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N O R T H S H O R E M U S I C T E A C H E R S ’ A S S O C I A T
I O N
! 1The SCORE, March 2018
President’s MessageSpring is just around the corner, and many of
us are busy preparing our students for the AIM performance exams
which will be held on April 15, 22 and 29. I was thrilled to learn
that 673 students and 68 teachers participated in the theory exams
in January: this makes AIM NSMTA’s largest and most popular
program.
As a teacher who has entered students in AIM for decades, I have
always believed in the value of its “comprehensive musicianship”
approach. Not only are students required to perform repertoire,
they also become fluent in technique, harmonization, sight-reading
and transposing, aural skills and written skills. A student who
completes a level of the exams is developing a well-rounded group
of skills that
make them a better, more knowledgable musician. But those skills
by themselves don’t necessarily translate into better musicianship.
Ideally, a good teacher will help each student to synthesize these
skills and apply them to the repertoire they are currently
studying.
As an example, after studying various cadences for AIM, can we
help our students to find examples of these in their pieces and
discuss what they mean in terms of interpretation? Can we help
students to understand the emotional differences between a half
cadence and an authentic one? Can they make a deceptive cadence
sound truly deceptive? Some students might not understand how these
concepts apply to their music and might pass right over the details
unless we point them out.
There are countless other opportunities to help our students
incorporate the theory and technic skills of the exams into their
everyday practice and performance. I encourage you to think
holistically and creatively about this opportunity. And if you
don’t already participate in the AIM program, please consider it
for the future! I look forward to seeing everyone at the March
meeting!
Jennifer Merry,NSMTA President
THE SCORE
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A N N O U N C E M E N T S
! 2The SCORE, March 2018
MARCH 26 PRESENTATION
For generations pianists have endeavored to overcome the
limitations of their bodies and mindset. The principles of Tai Chi
address the physical and psychological problems of playing piano,
through its Taoist root, internal flow of energy, circular motion
system, breathing and meditation. This presentation will
demonstrate the ways Tai Chi can help pianists to interpret music,
balance the sound, and incorporate breathing and body. etc
Jing Chang is an accomplished concert pianist and an experienced
piano teacher. She received her Doctor of Musical Arts degree
(Piano Performance) from the University of Minnesota and was
Assistant Professor at the China Conservatory after receiving her
Bachelor and Master degrees there. Ms. Chang has performed widely
as soloist and chamber musician both in the United States and in
China. One of the notable performances was in 2003 at the Steinway
& Sons 150th Anniversary Celebration & Concert in Forbidden
City in Beijing. Ms. Chang won the 2013 University of Minnesota
Concerto Competition, the 16th Annual Masters Concerto and Aria
Competition of the Kenwood Symphony Orchestra, the 2013 Bradshaw
& Buono International Piano Competition, the 2007 Asian Piano
Open Competition in Beijing, and several other major national young
artist piano competitions in Asia. She also was a Quarter Finalist
of the 2014 Dallas International Piano Competition. Ms. Chang
taught for a couple of years at the China Conservatory of Music in
Beijing before pursuing further studies in the U.S. While attending
the University of Minnesota she served as Teaching Assistant
providing both piano class and private piano lessons. She has been
invited on numerous occasions to lead masterclasses and to perform
solo recitals in China and the U.S. Ms. Chang is currently the
Founder of Dr. Chang’s Music Studios in Buffalo Grove and Harwood
Heights Illinois.
JING CHANG Tai Chi and Piano Technique
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A N N O U N C E M E N T S
! 3The SCORE, March 2018
March 26 Pre-meeting: Michael Pecak
Poetic Pianism: Playing Chopin’s (Musical) Language
“Chopin, the poet of the piano” is an expression that originates
in the composer’s lifetime as a romantic sobriquet and that
persists to this day as a truism. Yet, what does it mean to refer
to a composer of mostly solo piano music—someone who expressed
himself not through words but through instrumental sounds—as a
poet? Furthermore, how does the verbal art influence the musical
art and how can a modern-day pianist synthesize the two into a
musical-poetic utterance via a linguistically neutral instrument?
My paper explores the dynamics between poetry and music, text and
melody, vocal and instrumental
works, through the mediating force of language, specifically
Polish. Chopin’s style of lyricism, I argue, is rooted in idiomatic
linguistic concepts traceable to his studies in Warsaw with Józef
Elsner. The core of my study consists of a close reading of two
theoretical-pedagogical treatises by Elsner: On the Meter and
Rhythm of the Polish Language (1818) and Treatise on Melody and
Chant (1830). Elsner herein discusses the prosodic qualities of the
Polish language, inflection and accentuation, and proper musical
settings of Polish verse with the goal of “[aiding] composers in
creating melodies for texted and instrumental works that do not
disfigure the mother-tongue.” After examining Chopin’s art songs,
Op. 74, in light of Elsner’s precepts, I extract analogies for the
conceptualization and performance of his solo piano music. I argue
that an understanding of Polish prosody and scansion can better
define the lyrical qualities usually associated with Chopin’s music
and uniquely inform our decisions in phrasing, pacing, and
inflecting his melodies—in other words, how we might play more
“poetically.”
