Struck, Plucked and Bowed: Exploring Piano Pedagogy within the Orbit of Other Instruments

Of the skills in the performer's toolbox, there are many that cross the boundaries of genre, instrument and even withstand stylistic changes over time. However, there are certain skills and affectations that are uniquely within the idiosyncrasies of each instrument – unique flavours, as it were, for an instrument's specific palette. How harpsichord music is played on the piano and how both are affected by the world of bowed strings, will be explored in this presentation.

We will explore aspects of piano performance including rubato and articulation that differ from, for example, that of the bowed strings as well as the harpsichord. How the keys and hammers swing certainly differ from the ways in which strings are plucked and bows dance, creating different outcomes of accents, phrasing and overall musical offerings. Some of the more intriguing keyboard articulations found in the Baroque and early Classical periods might also make more sense when they are considered in the context of string articulations.

A conversation about these differences not only invites an exploration of ways in which pianists and string players might try new things, but builds on retrospection and appreciation that has the potential to advance chamber music performance, as well as educational approaches, particularly for students who play more than one instrument. This presentation will include the use of a harpsichord, courtesy of Wicked Music People.

Wellness for Pianists: Developing Healthy Piano Techniques Through the Understandings of Anatomy, Movement, and Alignment

Forearm soreness, wrist pain and tension are pervasive yet often unaddressed symptoms amongst pianists, arising from a lack of awareness in the biomechanics of piano playing. In recent decades, pedagogical approaches such as Taubman, Lister-Sink and Roskell have brought to light the physiological aspects of piano technique. These approaches converge on some essential concepts: anatomical awareness of the hand, arm and body, efficient movement patterns in piano playing and alignment of the playing biomechanics.

Wellness for Pianists is an interactive workshop that aims to raise awareness on healthy piano techniques through a deeper understanding of these concepts. It highlights the proper understanding of the structure of the hands, arms and body, how the body moves while playing the piano and how the various joints and parts align in achieving physical freedom in playing.

Presentations, demonstrations, repertoire analysis and live guided assessments of piano technique will be featured in this workshop to address the importance of developing a healthy piano technique for longevity and enjoyment in piano playing. It is ideal for both piano educators and practitioners seeking to integrate wellness into their artistic practice.

Educator Reflections on Parental Expectations and Assessment Culture in Malaysian Piano Lessons

In Malaysia’s exam-oriented education culture, piano teachers often face pressure from parents to prioritise exam results over holistic musicianship. This study investigates how educators in Kuching, Sarawak navigate parental expectations, balance exam preparation with creative learning and perceive the impact of digital assessments on teaching. A mixedmethods survey of 35 piano teachers was conducted, combining quantitative questions on parental influence with qualitative reflections on pedagogy and musicianship.

Findings revealed that 68.57% of educators experienced some degree of parental pressure, though over half reported parental support for their professional judgment. Many teachers (44.12%) adapted their teaching based on students' individual goals and 38.24% strove for a balanced approach between exam preparation and musical creativity. While 97.14% were open to teaching without exams, half stated parental agreement was essential. Most educators (73.5%) felt that exams constrained creative instruction at least occasionally and though 85.3% used digital exams, only 25.71% believed they supported holistic development. Improvisation and aural skills were commonly underemphasised.

The study highlighted the ongoing tension between assessment demands and educational ideals. It recommended increased institutional support, parental awareness and reforms to better align piano education with broader artistic and developmental goals.

