The Contributions of Elvina Truman Pearce to Piano Pedagogy
Abstract
Elvina Truman Pearce (b. 1931) was a leading piano pedagogue in the twentieth and twenty-first century. This document presents perspectives on her wide-ranging work as a pianist, teacher, composer, and writer. Throughout her over six-decade-long career, Pearce continually elevated her teaching –– and that of others –– by her contributions to the field of piano pedagogy. Through her work as a piano pedagogy professional at The New School for Music Study in Princeton, New Jersey, North Central College in Naperville, Illinois, and Northwestern University in Evanston, Illinois, Pearce influenced generations of piano students. As a prolific editor and composer, she reached countless teachers and piano students around the world.
The first chapter of this document introduces Pearce and presents the purpose, need for, and organization of the study, as well as its procedures and limitations. The chapter also includes a review of similar studies of piano performers and pedagogues which were consulted as models. The second chapter outlines Pearce’s biography, providing further insight into her life and career. Pearce began her career as a performing pianist, concertizing throughout the United States. Chapter three provides details about her many performances, from her two concerti performances in Chicago with the Chicago Symphony and the Chicago Theater of the Air, to her milestone recital at the National Gallery of Art in Washington, D.C.
Pearce’s teaching philosophy and practical pedagogy is examined through her work as a teacher in chapter four and as a writer in chapter six. The fourth chapter examines her teaching philosophy as revealed through her own teacher influences, former students’ perspectives, and professional workshops. Her teaching precepts are also distilled in this chapter. They include student-centric learning, self-discovery, home practice, and effective repertoire introduction. The sixth chapter examines her work as a writer and editor and further examines her teaching approach and philosophy. For sixteen years, Pearce also influenced piano teaching communities around the world as editor of the “Home Practice” section of Keyboard Companion.
The fifth chapter presents an overview of Pearce’s teaching compositions for elementary and intermediate piano students. Throughout Pearce’s composing career, she wrote and published over 250 educational pieces. Her innovative use of ghosted staff in her best-selling collection, Solo Flight, and her penchant for writing pieces that sound more difficult than they are, allowed her compositions to become recital and festival favorites by teachers.
The study concludes with a summary of Pearce’s contributions followed by appendices that further augment the research. The goal of this study is to provide a useful resource for students, teachers, and those wishing to understand more about Elvina Truman Pearce’s contributions to the evolution of the field of piano pedagogy.
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