MICHIGAN MUSIC TEACHERS ASSOCIATION
SPEAKERS BUREAU - 2005-2006
SUZANNE THIBAULT AMBROSE
114 Grant St.
Auburn 48611
(989) 662-6404
ambrosesue@aol.com
Programs are presentations of the composer's life and music.
Music is performed on piano with emphasis on style and
interpretation. Student repertoire and antique music displayed.
1. WOMEN COMPOSERS: Fanny Mendelssohn Hensel, Clara Schumann,
Cecile Chaminade, Amy C. Beach, Teresa Careno.
2. AMERICAN COMPOSERS: Edward MacDowell - Woodland Sketches;
George Gershwin - Preludes; Aaron Copland - Piano Album; Stephen C. Foster - Complete
Piano Music; Louis M. Gottschalk - The Little Book; American
Musicals & Popular Songs; The Story of Jazz and Improvisation.
3. OTHER TOPICS: Psalms, Hymns and Contemporary Church
Music. Brahms Hungarian
Dances.
* * *
CHARLES ASCHBRENNER
324 E. 16th St.
Holland 49423
(616) 395-7643(W), (616) 396-4282(H)
aschbrenner@hope.edu
1. COMPLEMENTARY PIANO PEDAGOGY: Using Dalcroze in the
Private Studio.
2. THE TAUBMAN TECHNIQUE: A Personal Perspective.
3. PIANO MASTER CLASS: with special focus on rhythmic
issues.
* * *
GERARDO ASCHERI
2200 Groesbeck Ave.
Lansing 48912
(517) 485-1363
ascheri@msu.edu
1. PARALLELS between the music of Europe and the United States in the
Classical Period.
( - more - )
2. LET'S TANGO - Lecture Recital: a brief history of this musical
form and tradition, from its origin to modern times. Performance
and examples of various pieces. Teaching materials available for
students of different levels.
3. ELEMENTS OF ARTISTRY: DEVELOPING BASIC SKILLS IN MUSICAL
EXPRESSION. Lecture: Sharing the experiences with my
students about developing musicianship and expression. How to
instill the learning of important skills from the beginning.
Musical examples regarding to articulations, phrasing, melody, rhythm,
content.
4. MAKING THE TRANSITION FROM ELEMENTARY TO INTERMEDIATE:
BUILDING SKILLS FOR FURTHER DEVELOPMENT. Lecture: Achieving
a smooth transition into Intermediate repertoire and its
challenges. How to develop further listening, reading and
technical skills.
5. EXPLORING NEW REPERTOIRE: PIANO MUSIC OF ARGENTINA (1890 -
1980).
Lecture Recital: Description of main features of Argentinian
music and brief historical context. Performance of various pieces
by lesser known Argentinian composers exemplifying various styles and
difficulty (from elementary to early advanced).
* * *
GERARDO ASCHERI and GAIL LYTLE LIRA
For Ascheri, see above.
Lira: (517) 351-8402
MUSIC FOR 4 HANDS: Discussion and performance. Programs
include duets (4 hands at 1 piano) and duos (4 hands at two
pianos). For both teachers and students.
* * *
GAIL DAVIS BARNES
2324 Dundee
Ann Arbor 48103
(734) 662-6419
1. The piano music of SAMUEL COLERIDGE TAYLOR.
2. LESSER KNOWN WORKS worth teaching and playing.
* * *
LAURA BEAUCHAMP-WILLIAMSON
9745 Buck Rd.
Freeland 48623
(989) 695-6881
lauraw@speednetllc.com
1. WHERE'S THE BEAT???? TEACHING RHYTHM RHYTHMICALLY! This
workshop will present tips, ideas and materials designed to improve
rhythmic reading, including the use of syllables as an alternative to
counting, movement activities, and a variety of visual and
aural aids. Several "problematic" areas will be addressed, such
as rests, dotted notes, syncopation, ties, upbeats, compound vs. simple
meter, two-against-three, rubato, etc.
