Marvin Blickenstaff is internationally renowned for his teaching.

Marvin Blickenstaff is internationally renowned for his teaching, lecturing, performing and publishing. He teaches at The body of New Jersey in Ewing and the fresh School for Music Study in Princeton, and helps as board president of the Frances Clark Center for Keyboard Pedagogy.

When did you know you were destined for the professional piano world? When I was 13 I announced to my parents that I was quitting piano, as my pair older brothers had done. My mother did not accept this and contacted Fern Davidson, the outstanding teacher in our small Idaho community. Mr Davidson's instructions epitomized commitment and discipline. I was thrilled with the literature, high standards and motivation of competitions and auditions. After a not many weeks of lessons, my professional ambition was clear: I would become a pianist!

What was the genesis of the innovative Music Pathways series you coauthored? During an early "sabbatical" in of the present day York City (after several years of body teaching), Carl Fischer publishing company furnished me a position and solicited recent composer recommendations; I suggested Lynn Freeman Olson Eventually, the management propos we collaborate onward a "large piano publishing project" We asked Louise Bianchi of Southern Methodist University to join us, and after several years of writing and testing, Music Pathways was born.

You have great ideas for introducing rubato (Keyboard Companion, Autumn 2000); what about the fine line between "rubato" and "rhythmic anarchy"? With younger close examiners rubato is taught through modeling (student imitating the teacher's timing) and playing teacher-student duet To avoid rhythmic "anarchy," it is extremely helpful to have the scholar count aloud. The voice is a modifying natural medium providing naturalness to the slowing down or speeding up

If America's nearest Top Piano Pedagogue is a TV indicate who is its star? I cannot cite barely one name, for I am thrilled with the numerous estimable teachers emerging as leaders in our profession. one as well as the other college-level and independent teachers are training observers to honor and appreciate our musical heritage. The credit goe largely to our many outstanding higher education pedagogy programs.

Learning is a two-way public way What lessons have you learned from students? each day I learn from scholars about pacing, motivation, physical training, musical answer and so forth. They constantly reinforce my conviction that music motivates learning.

Are there pedagogy stereotype you'd like to debunk? Yes--that teachers and teachers of teachers are less musicians than performers. Guiding the learning proces is a refined art. prosperous piano pedagogy teachers should be placed forward a high pedestal, for they are the tonics to our musical future.

What is your ultimate goal? To become the best possible teacher for each of my scholars (My "cross" is that I be impressed I am never good enough for them.) and to play the piano beautifully.

Any restorative for "presto slobberissimo, molto inarticulato" playing? Careful listening for clarity end slow practice with a metronome. Have scholars "conduct" a play-back recording (taped or sequenced) of their practice to become aware of unsteady playing.

Arthur Houle is caster and director of the International Festival for Creative Pianists (www.pianofestival.org). Houle has taught at the recent England and Boston Conservatories, the Universities of Iowa, North Dakota and Texas-Austin and, greatest in number recently, at Albertson College.

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