Graduate Theses, Dissertations, and Problem Reports
2024
Developing the 21st Century Piano Studio Developing the 21st Century Piano Studio
Brianna Mae Eddy
West Virginia University
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DEVELOPING THE 21
ST
-CENTURY PIANO STUDIO
Brianna Mae Eddy
A Doctoral Research Project submitted
to the College of Creative Arts
at West Virginia University
in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts in
Piano Performance
Lucy Mauro, D.M.A., Chair and Research Advisor
Peter Amstutz, D.M.A
William Koehler, D.M.A
General Hambrick, M.F.A
School of Music
Morgantown, West Virginia
2024
Keywords: Piano Studio, Teaching Piano, Piano Pedagogy
Copyright 2024 Brianna M. Eddy
ABSTRACT
Developing the 21
st
-Century Piano Studio
Brianna M. Eddy
This study explores the needs of the contemporary piano studio, including business
policies, the use of technologies, mental health and neurodivergence in students, and the
influence and use of social media. Focused on the needs of both the private-studio piano teacher
and traveling piano teacher, the paper offers insight into studio ownership and management with
an emphasis on providing experiences that meet the needs of contemporary students. The paper
includes a brief history of private piano instruction as well as information for developing studio
policies, business issues related to current tax requirements and forms, and resources for
financial and general studio business management.
iii
ACKNOWLEDGEMENTS
First and foremost, I would like to express my gratitude to Dr. Lucy Mauro. Without her
support and guidance, this project would not have been possible. My gratitude also goes to my
committee members, Dr Peter Amstutz, Dr. William Koehler, and Prof. General Hambrick for
their comments and encouragement throughout my doctoral degree.
I also thank Dr. Irene Bowling, Dr. John Pickett, Dr. John Thwaits, and Prof. Jan Loeffler.
You have shaped me into the musician and pedagogue I am today. I owe everything I have
learned and have been able to achieve to each of you.
Finally, my deepest gratitude also goes to my family. Because of you, I am able to write
these words and achieve my dreams. I cannot thank you enough for the multitude of piano
recitals you attended, the years of listening to practice sessions, and for the unending love and
support.
iv
TABLE OF CONTENTS
CHAPTER I: INTRODUCTION………………………………………………………………...1
Review of Related Literature……………………………………………………………...2
CHAPTER II: A BRIEF HISTORY OF KEYBOARD/PIANO INSTRUCTION……………….6
CHAPTER III: BUSINESS PRACTICES………………………………………………………12
Studio Teaching.………………………………………………………………………….12
Travel Teaching.………………………………………………………………………….14
Studio Policies…………………………………………………………………………...15
Teaching Philosophy...…………………………………………………………………...18
Tax Filing and Records………………………………….……………………………….18
Billing Management and Records………………………………………………………..20
CHAPTER IV: INCORPORATING TECHNOLOGIES and SOCIAL MEDIA……………….24
Social Media Platforms…………………………………………………………………..24
Dangers of Technology…………………………………………………………………..26
Online lessons……………………………………………………………………………28
CHAPTER V: MENTAL HEALTH AND NEURODIVERGENCE…………………………….29
CONCLUSION…………………………………………………………………………………..34
BIBLIOGRAPHY………………………………………………………………………………..37
1
CHAPTER I
INTRODUCTION
This study explores the needs of the contemporary piano studio, including the
requirements for studio equipment, technologies, business practices, mental health and
neurodivergence in students, and the influence of social media. This paper provides an insight
into studio ownership and management.
The purpose of this study is to discuss business approaches and alternative techniques in
private piano instruction needed to advance music education in the 21
st
century and help teachers
adapt to the changing music world. Private piano teachers often follow the same model as their
own teachers or information they learned in college pedagogy classes in previous decades. This
study allows new graduates to understand the workplace they are about to enter and also provide
a new perspective for veteran teachers.
The research encompasses journals, books, research papers, and articles from the past
three decades. Also included is information from presentations at the 2023 National Conference
of Keyboard Pedagogy as well as information from the Music Teachers National Association
conferences. In addition, this research explores issues related to technology for online lessons as
well as computer applications used for businesses such as QuickBooks, Flexbooker, and other
software.
With the societal, cultural, and technological changes of the last two decades, it is
imperative that piano teachers be able to adapt and expand their teaching and business styles.
New college music graduates are often unaware of the financial aspects of running a successful
music studio and risk failing if unprepared. Understanding mental health and neurodivergent
2
students can create a new generation of teachers that are equipped to teach any and all students,
as well as gain important insight into cognitive function. Incorporating technologies is a
relatively new idea in private piano instruction that is still being shaped and often experimented
with in studios. Being aware of the difficulties and dangers that come with technology can affect
not only a studio’s outcome, but also help promote the business when used effectively and
professionally. Adapting to a new or expanded pedagogical model can open a new path to
developing well-rounded students that are prepared to move into the music business or higher
education and enjoy music throughout their lives in a variety of capacities.
Review of Related Literature
There is a significant amount of literature related to piano teaching and current topics in
piano study. Below are examples of some of the most current sources.
"Re-envisioning the Conservatory Style Music Studio: Towards a Pedagogy of Hope,
Care, and Community”
1
by Sarah Stapleton and Kimberly Barber is an article written in 2020 in
response to the COVID-19 pandemic and its impact on music education. The authors discuss the
impact of the pandemic on students’ mental health, the need for self-reliance outside of the
lesson, and an emphasis on the body as an instrument.
“Popular Music Education as a Technology of Access and Intervention: Tanglewood and
Popular Music Education in the US”
2
by Noah Karvelis discusses how popular music is being
incorporated into music education through music festivals and symposiums such as Tanglewood,
1
Stapleton, Sarah, and Kimberly Barber. “Re-Envisioning the Conservatory Style Music Studio: Towards a
Pedagogy of Hope, Care, and Community.” Canadian Music Educator / Musicien Educateur Au Canada,
vol. 65, no. 2, Jan. 2024, 20–28.
2
Karvelis, Noah. “Popular Music Education as a Technology of Access and Intervention: Tanglewood and Popular
Music Education in the US.” Action, Criticism & Theory for Music Education, vol. 22, no. 3, Oct. 2023,
122–43.
3
a largely classical-based symposium. This article is from the journal Action, Criticism & Theory
for Music Education, published in October of 2023. Karvelis discusses incorporating popular
music into studio lessons and why this is important.
The Savvy Music Teacher: Blueprint for Maximizing Income & Impact
3
by David Cutler
and published in 2015, describes potential income ideas and how to maximize income within a
private piano studio. It offers a step-by-step lesson for newly graduated students who have not
been taught how to start and manage the business side of teaching. Cutler has included the
potential shortcomings for teachers, as well as personal mistakes. The book does not focus on
pedagogy, but rather on the financial aspect of studio management.
“Lesson Learned from COVID-19 and Pizza Chains”
4
by Jonathan Scofield, was
published in American Music Teacher during the COVID-19 pandemic. This article touches on
the fact that during a global pandemic, independent music teachers were nonessential, but
independent music teachers found a way to keep their businesses going with the help of Zoom
and online lessons. It discusses the methods used by pizza companies through advertising and
specials, and how they can be transferred to online lessons.