2. DEVELOPING GOOD MUSIC READING SKILLS IN STUDENTS OF ALL AGES.
This session will feature strategies for teaching note reading, interval and
pattern recognition, keyboard topography, and the skill of
sight-reading. Recommended materials and teaching aids will also
be demonstrated.
3. TEACHING TIPS THAT WORK: A POT-POURRI OF IDEAS. A broad
sampling of wisdom collected from students, colleagues, books,
articles, websites, and workshops. Topics will include
practicing, motivation, studio policies, rhythm, teachnique, theory,
ear training, and more.
4. BEGINNING PIANO TECHNIQUE: WHAT MOST BEGINNING METHOD SERIES DON'T
(CAN'T?) INCLUDE. This presentation will feature video-taped
excerpts from real lesson situations. Specific topics to be
addressed include arm weight and tone production, legato, staccato,
wrist flexibility, hands together coordination, balance between the
hands arm circles and other gestures.
5. TEACHING STUDENTS HOW TO PRACTICE: Appropriate practice steps
for new and review repertoire at various levels, how to address errors
when they occur, how to prevent them in the first place (!),
memorization strategies, practicing for performances.
6. CANADIAN PIANO MUSIC FOR TEACHING AND PERFORMING (LECTURE-RECITAL).
Piano compositions by some of Canada's most celebrated composers for
intermediate and advanced students. Featuring music by Alexina
Louie, Stephen Chatman, Jean Coulthard, Violet Archer, Oscar Peterson,
Francois Morel, and others.
7. A TOUR THROUGH THE FREDERICK HARRIS MUSIC COMPANY'S COMPOSER LIBRARY
SERIES (Lecture-Recital). Come hear a variety of appealing
elementary and intermediate supplemental repertoire by Canadian and
American educational composers Linda Niamath, Anne Crosby, Stephen
Chatman, Samuel Wellman, Chee-Hwa Tan, and others.
8. WHAT THE TRADITIONAL TEACHERS CAN LEARN FROM THE SUZUKI PHILOSOPHY.
9. THE LITTLE PRELUDES OF J. S. BACH (LECTURE-RECITAL).
* * *
PENNY K. DRAPER
513 Woodland Dr.
E. Lansing 48823
(517) 351-4632
draperpe@msu.edu
1. LECTURE-DEMONSTRATION: A Chronological Survey of the
Development of Stringed-Keyboard Instruments (Hurdy-gurdy, Harpsichord,
Clavichord, and Piano).
2. LECTURE-DEMONSTRATION: Historical Tuning Temperaments
(Pythagorean,
Meantone, and Well-Tempered Systems). Why are temperaments
necessary? What are wolf intervals? Parallels between
temperaments and compositional development. (Bach's Well-tempered
Clavier).
* * *
STEVEN EGLER
Central Michigan University
School of Music
Mt. Pleasant 48859
(989) 774-3326
egler1s@cmich.edu
1. NO NEED TO FEAR THE ORGAN - HONEST! Why Pianists should study
the Organ.
2. HOW TO DO IT - Making the Transition from Piano to Organ
3. REPERTOIRE for the New Organist
Note: these workshops require access to an organ.
* * *
KURT ELLENBERGER
Director of Jazz Studies
Grand Valley State University
Allendale 49401
(616) 331-2943
ellenbek@gvsu.edu
1. FEARLESS IMPROVISATION for the Classical Pianist.
2. MATERIALS AND CONCEPTS IN JAZZ IMPROVISATION: An Introduction.
3. "CAN YOU HELP ME WITH MY JAZZ BAND MUSIC?" A primer on how to
help piano students play from "lead sheets" and composed piano parts
from their school jazz programs.
JOHN ELLIS
University of Michigan
School of Music
Ann Arbor 48109-2084
(734) 973-6401
jsellis@umich.edu
1. INTEGRATED PIANO TEACHING: Motion, Meaning, and Memory.
2. LISZT'S YEARS OF PILGRIMAGE: Learning the Music through the
Literature, Art and Song that Inspired.
3. MOTIVATING TEENS TO STAY AT THE PIANO: An Overview of Teen
Psychology and its Application to Piano Teaching.