The Meanings of Professional Development: Perspectives of Malaysian Piano Teachers

In Malaysia, the work of music studio teachers outside of schools and in private settings is unregulated and they have limited access to professional development opportunities. Globally, research on the professional development and identities of music teachers has mostly focused on classroom music teachers, where professional development is often mandated and official support is given. However, little is known about how music studio teachers view professionalism, how they access professional development in this context and what such development means for them. For this interpretative phenomenological analysis, we interviewed 12 piano teachers who work in Malaysia to understand the meanings of professionalism and professional development for them. Individual themes that arose from within-case analysis were conceptually combined to form eight superordinate themes. The first four superordinate themes relate to understandings of professionalism. Participants described a professional pride which involves not only love and enjoyment of music and teaching, but also manifests flexibility and responsiveness; it entails both teacher and student performing and understanding music and demonstrates relationality, communication skills and a positive character. The remaining four superordinate themes relate to understandings of professional development, including the ideas that professional development requires proactivity, that professional development opportunities are affected by environmental and material factors, that professional connections affect development and finally that training, experience and mentorship support professional development. In this presentation, I posit that the lack of formal structures in Malaysia means that professionalism is selfdetermined by the teacher, while professional development relies on the individual commitment and motivation of teachers. Teachers need greater access to support systems or learning opportunities, and the move to online teacher support sessions due to COVID disruptions offers some opportunities for supporting professional development more effectively.

Beyond Grades: Understanding Parental Perspectives and Redefining Piano Learning Priorities in a Malaysian Music Studio

In a rapidly evolving educational landscape, sustaining passion in music learning requires a shift beyond conventional benchmarks such as graded examinations. This study explored parental perspectives on children's piano education at WonderKeys Music Studio in Kuching, Malaysia. Through a structured questionnaire with both quantitative and open-ended components, 120 parent respondents offered insight into their long-term goals, perceptions of exam importance, responses to creativefocused pedagogy and trust in teacher decisions.

A structured questionnaire completed by 120 parents revealed that while certification remains valued (Mode = 3 on a 5-point importance scale), 68 parents supported delaying exams to foster creativity and emotional expression. Notably, 111 parents reported they would be more disappointed if their child lost interest in piano than if they performed poorly in an exam. Additionally, 93% trusted teachers to decide exam readiness. Openended responses emphasised long-term hopes such as cultivating a love for music, confidence and emotional or spiritual connection through playing. Only a minority viewed exam success as the primary goal.

These findings point to a growing openness towards learner-centred and creative pedagogies. The study calls for broader research across other music schools and the inclusion of student and teacher voices to support more holistic, passion-driven music education.

The Application of Motion Techniques in Performing Piano Transcriptions of Chinese Instrumental Music

This study addresses a common pedagogical challenge in piano teaching. While students are able to play the correct note in piano transcriptions of Chinese instrumental music, their performances often lack stylistic authenticity and fail to capture the tonal qualities and expressive character of the original instruments. This highlights the need for effective teaching strategies that go beyond the written notation and help students gain a deeper understanding of sound and style. Drawing on teaching experience, this study explores the application of motion techniques as a pedagogical tool to help students develop more culturally informed and expressive interpretations. Through a practice-led approach, this study presents case examples where motion techniques were introduced in lessons to guide students towards more stylistically convincing performances. Selected works by Li Yinghai, Wang Jianzhong and Chu Wanghua were chosen for their distinctive representations of traditional instrumental techniques and expressive gestures. The finding suggests that motion techniques not only improve physical fluency and tone control, but also helped students better understand and apply the stylistic characteristics of the music. This study highlights the potential of motion techniques in piano pedagogy, aiming to contribute to more informed, stylistically authentic interpretations of Chinese piano transcriptions.

Identity in Repertoire: The Psychology and Pedagogy of Recital Programming

Programming piano recitals is both an art and a strategic challenge that significantly impacts performers' development and audience reception. Despite its importance, this critical aspect of musical training often receives limited scholarly attention and in college. This study examines the key factors influencing repertoire selection, offering valuable insights for performers, teachers and music institutions.

Using a mixed-methods approach, the research analyses graduate recital programmes from Fall 2021 to Spring 2025 at Florida State University, supplemented by interviews with students and faculty. The investigation focuses on four primary objectives: identifying pedagogical influences, assessing audience engagement strategies, evaluating teacher-student collaboration dynamics and examining the persistence of canonical repertoire.

