess, of his opera with this melody. The three different settings of “Mor-li-hua” display the three different approaches to the assimilation of orientalism into their compositions intended for Western instruments and audiences.
A complete understanding of orientalism in art and music in the Western world remains incomplete even though much research has been done. Much of the research on this topic has been slanted by Edward Said’s view that orientalism is a form of imperialism fraught with political agendas. Even though I am Asian and am aware of some instances where the East has been exploited, I approach this research project with an opposite focus that the West does not always mean to deprecate the East when it adapts Oriental idioms. Artists and composers are frequently uninterested in politics and would probably prefer to remain uninvolved. On the other hand, this does not mean they are unobservant of the times and the social issues that are at hand; sometimes they are simply caught in between art and politics. I would argue that the composers I wish to discuss today used an oriental tune in their compositions, but had no political agendas and treated this melody respectfully.
“Jasmine Flower” or “Mor-li-hua,” a famous Chinese melody, has been documented by many, transcribed by many, and creatively used by several different composers. This tune, a simple melody based on the pentatonic scale, was performed at the closing ceremony of the Olympics in Athens last year to anchor the opening ceremony of the Beijing 2008 Olympics––thus is the popularity and patriotism this melody symbolizes for the people of China. Opening with a Chinese instrumental ensemble, accompanied by a modern techno beat, and closing with an unaccompanied version of this song sung by a child, the melody retains its charm. It is unquestioningly one of the most famous Chinese folksongs today. There are about six known variants of this melody. The most famous variant, made well-known by Giacomo Puccini in Turandot is utilized by Anton Arensky in his Etude op. 25 no 3, by Percy Grainger in Beautiful Fresh Flower and in a more recent rendering by award-winning Chinese composer, Tan Dun, in the first movement of his Symphony 1997.
-------------------------
For a copy of the paper, you can feel free to email me. If you know of any more resources that you think would be of interest to me, do contact me. Of course, you can feel free to post your comments and suggestions on this topic.
College Music Society Great Plains Chapter Meeting .. The Fun Stuff
I presented my paper entitled "Jasmine Flower in Three Different Lights" at the College Music Society Great Plains Chapter Meeting in Liberty MO. Unlike the previous week's trip to Kansas City, I brought my whole brain with me and had regained my sense of direction. I did not get lost and found William Jewell College easily.
I enjoyed the complimentary concert at the Music Hall immensely. The Prague Philharmonic is a great orchestra. The amazing feat performed by the substitute pianist at the last minute, was just awesome. We couldn't believe that he had not practiced and did not find out that he would be performing Dvorak's 2nd Piano Concerto until 5:30pm that day. There were hardly any mistakes.. maybe one or two notes that were a tad blurred. The audience gave him the applause he deserved and he played a Chopin Mazurka as an encore. However, the most amusing person was the timpanist. I have never seen a more enthusiatic performer, following and gesturing the conductor's every cue with his head (whom, by the way, had a dyed red mohawk). I could hear suppressed giggles in the audience. We knew when the timpani was about to appear since he flashes the biggest smile as his entrance approaches and he plays with such flair, no one would have missed him.
As far as my presentation went, I expected something to go wrong and yes, something did. My CD wouldn't play and I had to think very quickly. I wasn't prepared to play the excerpts without the approval of Dr. Trechak, my piano professor and certainly didn't want to read open score for the opera excerpt. The tech. had to plug in my laptop and play it from there. It was the first time that I walked on stage to a podium instead of the piano. Although I have no qualms about performing, I found out that I was nervous having to present a paper. I broke the ice by giving the background of my research and what it meant to me. Somehow you can always endear an audience when you talk to them about childhood. Yes, I learned the Chinese folksong "Morlihua" my first day at Chinese class when I was pretty young then. The presentation went nicely and I had to face the questions. I think I managed to give satisfactory answers to the ones posed.
I am certain I was the youngest participant and presenter at that conference. It gave me a chance to see what a musicology conference is like. I received many compliments about my paper and left calling cards with a few people. They are going to take my project back to their classes. I met someone from Italy who has the same interest in my topic. That is what I had hoped would happen so I believe I would be in contact with this person.