“Beyond the Website: Connecting with Students on Social Media”
5
by Bryn Sowash is a
2019 article from American Music Teacher focusing on the influx of social media use and how it
can benefit private music instructors. From Facebook pages, Instagram profiles, TikTok profiles,
Sowash introduces the different platforms and how they can promote private studio teaching.
With social media platforms, however, there are dangers of which instructors need to be aware.
3
Cutler, David. The Savvy Music Teacher: Blueprint for Maximizing Income & Impact. Oxford: Oxford University
Press, 2015.
4
Scofield, Jonathan. “Lessons Learned from COVID-19 and Pizza Chains.” American Music Teacher, vol. 70, no. 1,
2020, 16–19.
5
Sowash, Bryn. “Beyond the Website: Connecting with Students on Social Media.” American Music Teacher, vol.
68, no. 6, 2019, 18–21.
4
Sowash comments as well on connecting with students and their abilities now to see into the
instructors’ private lives.
“Technology for Studio Safety: Online, Offline, and Everywhere in Between”
6
by Shana
Kirk discusses the rise of online lessons and the use of technology in studio lessons. Published in
American Music Teacher, it discusses the safety measures needed to allow students to use
handheld devices within the studio walls, as well as how to keep the studio safe from internet
hackers, phishing sites, and bots that can infiltrate important documents.
“How to Keep Teaching: When the Sky Is Falling”
7
by Paola Savvidou is an article from
American Music Teacher published during the COVID-19 pandemic. Discussing mental health
and burnout was at the forefront during the pandemic. Many articles discuss the students’ mental
health, but this article focuses on the mental health of the instructors. Savvidou discusses how to
maintain a busy studio schedule while reminding teachers of the small things that can be done to
help keep the effects of burnout at bay.
Piano Roles: A New History of the Piano was published in 2002.
8
James Parakilas wrote
and compiled this history of the piano, with discussion of its development, the history of
instruction and its place in cultural history. This book provides an important overview of the
history of piano instruction.
Contemporary Piano Music: Performance and Creativity
9
by Madalena Soveral was
published in 2021. This book focuses on the piano repertoire used to teach compositional
techniques and performance practices within the 20
th
and 21
st
centuries. Instead of focusing on
6
Kirk, Shana. “Technology for Studio Safety: Online, Offline, and Everywhere in Between.” American Music
Teach er, vol. 69, no. 5, 2020, 14–15.
7
Savvidou, Paola. “How to Keep Teaching: When the Sky Is Falling.” American Music Teacher, vol. 70, no. 2,
2020, 14–15.
8
Parakilas, James. Piano Roles: A New History of the Piano. New Haven, CT: Ya le Universit y Pr ess, 2002.
9
Soveral, Madalena, ed. Contemporary Piano Music: Performance and Creativity. Newcastle upon Tyne, UK:
Cambridge Scholars Publishing, 2021.
5
the traditional western repertoire, it is focuses on new approaches to performance with
experimental methods.
"Piano Instruction: Reframing the Master-Apprentice Model through the Integration of
Dialogic Processes"
10
is a dissertation written by Rebecca Williams in 2023. This dissertation
focuses on the idea of a blended pedagogical approach, rather than the master-apprentice model
of instruction. Analyzing the history of keyboard pedagogy, Williams includes several studies of
students with varying ages and experience levels within the same piano studio.
“Popular Music and Piano Pedagogy: Case Studies in Individual Instruction”
11
by
Katherine Acone is a dissertation published in 2023. This study researches the backgrounds and
outcomes of students who were taught popular music as well as classical music. The study also
analyzes the formative music experiences of the instructors and how these led them to teach
popular music.
"Building an Online Piano Studio: Surveys and Interviews with Piano Pedagogues"
12
is a
dissertation written by Hillary Santoso in 2023. This dissertation includes a survey of nine
pedagogues and their steps taken to maintain a remote studio. This study also includes practice
methods for fully remote piano education.
10
Williams, Rebecca Holman. "Piano Instruction: Reframing the Master-Apprentice Model through the Integration
of Dialogic Processes.” Dissertation. Claremont Graduate University, 2023.
11
Acone, Katherine Rose. "Popular Music and Piano Pedagogy: Case Studies in Individual Instruction."
Dissertation. University of Toronto (Canada), 2023.
12
Santoso, Hillary Lin. "Building an Online Piano Studio: Surveys and Interviews with Piano Pedagogues."
Dissertation. University of Michigan, 2023.
6
CHAPTER II
A BRIEF HISTORY OF KEYBOARD/PIANO INSTRUCTION
By the early 1700’s, there were multiple types of keyboard instruments. Spinets,
virginals, clavichords, and harpsichords were commonly seen. With such a variety of instruments
to choose from, questions arise regarding why a new keyboard instrument was invented and how
these different keyboard instruments were taught over the past centuries.
The harpsichord was a predominant keyboard instrument as early as the 16
th
century. The
sound of the harpsichord is created by the strings being plucked as the key is depressed. This
mechanism produces a ‘ping’ sound with every pluck, with an unvarying force. Virginals and
spinets are smaller instruments that had the plucking mechanisms seen in harpsichords. In Early
Keyboard Instruments: A Practical Guide, David Rowland states that the name “virginal” is used
generically for a variety of stringed keyboard instruments in England into the 17
th
century. A
spinet is an instrument with strings that run diagonally from left to right. Any instrument that
does not have this stringing is categorized as a virginal.
13
Clavichords were different from other
early keyboard instruments. Instead of being plucked, the strings were struck by small metal
tangents, making the instrument more touch sensitive.
14
With these early keyboard instruments, teachers began to write educational materials for
instruction. One of the first treatises was written by Girolamo Diruta (1554-1610). Published in
two parts, it distinguished the difference between organ and clavier playing.
15
This treatise
discusses hand position, finger position, fingering combinations, and rules for notating melodies.
13
Rowland, David. Early Keyboard Instruments: A Practical Guide. Cambridge, England: Cambridge University
Press, 2001, 45.
14
Ibid., 46.
15
Uszler, Marienne. The Well-Tempered Ke yboard Teacher. New York, NY: Schirmer Books, 1995, 298.
7
Nearly a century later, François Couperin (1668-1733) published his treatise The Art of Playing
the Harpsichord. Included in the treatise were exercises for warming up away from the
keyboard, as well as patterns to play at the instrument. Couperin also devoted a large section to
the proper execution of embellishments.
16
Another well-known treatise was by Jean Philippe
Rameau (1683-1764), Method for Finger Mechanics at the Harpsichord. This stressed
independent finger action, regularity of action, and lifting the fingers during trill practice.
Rameau focused on freedom and flexibility of the fingers. With these early method books,
teachers found in them a resource for structuring lessons. Emphasis was on the rudiments of
reading music and technical performance of the music of the time. In the 18th century, keyboard
lessons were typically for the affluent, and practicing was often done in the presence of the
teacher who would come to the student daily for instruction. François Couperin was known to
lock the harpsichord at the end of the lesson to ensure that his students did not form any bad
practice habits away from his supervision.
17
In the early 18
th
century, the direction and instruction of keyboard instruments would see
a radical change. The instrument maker of the crown prince Ferdinando Maria de’ Medici
(1663-1713) was Bartolomeo Cristofori (1655-1731). Around 1700, he invented the
“Arpicembalo…di nuova invention, che fa’ il piano, e il forte’ (a harpsichord, of new invention,
that plays soft and loud).”
