Welcome to the International Journal of Music

Arthur Zanin, Editor in Chief
Eric Anderson, Editor

We are so excited to present you with this new, fully online publication. All my life, I’ve participated in the time-honored tradition of music education, sharing my knowledge with my students just as my professors shared their knowledge with me. The IJM widens the pedagogical circle for any musician willing to learn, publishing academic and performance-based insights by seasoned musicians, educators and ambitious students. You will find articles for different instruments in their respective magazines, such as this one. You are able to access, submit, and review articles on our IJM website (https://ijm.education).


Arthur Zanin, Editor in Chief

piano china

Handcrafted Pianos in China: Zhang Gangning and the Endless Search of a Unique Piano Tone

The music instrument industry in China, supported by mechanised mass production, has enjoyed remarkable financial success in the past decades. However, in many cases, mass musical instruments production suffers from a lack of accuracy in the assembly process. Zhang Gangning is a piano maker who pursues the highest standard of piano-making without seeking to make a profit. He has been exploring and producing handmade pianos for more than 20 years. Thanks to his unrelenting efforts, his abilities have prospered, allowing him to achieve remarkable results internationally. This article is based on the conversations we held with Zhang Gangning during our visit to his factory on 25th June 2021 in Xuancheng City. This paper is structured into different sections: an introduction (I), a contextualisation of Zhang Gangning’s career (II, III, IV, V), a commentary about our impressions after using his pianos (VI), and some thoughts about his future plans (VII).
Gyorgy Sebok piano

György Sebők: Pedagogical Highlights From a Master

György Sebők (November 2, 1922 - November 14, 1999) is one of the most distinguished pedagogues of the 20th century, and his influence on my artistic development has been invaluable. Despite the absence of any particular method he followed, he was able to recognise the student's personality, motivation, and fear with great accuracy. The high level of eloquence and insight that he exhibited in his lessons are a few of the most outstanding features of his teaching approach. Throughout his serene character, he could leave memorable phrases that encapsulated the essence of what he believed. This year marks the 100th anniversary of his birth, and this document renders a tribute to his masterclasses from the year 1987 at the Koninklijk Conservatorium in Gravenhage.
piano aesthetics

The Healing Power of Aesthetics

In this article, the author follows diverse aesthetic, therapeutic and educational facets of musical reception and production. From the levels of meaning of the aesthetic in art and music, she draws a bridge to the analogy between the love of music and friendship. It opens up listening and musical activity as a physical performance in the devotion to music, in which reflection, experience and action are united. This bodily-aesthetic potential of music can support healing and identity finding in music therapy. Therapeutic work with the medium of music offers sound spaces and resonating spaces that can be experienced by the compulsion of the body and enables one to find one's own aesthetic meaning patterns.
carl philipp emanuel bach david murray piano

Emotion, Experimentation, and Education: C. P. E. Bach’s Württemberg Sonatas

Carl Philipp Emanuel Bach is a composer whose music, though admired by all of the great composers of his day, is today only infrequently heard on the concert stage or utilized in the teaching studio. During his lifetime, however, C. P. E.’s ideas about music were extremely influential. The six Württemberg sonatas, expressive and experimental keyboard works, serve as an excellent summation of C. P. E.’s aesthetic and style. Composed between 1742-1744 and dedicated to C. P. E.’s pupil Carl Eugen, the Duke of Württemberg, the Württemberg sonatas are challenging works that present the performer with a multitude of technical and interpretative difficulties. In each sonata, C. P. E. gives full rein to his creative abilities and seems to relish such difficulties as complicated rhythms, overlapping voices, extreme technical challenges, and unusual or difficult key signatures. This article discusses what makes the Württemberg sonatas stand out from among the more than 150 sonatas that C. P. E. composed over the course of his creative life, focusing on overall aspects of the set as well as significant characteristics of the individual sonatas themselves. Special attention is paid to the pedagogical applications of these works. Contrary to what has been widely assumed over the centuries, C. P. E. Bach is not a composer best consigned to the dusty annals of history but is actually a creative musician of superior ability. He influenced musical thought and composition generations to come, and his works can still speak to us today.
Learning Beethoven Sonatas Gabriele Carcano

Thoughts on Learning All of Beethoven’s Sonatas

If when it comes to writing or talking about something so well known as Beethoven’s piano sonatas is almost impossible to avoid repeating what’s already been said, it’s also true that the necessity of looking into this music is always impellent. Studying them all has been one of my most rewarding experiences so far. I would like to share some of my experiences of spending quite some time with it as well as some personal discoveries I’ve made along the way.
Rita Sloan pianista colaborativo

Your Mother Wants You to Be a Doctor but You Want to Be a Collaborative Pianist

"Accompanists: the unsung heroes of music," trumpeted Britain’s The Guardian in 2012. If you are, like me, in the business of what we in the United States call collaborative piano, you would have had a good-news/bad-news reaction. The good news was receiving the title “hero,” even if unsung. The bad news: even in 2012, the term “accompanist” clearly persisted in England. It would take six years for a course correction when in 2018, the Royal College of Music (RCM) became the first London conservatory to change the title of their Master’s Degree in Piano Accompaniment to Master in Collaborative Piano.
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