I enjoyed the complimentary concert at the Music Hall immensely. The Prague Philharmonic is a great orchestra. The amazing feat performed by the substitute pianist at the last minute, was just awesome. We couldn't believe that he had not practiced and did not find out that he would be performing Dvorak's 2nd Piano Concerto until 5:30pm that day. There were hardly any mistakes.. maybe one or two notes that were a tad blurred. The audience gave him the applause he deserved and he played a Chopin Mazurka as an encore. However, the most amusing person was the timpanist. I have never seen a more enthusiatic performer, following and gesturing the conductor's every cue with his head (whom, by the way, had a dyed red mohawk). I could hear suppressed giggles in the audience. We knew when the timpani was about to appear since he flashes the biggest smile as his entrance approaches and he plays with such flair, no one would have missed him.
As far as my presentation went, I expected something to go wrong and yes, something did. My CD wouldn't play and I had to think very quickly. I wasn't prepared to play the excerpts without the approval of Dr. Trechak, my piano professor and certainly didn't want to read open score for the opera excerpt. The tech. had to plug in my laptop and play it from there. It was the first time that I walked on stage to a podium instead of the piano. Although I have no qualms about performing, I found out that I was nervous having to present a paper. I broke the ice by giving the background of my research and what it meant to me. Somehow you can always endear an audience when you talk to them about childhood. Yes, I learned the Chinese folksong "Morlihua" my first day at Chinese class when I was pretty young then. The presentation went nicely and I had to face the questions. I think I managed to give satisfactory answers to the ones posed.
I am certain I was the youngest participant and presenter at that conference. It gave me a chance to see what a musicology conference is like. I received many compliments about my paper and left calling cards with a few people. They are going to take my project back to their classes. I met someone from Italy who has the same interest in my topic. That is what I had hoped would happen so I believe I would be in contact with this person.
How To Blow A Grad School Interview (with much grace)
Answers You Do Not Give At An Interview:
How many Beethoven Sonatas have you played?
One.
How many Mozart Sonatas have you played?
One that I'm sure of. Maybe more but I don't remember
How many Haydn Sonatas have you played?
One. .. Well I didn't list the works I don't remember studying with a teacher. There is likely more, but I can't recall at this point.
Have you played a concerto before?
No.
Have you sightread a concerto before?
Yes.
Which one?
Mozart's no. 15 in B-flat major.
Who is your favorite Romantic composer?
Don't really have one. Maybe Brahms and I love the Grieg piece I played. It's not Chopin.. a little too melancholy but I'm sure as I grow older and go through more heartbreak, I will appreciate it more.
What did you do last semester?
I kept working on my previous recital pieces and I wrote a paper on two pieces I played in my graduate recital. I will be presenting that paper at the College Music Society next week. (No response from interview committee)
Is the Chinese piece you played very famous?
Yes it is, in China. The composer and transcriber are household names over there.
What is your technical work in?
Umm some Hanon but it's really haphazard so that's what I really want to and need to work on.
Do you sightread well?
I think so.
Questions I Wish They Asked: (but it's just wishful thinking)
What are your future plans?
What are some pieces you would like to learn?
How are you planning to expand your repertoire list?
Where do you see yourself pianistically in a few years?
Now you wonder what exactly happened at my audition interviews besides getting lost at every turn trying to get to UMKC and showing up late to my audition, dealing with a vibrating piano bench at OU (because there was some really loud stuff right below the studio). Another possible explanation is I may be turning blonde!! But could that really happen? I hope not.
I plan to just forge on despite being turned down. I still like the piano a lot, and someday I will love it I hope. Without the stress of the auditions, I actually look forward to practicing every day and enjoy it very much. By the way, the neighbour that complains about my "noise" (I call it music) moved out!! I am thrilled.
How many Beethoven Sonatas have you played?
One.
How many Mozart Sonatas have you played?
One that I'm sure of. Maybe more but I don't remember
How many Haydn Sonatas have you played?
One. .. Well I didn't list the works I don't remember studying with a teacher. There is likely more, but I can't recall at this point.
Have you played a concerto before?
No.
