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Table of Contents
Part One:1.1. An overview of my work.-1.2. My work with students.-1.3. Summary
Part Two: 2.1. My location on the map of music education research
2.2 Three-Head Approach
2.3. The Counseling literature: How to play better
2.4. Artistry as a flow of informed insights
Part Three: 3.1. The ghosts in teachers studio: Hierarchy and myth
3.2. The great pianists: The genesis of the myth
3.3. Consolidation of the musical world as a ranked hierarchy
3.4. The rise of the Western concert pianist as told in less mythic terms
3.5. The imperial judgement of music
3.6. Ambiguity regarding the talent of premier performers
Part Four: 4.1. The power of myth and the fear of public humiliation among piano teachers
4.2. The workings of fear
4.3. Back to myth
4.4. Myth and hearsay in the piano classroom
4.5. The tiger mom
4.6. The anxiety of not knowing
4.7. Before crossing the boundary between anxiety and exploration
4.8. What actually happens in the piano classroom
Part Five: 5.1. Looking inward: The painful loop of professional education
5.2. The little problem of the Schumann Undezime
5.3. The piano action and the "sweet spot"
5.4. Back to Schumanns Undezime
5.5. The problem with Hindemiths nocturne
Part 6: 6.1. Competitions
Part Seven: 7.1 Back to the piano room
7.2. The security advantage created (or not created) in early childhood
7.3. The anxiety-ridden piano students
7.4. The teachers role
7.5. Mid-travel thoughts
Part Eight: 8.1. We piano teachers and the counselling literature designed to help us
Part Nine: 9.1. Understanding the messages of music
9.2. How to understand music? An example from Beethoven
9.3. The Chopin Case
9.4. The case of Leon Kirchner
Part Ten: 10.1. Finalizing the ideas
10.2. Before we part: The Masters Speak
10.3. FINALLY: Tete-a-tete talks.
Part Two: 2.1. My location on the map of music education research
2.2 Three-Head Approach
2.3. The Counseling literature: How to play better
2.4. Artistry as a flow of informed insights
Part Three: 3.1. The ghosts in teachers studio: Hierarchy and myth
3.2. The great pianists: The genesis of the myth
3.3. Consolidation of the musical world as a ranked hierarchy
3.4. The rise of the Western concert pianist as told in less mythic terms
3.5. The imperial judgement of music
3.6. Ambiguity regarding the talent of premier performers
Part Four: 4.1. The power of myth and the fear of public humiliation among piano teachers
4.2. The workings of fear
4.3. Back to myth
4.4. Myth and hearsay in the piano classroom
4.5. The tiger mom
4.6. The anxiety of not knowing
4.7. Before crossing the boundary between anxiety and exploration
4.8. What actually happens in the piano classroom
Part Five: 5.1. Looking inward: The painful loop of professional education
5.2. The little problem of the Schumann Undezime
5.3. The piano action and the "sweet spot"
5.4. Back to Schumanns Undezime
5.5. The problem with Hindemiths nocturne
Part 6: 6.1. Competitions
Part Seven: 7.1 Back to the piano room
7.2. The security advantage created (or not created) in early childhood
7.3. The anxiety-ridden piano students
7.4. The teachers role
7.5. Mid-travel thoughts
Part Eight: 8.1. We piano teachers and the counselling literature designed to help us
Part Nine: 9.1. Understanding the messages of music
9.2. How to understand music? An example from Beethoven
9.3. The Chopin Case
9.4. The case of Leon Kirchner
Part Ten: 10.1. Finalizing the ideas
10.2. Before we part: The Masters Speak
10.3. FINALLY: Tete-a-tete talks.