4. THE PIANO MUSIC OF AFRICAN-AMERICAN COMPOSER ARTHUR CUNNINGHAM
(1928-1997): Embracing the diversity of musical languages.
5. THE HISTORY OF PIANO PEDAGOGY: Where we came from.
* * *
THOMAS J. LYMENSTULL
Suite 75
Interlochen Center for the Arts
P.O. Box 199
Interlochen 49643-0199
(231) 276-7831
lymenstult@interlochen.org
1. DEVELOPING BEGINNING TECHNIQUE: Goals for developing beautiful
sound and strong, healthy control, with example repertoire for the early years.
2. THE SKILLED PIANIST: Advanced functional keyboard skills
(improvisation, sightreading, harmonization, cadenzas, etc.) for
teachers as well as keyboard majors. A participatory event.
3. OFF TO A GREAT RESTART: The teenage transfer student; making
connections and maximizing productivity right away.
4. TEACHING 20th CENTURY PIANO MUSIC: Skills needed to play
20th Century repertoire well, with sample repertoire.
( - more - )
5. PIANO MUSIC FROM CHINA: A sampling of piano music by Chinese
composers of the past 80 years.
6. TEACHING AND PLAYING THE CHOPIN PRELUDES: A loving look at
these standards of the performing and teaching repertoire, including both teaching and
practicing suggestions.
7. LISZT THE IMPROVISOR: It was said of Liszt that he played
pieces perfectly at sight, then could not resist embellishing them
later. The relationship of the Transcendental Etudes to the early
Op. 1 Etudes suggests this.
* * *
ALEXANDRA MASCOLO-DAVID
Central Michigan University
School of Music
Mount Pleasant 48859
(989) 774-1964
david1am@cmich.edu
1. USING THE SKILLS of Playing by Ear, Harmonizing, Transposing,
Improvising, Sight-reading and Technique to Facilitate and Speed up Repertoire Learning.
2. INTERPRETATION AND PHRASING TECHNIQUES.
3. How to Build a SOLID TECHNICAL FOUNDATION, Free of Tension
(Beginners to
Intermediate).
Mini Recitals (30 min.) and Master Classes also offered.
* * *
ALEXANDRA MASCOLO-DAVID and RUBIA SANTOS
See address information above
Mini-Recitals on BRAZILIAN 4-HAND PIANO MUSIC and Joint Master classes.
1. BRAZILIAN MUSIC FOR 1 PIANO/4-HANDS and 4-HAND REHEARSAL
TECHNIQUES FOR PERFORMANCE.
2. SCHUBERT'S FANTASY IN F MINOR, Op. 103, D. 940 for 4 hands:
Searching for
Technical and Interpretative Solutions.
* * *
NATALIE MATOVINOVIC
1034 Robin Rd.
Ann Arbor 48103
(734) 663-7078
natmat@umich.edu
1. TECHNIQUE in a Nutshell.
2. TECHNIQUE for Beginners.
3. PREVENTIVE versus CURATIVE PRACTICING.
4. MASTER CLASSES.
* * *
DONALD MORELOCK
Schoolcraft College
18600 Haggerty Rd.
Livonia 48152
(734) 462-4403 (W) (734) 668-8946 (H)
dmorelock@schoolcraft.edu
1. LECTURE-RECITAL: Schumann and the Character Pieces.
2. Teaching the HAYDN SONATAS.
3. Teaching CHOPIN PIECES to Pre-College Students.
4. DEVELOPING STUDENT IMAGINATION through 19th Century character pieces.
* * *
LOUIS NAGEL
University of Michigan
School of Music
Ann Arbor 48109-2085
(734) 764-2511
julou@umich.edu
1. THE HISTORY AND MYSTERY OF MUSIC: Lecture-recital on one of
many composers,
including but not limited to Liszt (particularly pieces accessible to
younger students - plus a blockbuster or two); Beethoven;
Schubert (the Moments Musicals); others of choice.