18
Cristofori replaced the plucking mechanism of the traditional
harpsichord with hammers. This allowed the keyboard instrument to produce multiple dynamics
with a range of quiet and loud sounds that was not possible on previous instruments. The early
pianos went by several names, including “gravicembalo col pian e fort,” “clavicembalo col piano
16
Uszler, Marienne. The Well-Tempere d Keyboard Teacher. New York, NY: Schirmer Books, 1995, 299.
17
Parakilas, James. Piano Roles: A New History of the Piano. New Haven, CT: Ya l e University P r es s, 2002, 8.
18
Ibid., 9.
8
e forte,” “fortepiano,” and eventually “pianoforte” and just “piano.” All the names signified the
instrument’s most important feature: the ability to produce soft and loud sounds through the type
of touch on the keys. Although the early pianos were used for solo and accompaniment work,
they were less favored due to the harpsichord having a more powerful tone. By the end of the
18
th
century, however, the piano, with its continued improvements, had eclipsed the harpsichord
as the favored keyboard instrument.
As keyboards became more accessible and popular in homes, piano lessons became an
important branch of learning music. In Piano Roles: A New History of the Piano, James Parakilas
states that “taking piano, in other words, became an activity in itself rather than a part of – and
means to – a broader achievement.”
19
With the shift in how the piano was viewed, studying
became more serious as well. The most influential method book of the late 18
th
century and early
19
th
century was the Essay on the True Art of Playing Keyboard Instruments by Carl Philipp
Emanuel Bach (1714-1788). Published in two parts, this treatise greatly influenced keyboard
teachers and students. Ludwig van Beethoven (1770-1827) recommended the book, and it is still
highly regarded today. Uszler states in The Well-Tempered Keyboard Teacher that the Essay is
regarded as possibly the most important source for keyboard embellishments for its time.
20
With the rise of the middle class in the 19
th
century and the ability to have music in the
home, piano lessons became broadly available and a significant part of a young person’s
education. A teacher would often call on the students once a day. The teacher may not have been
a keyboard specialist, but a general musician. For those who were studying for pleasure, practice
required only a handful of hours per week. For the more serious students, practice was at least
19
Parakilas, James. Piano Roles: A New History of the Piano. New Haven, CT: Yale Univers i t y Press, 2002, 135.
20
Uszler, Marienne. The Well-Tempere d Keyboard Teacher. New York, NY: Schirmer Books, 1995, 301.
9
three to four hours per day, with the additional hour lesson.
21
This did change within the 19th
century as it was expected that all who studied were to practice equally.
22
The first modern conservatory was established in Paris in 1795, The Conservatoire
National de Musique,
23
with piano instruction at the forefront. From this conservatory, music
schools were developed throughout Europe in large numbers. As the elitism of these schools
flourished, home instruction was the ideal way to prepare students for entry into the conservatory
system.
Parakilas states that by the nineteenth century, the piano was viewed as a machine
24
and
instruction focused on a uniform technique. The hands sat on the keys and should move in a
mechanical way, eliminating the difference in length between fingers. The straightness of the
wrist allowed for the fingers to move with uniform pressure. Piano pedagogue Johann Bernhard
Logier (1774-1846) agreed with this idea, creating a device called the “chiroplast” in 1814.
25
The chiroplast was a mechanical device placed along the width of the keyboard which kept the
hands in place and allowed for lateral movement up and down the keyboard. Friedrich
Kalkbrenner (1784-1849) also supported a similar device, the hand guide, which he promoted in
his treatise.
26
The title of Kalkbrenner’s ca. 1832 popular treatise, A Complete Course of
Instruction for the Pianoforte, with the Assistance of Hand Guides: Containing the Principles of
Music, a Complete System of Fingering, with Rules on Expression and Musical Punctuation, and
a Classification of Authors, Proper to be Studied, Followed by a Study for Three Fingers, a
21
Parakilas, James. Piano Roles: A New History of the Piano. New Haven, CT: Ya l e University P r es s, 2002, 137.
22
Ibid., 137.
23
Ibid., 153.
24
Ibid., 137.
25
Rainbow, Bernarr. “Johann Bernhard Logier and the Chiroplast Controversy.” The Musical Times 131, no. 1766
(1990): 193.
26
Dekeyser, Paul. "Kalkbrenner, Frédéric." Grove Music Online. 2001.
https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-
9781561592630-e-0000014623. Accessed 24 Feb. 2023.
10
Toccata, a Fugue of Four Parts for the Left Hand Alone, and Several Studies in Thirds, Sixths,
and Octaves, is a good example of the detailed approach to piano study and marketing of the
time. It was during this time also that piano manufacturers were working to create a uniform
sound quality throughout the range of the keyboard. Combining the necessary technique with the
changing instrument allowed for full control over the instrument. Lessons within the 19th
century changed to more focus being put on technique and hours spent at the piano. Students
were expected to hold notes for their full duration, practice scales and études prior to pieces, and
spend a minimum of three hours practicing each day.
27
This was considered the great age of
étude writing, with Carl Czerny (1791-1857), Frédéric Chopin (1810-1849), Muzio Clementi
(1752-1832), and Johann Baptist Cramer (1771-1858) all writing what are considered the
cornerstones of piano teaching. The invention of the metronome by Johann Maelzel (1772-1838)
in 1815 significantly changed practice and teaching as well. Teachers were now able to set the
tempo for works and exercises, teaching students to hold a tempo for the duration of a piece or
passage.
From the start of piano lessons in the 18
th
century, the focus was on female
accomplishment. It was a highly gender-specific activity. The difference between educating the
genders was extreme. Girls were taught to provide a “dignified and appropriate amusement”
28
for
themselves and family, whereas boys were taught to perform on stage. Female students greatly
outnumbered male students in conservatories, although the faculty of piano instructors were
almost exclusively male. Females were not expected to teach, as females of the time were
typically from wealthy families and were not expected to work or provide income to the
household. Women who gave lessons on their own preferred to seek students privately, through
27
Parakilas, James. Piano Roles: A New History of the Piano. New Haven, CT: Yale Univers i t y Press, 2002, 140.
28
Ibid., 148.
11
family friends, relations, or neighbors. However, women looked to teach as a temporary
measure, not as a lifelong means of support. Due to the conservatory focus, lessons were
typically diminished to once a week, with students expected to practice and prepare on their own.
In the 20
th
century private lessons were often seen in churches, even moving to the teacher’s
home instead of the teacher going to the student’s house. With a variety of method books
becoming regularly available, in-home teaching was much more common and accessible to the
general public. Because of this, piano pedagogy instruction developed within higher education,
with courses and degrees in both undergraduate and graduate programs.
Teaching within the 21
st
century has progressed beyond the typical piano lesson focused
on note-reading, technique, and standard repertoire. Pedagogical innovations have expanded with
the rise of technology. Incorporating games into lessons to keep the focus of younger students, as
well as multi-cultural competency has increased. Understanding the backgrounds of the students
and sensitivity to the specific needs of each student has become more prominent. Electronic
keyboards have significantly replaced acoustic pianos in the home. The 21
st
-century teacher faces
these and other challenges and must be able to meet the needs of students in a broad capacity.
