Three-Dimensional Piano Technique from the Very Beginning,
Fred Karpoff, NCTM, Syracuse University, presenter

   Outstanding results can be achieved by teaching quality movement to students from the very first lessons. This presentation highlights strategies for teaching organic, whole-body movement to any student, including young beginners, and moving on to the basic three-dimensional form. These elements lay a strong foundation that inspires greater freedom and musical creativity for the long term, and sets us up to take the drudgery out of scales, arpeggios, and technical studies.

Music Reading for Choir Singers: Refreshing the Skills of Adult Musicians in Community Ensembles, Lyn Burkett, WCU, presenter
   Most adult amateur musicians have access to instruction in their communities. Qualified, experienced music teachers offer lessons in voice and a variety of instruments to students of any age, and adults who wish to participate in community ensembles may choose to improve the quality of their playing by taking lessons. For adults who sing in choirs, voice lessons may be available, but instruction in musicianship—the rudiments of how to read music and perform pitches and rhythms accurately—is available only through courses on college campuses or online. A single day-long workshop on music reading skills can give these musicians a refresher course on music-making skills that will enhance the quality of their ensemble participation.

Building a Bridge: Curriculum Development for the Emerging Intermediate Student,
Kathryn Sherman, NCTM, SUNY Potsdam, presenter
   Navigating the shift from method books to repertoire can be a daunting task. A well-crafted path that attends to students’ technical and musical development can go a long way towards making this shift a successful and exciting stage. Participants will explore how to navigate three stages of repertoire development during the elementary level: literature as supplemental, complementary, and elemental. During the mid-elementary stage, literature supplements and reinforces the skills and concepts taught in the method. By approaching this developmental stage from a conceptual framework of fundamental skills, participants will investigate how to assess needs in order to choose appropriate repertoire. We also will explore easily accessible mid-elementary literature collections and sources.
   As students move into the late elementary level, literature complements the method. While still supporting concepts and skills, the literature itself presents its own technical and stylistic demands. We will identify the burgeoning skills required at this level and how they can coexist with progress in the method.
   At the early intermediate level, literature become elemental, or a fundamental part of the student’s musical diet. We will examine technical and stylistic curricular categories, and how these can aid in devising a well-rounded plan for students, providing them with the facility and knowledge necessary to excel in the intermediate repertoire.

   By looking at repertoire and methods from a curricular standpoint, this session offers renewed, and hopefully refreshing, ways of utilizing teaching resources. A successful shift into repertoire can help us retain our students’ interest in piano and music study.

Music Learning Theory: Understanding the Principles of Audiation and How It Influences Our Teaching, A Panel Discussion with Scarlette Kerr, Celeste Watson, Lauren Willard, Ekin Ustunel, Annie Wang, Graduate Students of Salem College, presenters
   In traditional piano teaching there is emphasis on reading notation from an early stage in a child’s music education, yet sometimes there is frustration from both the teacher and the student about the amount of time it takes to learn and master pieces due to challenges of reading music. It is then more difficult for a student to confidently progress if he/she cannot execute what is happening on the page.

   Edwin L. Gordon’s Music Learning Theory proposes that a student’s foundation in music education is to develop the ability to audiate, discern patterns in music, and then independently create using patterns they are familiar with, rather than be introduced to notation early. Once a student has foundational aural training and can create music on their own, then they will understand notation at a deeper level, synonymous to a child learning to speak and understand her own language before reading.
   This presentation will introduce the principles of Gordon’s Music Learning Theory and its similarities and differences to other teaching approaches (Suzuki, Kodaly, and Orff), how it can be practically applied in the private and group piano lesson, and most importantly, how these concepts can refresh the teaching environment, and offer more opportunities for successful and significant learning in each piano lesson. This presentation will also interact with participants in order to provide an example of how engaging piano lessons can be with more opportunities to listen and create away from and at the piano.

Dylan Savage, NCTM, Arts Awareness and Advocacy Forum, Chair, presenter

   Dr. Dylan Savage will talk about the importance of teaching universal skills within the music lesson to benefit students, not only in instrument performance but in all aspects of their lives. Since a vast majority of music students do not become professional musicians, teachers might consider expanding the purpose and reach of the music lesson to include the systematic study of critical universal skills to maximize students’ potential for success in any profession. By doing this, teachers can dramatically widen the reach and impact of the music lesson. This talk will include an explanation of why you should consider teaching universal skills in every lesson and practical tips for how to do so without disrupting the traditional lesson format.

Theory and Improvisation: Identical Twins, Martha Hilley, NCTM, MTNA President, presenter

   It is hard to have one without the other. Theory can enable you to improvise. Improvisation can free you to use your theory knowledge. Come and see how this can be comfortable for you to add to your students' lessons and to your own personal amazement and amusement!

