Group piano

Group piano instruction can be traced to Johann Bernhard Logier (1777-1846). Logier, an Irish business man, developed a system of teaching that increased income for teachers while lowering the cost of lessons for students. His classes accommodated up to thirty students of differing skill levels. The focus of the class was developing music theory and keyboard theory rather than developing advanced technique. Due to the affordability of Logier's class format, it quickly gained traction in Great Britain, India, Ireland, and the United States.

Master classes were often taught by well-known pianist/composers. Clara Schumann, Franz Liszt, Felix Mendelssohn, Karl Tausig, Anton Rubinstein, Theodore Kullak, and Hans von Bülow were some of the most famous teachers to teach in this format.[1] These classes occurred in the homes of teachers as well as in newly-formed conservatories.

The Industrial Revolution and ensuing rise of the middle class in the 19th century provided increased opportunities for leisure activities and created a high demand for pianos. By the end of the 19th century, the United States was a world leader in the production of pianos, and families all over the country owned a piano and sought music instruction.[2] In 1889 the U.S. Office of Education promoted class piano programs in elementary schools as a viable way for students to get an affordable music education. The first group piano classes in public schools launched in 1913 and grew until the 1930s.[1] As a result, method books for teaching piano in the classroom began to be published. These included Young Student’s Piano Course by Earhart and Boyd (1918), Public School Class Method for Piano (1919) by Giddings and Gilman, and Steps for the Young Pianist (1919) by Hazel Kinsecella. By the end of the 1920s, over eight hundred elementary schools in the United States offered class piano programs, creating a demand for teacher training courses and certificate programs.[3] However, in the 1930s, interest in elementary class piano programs began to decline due in part to the Great Depression and World War II.[1]

As group piano declined in public elementary schools, group lessons in the college setting began to gain momentum. Throughout the 1930s and 1940s, Raymond Burrows, a professor at Columbia University Teachers College, pioneered collegiate group piano instruction using piano labs.[4] By 1952, Burrows calculated that 256 universities in the United States provided group piano classes. These courses were designed to provide music majors with functional keyboard skills that would aid them in their musical careers; these classes focused on harmonization, transposition, and sight-reading.[3] Because most university piano teachers were more familiar with the individual/private lesson format, universities began to offer courses in teaching group piano.[1] Group piano lessons in the college setting continued to expand with the invention of the electronic keyboard laboratory, first achieved by Ball State University in 1956.[5]

Independent pre-college piano studios continued to implement the group piano format. During the 1950s, 1960s, and 1970s, Robert Pace,[6] James Bastien, and Frances Clark began to write books encouraging partner lessons, group lessons, and various combinations of group and private instruction. By the end of the 1970s, group piano was established as a profitable format for instruction. The Music Teachers National Association (MTNA) and the National Piano Foundation (NPF) began to provide training on teaching in groups, and journals such as American Music Teacher, Piano Quarterly, Keyboard Companion, and Clavier began publishing articles related to teaching in groups.[3]

Because students do not receive constant individualized attention in group lessons, they may learn to become independent learners.[12] The environment requires students to problem-solve and internalize practice techniques. Group lessons provide ample opportunities for discussion, critical listening, structural analysis, study of historical contexts, and collective decision-making. Collective decision-making allows students to solve the problem on their own with guidance from both the teacher and peers. This social learning can assist with developing independent learning.

Group piano lessons also expose students to a wider range of experiences through repertoire, performance opportunities, and ensemble playing. Students not only become familiar with their own repertoire, they have the opportunity to learn and think critically of the music being learned by their peers.[3] This format may also help alleviate performance anxiety. Students have an audience on a weekly basis, which establishes a learning environment in which playing music for others is a natural part of the learning process. Group lessons provide an environment in which ensemble skills may be developed. Students may play duets, trios, and more.

Some teachers have found that the group lesson format may increase motivation in piano students.[13] They can be motivated by their fellow peers and develop more appreciation of the music through modeling. Peer learning might also create a sense of accountability within the cohort.[14] Positive peer pressure encourages students to feel like they should master their piece for the class, either to avoid embarrassment or to contribute to the group.

Piano labs, multiple keyboards, headphones, and a conference system require more space and upfront cost than individual/private lessons. Group lessons also require more planning and preparation for teachers, as they teach multiple students at once and for longer time periods. Another disadvantage that may occur with group piano teaching is complications in developing and scheduling cohorts with similar experience levels and background.[4]