Findings revealed that while traditional composers like Beethoven and Bach dominate programmes due to their established pedagogical value, emerging trends emphasise thematic coherence and diversity in repertoire selection. The study highlights the tension between tradition and innovation, suggesting that intentional programming can balance technical requirements with artistic expression while expanding representation of underrepresented composers. These insights provide practical guidance for curriculum design and recital preparation for all levels, ultimately enriching musical education and performance practices.

Redefining Concert Music with Latin American Music: Bernstein’s Symphonic Dances

Leonard Bernstein’s Symphonic Dances from West Side Story stands as a masterful fusion of European classical tradition and American vernacular music. By weaving leitmotifs—reminiscent of Wagnerian opera— with the fiery rhythms of jazz and Latin dance, Bernstein crafts a work that is as structurally sophisticated as it is viscerally thrilling. This lecture-recital explores Bernstein’s compositional brilliance through Dr Michael Hawley’s virtuosic piano transcription, originally commissioned for the Van Cliburn Competition. Hawley’s arrangement not only preserves the orchestral work’s dramatic intensity but also reimagines it for the keyboard, whistle and audience’s participation, offering pianists a fresh technical and interpretive challenge.

Beyond its musical innovation, West Side Story remains strikingly relevant nearly seven decades after its premiere. Its themes—love conquering hate, xenophobia and racial violence—mirror today’s struggles, from systemic racism to immigration debates. This presentation will examine how Bernstein’s work serves as both a musical milestone and a call to action, encouraging musicians to engage with art as a force for social change. Ideal for collegiate pianists and pedagogues, this lecture-recital will provide performance insights while prompting critical discussion on music’s role in contemporary discourse.

Parents and Teachers' Perception of USM Piano Achievement Day 2025

Universiti Sains Malaysia’s Annual Piano Achievement Day (PAD) began in the late 2000s with the vision to create a network platform, bridging USM’s music department with the piano community in Penang and neighboring states. This form of community engagement enables the PAD to provide a platform for students to perform in a conducive and unthreatening environment where performance outcomes are not quantified by marks or grades. Performance events, such as PAD, bring about peripheral benefits, specifically and imperatively as a catalyst for motivating piano practice in preparation for public performance at USM’s PAD.

Central to the objective of this poster preparation is to unravel and present the perceptions of teachers and parents regarding the young participants in USM’s PAD. To facilitate the collection of this data, surveys consisting of four questions were distributed among parents and teachers who attended the event to understand their level satisfaction towards the PAD. The survey forms were filled in by teachers and parents of respective performers at the conclusion of the event. The results from this survey were analysed and collated, indicating generally a high level of satisfaction ranging from an encouraging interest in future participation of the PAD to the positive benefits the comments received from the adjudicators after each individual performance. Numerous comments and suggestions were received regarding issues such as registration protocols, environment temperature and audience etiquette. USM’s PAD plays a crucial and central role as a non-competitive performance platform and community engagement space for music performance enthusiasts, which are generally rare in Malaysia. The valuable survey results obtained can be a helpful resource to ensure quality assurance and guide future improvements of the PAD.

Music as an Approach for Children with ADHD: Perceptions of Music Teachers and Music Therapists in the Klang Valley, Malaysia

The number of children diagnosed with ADHD has been increasing globally and past research has shown that music can help reduce behavioural issues, impulsivity and inattention. While both music education and music therapy have demonstrated positive effects, the differences and similarities between the two approaches remain unclear. The study explores the perspectives of music teachers and music therapists regarding their approaches and challenges when working with children with ADHD. Using a qualitative case study method, semi- structured interviews were conducted with four music teachers and four music therapists currently practising in the Klang Valley, Malaysia. The findings revealed shared themes, including the need for adaptability and flexibility in lesson or session planning, the use of movement-based activities, improvisation techniques and managing behavioural challenges such as impulsivity and emotional outbursts. However, the study also uncovered three key differences: the goals of the sessions, the tools and materials used and the methods of assessment. These insights highlight the unique yet complementary roles of music educators and therapists in supporting children with ADHD through tailored, responsive musical engagement.