( - more - )
2. MUSIC AND THE MIND - A MORNING WITH THE NAGELS. In
collaboration with
Julie Nagel, a discussion of music from the psychoanalytic perspective
- such as stage-fright, career choice and career re-direction - and
from the performance perspective - mental and pianistic preparations as
well as how one should think about practicing.
Both programs can include performance sections.
* * *
EDWARD PARMENTIER
University of Michigan
School of Music
Ann Arbor 48109-2085
(734) 764-2506(W)
(734) 665-2217 (H)
eparment@umich.edu
1. Principles of BAROQUE STYLE AND TECHNIQUE on the Keyboard.
2. What the HARPSICHORD can tell us about Baroque Music on the Piano.
3. PEDAGOGICAL APPROACHES TO CREATIVE PERFORMANCES of Bach, Scarlatti
and the French School on the Keyboard.
4. BASSO CONTINUO ACCOMPANIMENT: Keyboard Skills and Styles.
5. KEYBOARD MASTERS before J. S. Bach.
* * *
LINETTE POPOFF-PARKS
Madonna University
36600 Schoolcraft
Livonia 48154
(734) 432-5709 (W)
(734) 455-3524
(H)
lpopoff-parks@madonna.edu
1. HOW CAN THE TAUBMAN APPROACH Help You and Your Students?
2. HOW TO USE THEORY to Teach Interpretation.
3. WORKSHOP ON TAUBMAN APPROACH for Teachers and Students.
* * *
AVIRAM REICHERT
2118 Lacrosse St.
Wyoming 49509
(616) 331-3618 (W)
(616) 530-4855 (H)
reichera@gvsu.edu
1. RECITALS
2. MASTERCLASSES
3. LECTURE-RECITALS
Subjects for any of the above can be selected from a wide range of
composers, styles, problems, etc. by discussion with Mr. Reichert.
* * *
DR. SHERI IOTT RICHARDSON
6421 Byron Rd.
Zeeland 49464
(616) 772-6815
richa385@msu.edu
1. USING MUSIC LEARNING THEORY TECHNIQUES IN THE PRIVATE PIANO
LESSON: building a music vocabulary to aid in sightreading and
the
learning and polishing of repertoire. This can be done either as
lecture/demonstration or master class using students being introduced
to, or in the early stages of learning, new repertoire.
2. EIGHTEENTH-CENTURY PERFORMANCE PRACTICE seen through specific works
of
Mozart and Haydn.
* * *
RUBIA SANTOS
Central Michigan University
School of Music
Mt. Pleasant 48859
(989) 774-1955
santo1r@cmich.edu
1. TWENTIETH-CENTURY BRAZILIAN PIANO MUSIC Applied for Developing a
Solid
Rhythmic Element in Young Pianists (Beginners to Intermediate)
2. SIGHT-READING AND REHEARSAL TECHNIQUES for Beginning Accompanying
Chamber Music or/and Vocal Literature.
3. THE COLLABORATIVE PIANIST: Developing Chamber Music Repertoire
for Advanced
Students.
* * *
JOEL SCHOENHALS
704 Barton Drive
Ann Arbor 48105
(734)369-3019
joel.schoenhals@emich.edu
1. LISZT'S SCHUBERT TRANSCRIPTIONS: Lecture-recital, celebrating
the 2005 release of
Joel Schoenhals' recording of Liszt's Schubert transcriptions on Fleur
de Son Classics. Liszt
transcribed 55 of Schubert's songs; this presentation will focus on the fourteen transcriptions
from Schwanengesang and six from Die Schone Mullerin, showing how
Liszt transformed
Schubert's originals into songs-without-words.
( - more - )
2. BARTOK'S FOR CHILDREN: Lecture-recital. An examination
of both volumes of For
Children with discussion about editions, articulation and expressive
markings, rationale for
teaching, and ideas for teaching. The discussion is supported by
performances from the first
volume.
