Kjos Education Center

That's a difficult question. I think of myself first as a pianist, but that's because it's the genesis for everything else I do. Teaching has been an inexhaustible fascination for me since I started teaching in my mid-teens. Composing is an extension of my teaching – I compose only for students, not for the sake of composition. Editing gives me a way to immerse myself in music that I love... 

Weekley and Arganbright, piano duettists, have contributed their archive of music written for one piano, four hands to the Lilly Library at Indiana University, Bloomington IN. Predominantly 19th century first- and early editions, it begins with a first edition of Mozart (1783) and extends to the early 20th century. Included are rare, unique, and pedagogical duets, as well as those suitable for concert performance.

World-renowned piano pedagogue Jane Bastien has appeared internationally in master classes, teacher workshops, and public speaking engagements. This momentous film offers a rare, close-up glimpse into Jane's private studio, featuring candid footage of lessons, performances, and personal interactions. Interviews with family members, current and former students, and parents add insight into the unique experience of studying under this master teacher. Jane's warmth and devotion are as apparent as her consummate knowledge and expertise.

As we’re moving through the first semester and onto the spring term, I’m reminded of the challenges we face in finding good material for performance—pieces that can bring together a freshly-minted group of students… 

While most of us would agree that improvising, composing, arranging, and playing by ear are necessary ingredients for developing comprehensive musicianship, somehow we don’t get around to learning or teaching these skills as much as we’d like.

Demonstration of "Monster Classics" and "St. James Graveyard" from "Creative Chords - Book 2" published by Kjos Music and available at https://bradleysowash.com as well as other sheet music retailers.

Learn more how TRADITION OF EXCELLENCE develops total percussionists, and helps every percussion student find success and enjoyment in their music studies.

From the podium we constantly assess our ensemble's performance. Students may have only played the first few notes and we are already asking ourselves, “How can I help the band play this better?” This question is fundamental to assessment that takes place in the middle of learning — assessment often referred to as assessment for learning or formative assessment. How we provide feedback to the students directly affects their potential for improvement.

While training young musicians to become band directors, a considerable amount of time is devoted to the study of music theory, music history, musicianship, stylistic practices, conducting, and to the pedagogy of the instruments in the ensemble. These studies are critical to the success of the band director and his or her students.