Chicago-born pianist and conductor Michael Pecak has performed
to great acclaim throughout North America and Europe on both
historical and modern instruments. Having earned degrees from
Northwestern (BM with Alan Chow, Julian Dawson, and Victor
Yampolsky) and Indiana Universities (MM with André Watts), Michael
was a Fulbright Scholar in Warsaw, Poland, and a Graduate Fellow at
Cornell University where he worked with Malcolm Bilson. He holds a
DMA in historical fortepiano from McGill University. As a
fortepianist, Michael has performed in the Vancouver Early Music
Festival, the Westfield Center for Historical Keyboard Studies, and
the Festival de Musique Montreal Baroque. His scholarly articles on
the music of Beethoven and Chopin have been published by Keyboard
Perspectives (of Cornell University) and the National Fryderyk
Chopin Institute in Warsaw. An ardent lover of opera and art-song,
Michael enjoys working with vocalists as accompanist, coach, and
répétiteur. A regular collaborator with soprano Hannah De Priest,
the duo’s upcoming programs include works by Haydn, Mozart, and
Beethoven. Michael teaches piano at the Northwestern University
Music Academy, writes about opera for the blog Schmopera, and is an
active freelance conductor, pianist, and collaborator.
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A N N O U N C E M E N T S
! 4The SCORE, March 2018
JUNE 11 at 10:30 The Annual Teachers' Recital and Luncheon will
again be held in the beautiful St. James Lutheran Church in
Waukegan. The lunch will be catered at a cost of approximately
$15.00.
Solos, duets, chamber music, vocal and instrumental pieces are
welcome. We have had fabulous recitals in the past, well worth
attending as an audience member. This event is not only for recital
participants - please consider supporting and encouraging
colleagues in performance. Both the piano and the organ in this
facility are wonderful instruments.
This is the program from June, 2017. It does not list the organ
work played by Kirstin Synnestvedt. Allegro from Sonata by Handel
Donna Kuhel,Piano Four movements from Circus Suite by Turina Karen
Tobias, Piano Rondo from Op. 13 by Beethoven Beatrice Levy, Piano
Two of Four Souvenirs by Schoenfield Kate Carter, Violin Louise
Chan, Piano Feu d'artifice by Debussy George Radosa Theme from MASH
by Mandel and Greasy Blues by Peterson Eric Sutz
The exact price of the meal will be included in the April or May
Score. Reservations for the luncheon and/or for notice of
participation in the recital is Monday, June 4. You may call or
email Marlene Chatan, 847-475-3635 or [email protected].
We are not an especially social group in terms of teacher
functions, but this an end- of- the- year good time with wonderful
music, food, and conversation. Members and guests are welcome to
join this celebration!
Annual Teacher’s RecitalAnd Luncheon
mailto:[email protected]:[email protected]
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A N N O U N C E M E N T S
! 5The SCORE, March 2018
- - - Announcements - - -
Western Illinois Practice-a-Thon
Hello Fellow MTNA Chapters,
My name is Ashlyn Carnes and I am the current Chapter President
for Music Teachers National Association at Western Illinois
University. This year we will be hosting our third annual
Practice-A-Thon. The Practice-A-Thon is a day long practicing
effort by students and faculty in our School of Music to help raise
funds for elementary students, K-6, who do not have their own band/
music boosters.
We need your help in making this fundraiser a success! You can
donate on our page at www.wiumtna.wixsite.com/practiceathon to
support the personal and musical growth of young music
students.
If you have any questions or concerns you can contact me at
[email protected]. Thank you for your support of our chapter and
our effort to spread music throughout our community.
Sincerely, Ashlyn Carnes WIU MTNA - President
IMPORTANT:Piano Competition Date
Dear Members:
There has been an error with our set date for the Piano
Competition. It was incorrectly listed as Saturday, March 6th, when
it should be Saturday, May 5th.