The following chapters discuss the needs of the 21
st
-century piano teacher.
12
CHAPTER III
BUSINESS PRACTICES
The majority of private piano studios are independently owned and managed. A studio
may be registered as a school, but there are multiple different laws and regulations in place for
those establishments. The focus of this research study is the independent piano teacher, whether
in a privately-owned and managed studio in the piano teacher’s home or as a traveling teacher.
This chapter will discuss the differences between studio teaching and travel teaching, studio
policies, teaching philosophies, financial issues with record-keeping and tax filing, and programs
for billing and scheduling lessons.
Studio Teaching
For this research study, a studio teacher is defined as a teacher that teaches out of a
personal home. A travel teacher is defined as an independent teacher who travels to a student’s
home to teach. For the teacher who establishes a studio in a personal home, as discussed in
Fourth Finger on B-flat,
29
zoning laws must be adhered to as certain housing communities do not
allow for a private business to be established. The potential piano teacher must first be certain of
permission to operate a business. This may include contacting homeowners’ organizations, city
offices, or departments of licensing.
In the book How to Teach Piano Successfully, third edition, by James W. Bastien, the
teaching space is described as “a neat, attractive, well-equipped studio that will provide a
pleasant atmosphere in which to work, and students will look forward to their lessons in such
29
Haroutounian, Joanne. Fourth Finger on B-flat: Effective Strategies for Teaching Piano. San Diego, CA: Neil A.
Kjos Music Company, 2012, 36-37.
13
surroundings.”
30
Continuing into specifics, Bastien states the difference between studio sizes
depends on the number of students, as well as stating what equipment each studio should have.
According to Bastien, the following items are required for studio teaching: pianos, piano bench,
pedal extensions, keyboards if pianos are not possible, metronome, writing utensils, and
additional music books.
31
Not included in Bastien’s list but required for the 21
st
-century piano studio are as follows:
- Internet Access: Whether this is an ethernet cable connected to an internet router or a
wi-fi router within the studio space, internet access is required for virtual lessons and the
ability to quickly access a variety of teaching needs such as recordings, special scores, or
videos of performances for students. Internet access is necessary for 21
st
-century
communication with students and parents. Creating a studio website and ease of
accessing and updating online student and teacher portals is efficient and allows for easy
access for parents and students.
- Charger Cables: It is imperative to keep all devices charged and prepared for lessons.
- Proper lighting: a properly lit room is necessary to see the music clearly and correctly.
If the room is not fitted with proper overhead lighting, lamps and other lighting devices
can be brought in to give the space the lighting needed.
- Seating for parents/guardian in studio: as specified in the studio policy,
parents/guardians are asked to sit in the lessons. Providing a seating space for parents
either behind the piano or out of the student’s direct eyesight is imperative for them to
understand what the student will need to practice at home.
30
Bastien, James W. How to Teach Piano Successfully, third edition. San Diego, CA: Neil A. Kjos Music Company,
1995, 17-20.
31
Ibid., 18,
14
With studio teaching, there are several requirements for the general public, the first being
parking. Correct parking and safety on and around the property is important. If the piano
teacher’s home is on a busy street then precautions must be taken to ensure safety and ease. A
waiting or sitting room with comfortable seating for parents and students is imperative. The
student and parent should not be left waiting outside for their lessons, and a parent should not be
expected to stand for the length of the lesson. Bathroom facilities are also required and should be
kept fully stocked. Internet access in the waiting room is also expected for parents that may not
be able to sit in the physical lesson but are expected to wait on the premises for the duration of
the lesson.
Travel Teaching
Contrary to private studio teaching, a popular choice particularly for first-time teachers is
to be a traveling piano teacher. This is appealing to parents that may have multiple children or
busy work schedules. Teachers who travel using their own vehicle (or public transportation) to
the students’ homes may include the mileage or other transportation costs in their lesson fees.
The number of lessons a teacher can do in a day can be limited due to travel distances and any
delays that may occur. It is possible, however, to arrange travel lessons so that several students
in a neighborhood may be taught consecutively.
One issue with travel teaching is that the instrument quality is not guaranteed, and the
teacher is forced to teach on whatever the student provides. Haroutounian states several
guidelines for travel teachers:
Be certain to charge enough for services.
Establish a professional relationship through a clearly-defined
written policy and respectful interpersonal communications.
Manage the lessons so that an appropriate level of respect is
established and maintained.
Have adequate “decompression” time between lessons.
15
Organize lesson plans and curriculum as all materials must be brought.
Technology may be used at the lessons. This is not necessary
for all travel teachers, but can be useful.
Students should be prepared for lessons with books, pencils,
and any recording devices at the piano.
The teaching area must have good light and a chair for the teacher.
Family and others in the home must be aware of the
importance of no noise during lesson times.
Lessons should begin and end promptly at the appointed times.
32
Teachers who are adept at this type of teaching learn how to work with materials that can
be brought to and from lessons. This includes any technology, music, flash cards, theory books,
or music games. Travel teachers should prioritize students within the same neighborhoods as
they are easiest to schedule to take advantage of time, as well as avoiding driving further than
they are comfortable to teach. Teachers should be aware of liability insurance and should have
coverage on their vehicle for any additional needs. As the vehicle is their personal office,
teachers should track the mileage driven between lessons on a notepad or through an application
such as the ‘Notes’ application on a phone; QuickBooks
33
or Mileage Expense Log and Tracker
34
for tax purposes.
Studio Policy
When creating a studio, one of the most important aspects of establishing the business is
the studio policy. This policy is a set of rules and expectations that should be read and signed by
both the parents and students. Along with explaining the expectations and responsibilities of the
teacher, parent, and student, this can be a legally binding document that can save the studio from
any issues that may arise. In The Well-Tempered Keyboard Teacher by Marienne Uszler, Stewart
32
Haroutounian, Joanne. Fourth Finger on B-flat: Effective Strategies for Teaching Piano. San Diego, CA: Neil A.
Kjos Music Company, 2012, 38-39.
33
QuickBooks. https://quickbooks.intuit.com. Accessed March 26, 2024
34
Mileage Expense Log and Tracker. https://mileiq.com. Accessed March 26, 2024.
16
Gordon, and Elyse Mach, it is stated that the hallmark of the professional teacher is clearly
defined in the studio policy. A studio policy does not need to be lengthy but does need to be clear
and precise. According to Uszler, the policy should include the following:
§ Instructional Schedule: the start and end of terms, if summer
§ instruction is offered, and which holidays will be observed
§ Tuition Rates: varied for lesson lengths and terms
§ Billing/payment procedures and regulations
§ Telephone times/number(s): when teachers are and are not
§ available for questions or contact
§ Policies for missed and/or late lessons
§ Recital Policies
§ Instrument requirements
§ Practice expectations
§ Parental Involvement: specifics for what the involvement
§ should be, attendance of lessons, control of the practice
environment
§ Importance and value of support for music in the home, concert
attendance, and music appreciation
§ Teacher’s professional background and current professional
affiliations
§ Teaching philosophy and/or mission statement of the studio
35
At the National Conference of Keyboard Pedagogy in Chicago, 2023
36
, other studio
policies were discussed including:
- Social Media Waivers
- Lesson lengths with the length of lesson depending on level of students
- Termination Requirements: for the students and for the teacher
- Exam/material fees and expectations
- Personal Hygiene: attendance after sporting events, illness, overall health of student
and parent
- Communication via text/email: what is appropriate and what times the teacher is
available for communication
35
Uszler, Marienne, et al. The We ll-Tempere d Keyboard Teacher. New York, NY: Schirmer Books, 1995. 18.