Nurturing the Fifth Finger: Pedagogical Strategies for Young Pianists

Young pianists often encounter challenges in developing the fifth finger, which is typically the weakest and least coordinated due to anatomical limitations. These challenges can reduce dexterity and create unnecessary tension through arch collapsing and low finger positioning, particularly for beginners whose motor skills are still developing. The limited emphasis on pedagogical strategies for strengthening the fifth finger and promoting hand balance underscores the need for beginning teachers to use structured approaches when selecting materials and designing effective technique instruction.

To address this need, this presentation explores pedagogical and physiological strategies for developing fifth finger technique in young pianists, drawing on the Piano Adventures Primer Level series by Nancy and Randall Faber. A close study of the interconnectedness between the Technique and Artistry and Lesson books demonstrates how imaginative analogies, movement cues and visual metaphors can foster finger independence, hand balance and musical expression. Exercises such as “Blooming Flowers” and “Great Cookie Chase” provide practical methods for enhancing both artistic engagement and long-term pianistic development, offering pedagogical guidance for teachers of young pianists.

Breathing and Phrasing for Pianists

This lecture recital explores the connection between breathing and piano playing, addressing common breathing-related challenges and teaching approaches to support them. Pianists are often encouraged to “breathe” between phrases, but this does not always refer to literal, physical breathing. This presentation aims to clarify that distinction and explore how musical breathing can be achieved through shaping and pacing. It begins with an overview of existing research on breathing and phrasing, which forms the foundation for the ideas presented. While the concept of breathing differs across instruments, this lecture focuses on how pianists can create the impression of breath in their playing to enhance musical flow and expression. Teaching methods such as singing, movement and mental imagery will be demonstrated to support this approach, followed by a recital that brings these ideas to life in performance.

Struck, Plucked and Bowed: Exploring Piano Pedagogy within the Orbit of Other Instruments

Born in Ipoh, Malaysia, Loo Bang Hean won the First National Mozart Piano Competition in 1987. Two years later, he was awarded a scholarship from the music exam board ABRSM to study at the Royal College of Music (RCM), London. At the RCM, he won multiple prizes and upon graduating, he received the Anthony Saltmarsh Prize and the Countess of Munster Musical Trust Award, which enabled him to pursue postgraduate studies with Ilonka Deckers-Kuszler in Milan, Italy.

Since returning to Malaysia, Loo has appeared regularly in solo recitals, chamber concerts and concerto performances. He has performed at most major concert venues in the country and has been featured as a soloist with various local orchestras, including the Malaysian Philharmonic Orchestra. His international engagements have taken him to England, Italy, Brunei, Singapore, Indonesia, Hong Kong, Cambodia and Korea.

Rethinking Prokofiev’s Early Piano Works: A Pedagogical Bridge to Modernist Repertoire

Sergei Prokofiev’s piano music is often introduced to students through his technically demanding later works, leaving his more accessible early works underutilised in pedagogy. In fact, the early works exhibit the unique voice by representing a fusion of traditional classical forms and modernist experimentation, reflecting his desire to create “an entirely new music” (Fiess, 1994). Those traits, like contrapuntal and homophonic writing, innovative harmonies, rhythmic drive and lyrical irony, can be effective teaching materials for bridging from the earlier styles to 20th-century repertoire.

This paper explores the pedagogical value of Prokofiev’s early works by tracing the continuously of his stylistic traits from Juvenilia to mature masterpieces. Through a comparative analysis of his Four Pieces, Op. 4 (1908-12) and the Sonata No. 7 in Bflat minor, Op. 83 (1939-42), I will demonstrate that the signature traits of Prokofiev’s early works can be found in his late works as well. I will then propose that these early works can be used to support students’ understanding of modern music, helping them to effectively navigate and perform repertoire of the 20thcentury and beyond.