* * *
MARY C. SICILIANO
34943 Pembroke
Livonia 48152-1170
(248) 474-3406
marycsic@hotmail.com
1. MASTERCLASSES
2. THE FIRST TWO YEARS: Developing Musicianship through Technique.
3. PROGRESSIVE TEACHING CONCERTI
4. MOVING INTO INTERMEDIATE REPERTOIRE
5. DEVELOPING SENSITIVITY AND STYLE
* * *
ARVI SINKA
407 Randall
Troy 48098
(248) 689-8932
Arsinka@aol.com
1. LEARNING STYLES: Two dozen case studies of piano students and
their natural learning
styles, including the step-by-step ideal learners, the untalented yet
digitally adept, the emotionally oppressed, the prodigies, etc.
2. PIANO NOTATION: FRIEND OR FOE? A look at the hidden
meaning in notation as it
applies to the percussive, the polyphonic, and the cantabile
capabilities of the piano.
* * *
SUSAN TOMAN
2145 Medford Rd, Apt. 13
Ann Arbor 48104
(734) 477-8081
stoman@umich.edu
1. THE HARPSICHORD AND ITS IMPACT ON MODERN PIANISTS. A unique
program which includes performances on both the Harpsichord and the
Piano. Featured composers: Sweelinck, Byrd, Scarlatti,
Rameau and Bach. The focus is on the different approaches to the
various keyboard instruments, addressing aspects of construction,
touch, phrasing, rhythm, and ornamentation. Including tips on how
to make your performances of Baroque repertoire on the piano more
stylistically aware.
* * *
DOROTHY VOGEL
405 W. 11th St.
Traverse City 49684
(231) 947-1700
vogeld@chartermi.net
1. PERFORMANCE MOTIVATION: Teaching students to enjoy making
music for others.
From creative programming to psychological preparation, gain insight
into how students can
do so much more than simply 'survive' spring recital. Includes
contest preparation.
2. PRACTICAL PIANO SKILLS FOR TEENS. Ever notice that many high
school students can perform solo repertoire far beyond their skills in
sight reading, improvising, composing?
Ever have a high school student call you in a panic because they have
to play for cousin Susie's wedding and it's 2 days from now, or they
want to play in the pit orchestra for the high school musical but the
music is 'really hard', or their best friend wants them to accompany
for Solo and Ensemble and they aren't sure what to do with all those
orchestral tremolos in the piano part? This lecture-demonstration
offers practical tips on the many situations facing high school piano
students today. Areas discussed will include a variety of topics
from accompanying to gigs to simple arranging and improvising
skills. These kinds of situations can be wonderful learning
experiences for the student and end up being real lesson savers for us.
* * *
ELLEN MARIE WALKER
1118 Blanchard Ave.
Flint 48503
(810) 610-2409
ellenwalker@mfire.com
1. PERFORM YOUR PERSONAL BEST. Learn about performance anxiety
management from a performing arts psychologist.
2. COMMON MUSICIAN'S INJURIES - When should you or your students be
concerned?
* * *
ADRIENNE E. WILEY
276 School of Music
Central Michigan University
Mt. Pleasant 48859
(989) 774-1965 (W)
wiley1ae@cmich.edu
1. ONE-HANDED PIANO LITERATURE for the Early Intermediate to Late
Intermediate/Early Advanced Pianist. Discussion and performance of selected
works.
2. MOTIVATIONAL PIANO LITERATURE FOR THE INTERMEDIATE
PIANIST: The latest stuff (aka piano music) to excite your intermediate pianist!
3. STUDIO POLICIES: Shaping your policies and procedures to fit
your studio.
4. SEQUENCING AND PACING EARLY CLASSICAL LITERATURE: Easy classic
pieces to Sonatinas. (Early Intermediate to Late Intermediate).
5. SEQUENCING AND PACING ROMANTIC LITERATURE: Repertoire for the
Middle Intermediate Pianist through the Late Intermediate/Early Advanced
Pianist.
6. THE CHURCH PIANIST: Piano music to enhance the worship service.
* * *
MARION WOOD
2207 Aberdeen
Kalamazoo 49008
(269) 345-1369
mwood@chartermi.net
1. TEACHING STUDENTS WITH SPECIAL NEEDS. Exploring the many
avenues to a student's understanding of the way to make music.