36
NCKP: “From Solo to School,” Clinton Pratt.
17
Social media policies, websites, and other online-presence information should also be
part of the studio policy. The use of social-media waivers is an important subject with the rise of
piano teachers using platforms to promote their studios online. Having the parents decide and
sign a form stating they that are or are not allowing the use of photography or videography of
their children online can protect the studio from any legal implications.
At the 2024 National Conference of Keyboard Pedagogy, personal hygiene was a topic,
primarily due to the COVID-19 pandemic; however, it was also discussed more generally.
37
Students that participate in athletics before or after lessons may come in their uniforms or
practice clothes. These sports may include footwear such as cleats, which can add unnecessary
wear and tear on the studio floors or piano pedals. These students may also bring dirt and bodily
fluids into the studio and may not have washed their hands prior to touching the keys. This can
spread germs to other students, as well as to the teacher. Implementing a handwashing and studio
dress policy may prevent illness from spreading and can keep the studio clean for the next
student.
The majority of parents/guardians may appreciate a studio policy; however, discussing
and signing the policy together is necessary for the contract to be legally binding. The lessons
should not commence or continue without the signature of the parent, and a copy of the policy
should be given to the parents, as well as a second copy kept by the teacher. The studio policy
should be easily accessible on the studio website, available for reference whenever a dispute
arises.
37
NCKP: “From Solo to School,” Clinton Pratt.
18
Teaching Philosophy
In the studio policy, teachers often include a statement describing their teaching
philosophy. A teaching philosophy is ‘why’ the instructor teaches and the goals set forth for
students. In the book Fourth Finger on B-flat: Effective Strategies for Teaching Piano by Joanne
Haroutounian, there are several main points that should be covered in the teaching philosophy:
What is unique to you as a musician and a teacher?
What is important for students to learn in their music study
and why?
What are the specific goals for students to attain during their musical training?
What is the plan to achieve these goals?
38
Outlining these points within the teaching philosophy can determine if the student is the
right fit for the teacher and the studio, as well as reminding the teacher of the ‘why’ in difficult
situations. To establish this philosophy, Haroutounian offers an exercise for teachers to complete:
teachers may reflect on their own experiences as a student which can become the core of
developing a teaching philosophy. Writing these experiences down can form the goals behind the
piano studio. Condensing these ideas into one paragraph and stating objectives leads to a clear
statement that can be understood by all involved.
39
Tax Filing and Records
In the United States, there are different tax filing options for the independent piano
teacher including if the teacher chooses to be an LLC or simply file a Schedule C for Business
Income. An LLC, a Limited Liability Company, is a business structure that combines the
38
Haroutounian, Joanne. Fourth Finger on B-flat: Effective Strategies for Teaching Piano. San Diego, CA: Neil A.
Kjos Music Company, 2012, 16-18.
39
Ibid., 17.
19
taxation of a partnership or sole proprietorship with the limited liability of a corporation.
40
This
may be the filing of choice for private studios because it avoids the double taxation that is
associated with corporations and protects the owners’ assets. There is also flexibility in filing
taxes, with the owner of the LLC only needing to file once each year for taxes instead of multiple
times as a corporation.
Private piano studio teachers often choose to teach out of their personal homes. This
requires different tax filings as they are able to deduct select expenses, depending on the home
size and percentage used. A Form 8829 Business Use of Your Home is the form that will need to
be completed by the teacher. This includes the square footage allotted for the business as well as
any additional expenses. These expenses may include partial coverage of the internet billing, as
well as a percentage of other utilities. Although some teachers may choose to file for an LLC,
filing taxes under a Schedule C can be more accessible. The Schedule C (with Form 1040) is
used to report income or loss from a business operated as a sole proprietor.
41
Along with
Schedule C, a Schedule SE must also be filed to report any self-employment tax due on the net
earnings. This information is used to figure out benefits under the Social Security program.
42
Typical expenses for travel teachers can include mileage, parking, tolls, and books needed
for teaching. As most studio teachers choose to teach out of their home, the cost of the piano will
be the largest expense. As this piano is used in a business setting, there is a possibility to file it as
a tax expense, along with any purchases made for the piano studio, upkeep, supplies, and
40
United State IRS. “Limited Liability Company”.
https://www.irs.gov/businesses/small-businesses-self-employed/limited-liability-company-
llc#:~:text=A%20Limited%20Liability%20Company%20(LLC,an%20LLC%20are%20called%20members
. Accessed February 8, 2024.
41
IRS. h'ps://www.irs.gov/forms-pubs/about-schedule-c-form-
1040#:~:text=Use%20Schedule%20C%20(Form%201040,is%20for%20income%20or%20profit.%20.
Accessed March 24, 2024.
42
IRS. h'ps://www.irs.gov/forms-pubs/about-schedule-se-form-1040. Accessed March 24, 2024.
20
professional development. For both studio and travel teachers there is a possibility to receive a
tax deduction for mileage related to business use. Using a mileage tracker application on a
mobile device can be the most efficient way to track mileage. The Mileage Expense Log and
Tracker
43
is a user-friendly application that is free of charge to download. If the teacher does not
want to use the application, keeping accurate records in a notebook or writing them in the Notes
application on a phone or other mobile device are also possibilities.
Billing Management and Records
There are many different billing and overall financial management options for the private
piano teacher. Teachers must devote time each week to proper record-keeping and billing and
determine which program is best for the studio. Although these programs are not necessary, they
greatly lower the chance of incorrect filing or inadvertently missing possible deductions and
expenses. As soon as a teacher earns more than $600, the teacher is required to report it on the
tax forms. All tuition and payments received by the teacher must be recorded. Each purchase
made must be recorded in a clear bookkeeping format. These records must be kept for a
minimum of ten years and must be accessible at any time. They can be electronic records (with
backups) or (perhaps more easily for the teacher) simple written legers. If studio teachers or
travel teachers do not choose to use bookkeeping programs, hiring a Certified Public Accountant
(CPA) can benefit the business.
Because many studio and travel teachers do not have financial and bookkeeping training,
the following computer software programs for billing and record-keeping may be helpful. There
43
Mileage Expense Log and Tracker. https://mileiq.com. Accessed March 26, 2024.
21
are advantages and disadvantages with these programs, including ease of use for the studio
teacher.
Fons by makemusic
44
is a very popular and simple program to use. The software was
designed by a studio teacher who was frustrated with the loss of income from students each
month. Boasting $52 million+ in instructor payouts a year with zero unpaid invoices, this is a
large claim to make, but using three different package options makes it easier to customize what
will work best for parents. The first package option is a per-appointment billing. This is
convenient for students who take lessons every other week, but may not be on the same day of
the week each lesson; students who need different lengths for lessons; or students that can only
have lessons whenever it works in their schedules. The second package option, which is claimed
as the most popular, is the subscription billing. This is as it sounds: a subscription-based billing
that occurs on the same day, with the same amount each month, depending on how many lessons
happen that month. This is the most popular for private studios. The last package is a flexible
option. The package allows for a specific number of sessions paid for upfront that can be used
over any length of time. It allows for autofill when the sessions run out, and can be changed
whenever the studio teacher requires it. Fons states that this option is perfect for those who want
the structure of subscriptions with the flexibility of per-appointment billing. One large benefit of
Fons is that it has an automatic cancellation policy enforcement program. The program will send
the patrons appointment reminders and late notices, increasing in amount over time. Fons will
also work to make sure the late invoices are covered while keeping the studio owner in control.