The Impact of Online Piano Tutorial on Students’ Learning Behaviour: Perspectives of Tutors, Parents and Students

This study examines the impact of online piano tutorials on students’ learning behaviour from the perspectives of tutors, parents and students. With the growing popularity of internet-based music education platforms, online piano tutorials have become a powerful supplement to traditional lessons. This qualitative study employed semi-structured interviews and observations analysis revealed that online tutorials offer greater flexibility in scheduling and tutor selection, benefiting both students and parents. Tutors provide real-time feedback, emotional support and personalised guidance, enhancing students’ motivation and engagement. Parents act as emotional supporters and learning supervisors, helping students maintain consistent practice habits. Students demonstrated improved attention, engagement and motivation, especially when interactive tools and individualised strategies were used. They also showed stronger selfregulated learning, including goal setting, selfassessment and reflective practices. These findings highlight the importance of tutor–student interaction, parental involvement and effective instructional strategies in online piano tutoring. This study contributes to understanding how online piano tutorials differ from general online learning formats by focusing on the dynamics of one-on-one tutoring and real-time guidance. Future research could extend this practice to other musical instruments and examine the long-term impact of online tutorials on student learning behaviour.

From Disconnected to Expressive: Strategies for Embodying Music Through Movement in Piano Teaching

In piano teaching, terms like musicality and expression are often used, yet their meanings can be vague and abstract. This raises an important question: how can we help students become more expressive in a meaningful, embodied way? While many students possess a certain level of technical proficiency, their development of musicality and individuality in interpretation often remains underdeveloped. Conventional teaching methods such as score analysis and stylistic instruction provide essential knowledge, but for music to truly come alive, it must be embodied through active listening, movement and internal experience. This workshop offers creative strategies for helping students connect more deeply with music through integrated music and movement activities. These strategies are inspired by the pedagogy of Émile Jaques-Dalcroze, who developed an approach that uses movement to embody musical elements and foster expressive interpretation. Drawing from practical teaching experience, I will share activities designed to address common musical challenges such as disconnection from rhythm, lack of phrasing and harmonic direction, and difficulties with feeling beat and division. The objective of this workshop is to equip piano teachers with practical tools to nurture students’ personal connection to music, enabling them to express themselves more freely, sensitively and musically.

The Relationship Between All-Inclusive Awarding System in Piano Competitions and Piano Pedagogy Quality in Indonesia

Frank A. Beach suggested that the purpose of contests was “not to win a prize but to pace one another on the road to excellence.” In Indonesia, however, there has been a significant increase in piano competition quantity and participation, often driven by an allinclusive awarding system. This system consistently grants prizes, including top placements, followed by numerous runner-up or encouragement awards, regardless of performance quality. Such practices cultivate false confidence among students, parents and teachers, as even poor quality performances are consistently rewarded.

This environment encourages a 'trophy addiction' culture among parents, which pressures teachers to bypass fundamental skills and promote instant learning of specific competition repertoire. Consequently, students often lack essential musical proficiency, developing superficial skills and experiencing burnout after relentless competition cycles.

Ultimately, an all-inclusive awarding system diminishes genuine musical development and character building. Therefore, a fair, merit-based awarding system is crucial to serve the purpose of healthy competition as a genuine motivational tool for piano students. This study seeks to promote the authentic purpose and value of piano learning and to establish a sustainable and highquality piano learning culture in Indonesia.

A Cross-Cultural Perspective of Fazıl Say’s Black Earth Through Visualised Analysis of His Piano Performances

This study explores the cross-cultural perspective of Fazıl Say’s piano work Black Earth through visualised analysis of his performances. Say’s musical identity has been shaped by multiple cultural exchanges—his improvisatory style is rooted in Turkish musical traditions while enriched by his exposure to Western classical forms and jazz idioms. In Black Earth, these influences converge: the cyclic elements of Türk Sanat Müziği (Turkish art music) and Taksim (a free-rhythmic instrumental improvisation, often played on the bağlama) are integrated into a Western form, including the extended piano technique of stopping the strings. Visualised analysis of the recordings revealed improvisatory variations in Say’s performance versions, particularly in dynamics, rhythm and temporal flexibility. This study demonstrates how Say employs the piano as a medium to fuse diverse cultural idioms into a distinctive crosscultural musical style, while also highlighting the value of visualised analysis in performance practice research and offering a representative case for understanding crosscultural expression.

