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All our experiments are all built with freely accessible web technology such as Web Audio API, WebMIDI, Tone.js, and more. These tools make it easier for coders to build new interactive music experiences. You can get the open-source code to lots of these experiments here on Github.

Our piano programs are designed to help our undergraduate and graduate students to grow and learn in a healthy, supportive atmosphere. Each student receives personal attention with at least a one-hour individual lesson weekly and participation in a weekly studio class. We also offer chamber music coaching, and there are three concerto competitions a year.

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The piano curriculum is centered around individual private lessons, where students are encouraged to explore the incredible variety of repertoire available to pianists. Performance opportunities abound and include studio classes, weekly recital hours, a concerto competition, and opportunities for performances off campus. In addition, there are many competitions in the Chicago area which offer performances as well as cash prizes.

With an award-winning faculty and the resources of one of the largest music departments in the country, the College of Music offers exceptional performance training as well as many options for elective courses and specializations across numerous areas for portfolio diversification.

Our students and alumni regularly earn national and international recognition in performance, teaching and research. They have been accepted to prestigious graduate study programs throughout the world; have won numerous competition awards, internships and fellowships; and have earned positions as full-time academic faculty, as artist-faculty and collaborative pianist-performers at summer music festivals in the U.S. and abroad.

The musical lineage represented by our keyboard faculty honors the finest classical music traditions in the world: our teachers, and their teachers, stand among a legacy of legendary artist-pedagogues. The vast performing experience of our keyboard faculty is broadened by their ongoing engagement in a wide range of creative scholarship in fields that integrate performing, teaching and scholarship.

FSU offers the unique combination of a large comprehensive music program with committed professional mentoring between faculty and students. This fosters a learning environment uniquely suited to equip students to collaborate effectively with one another and promote excellence in their professional spheres of influence.

In addition to degree programs for performance majors, organ students in the BA Sacred Music degree pursue rigorous musical training with special emphasis on sacred music, coupled with substantial coursework in areas of study outside of music. College of Music students can also audition to study the organ as a principal study instrument. Further opportunities for secondary study exist for students in the larger College and University, by instructor permission.

The Graduate Certificate in Piano Performance provides a strategic credential to supplement and enhance the degrees of graduate-level music majors enrolled at the Florida State University College of Music who are already advanced in their classical piano skills, but who have chosen to pursue degrees in musical subjects other than piano performance.

The education of pianists at the Eastman School of Music emphasizes the development of a large performance repertory along with the pianistic skills that will prepare students as solo artists and collaborative musicians. In addition to traditional works from the eighteenth, nineteenth, and twentieth centuries, pianists are encouraged to explore early keyboard music, contemporary, and experimental literature. Frequent performance opportunities in a variety of venues include concerto performances, solo recitals, chamber recitals, master classes, and studio classes.

The dedicated support of the piano faculty provides Eastman piano students with flexibility, security, and musicianship that will carry over into their professional careers. Guest artists and lecturers in the department have included Murray Perahia, Paul Lewis Emanuel Ax, Paul Badura-Skoda, Gordon Back, Alicia de Larrocha, Philippe Entremont, Leon Fleisher, Richard Goode, Gary Graffman, Angela Hewitt, Warren Jones, Robert Levin, Ivan Moravec, and Pascal Rog.

The piano department at the Eastman School of Music is committed to the highest standards of artistic education for accomplished pianists from around the world, helping them to discover their full potential as musicians and scholars. We are looking for applicants who show outstanding skills as a performer and who have benefited from a high level of musical training. Applicants should be committed to disciplined practice habits which will reveal the potential for technical and musical excellence. We are also looking for pianists whose sense of collegiality and professionalism will contribute to the community atmosphere at Eastman. If you are a pianist dedicated to your craft and are personally devoted to seeking the highest caliber of creative excellence, we welcome you to apply to be a part of our piano program.

The Eastman Piano Accompanying Program is one of the oldest and most distinguished in the nation. Founded by Professor Emerita Jean Barr, the program currently comprises five faculty members and offers both the MM and DMA degrees. The degree in Piano Accompanying and Chamber Music combines intensive and equal study of instrumental and vocal repertoire, enhanced by a rigorous academic education emphasizing the study of foreign language, music history, and music theory. The program is dedicated to the pursuit of artistic, pianistic, and collaborative excellence, offering a uniquely comprehensive training for the professional collaborative pianists of the future.

In my 35+ years of writing music for piano, I've composed and arranged over 200 works for solo piano, most of them original. A fan who read my advice for pianists article asked if I'd write a similar article for beginning composers. So, I've put together these 12 tips for anyone who would like to compose music for the piano.

You don't have to come to the piano with an entire musical idea already in your head before you start composing. Just start with one simple melodic phrase. That melody will be the centerpiece for everything else in your composition. It's the foundation and the focal point of your piece. As you begin to compose, improvise on that melody and see where it naturally wants to take you. The musical place it leads you to is usually your 'hook', or what I'll refer to in this article as your chorus. Think of your chorus as your melodic destination.

It's not uncommon to find that while you're developing a composition, you find yourself taken into an entirely new musical direction. The question to ask yourself is, does this 'new direction' belong with your original melody? Or, have you accidentally stumbled upon a new, second melody better suited for an entirely new work? A great number of my pieces originated as spin-offs of other compositions. So if you have a great melody and it takes you to a second great melody, consider whether you're might really be working on two different pieces and whether you need to split them apart so they can 'play' in their own separate worlds.

Remember, you're telling a story with your music, so arrange your piece in such a way that it keeps moving in a particular direction. When you read a storybook to your kids before bedtime, you don't read page one, read page two, then go back to page one again, and then read page two, read page two, and read page two once more. Your kids would get really bored! With each new page, the story needs to advance toward the happy ending, in proper order. Do the same thing with your music. Every 'page' of your composition should develop your storyline a bit more, building to a gratifying conclusion.

Do you see the song structure? Every composition is a bit different. The point is, compositions that are memorable tend to be song-like in structure. Even with the great classical works, when you hum them, do you hum the entire piece? No... generally what you remember and hum is one very small melodic hook. In comtemporary instrumental music, at least within my world, the melody is what it's all about. So give your pice a song-like structure and...

The biggest mistake I hear in others' composition is over-complexity. For some reason, beginning composers try to make things complicated - as if bigger is better. Part of this, I think, is the need to impress others, and part of it is the mistaken assumption that the more complex a work is, the more significance it has. No, no no. Simplicity is the key to beauty. Clarity is the key to perfection. Don't write to impress and don't write because you are seeking significance. Just find a simple melody, develop it, give it a twist, and finish it. You should be able to do it in less than 4 minutes. If you have a composition (for solo piano) over five minutes, examine it closely. You might be doing more than you need to.

Finally, keep your phone (or however you prefer to record) near you so you can record your ideas while you're still sitting at the piano. There's nothing more frustrating that having a great idea, getting interrupted, and then forgetting it. With a phone handy you can take the two minutes you need to record a rough-draft or melodic idea and come back to it later if need be.

Many musicians aspire to long-term career goals like being featured in The New York Times, signing with a major record label and performing at Carnegie Hall. By age 22, international piano sensation Daniil Trifonov had achieved all three. Trifonov earned his performance certificate at CIM in 2014, studying with Sergei Babayan. He is a winner of the XIV International Tchaikovsky Competition and made his triumphant return to Carnegie Hall in his solo recital debut in February 2013. He is currently a sought-after soloist with the world's major orchestras. ff782bc1db