Have you sightread a concerto before?
Yes.
Which one?
Mozart's no. 15 in B-flat major.
Who is your favorite Romantic composer?
Don't really have one. Maybe Brahms and I love the Grieg piece I played. It's not Chopin.. a little too melancholy but I'm sure as I grow older and go through more heartbreak, I will appreciate it more.
What did you do last semester?
I kept working on my previous recital pieces and I wrote a paper on two pieces I played in my graduate recital. I will be presenting that paper at the College Music Society next week. (No response from interview committee)
Is the Chinese piece you played very famous?
Yes it is, in China. The composer and transcriber are household names over there.
What is your technical work in?
Umm some Hanon but it's really haphazard so that's what I really want to and need to work on.
Do you sightread well?
I think so.
Questions I Wish They Asked: (but it's just wishful thinking)
What are your future plans?
What are some pieces you would like to learn?
How are you planning to expand your repertoire list?
Where do you see yourself pianistically in a few years?
Now you wonder what exactly happened at my audition interviews besides getting lost at every turn trying to get to UMKC and showing up late to my audition, dealing with a vibrating piano bench at OU (because there was some really loud stuff right below the studio). Another possible explanation is I may be turning blonde!! But could that really happen? I hope not.
I plan to just forge on despite being turned down. I still like the piano a lot, and someday I will love it I hope. Without the stress of the auditions, I actually look forward to practicing every day and enjoy it very much. By the way, the neighbour that complains about my "noise" (I call it music) moved out!! I am thrilled.
Wednesday, February 16, 2005
Trouble with travelling so much
*sigh* I wonder how I'm going to keep my private students happy. I have had to move their lessons around so many times these couple months. My audition at U of Nebraska-Lincoln was postponed to the next week meaning I have to reschedule everyone for this week and next week again. There are two more auditions coming up and no more weekends available until April. I have two conferences I will need to present at. I am also going to have to move at the end of March, so there goes Easter weekend.
Lucky me!
I may never get to fully unpack my suitcase until April except for changing the clothes I put in. I'm so thankful for a laptop. It makes travelling, editing papers and keeping in touch much easier. (I love wireless connections.)
It's also very difficult for me to find another part-time job since I'm gone so much. I don't think my employers would understand. So far, I've two interviews. I was hired in Jan but never called to work. I am waiting for word on my last interview which was on Monday.
I hope gas prices come down and that I would be able to afford all these trips I'm taking. I may have another job and may have a cheaper place to stay. I'm thinking of bunking with a friend for the next couple months and just see where things lead to.
Lucky me!
I may never get to fully unpack my suitcase until April except for changing the clothes I put in. I'm so thankful for a laptop. It makes travelling, editing papers and keeping in touch much easier. (I love wireless connections.)
It's also very difficult for me to find another part-time job since I'm gone so much. I don't think my employers would understand. So far, I've two interviews. I was hired in Jan but never called to work. I am waiting for word on my last interview which was on Monday.
I hope gas prices come down and that I would be able to afford all these trips I'm taking. I may have another job and may have a cheaper place to stay. I'm thinking of bunking with a friend for the next couple months and just see where things lead to.
U of Oregon outcome
Hmmm as I guessed. My gut feeling was correct. I should have reversed my application to a PhD instead prior to my audition. I don't think the musicology faculty got to review my file before I got there. Too bad I did not get to meet them. Maybe it was best if I did what I thought about doing: skipping my audition. I so badly wanted to but they found me and I would feel very bad for my sponsor.
My consolation that evening was a good salmon and red snapper dinner. Matt and Crystal who hosted me are wonderful. I wish them the best in their engagement and upcoming wedding. It is so exciting! I liked the place and the people. It is always fun when you have a roomful of music majors to hang out with.
Time to move on to the next audition.
My consolation that evening was a good salmon and red snapper dinner. Matt and Crystal who hosted me are wonderful. I wish them the best in their engagement and upcoming wedding. It is so exciting! I liked the place and the people. It is always fun when you have a roomful of music majors to hang out with.
Time to move on to the next audition.
Saturday, February 12, 2005
U of Oregon audition
I am giving doctoral school a shot. The next couple posts will chronicle that.
