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Collegiate music programs in the United States cater to diverse student populations and have widely varying processes through which students apply, audition, enroll, and engage in college study. However, many students may face challenges related to the college adaptation process. Initial adaptation may impact students’ academic achievement, development of music practice and performance skills, mental and physical health, and ability to attain the grades required for scholarships. Successful adaptation is characterized by the adoption of productive educational habits (Credé & Niehorster, 2012). Group piano offers a unique environment in which to study adaptation for music majors because it is a typical experience for first-year students and requires the development of both music knowledge and skills such as sight-reading, hand coordination, score-reading, and ensemble. The purpose of this phenomenological study was to investigate how first-year music students adapt to group piano classes. The study was guided by the question: What meaning do six first-year music majors ascribe to their group piano experience, especially as this pertains to the adaptation process? Four key themes (Preparedness, Value, Priorities and Expectations, and Support Systems) emerged and offer connections to previous findings in other social sciences, as well as a complex framework of adaptation as a means for planning group piano curriculum. Results from this qualitative study are not generalizable to a broader population, but the findings discussed can be used to recommend future research that will help guide curricular decisions in group piano and other core music classes.

How can we define stagecraft? Is showmanship innate or learned? Can students learn how to develop stage charisma? This paper investigates expert pianists’ views on stagecraft and how their insights can inform training tools to enhance piano pedagogy. In Part 1, we interviewed expert pianists to understand their lived experiences of the stage and to discover their approach to stagecraft. Expert performers were acutely aware of the audience’s gaze, considered their performances by sight and sound, and tailored concert preparation to optimize visual presentation. These experts utilized practice strategies such as visualization of the concert experience (backstage and onstage), choreographing stage entrance and stage manner, “The King” mindset, and performing in “mock concerts.” In Part 2, we developed five roleplaying strategies for early-career pianists, based on expert pianists’ practice strategies for the concert stage. In a series of workshops, pianists trialed backstage immersion, stage entrance styles, contrasting visualization prompts, creating “The King” mindset, and performing a mock concert. They reflected on their experiences in workshops, discussions groups, and interviews. Early-career performers valued roleplaying as an effective way to master experts’ strategies for developing stagecraft and optimized their stage skills for professional performance. They were able to access the audience’s gaze by roleplaying as performer and audience member, and understand the totality of performance by both sight and sound. These roleplaying training tools can enhance performance pedagogy and equip the next generation of performers for the professional concert stage.

The quality and engagement in piano practice evolve throughout undergraduate study, and are key for the development of piano majors. Yet their impact on future career aspirations remains underexplored. This study investigates differences in quality and engagement of practice among undergraduate piano students at different stages of their studies, and examines how quality and engagement of practice correlates to their future aspirations. Data about quality and engagement in piano practice, and future aspirations were collected from 192 piano majors across 12 universities via an online survey, with 160 responses selected for quantitative analysis. A t-test revealed a significant difference in attitudes toward practice between students in years 1 and 2, and students in years 3 and 4. An analysis of variance (ANOVA) was employed to compare the mean differences in several aspects of practice between the two groups. Results indicated that year 1 and 2 students generally exhibited higher practice quality and engagement, and more positive attitudes, than those in year 3 and 4. Students in year 1 and 2 reported greater enjoyment in playing the piano, higher enthusiasm for lessons, and a stronger perception of the piano’s value. Regression analyses were then conducted to identify key predictors of students’ future aspirations. These analyses revealed that practice strategies, self-belief, teacher and parental support, and performance enjoyment are key factors influencing students’ enthusiasm for their future aspirations. These results highlight the importance of fostering a supportive learning environment to sustain student engagement and motivation throughout their academic journey.