An Exploratory Study of Music Memorisation Strategies among UCSI Bachelor Classical Piano Students

Performing music from memory was once perceived as arrogant before the mid-19th century but became standard by the early 20th century with the rise of public concerts and the growing emphasis on virtuosity. Performing music from memory can enhance expression, deepen audience connection and eliminate page-turning distractions. However, memory lapses remain a significant challenge that may affect performance capabilities (Shen, 2022). Despite these challenges, music memorisation continues to be valued as a professional standard in solo classical piano performance.

This study explores the music memorisation strategies employed by Bachelor of Classical Piano students at UCSI University, focusing on four main strategies: visual, aural, kinesthetic and analytical. Using a quantitative research design with purposive sampling, data were collected through questionnaires that included demographic information, participants’ perspectives, and five-point Likert-scale items adapted from Herrera and Cremades (2018).

The results indicated that analytical memory is the most frequently used strategy among the participants, followed by visual, kinesthetic and aural memory. All strategies scored above the midpoint, suggesting that students employ a combination of strategies. Interestingly, although students apply these strategies in practice, many may be unaware of the formal terms or concepts behind them. The findings suggested that raising awareness of different memorisation methods could further enhance students’ strategy selection and overall effectiveness.

Body Awareness in Piano Education: Integrating the Alexander Technique for Lifelong Musicianship

Musicians often describe the Alexander Technique as a way to bring more ease and freedom into their playing. Violinist Yehudi Menuhin praised it for helping us “redirect our habits of movement and thought and align ourselves with gravity in a more intelligent and efficient way.” For pianists, physical ease is essential when navigating an instrument that spans more than 150cm. While students are often encouraged to warm up with scales, arpeggios, Czerny or Hanon, we rarely ask: what are they actually practicing in terms of body use? Are these exercises cultivating awareness and good coordination or simply reinforcing habits that may limit physical freedom and artistic expression?

This workshop invites participants to explore their relationship with the piano through the lens of the Alexander Technique. Guided practical activities will focus on how we sit, how the arms and hands relate to the torso and how whole-body awareness can support more efficient, expressive playing. Participants will leave with greater awareness of movement habits and mindful strategies for approaching practice with more physical freedom. Educators will gain tools for weaving this somatic approach into teaching, empowering students to develop a healthier, more personal and sustainable technique.

Ravel at 150: Integrating Technical Mastery and Artistic Interpretation in Maurice Ravel’s Piano Solo Works

The glittering texture and moving sensitivity of Maurice Ravel's piano compositions provide challenges for both performers and pedagogues. Drawing from the presenter's current performance project on Ravel’s 150th birthday anniversary, this paper presentation examines how Ravel's music could serve as a link between technical proficiency and creative imagination. It includes passages from Miroirs, Valse nobles et Sentimentales and Gaspard de la Nuit. The presentation will provide performance solutions, connecting piano practicing to pedagogy, as well as provide reflective insights into how studying Ravel's music revitalises a performer's relationship with the piano, with implications for student motivation.

Narrative Archetypes and Absolute Music: Interpreting the Third Movement of Beethoven’s Waldstein Sonata, Op. 53

This study examines the application of Byron Almén’s narrative archetypes to interpret absolute music, focusing on Beethoven’s Piano Sonata in C Major, Op. 53, third movement. Absolute music lacks titles or programmatic cues, leaving performers uncertain about the meaning behind dynamics and articulations. Applying the romance archetype defined by idealised hierarchy, the episodic structure of the narrative design and emphasis on dominant material provides a framework for understanding structural relationships and the function of performance markings. This perspective enables performers to interpret the music coherently and convincingly, grounding decisions in the interaction of hierarchy and transgression rather than personal intuition alone.