I thought I should record my feelings after this audition in Eugene OR. Yesterday I felt like not showing up for my audition today. They threw a curve ball at me and told me that if I wanted to teach class piano to majors I'd have to take a theory test. I would have to be good at aural skills, keyboard skills and a written part to qualify for the position. I really don't think it was fair. If I do not take the test, they'd wonder what's up with me and if I do badly on the test (which I'm sure I will after looking through what they would ask), they would also wonder. Either way, I don't like this situation.
Today, I felt like I was 14 again flunking Grade 8 scales, stuff I should be playing better by now. I think I played horribly and butchered Beethoven (again). Why do they always pick pieces you aren't good at? Murphy's Law was at work today. The piano has really light action and was very bright. I struggled to control it. I thought I wasn't shading anything and may have not produced the variety of tone color that I intended.
The campus is a beautiful place and I like the library a lot! I do not know what I think about the music school. I think the standards that they have are great. The facilities are ok and the practice rooms are nice. I may practice there a little more today. I met the piano faculty but I didn't manage to meet with the musicology faculty :(. Maybe, I should ditch the piano and pursue that instead. I will meet with a piano prof later this afternoon and I'll see what she says. Wait for the next post.
I thought I should record my feelings after this audition in Eugene OR. Yesterday I felt like not showing up for my audition today. They threw a curve ball at me and told me that if I wanted to teach class piano to majors I'd have to take a theory test. I would have to be good at aural skills, keyboard skills and a written part to qualify for the position. I really don't think it was fair. If I do not take the test, they'd wonder what's up with me and if I do badly on the test (which I'm sure I will after looking through what they would ask), they would also wonder. Either way, I don't like this situation.
Today, I felt like I was 14 again flunking Grade 8 scales, stuff I should be playing better by now. I think I played horribly and butchered Beethoven (again). Why do they always pick pieces you aren't good at? Murphy's Law was at work today. The piano has really light action and was very bright. I struggled to control it. I thought I wasn't shading anything and may have not produced the variety of tone color that I intended.
The campus is a beautiful place and I like the library a lot! I do not know what I think about the music school. I think the standards that they have are great. The facilities are ok and the practice rooms are nice. I may practice there a little more today. I met the piano faculty but I didn't manage to meet with the musicology faculty :(. Maybe, I should ditch the piano and pursue that instead. I will meet with a piano prof later this afternoon and I'll see what she says. Wait for the next post.
Wednesday, January 19, 2005
Graduate Recital Press Release
Tham to Present Piano Recital at SC
Graduate Recital Poster
Winfield, Kan., March 19, 2004 — Pianist Gloria Tham will return to her alma mater when she presents a recital at Southwestern College Tuesday, April 13. The free concert will begin at 7:30 p.m. in Messenger Recital Hall of Darbeth Fine Arts Center.
Tham has chosen a varied program for the evening including Bach’s “Italian Concerto,” Beethoven’s “Pastorale Sonata,” and Grieg’s “Holberg Suite for Piano.” The recital also will explore the use of Chinese music by Western composers and Chinese music for Western instruments. Two pieces are based on the Chinese folksong “Jasmine Flower” by Percy Grainger and Anton Arensky. The recital will close with “The Moon Reflected Over Second Springs,” Chu Wanghua's piano transcription of a Chinese erhu piece by blind Chinese composer Abing.
Born in Kampar, Malaysia, Tham started piano lessons at age five. She graduated from Southwestern summa cum laude in 2002, with a degree in piano performance. Her teacher was Tim Shook. She holds the Performer's Certificate in Piano from Trinity College – London.
Following a year of graduate work at Kansas State University as a student of Virginia Houser, Tham now is a graduate teaching assistant at Wichita State University. She is pursuing a master of music degree in piano performance, studying under Andrew Trechak. Tham’s duties at WSU include teaching applied piano and class piano. She is state secretary for the Student Music Teacher's Association and is active as both accompanist and in music ministry.
