We Piano Teachers and Our Demons

<p>Part One:1.1.&nbsp;An overview of my work.-1.2. My work with students.-1.3. Summary.-&nbsp;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.-&nbsp;Part Three: 3.1. The ghosts in teacher’s 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.-&nbsp;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.-&nbsp;Part Five: 5.1. Looking inward: The painful loop of professional education.- 5.2. The little problem of the Schumann&nbsp;Undezime.-&nbsp;5.3.&nbsp;The piano action and the “sweet spot”.- 5.4. Back to Schumann’s&nbsp;Undezime.- 5.5.&nbsp;The problem with Hindemith’s nocturne.-&nbsp;Part 6: 6.1. Competitions.-&nbsp;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 teacher’s role.- 7.5. Mid-travel thoughts.-&nbsp;Part&nbsp;&nbsp;Eight: 8.1. We piano teachers and the counselling literature designed to help us.-&nbsp;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.-&nbsp;Part Ten: 10.1. Finalizing the ideas.- 10.2. Before we part: The Masters Speak.- 10.3.&nbsp;FINALLY: Tête-à-tête talks.</p>