piano with beginners, but Johnson describes her favorable use of
group instruction with intermediate and advanced students as well. The
benefits of group study to younger students apply equally to older chil-
dren and youth. Among these benefits, Johnson mentions increased
knowledge of repertoire, development of musicianship, improved listen-
ing skills, better technique, increased musical sensitivity and rhythmic
stability, and greater creativity and independence of thought.
Lee, Patricia Taylor. “Making the Most of Your Teaching
Day.”
Clavier
Vol. 20, No. 8 (October, 1981): pp.54-
55.
Ideas are presented for incorporating group lessons into the studio as
a supplement to some type of individual teaching or as a replacement
for the private lesson. The discussion of the value of repertoire/theory
classes, partner lessons, and technique/keyboard skills/theory lessons
gives the studio teacher many options to explore in the addition of
group lessons to the private studio. Benefits of group dynamics are list-
ed, and scheduling ideas are also put forth by Lee in a concise, yet
helpful manner.
Loris, Susan. “Creative Ideas for Group Lessons.”
Clavier
Vol. 33, No. 4 (April, 1994): pp.37-40.
Inventive ideas for fostering creativity in a group piano setting are given
in this article. Suggestions for tapping into the minds of students are
presented in the areas of theatrical works, rhythm exercises, theory
activities, listening sessions and improvisation activities. Not only are
the ideas proposed, but additional printed sources for use in the class-
room are provided in the body of the article. The ideas expressed here
may be used to add excitement and interest to study, thus aiding in
guiding students on the path to becoming a well-rounded musician.
McCain, Claudia J. “From Private to Group Lessons.”
Clavier
Vol. 27, No. 4 (April, 1988): pp.40-41.
This article is a real life chronicle of the transition of a teacher from pri-
vate instruction to group lessons in the private studio. Practical advice
is given from conception of the new program to its realization. Partner
lessons are recommended as a starting point for the teacher unfamiliar
with group ideas, as it limits the number of students that are included,
but incorporates partner games, drills, and to a certain extent, class-
room management. In McCain’s studio, partner lessons were com-
bined with a weekly group lesson, and sample schedules are provided
to clarify the important step of time management. Suggestions for facili-
ty improvement and lesson content are also given. The author helps
make the process of change from private to group lessons approach-
able for the independent teacher.
Perdew, Amy, Nadine Cuff, and Karen Johnson. “How
and Why Boise Teachers Became Group Piano
Teachers.”
Roland Keyboard Educator
Vol. 4, No. 2
(Spring,2000): pp.16-19.
The excitement of group piano teaching is captured here by teachers
who have made the transition from private to group teaching. Each of
the three authors writes insightfully about the concerns and joys asso-
ciated with the development and continuation of a group program.
From the inspiration of a group piano workshop through outfitting a stu-
dio and scheduling lessons, the teachers illuminate some of the great
joys inherent in teaching piano students in groups. As Perdew states,
“Any time we share an experience with others it becomes more mean-
ingful.”
A teacher’s creativity and teaching skills are tested when leading group
lessons, and the opportunity to teach in groups adds a spark of new-
ness to even the most experienced teacher’s schedule. Classes from
preschool music readiness sessions to adult group lessons are men-
tioned. Students as well as the teachers find joy in studying piano with
others, and avenues for expression and motivation which may not be
as accessible in private study are opened.
Rowe, Charlotte. “Class Piano Lessons After 30 Good
Years.”
Clavier
Vol.38 (January999): pp.6-7.
This short article chronicles one teacher’s switch from private to group
teaching 30 years ago. The positive results of this transition will serve
as inspiration for those considering such a switch in their own studio.
The registration process, scheduling, fees and makeup lessons are
explained with ease in a way that can be utilized by other teachers.
Lesson content is approached, including work in technique, theory,
sightreading, repertoire and improvisation.
Stevens, Kay. “Interaction: The Hidden Key to Success
in Group Piano Teaching.”
International Journal of
Music Education
Vol.13 (1989): pp.3-10.
Interaction at a level perhaps only possible in a group class is the
focus of this article. The benefits of such interaction include motivation,
social acceptance, “peer learning,” cooperation and acclimation to per-
formance situations. The various levels of interaction in a group class
are measured in this study, and combinations of teacher and student
talk, teacher and student demonstration, and musical responsiveness
are examined. Understanding of the various types of communication
and levels of learning occurring in the group piano studio may be
gained through study of the results of this research project.
Books
Agay, Denes, ed.
Teaching Piano: A Comprehensive Guide
and Reference Book for the Instructor
. New York:
Yorktown Music Press Inc., 1982.
Volume I of this two-volume set includes an article by Hazel Ghazarian
Skaggs entitled “Group Piano Teaching.” In this article, Skaggs lists
ideas for team teaching, a course of study and activities for group
piano lessons, games/rewards appropriate for groups, discipline, and
studio equipment for the group classroom. Good lists of the advan-
tages and disadvantages of group study and positive and negative
aspects for the teacher are given in the article as well.
Annotated Group Teaching Bibliography
38