Enhancing Lessons with Creative Technology: Composition, Improvisation and Theory Tools with Apps, Damon Sink, WCU, presenter
   Many students who are engaged in music lessons at school or privately are also interested in writing music or learning music theory—and these topics (especially theory) are often a part of what music teachers teach. All student performers can benefit from developing music theory knowledge, which improves sight-reading and musical discernment. On-line and app based tools for musical creativity, often freely available or at a very low cost, can help students and teachers to tap into natural musical creativity and improvisational instincts. Similar tools for learning theory and music notation can help students share their creativity with others in the form of notated music or audio files. Web based technology, which most students have access to at home or even on their phones, can be a valuable resource to teachers who want to offer a wide variety of music learning experiences to their students. Lots of online music technologies include social communities as well where students can share their work. On-line connections and an appropriate web presence (not just a web site) are also a good way for teachers to find, recruit and retain students. Even if you already use technology, this presentation and group discussion will be a good opportunity to refresh your tech repertoire with at least a few more options.

Chopin’s Markings: the Keys to Inflection and Rubato,
Fred Karpoff, NCTM, Syracuse University, presenter

   Pianists and teachers face the challenge of crafting expressive, flexible, yet well-proportioned interpretations of Chopin’s music. The composer’s own articulation and expressive markings provide the best blueprint for cultivating a deep connection to his music, including how to inflect vocal phrasing and where to invest more expressive energy and intention. Examples will be drawn from Nocturnes, Waltzes, Ballades, Polonaises, Mazurkas, Preludes, and Etudes.

Get RESOURCEs to REFRESH Your Teaching and RETAIN Young Horn Players!,
Travis Bennett, WCU, presenter
   The early stages of development for young horn players (beginners through high school) can be challenging and frustrating for both teacher and student. This session will address the unique challenges that young horn players face, and provide tips and tricks for giving them the best chance at success. I will discuss both new and time-tested teaching resources for individual instruction, as well as ways to optimize young horn players’ experience and contributions in a large ensemble setting. Successful horn players will stick with it (retention)! I will demonstrate principles on the horn and allow time for questions. Some specific topics addressed will be: equipment, ergonomics, posture, part assignments, where to place the horn section, fundamental techniques, etude books, recordings, online resources, and more.

Fred Karpoff, NCTM, Syracuse University, presenter
   Acquiring effortless arpeggios expands your technical foundation, enabling greater fluency and coordination in all movements. When intermediate students learn to play rapid, clean, two-octave arpeggios, remarkable things happen: their self-esteem rises, they become more fascinated by sound and gesture, and they become more motivated to practice more. These in turn lead to heightened achievement and satisfaction.
   Similarly, excellent coordination of trills and tremolos frees up pianists to master other technical challenges of all varieties, at all levels, and in any style. Drawing upon examples from elementary, intermediate, and advanced repertoire, Fred Karpoff demonstrates how to cultivate these essential elements of advanced piano technique for teachers and students.

Cathy Pescevich Kreplin, WW/Perc/Brass Teachers Chair and NC Chamber Chair

   “First, Breathe” is an interactive exploration of breath and respiration, pertaining to music practice and performance. Hosted jointly by the Voice and Woodwind/Brass/Percussion Sections of the NCMTA, this session on breathing is of essential importance to teachers of all instruments.  Together, we will experience the essential benefits that improved awareness and use of the breath have on our powers of concentration, our practice process, our technical control, and more. The effects on our music-making of order and disorder in our respiration will be considered. Participants in this interactive session will come away with a REFRESHED understanding of breath management, RESOURCES for continuing study and development, and practices easily assimilated into teaching and RETAINED. Presenter Cathy Pescevich Kreplin, Wind/Brass/Percussion and NC Chamber Ensemble Chair, leads this vital and vibrant experience. Come prepared to move!

Shannon Thompson, WCU, presenter
   This Lecture Recital presents three transcriptions for clarinet and bass clarinet from music for string instruments by significant women composers. Works include Clara Schumann’s Three Romances for violin and piano, Fanny Mendelssohn Hensel’s Fantasia in G Minor for cello and piano, and Nadia Boulanger’s Three Pieces for cello and piano. Although the clarinet is the most celebrated wind instrument in chamber music of the romantic period, clarinetists have nothing of import from women composers of that era.
   By finding and adapting worthy music by women of the past to our own instruments, we expand our performing and teaching repertoire. By studying and performing this music, we refresh and revise our understanding and experience of the musical contributions of women. In this presentation, I will show the modifications I made to the violin and cello parts by Schumann and Hensel to work more effectively on clarinet and bass clarinet. I will discuss my mentorship of my undergraduate student in his own transcription and performance of Boulanger’s Three Pieces. My student will present the most significant changes he made in order to adapt the cello part to work on the clarinet. Each piece will be demonstrated through live performance.

Kim Neidlinger, WCU presenter
   The presentation topic will explore ways for children’s choir directors and private voice teachers to work with and develop the young singer’s voice. The presentation will cover posture, vocal exercises and warm ups, and age appropriate vocal literature in a variety of musical genres.
o RESOURCE - What are the current resources out there for teaching the young singer?
o REFRESH - the presentation will be part lecture and part demonstration
o RETAIN - how can these approaches help music teachers recruit and retain students in our choirs and private studios?