Please make sure you have the correct date on your calendar! We
trust this will not cause any inconvenience. Grace Kim and Karen
Tobias Co-chairs, Piano Competition
http://www.wiumtna.wixsite.com/practiceathonmailto:[email protected]://www.wiumtna.wixsite.com/practiceathonmailto:[email protected]
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A N N O U N C E M E N T S
! 6The SCORE, March 2018
AIM Performance Exams
AIM Performance Exams Dates: Sunday, April 15, 2018 (for levels
1A, 1B, 1C and 2 only)
Exam will take place only at MIC, Winnetka campus 300 Green Bay
Road, Winnetka
Sunday, April 22 and Sunday, April 29, 2018 (for levels 3-12)
Exams will take place at Northwestern and Lake Forest locations
Remember that upper level students require more judging time
than lower level students, so please take that into account when
enrolling your students. We very much appreciate teachers that give
us the flexibility of choosing either exam date. To help in
understanding judging needs, here is a breakdown of judging time
needed at each level.
Time Allotment by levels Levels 1A,B,C: 15 min Level 7: 25 min
Level 2: 20 min Level 8: 30 min Level 3: 15 min Level 9: 30 min
Level 4: 20 min Level 10: 40 min Level 5 20 min Level 11: 40 min
Level 6: 20 min Level 12: 15 min (technique only)
Thank you for your continued support of AIM. If you have any
questions or comments, please don’t hesitate to email either
Jia-Yee Tang at [email protected] or Jennifer Cohen at
[email protected].
Jia-Yee Tang, Northwestern AIM coordinator Jennifer Cohen, AIM
chair and Lake Forest AIM coordinator
AIM NEWS
mailto:[email protected]:[email protected]:[email protected]:[email protected]
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A N N O U N C E M E N T S
! 7The SCORE, March 2018
Catherine Foreman Evanston (708) 334-5365 [email protected]
Piano
Hue Jang Glenview (773) 818-7467 [email protected] Piano,
Piano-Pedagogy, Chamber Music
Katherine Lee Northbrook (224) 715-5016 [email protected]
Piano, Chamber Music, Accompanying
Max Mauer Chicago (847) 814-0951 [email protected] Piano,
Composition, Jazz
Mallory Miller Palatine (630) 677-1608 [email protected]
Piano
NEW MEMBERSAdded Since the Yearbook was Published
Kaoru Nir La Grange (708) 203-9309 [email protected] Piano,
Theory, Voice
Rachel Tollett Evanston (847) 224-9357 [email protected]
Music History, Piano
Saori Tomura Palatine (847) 602-9096 [email protected] Piano,
Voice, Flute
Irene Zuppardo Buffalo Grove (847) 754-7927 [email protected]
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A N N O U N C E M E N T S
! 8The SCORE, March 2018
POSITION AVAILABLE
Editor in Chief/Chief Content Director, Clavier Companion
magazine. Please direct any questions regarding the application
process to:[email protected]: Editor in
Chief/Chief Content Director for Clavier Companion
magazineApplication Deadline: April 15, 2018Starting Date: July 1,
2018Status: Part-time. Salary commensurate with experienceThe
Frances Clark Center is currently seeking an Editor-in-Chief/Chief
Content Director (EIC) to lead and direct all aspects of its
digital and print publication, Clavier Companion. The EIC develops,
executes and leads the overall development of the publication, in
cooperation and collaboration with divisional leadership of the
Center. As a member of the senior management team, the EIC actively
supports the mission and strategic advancement of the Frances Clark
Center and reports directly to the Executive Director.
The Center seeks an inspiring and creative individual who has
excellent interpersonal skills, editorial experience, fluency with
technology and demonstrates a high level of writing and
communication. Experience in publishing is an asset. Experience
with team management is preferred. Duties will include extensive
editing, writing, editorial process management, content scheduling
and planning, design process, and the overall advancement of the
publication.Requirements: Extensive experience in and familiarity
with piano teaching and learning, commitment to piano teacher
education, and connection to the professional community. Strong
organizational and communication skills—the ability to interface
with various publics and to successfully meet deadlines is
essential. Strong language skills, with a particular focus on
style, grammar, and the written word is required. Functionality in
MS Word, Excel, web-based communications, and a professional music
notation program (Finale or Sibelius preferred) is needed.
Experience in Adobe InDesign preferred; a willingness to learn
InDesign is required.
Description of Duties:The Editor-in-Chief/Chief Content Director
manages all aspects of the publication and advances strategic
objectives.Duties include:1. Plan and direct long and short-term
content creation and curation.2. Review and approve all new content
for publication.3. Manage the editorial review process.4. Prepare
each issue for publication.5. Manage the Clavier Companion staff
and related business operations.6. Drive overall content, strategy,
and direction.7. Curate archival content to support overall
programming.APPLICATION: Electronic applications only. Applicants
should send a letter of application, resume, three current letters
of recommendation, and any additional supporting credentials to:Dr.
Jennifer Snow, Executive DirectorThe Frances Clark
[email protected]: Editor in
Chief/Content Creation Director Search
mailto:[email protected]:[email protected]:[email protected]:[email protected]