In addition to her Southwestern College recital, Tham will perform at Emporia State University (lecture/performance), College Avenue United Methodist Church in Manhattan (recital), and at Cowley County Community College (lecture/performance). She will present her graduate recital April 30 at 7:30 p.m. in Wiedemann Recital Hall on the campus of Wichita State University. All performances are free and open to the public.
Southwestern College is a private institution granting undergraduate and graduate degrees and is affiliated with the United Methodist Church. More than 1,400 students attend classes at the main Winfield campus, professional studies sites in Winfield and Wichita, or online.
Graduate Recital Poster
Winfield, Kan., March 19, 2004 — Pianist Gloria Tham will return to her alma mater when she presents a recital at Southwestern College Tuesday, April 13. The free concert will begin at 7:30 p.m. in Messenger Recital Hall of Darbeth Fine Arts Center.
Tham has chosen a varied program for the evening including Bach’s “Italian Concerto,” Beethoven’s “Pastorale Sonata,” and Grieg’s “Holberg Suite for Piano.” The recital also will explore the use of Chinese music by Western composers and Chinese music for Western instruments. Two pieces are based on the Chinese folksong “Jasmine Flower” by Percy Grainger and Anton Arensky. The recital will close with “The Moon Reflected Over Second Springs,” Chu Wanghua's piano transcription of a Chinese erhu piece by blind Chinese composer Abing.
Born in Kampar, Malaysia, Tham started piano lessons at age five. She graduated from Southwestern summa cum laude in 2002, with a degree in piano performance. Her teacher was Tim Shook. She holds the Performer's Certificate in Piano from Trinity College – London.
Following a year of graduate work at Kansas State University as a student of Virginia Houser, Tham now is a graduate teaching assistant at Wichita State University. She is pursuing a master of music degree in piano performance, studying under Andrew Trechak. Tham’s duties at WSU include teaching applied piano and class piano. She is state secretary for the Student Music Teacher's Association and is active as both accompanist and in music ministry.
In addition to her Southwestern College recital, Tham will perform at Emporia State University (lecture/performance), College Avenue United Methodist Church in Manhattan (recital), and at Cowley County Community College (lecture/performance). She will present her graduate recital April 30 at 7:30 p.m. in Wiedemann Recital Hall on the campus of Wichita State University. All performances are free and open to the public.
Southwestern College is a private institution granting undergraduate and graduate degrees and is affiliated with the United Methodist Church. More than 1,400 students attend classes at the main Winfield campus, professional studies sites in Winfield and Wichita, or online.
Senior Recital Press Release
Winfield, Kan., Monday, April 29, 2002 — Southwestern College students Morlin Jonatan and Gloria Tham will perform senior piano recitals at the college next week. Both recitals are open to the public without charge.
Jonatan, a music performance major with a minor in art, will perform at 7:30 p.m. Wednesday, May 8, in Messenger Recital Hall. She is originally from Jakarta, Indonesia, and began playing piano at age nine.
Tham, a music performance major studying under Timothy Shook, will perform at 7:30 p.m. Friday, May 10, in Messenger Recital Hall. A reception will follow.
From Kampar, Malaysia, Tham began playing piano at the age of five and holds the Performer’s Certificate in Piano from Trinity College, London. She will perform an arrangement of Chinese opera songs as well as pieces by Bach, Mozart, and Schubert.
An active performer in the Winfield area, Tham serves as music director at Winfield First Christian Church and accompanist for Winfield High School A Cappella Choir and Soundsations. She is listed in the 2002 edition of “Who’ s Who Among Students in American Universities and Colleges.” Tham hopes to pursue graduate studies in the United States.
Jonatan, a music performance major with a minor in art, will perform at 7:30 p.m. Wednesday, May 8, in Messenger Recital Hall. She is originally from Jakarta, Indonesia, and began playing piano at age nine.
Tham, a music performance major studying under Timothy Shook, will perform at 7:30 p.m. Friday, May 10, in Messenger Recital Hall. A reception will follow.
From Kampar, Malaysia, Tham began playing piano at the age of five and holds the Performer’s Certificate in Piano from Trinity College, London. She will perform an arrangement of Chinese opera songs as well as pieces by Bach, Mozart, and Schubert.