LUNCH: INDEPENDENT MUSIC TEACHERS FORUM, Dottie Buster, IMTF Chair Festivals, Competitions and Contests-What Are They All About? Cathy Pescevich Kreplin, Wind/Brass/Percussion and NC Chamber Ensemble Chair, facilitator

   Have you ever wondered about the abundance of performance festivals, contests and competitions out there? What are the benefits? Are there any risks? How do you prepare? These questions and more will be the subject of our panel discussion.  Career private studio teacher Cathy Pescevich Kreplin will lead this informative session, designed to ignite or REFRESH your interest in these valuable RESOURCES. At the top of the hour, the panel will share their ideas and experiences of entering students in festivals, competitions and contests. Then, the facilitator will lead a focused conversation on the subject.  The primary audience for this session is teachers who may never have entered students into adjudicated performance events, or for whom it has been a long while. Participants will learn how to find adjudicated performance events, understand entrance requirements, assess appropriateness for their students, and establish useful expectations for the process. Teachers of any instrument(s) will find this session of value and importance.

LUNCH: COLLEGE FACULTY FORUM, Allison Gagnon, UNCSA, Chair
Professional Musical Training for Young Beginners,
Dmitri Shteinberg, Chair of Piano, UNCSA, presenter
   Dr. Shteinberg shares how he links his college students’ pedagogy training with young students’ instruction at UNCSA’s Community Music School, a project that prepares his students for professional life while serving their community. Time for members’ discussion included!

LUNCH: SENATE PLANNING COMMITTEE MEETING,
Paul Stewart, NCTM, Chair. Past NCMTA President’s meet for planning and discussion.

NCMTA PERFORMANCE FESTIVAL HONORS RECITAL, Frank Pittman, NCTM, Piano Performance Festival Chair; Margot Hafner, Voice Performance Festival Chair

Students (Senior A & B) who earned Highest Honors at the East (Raleigh) and West (Charlotte) State Auditions are invited to perform on this honors recital.

Hidden Treasures: Discovering Intermediate and Advanced Resources of the IMSLP,
Carol Ann Barry, NCTM, presenter
   The Petrucci Music Library Online is an amazing and unending resource for music in the public domain. Refresh your studio’s literature choices for recitals and auditions with rich historical pieces! This lecture-recital will present an overview with short performance examples of music contained in the massive IMSLP suitable for rising intermediate and advanced students. A cross section of materials will be presented from the major periods of music. Complete with a power point presentation and a handout with a suggested repertoire list, this program will encourage participants to explore the plethora of materials available online.
The second half of the lecture will be a performance of selected pieces from Cesar Cui’s Twenty-five Preludes, Op 64. These pieces represent a variety of characters but also showcase pieces of varying difficulty.

Exploring the Piano Works of Meredith Monk, Jae Won Kim, UNC-Pembroke;
Mark Tollefsen, UNC-Pembroke
   The solo and two-piano works of groundbreaking composer Meredith Monk are masterpieces of the twentieth- and twenty-first-centuries and demand greater attention. Often in a Minimalist style, the directness, transparency, and perpetual rhythms found in Ellis Island, Railroad (Travel Song), and Obsolete Objects, for example, immediately attract the attention of intermediate-level students and can be excellent resources for teachers in the instruction of evenness and tone production.
   Students and teachers alike will have no difficulty connecting with Monk’s colorful and tonal musical language nor will they struggle to overcome the work’s technical challenges. Moreover, Monk’s evocative titles serve to spark students’ imaginations and refresh their interest in performing music by living composers. For teachers unfamiliar with Monk’s work, these “new” pieces are likely to become studio staples. Following a brief introduction to Monk’s biography and a summary of her output for piano, the presentation will continue with discussions and performances of several works.

NCMTA YOUNG COMPOSERS RECITAL, Zac Zubow, Composition and Theory Chair

Student winners whose submitted compositions perform their original works.

Breaking Boundaries: Introducing Contemporary Skills to Intermediate Pianists with Commissioned Works, Annie Jeng, UNC Greensboro, presenter
   With each innovation of the piano since 1700, composers have pushed the boundaries of what the instrument is capable of, resulting in a vast repertoire often utilizing unconventional techniques and notation systems. Much of this recent repertoire, however, is written by male composers, specifically for advanced pianists. Young pianists are also not exposed to contemporary techniques, sounds, and concepts. As time passes and advanced repertoire continues to grow, our pedagogical resources lose relevance.
   This presentation will shed light on a recent commissioning project I led that advocates for the integration of contemporary skills and notations into students’ lives during the foundational years of their musical development. The project produced a collection of 20 new works written by young female composers at the intermediate level. A selection of the works will be discussed, as well as the commissioning process to assist teachers who may want to undertake commissioning projects of their own.
   Contemporary skills can be fun, refreshing, and even add new perspectives to standard literature. They also need to be taught to be done properly and with care. It is up to us as teachers to nurture our students’ desire to foster their innate curiosity, and even more importantly, to open their ears, minds, and sensitivities.