Along with payment packages, Fons offers an online calendar for parents and teachers to view,
and even offers an online zoom room for the studio.
44
Fons.com. “Inspired Business Software for Music Teachers and Studios.” https://fons.com. Accessed February 8,
2024.
22
Flexbooker
45
is an online option with a relatively simple learning curve. Using an email
login and password, it is accessible via laptop or cellphone web browsers, although it can be
more difficult to use on smaller screens. This program makes it simple to schedule and manage
students. One helpful feature is the lesson reminders automatically sent to students and parents
48 hours before the lesson time. This allows for any cancellation notices before the lesson and
helps to avoid cancellation fees or missed lessons. This program gives the option for the studio to
store credit cards on file for billing, which can be the easiest way to bill parents. However, this
can also be seen as a downfall if the credit card is lost, needs replacing, does not have enough
funding, or the parent is uncomfortable with the card being in the studio’s records. There is an
option not to have the credit card stored, but the parent would have to have a different payment
solution. One significant downfall of Flexbooker is that it does not have a way to track who has
paid and who has not paid for lessons. Once the payment has processed, the parents receive a
confirmation email, but the studio does not. This requires an additional level of accountability
from the teachers, often in the form of a Google document that the teachers fill out and submit
weekly to whoever is in charge of bookkeeping. It does not necessarily need to be a Google
document, but must be a document that is a manageable spreadsheet with all the information
needed. This spreadsheet is not difficult to manage, but can be tedious to check each week.
My Music Staff
46
is built and designed for all types of studios including private teachers
and travelling teachers. This program was designed as an “all in one” for music teachers. It
includes a student portal, as well as a portal to share files directly with students, rather than
contacting them outside of the program. The billing is very similar to Fons, in that it can be
customized to the exact needs of the student. There is a business management section where the
45
Flexbooker.com. https://www.flexbooker.com. Accessed February 8, 2024.
46
My Music Staff. https://www.mymusicstaff.com. Accessed February 11, 2024.
23
program can monitor business expenses, enroll new students, record mileage for travelling
teachers, as well as creating websites. As the other programs do, My Music Staff does send
reminders to students up to 48 hours before the lesson, but does need to be set up individually.
Unlike in the other programs, teachers are able to post notes within the student portal for parents
to view, as well as saving information for the next week’s lesson.
Although these programs are designed to supplement the piano studio, not all teachers
prefer to use them. Bookkeeping records are necessary for tax purposes, teacher records, and for
any questions the parents might have. As some parents are not comfortable with submitting
credit card information online, or would rather do in-person payments, teachers may prefer to
accept checks or cash payments. If they choose to accept these other methods of payments, they
must provide a written receipt or invoice to the parents for the studio records. There are several
payment methods through software applications that can be used as well. A popular and safe
choice is Zelle which works through a bank account. The account owner sends the funds directly
from their account to the receiver’s account, safely and securely. Another application that is
similar to Zelle is Venmo; however, Venmo is not instant.
Computer software for bookkeeping records includes QuickBooks, which is a very user-
friendly and popular choice, as it does not require extensive training. Many teachers are moving
away from paper invoices, in part because the online applications catch mistakes that could be
made in bookkeeping. The studio teacher will need to make payments simple for parents and
adult students and be flexible with the different needs of the current generation.
24
CHAPTER IV
INCORPORATING TECHNOLOGIES AND SOCIAL MEDIA
Incorporating technologies into piano studios has seen an increase throughout the early
21
st
century. With wi-fi and the proliferation of e-commerce, there are great benefits to creating a
digital footprint for studios. Social media platforms such as Facebook, Instagram, and TikTok
allow for creativity and marketing platforms that were inaccessible in previous decades. Lessons
can now be provided online, which in some cases will be preferred for parents and students;
there is also an abundance of software applications that can be used within in-person lessons.
However, these benefits do come with caveats. This chapter explores the benefits and the risks of
using technologies and social media, including exposure to hackers, phishers, and bots, as well as
the potential risks of online marketing.
Social Media Platforms
Social media is a new communications tool that has been introduced within the last
twenty years. These platforms allow for further connections between students and teachers, and
can allow for new marketing for studios. Platforms such as Facebook, Instagram, and TikTok
have become a significant medium to connect with the general public. With proper training and
understanding of these platforms, there are many benefits to their use. However, they can also
pose great risks for the private piano teacher.
Facebook
Facebook is one of the original social media platforms. This website was created on the
idea that people from around the world may connect using profiles of themselves. Boasting over
3 billion users, this platform is the most used social media on the internet. Facebook allows for
25
businesses to create a sharable page that can be accessed by anyone, regardless of ‘friendship’ or
membership status. This platform is user friendly with little help needed to set up a profile or a
page. The advanced safety measures aid with security, often having multiple back-ups in case a
password is forgotten. The platform does have crashes, seemingly without warning. They happen
occasionally and typically do not last long. Facebook may be used on a desktop, laptop, or any
personal device.
Instagram
Much like Facebook, Instagram is a platform that is photo based. This platform is
connected with Facebook so the user can post a photo on one app, and have it transferred to the
other. This platform has settings for both public and private profiles, with business pages often
choosing public for a greater reach. Using hashtags allows for a greater search pool if used
correctly. This platform is quite user-friendly but has had several updates that change the overall
look of the app, which can be confusing. It cannot be used on a desktop, but rather must be used
on a phone or a tablet. At times it can be frustrating to understand how to increase views or likes,
but it is possible to develop a following.
TikTok
TikTok is a relatively new platform that gained popularity during the Covid-19 pandemic.
This platform is video based, allowing for a more personal connection to the viewers. This
platform can be used to create short videos of students in lessons or performances, as well as
practice tips that can be shared with viewers. This is the newest platform and does have a
learning curve. Understanding how to edit videos can be complicated, along with finding the
right audience. This platform is mostly used by the younger audience and has the opportunity to
26
promote the business in a fun and new way. It allows for the most creativity and offers the most
interaction with followers.
All these platforms, when used correctly, can increase the popularity of a studio. Having
students excited to participate in creating content, or brainstorming ideas for videos, is a great
way to build a community within the studio, as well as promoting the business online. In Beyond
the Website: Connecting with Students on Social-Media, Bryn Sowash outlines the use of social
media and the importance of creating the teacher’s personal online brand. Some ideas Sowash
shares are to create weekly fun-themed posts, showcasing students, creating competitions, or
even going live to interact with an online audience.
47
While creating an online presence is
important to connect with people and market a studio, using social media can also provide the
students with an inside look at the teacher’s private life. Setting strict boundaries with students is
necessary to keep the professional lines between teacher and student clear. A solution to this
issue is for the teacher to create a profile designed specifically for students to interact with
online, while keeping it separate from personal use. Should students find the teacher’s personal
profile, the teacher can explain about not accepting follow or friend requests, but that the student
is more than welcome to connect via the professional studio page.