An active performer in the Winfield area, Tham serves as music director at Winfield First Christian Church and accompanist for Winfield High School A Cappella Choir and Soundsations. She is listed in the 2002 edition of “Who’ s Who Among Students in American Universities and Colleges.” Tham hopes to pursue graduate studies in the United States.
Why Learn to Play the Piano?
Why would one want to learn to play the piano? Some for fun, some to perform, some to play for church, some to start gigging, and for people like me, to learn to play and teach better. As with learning any skill, it takes effort, perseverance, persistence and dedication to master an instrument. Practice unlocks more possibilities than just natural talent.
It is easy to get a sound from the piano unlike some other instruments where playing the first note is a challenge. (Ask me about learning to play the trumpet!) On the other hand, getting a beautiful tone out of the piano takes practice, and good technique. One gets to play bass and treble at the same time. The piano can stand alone, and you probably never need to hire an accompanist (unless you play one of those wacky accompanied sonatas as a courting ritual. Will post more about this when I read up) Most of all, the piano has a wonderful and broad range of literature, and different genres. One would not be limited and there are always pieces to learn at all levels. (Every student wants to play Beethoven's Fur Elise but very few play it well.)
Playing the piano definitely builds hand and eye and feet coordination. There are 88 keys and three pedals, allowing for many possibilities and combinations. If you have a reading disorder, your piano teacher would probably pick that up. Pianists have to read not only horizontally but also vertically. There are many studies on sight-playing (more commonly referred to as sight-reading) and these experiments track eye movements while one reads music at the piano. Since the piano has both treble and bass, one would learn to be proficient in both clefs. Learning the piano will also help with understanding and applying the theory of music, and aural skills.
For the history buffs, the piano contains rich history, both in its invention and development, and of the people who are connected to piano, either as composers or performers.
So here's my two cents (for now)!
It is easy to get a sound from the piano unlike some other instruments where playing the first note is a challenge. (Ask me about learning to play the trumpet!) On the other hand, getting a beautiful tone out of the piano takes practice, and good technique. One gets to play bass and treble at the same time. The piano can stand alone, and you probably never need to hire an accompanist (unless you play one of those wacky accompanied sonatas as a courting ritual. Will post more about this when I read up) Most of all, the piano has a wonderful and broad range of literature, and different genres. One would not be limited and there are always pieces to learn at all levels. (Every student wants to play Beethoven's Fur Elise but very few play it well.)
Playing the piano definitely builds hand and eye and feet coordination. There are 88 keys and three pedals, allowing for many possibilities and combinations. If you have a reading disorder, your piano teacher would probably pick that up. Pianists have to read not only horizontally but also vertically. There are many studies on sight-playing (more commonly referred to as sight-reading) and these experiments track eye movements while one reads music at the piano. Since the piano has both treble and bass, one would learn to be proficient in both clefs. Learning the piano will also help with understanding and applying the theory of music, and aural skills.
For the history buffs, the piano contains rich history, both in its invention and development, and of the people who are connected to piano, either as composers or performers.
So here's my two cents (for now)!
Tuesday, January 18, 2005
Getting Started
Hello there! Welcome to the musical musings by Gloria. Thanks for dropping by and I hope you come back often.
I have played the piano for almost 20 years now. I want to journal about my experiences with it. Hmm... adrenaline junkie, performance anxiety, recital mishaps (musical mousings), accompanying singers (can they count or can't they?), literature, technique (ugh scales!!), church music contemporary and traditional, practicing: too much or the lack of it, getting neighbours mad because I am practicing, moving pianos, dropping pianos, writing papers, researching topics, teaching piano, class piano. Well I think that is enough stuff to keep this blog going for long awhile.
I have played the piano for almost 20 years now. I want to journal about my experiences with it. Hmm... adrenaline junkie, performance anxiety, recital mishaps (musical mousings), accompanying singers (can they count or can't they?), literature, technique (ugh scales!!), church music contemporary and traditional, practicing: too much or the lack of it, getting neighbours mad because I am practicing, moving pianos, dropping pianos, writing papers, researching topics, teaching piano, class piano. Well I think that is enough stuff to keep this blog going for long awhile.
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