Dangers of Technology
Among the main dangers of incorporating technology into the studio are the safety of
students and the safety of any important documents that could potentially be accessed by
hackers. Hackers are people that are technologically advanced and are able to bypass firewalls or
safety measures put in place, in order to access important information stored on the computer.
These hackers can also access any webcams that may be on a laptop or desktop computer or may
47
Sowash, Bryn. “Beyond the Website: Connecting with Students on Social Media.” American Music Teacher 68, no. 6
(2019): 18–19.
27
enter through the wi-fi. Monitoring accounts and changing passwords on a regular basis can help
add a layer of security within the studio. In the article Technology for Studio Safety: Online,
Offline, and Everywhere in Between, Shana Kirk discusses some of the common scams that can
infiltrate the studio. The first safety measure that Kirk discusses is the use of a virtual studio
entry.
48
With so many people coming and going from the studio, using a video recorded doorbell
or wi-fi enabled lock can help secure the entry. These devices allow for the owner to access the
video feed at any point of the day, communicate through the speaker, and lock or unlock the door
from the owners’ phone. It is important to note that these devices can be accessed by hackers, so
changing the password and not giving out any codes is imperative to the success of the devices.
Kirk continues to discuss different safety measures for iPad users and password security. Turning
on iPad Guided Access Mode is a feature that hides everything except for specific apps that are
approved for use. Apple ScreenTime, Google Safety Center, and Windows Parental Controls
enable custom limits for apps and settings. This includes any notifications that might appear and
can be managed outside of the device. Some further safety measures Kirk discusses are different
password combinations – adding a combination of numbers, non-numeric symbols, capitalized
letters, etc. - to passwords helps them be more difficult to guess. Strong passwords, along with
using a two-factor authentication can make it nearly impossible for hackers to bypass security.
Scams, Phishers and Bots are some of the most common forms that people can experience. Kirk
suggests never responding to communication that requests any information, keeping software
updated at all times, and steering clear of chain letters to enhance security.
49
These safety
measures are just a few that can be taken, with hackers becoming savvier each day. Hovering
48
Sowash, Bryn. “Beyond the Website: Connecting with Students on Social Media.” American Music Teacher 68, no. 6
(2019): 20.
49
Ibid., 21.
28
over the email to see if the address was from a contact or is a legitimate email is another way to
double check before responding. Unfortunately, these dangers do exist and can harm a studio or a
person if they are overlooked.
Online Lessons
During the Covid-19 pandemic, Zoom became one of the best applications for online
music lessons. Zoom was able to create advanced settings specifically for music lessons,
allowing for the microphones to handle the volume levels and distribute the sound quality so
both the high and low frequencies could be heard. The article Lessons Learned from Covid-19
and Pizza Chains, by Jonathan Scofield, was written in response to the Covid-19 pandemic. In
it, Scofield describes how to create a teaching studio that works, even when the world seemingly
stops. Using a pizza website as an example, Scofield offers comparisons between the two.
50
The
best websites he found for pizza were simple, straightforward, and required few steps to put
together the desired order. He states that this is the same as an online lesson: simple directions,
assignment sheets, and no extensive equipment. Similar to pizza, which sometimes might not be
the greatest meal, online lessons provide the important parts with convenience. He states that
consumers expect convenience from every business and asks if teachers should offer the same to
students. Online lessons are not the same as in-person lessons, but this does not mean that the
students are less likely to succeed.
50
Scofield, Jonathan. “Lesson Learned from COVID-19 and Pizza Chains.” American Music Teacher 70, no. 1 (2020): 16.
29
CHAPTER V
MENTAL HEALTH AND NEURODIVERGENCE
Awareness of mental health and mental illness is becoming more prevalent within
educational settings. Understanding students with extra needs based on mental issues is different
from understanding students with other special needs. This chapter focuses on the main illnesses
that students are diagnosed with – ADHD, depression, and anxiety – and how to teach students
that are studying piano with these challenges. This chapter also discusses teacher burnout and
how this can be avoided, and how teachers may continue to teach through similar mental illness.
ADHD is attention deficit hyperactivity disorder.
51
This disorder causes a loss of blood
flow to the frontal cortex of the brain, making it difficult for the person to focus on one subject at
a time. Other symptoms of ADHD include:
Inability to sit still, especially in calm or quiet surroundings.
Constant fidgeting
Inability to focus on tasks
Excessive physical movement
Excessive talking
Inability to wait one’s turn
Acting without thinking
Interrupting conversations
Appearing forgetful or losing things
Constantly changing activity or tasks
Appearing to be unable to listen
52
There are many more symptoms of ADHD as it is presented differently in different
genders, and it is still being understood. Students that are diagnosed with ADHD are also
considered “neurodivergent,”’ an umbrella term that includes medical disorders, learning
51
NHS. Accessed March 16, 2024. https://www.nhs.uk/conditions/attention-deficit-hyperactivity-disorder-
adhd/symptoms/.
52
NHS. Accessed March 16, 2024. https://www.nhs.uk/conditions/attention-deficit-hyperactivity-disorder-
adhd/symptoms/.
30
disabilities, and other conditions where students behave in atypical ways. Teaching
neurodivergent students can pose challenges that are not discussed in pedagogy classes. There
are medications that can significantly improve the day-to-day life of people diagnosed with
ADHD, but as forgetfulness is part of the symptoms, not all persons are able to take the
medications correctly.
Teaching students with ADHD can be challenging. The one-on-one private teaching
environment can be helpful, especially if it is approached as a personal mentoring relationship. In
Fourth Finger on B-flat. Haroutounian discusses several effective teaching strategies for students
that have been diagnosed with ADHD. The strategies include:
- Identifying the particular learning styles of the student.
One student may have trouble starting a task, while another
has a problem finishing a task. The teaching must be
individualized for these needs.
- Clear rules, routines, and schedules.
- Set specific time frames and expectations for tasks and
assignments.
- Demonstrate how to use assignment books and instill study skills
with specific instructions, goals, and explanations.
- Channel physical activity positively through musical rhythm
activities and movement. Provide “breaks” during the lesson
as needed.
- Use step-by-step instruction during lessons, both written and verbal.
- Encourage computer work for theory and listening activities.
- Work closely with parents to map out an individualized plan for
instruction and practice at home.
- Be patient and flexible in trying new ways to do things with
these students.
- Maximize possibilities for success in a comfortable learning
environment.
53
Students that struggle with ADHD have a need for routine and stability within lessons.
Understanding that fidgeting and attention loss is part of their behavior is imperative for the
53
Haroutounian, Joanne. Fourth Finger on B-flat: Effective Strategies for Teaching Piano. San Diego, CA: Kjos
Music Press, Neil A. Kjos Music Company, 2012, 95-96.
31
success of the lessons. Providing a break every few minutes to let such students play what they
would like on the piano, tell a story, or walk around the room can help. These students may have
more “off” days than other students but can still benefit from lessons. Using colored pencils to
coordinate which hand is playing or for learning notes can help draw attention to new ideas.
Taking the time to understand the needs of the specific students can be the best way to set them
up for a successful learning experience.
Depression and anxiety are mental illnesses that have a variety of symptoms and can vary
depending on the person. Similar to ADHD, depression and anxiety fall on a spectrum. These
two illnesses are not intertwined, but often present together. The basic symptoms of depression
can range from mild to debilitating and can be dangerous if left untreated.
54
Teachers work quite
closely with students and are often more likely to be alerted to symptoms before parents. A shift
in mood or a sudden change in performance are clear indicators that the student is struggling.
Symptoms include but are not limited to:
Persistent sad, anxious, or “empty” mood
Feelings of hopelessness or pessimism
Feelings of irritability, frustration or restlessness
Feelings of guilt, worthlessness, or helplessness
Loss of interest or pleasure in hobbies and activities
Decreased energy and fatigue.
Difficulty concentrating, remembering, or making decisions.
Difficulty sleeping or waking up.
Changes in appetite or unplanned weight changes
Physical aches or pains that do not have a clear cause or do not
go away with treatment
55
These symptoms are not experienced by all and can be regarded dismissively in stressful
situations or as “teenage angst.” Understanding the student’s life outside of lessons can help give
54
National Institute of Mental Health. https://www.nimh.nih.gov/health/topics/depression. Accessed March 21,
2024.
55
Ibid.
32
an insight into the student’s thoughts and behavior. These symptoms present differently between
genders. It can seem as if the symptoms come and go in waves, but other symptoms that can help
distinguish depression from everyday stress are:
Increased anger or irritability
Feeling restless or on edge
Becoming withdrawn, negative, or detached
Increased engagement in high-risk activities
Greater impulsivity
Isolation
56
Teaching students who struggle with depression and anxiety can be quite difficult. These
students are more prone to anxiety attacks, often cancel lessons more than other students, and
can seem uninterested in learning. In her article Teach them to Believe: 12 Strategies for
Promoting Self-Efficiency Beliefs in Piano Students Lynn Worcester Jones highlights several
ways to counteract the self-doubt that students instill in themselves. This article discusses the
difficulties and setbacks in music that can challenge a student’s perception of their abilities. A
few ideas that Jones highlights are to create frequent high- and low-stakes performance tasks
such as exams, mastering one piece before moving to another, taking students to competitions,
even if they are not competing, encouraging students over good performance experiences, and
being open and honest with students in advance, especially when it comes to performances.
57
Although students may be the focus of teachers, it is imperative for the teachers to be
aware of their own mental health. Understanding personal struggles and challenges can create a
better learning experience for all parties involved. The term ‘burnout’ was prevalent during the
Covid-19 pandemic. Balancing a personal life while teaching students can create mental
56
National Institute of Mental Health. https://www.nimh.nih.gov/health/topics/depression. Accessed March 21,
2024.
57
Jones, Lynn Worcester. “Teach Them to Believe: 12 Strategies for Promoting Self- Efficacy Beliefs in Piano
Students.” American Music Teacher, vol. 69, no. 6, 2020, 31-32.
33
exhaustion. Burnout is a state of emotional, physical, and mental exhaustion. It can be brought
on by excessive and prolonged stress and can feel as if every day is a bad day. In the article How
to Keep Teaching When the Sky is Falling by Paola Savvidou, the subject of burnout is discussed,
along with how to avoid it. Some suggestions by Savvidou for managing anxiety and avoiding
burnout are to put away the technology, find a way to ground the senses, participate in yoga, and
consciously slow down movement.
58
Teaching can be overwhelming. Other ideas to maintain stability include scheduling at
least one day a week off from lessons and allowing for that personal day to be a day away from
the studio or music. Taking a step away from the studio can bring the mind back into focus.
Another helpful idea is to select a hobby outside of music that can be enjoyed after teaching.
Many musicians have chosen crocheting as it works finger dexterity while being somewhat
mindless as a task. Finding a hobby that distracts the mind from the cycle of everyday work
helps to distract one from overthinking about students and subjects, while allowing for personal
time away from teaching. This in return can provide a refreshed mind. Mental health will
continue to be at the forefront of education as it continues to be studied and understood.
58
Savvidou, Paola. “How to Keep Teaching: When the Sky Is Falling.” American Music Teacher 70, no. 2 (2020): 14–15.
34
CHAPTER VI
CONCLUSION
This document provides a resource for requirements in developing a piano studio in the
21
st
century. Since the beginning of piano instruction, which paralleled the development of the
instrument in the early 18
th
century, teachers have continued to adapt and develop their
pedagogical approaches.
Looking back on how teaching has developed, there are similarities in the 21
st
century to
the earliest instruction. In the 17
th
century and following, for example, travel teaching has been a
significant means of teaching. Students were expected to practice what was taught in lessons
with a focus on technique and developing correct musicianship, which remains standard to this
day in lessons. There are far more resources readily available for teachers and students today,
inspired by the early treatises from previous centuries. The gender roles and biases have become
closer, but there is still a large gap between female and male students within schools. The
conservatory has expanded and changed, with state schools offering music education and lessons
as well.
Today, travel teaching and private studio teaching are two of the main professional paths
that teachers may choose. Understanding the implications of both can have a great effect on the
teacher’s career. Maintaining accurate records correctly for tax purposes and filing can impact a
teacher’s financial wellbeing. In order to maintain the necessary information, a teacher may
choose to use an online resource or keep traditional written records. In any case, teachers must
be aware of the forms needed and resources available. Other necessities for both studio teachers
and travel teachers are a studio policy, teaching philosophy, appropriate technology, flash cards,
theory books, music games, a music library with the books that the students are currently using,
35
along with reference books for the teacher, writing utensils, and both a physical and computer-
application metronome.
Technology allows students to listen and view performances online with ease, offering
influences that may or may not be beneficial. Online lessons can provide monetary benefits to a
teacher’s studio and convenience for families and students. Zoom can be a positive educational
path in teaching, if formatted correctly. Social media has taken the world by storm. Teachers that
are able to learn and adapt can create an online footprint and promote their business and music
study and performance in general. The communal aspects of social media allow teachers and
students to interact with like-minded people in and outside of their studio.
Mental illness is continuously being studied and understood. Its effect on music study is
particularly important for the piano teacher’s knowledge and ability to work effectively.
Students are being diagnosed with conditions that affect the way they learn. Understanding the
terminology and the conditions has the potential to change the way students are being taught and
how they succeed in lessons. Often, ADHD, depression and anxiety are illnesses that do not fit
under one description. These conditions require adaptation for both the teacher and the student,
typically learning as they progress. This study provides background on the basic symptoms, as
well as ideas on how to inspire and educate the students that may deal with these conditions on a
daily basis. This area also encompasses one of the prominent societal themes of the early 21
st
century, that of inclusion, equity, and diversity. Incorporating works by composers from
underrepresented groups is more common today, and it is relatively easy to find repertoire at all
levels of piano study. Although this is an important issue in 21
st
-century teaching, diversifying
the music in piano lessons poses questions about the teacher’s competency in teaching different
36
musical styles such as jazz, popular, ragtime, contemporary, etc. While beyond the scope of this
paper, this is one of the areas of study that invites further research.
It is hoped that this study provides a foundation for developing the 21
st
-century piano
studio, helping teachers to work effectively in both the business and teaching sides of the
profession. With organization and current information, the private and traveling piano teacher
can inspire musicians of all ages and continue the legacy of piano pedagogy.
37
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