Podcast appearances and mentions of william westney

When you think about practicing, what do you picture?Maybe you think about your instrument in the living room or your favorite practice room at school. Maybe you picture your studio with morning light streaking across the floor or in the evening with a few lamps casting a cozy glow. Certainly, practicing happens in all of these spaces. But it can also happen at your desk, in the car, at the breakfast table, on a walk, in a carrel at the library, or in a classroom where no instrument is present. How? Because practicing is more than the mechanics of playing an instrument. Practicing involves all the different components of musicianship—many of which can be practiced and developed away from your instrument.It all starts by thinking a little more creatively about what practicing can look like. In this episode, you'll learn about the importance of thinking in music plus 14 practical ways to practice away from your instrument (for students, teachers, and music professionals alike).For show notes + a full transcript, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through links in this post.Ep. 068 - How to Plan a Musical InformanceEp. 069 - A Musical Informance to Celebrate the Solar EclipseEp. 071 - 3 Things I Learned From Hosting a Musical InformanceMusical Informance Planning Guide: A Resource for Studio TeachersPiano Safari piano curriculumHand Position at the Piano: 5 Foundations of Piano Technique, Part 1 (Kate Boyd)The Thumb in Piano Technique (Kate Boyd)How to Use Notability for Assignment Sheets in Your StudioPiano Safari, Repertoire Book 2The Perfect Wrong Note: Learning to Trust Your Musical Self (William Westney)Ep. 60 - How Do We Approach Mistakes in Music Teaching & Learning?Insights from William Westney's “The Perfect Wrong Note” (Musician & Co. Book Club)If you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyew

The Spring semester can be busy. With extra performances, we end up focusing more on performance skills—starting and finishing well, lifting hands back to our laps, how to practice performing at home, bowing, and memorization strategies.But as you know, there's so much more that happens in a music lesson—so much more that we're teaching and cultivating in our students. It's not just about performance or mastery or checking things off. It's about developing musicianship—developing musicians—and helping them develop the skills and creativity and confidence they need to continue making music throughout their lives.I made some notes about this in my teaching journal at the end of last year. As I was preparing for the first week of lessons last week, I recognized six things I've been focusing on and prioritizing in lessons recently that I want to make sure to carry into this new year.I hope this inspires you to reflect on what you're prioritizing in lessons and to plan your lessons and classes with intention.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through links in this post.Ep. 068 - How to Plan a Musical InformanceEp. 069 - A Musical Informance to Celebrate the Solar EclipseEp. 071 - 3 Things I Learned From Hosting a Musical InformanceMusical Informance Planning Guide: A Resource for Studio TeachersPiano Safari piano curriculumHand Position at the Piano: 5 Foundations of Piano Technique, Part 1 (Kate Boyd)The Thumb in Piano Technique (Kate Boyd)How to Use Notability for Assignment Sheets in Your StudioPiano Safari, Repertoire Book 2The Perfect Wrong Note: Learning to Trust Your Musical Self (William Westney)Ep. 60 - How Do We Approach Mistakes in Music Teaching & Learning?Insights from William Westney's “The Perfect Wrong Note” (Musician & Co. Book Club)If you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyew

"What just happened?" I asked a 4th-grade student one Friday afternoon."I made a mistake," she said, looking down at her hands still resting on the keys."What is a mistake?" I posed, curious as to how she might answer.She thought for a moment, then said, "It's when you do something wrong."We talked about that for a minute—how sometimes mistakes happen innocently. Sometimes, a mistake is a way of getting our attention, a way for the body to say to the brain, "Wait! I don't really know this yet."We listened for mistakes and inherent learning opportunities for the rest of the lesson. We talked about insecure fingers, uncertain rhythms, and risky leaps. We talked about how to practice and prepare these things, develop confidence, and be an observer while practicing at home.This is the work of actively reframing how we see and respond to mistakes.Earlier this year, I read The Perfect Wrong Note: Learning to Trust Your Musical Self by prize-winning pianist and pedagogue William Westney. (I mentioned it back in Ep. 055 as I was reading it.)I enjoyed it so much that I made it our Musician & Co. Book Club pick for this quarter. I just published a book review on the Musician & Co. blog, sharing four practical insights for musicians and teachers and a few of my favorite quotes.As I read this book, I found myself bringing some of these concepts into my studio to study and evaluate them in practice. Every few days, I had a new question I wanted to pose, a new response I wanted to incorporate into my language, or a new strategy I wanted to experiment with.In this episode, I want to share some of these practical takeaways: how I'm integrating some of the ideas from Westney's book into my teaching, the questions I'm asking my students these days, and a reflection on how we approach mistakes in the music teaching and learning process.For show notes, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through links in this post.The Perfect Wrong Note: Learning to Trust Your Musical Self (William Westney)Ep. 055 - Begin Again: The Case for Experimentation in Your Music TeachingAre We Learning From Our Mistakes? Insights From William Westney's, "The Perfect Wrong Note"Piano Pedagogy Research Laboratory at The University of OttawaJoin the Musician & Co. Book Club (it's free!)

Episode 2 features 'Practice Maven', Susanna Klein! Susanna is a violinist, professor, arts entrepreneur, practice researcher, and author who is passionate about joyful practicing and musician health. She's spreading the practice joy with Practizma, her innovative practice journal and workbook and her practice aid, the Clipza app. Susanna talks with Liz and Steph about practice baggage and trauma and how we all need some toys in the practice room to spice things up. Hopefully this chat will leave you inspired to try something new!Mentioned in this episode:Practizma & Clipza: https://www.practizma.com/, https://www.clipza.comTunable App: https://www.tunableapp.com/TomPlay: https://tomplay.com/Practicing for Artistic Success by Burton Kaplan: http://magicmountainmusic.com/pdt.shtmlThe Perfect Wrong Note by William Westney: http://williamwestney.com/publications/Use the code “VIOLACENTRIC” at Practizma.com for an extra 10% off your Practizma journal and an invitation to join Liz and Steph on their practice journey, LIVE each week. This offer is only good through the end of October 31, 2021, so don't delay!Support the show (https://paypal.me/violacentric)

Topics include: Identity lock down Metamorphosis for introverts Music therapy is like a healing ointment Be aware of the why Failure is like a commercial before the main event "The Perfect Wrong Note" by William Westney   From an early age, Anjoli took up the violin due to her love of listening to Tchaikovsky’s “The Nutcracker.'' Anjoli’s passion for music and the arts led her to be accepted at the prestigious Meadowmount School of Music and study at Shenandoah Conservatory. Throughout her career, she has performed at venues such as: Sandler Center for The Performing Arts, The Kennedy Center for the Performing Arts, and The Joseph Meyerhoff Symphony Hall. Most recently in 2020, she participated in the largest online virtual orchestral recording of Mozart's Magic Flute Overture with L.O.V.E. Project 2020. She currently plays First Violin with Symphonicity and has a leadership position on their Board of Directors and Education/Outreach Committee. In addition to music, she has an affinity for music business, law, and hypnosis. She is furthering her education by studying Music Business at Berklee College of Music and with her husband who has his own Hypnotherapy Practice in Virginia Beach, VA.

Flute 360 | Episode 49: “Published Flutists with Dr. Terri Sánchez” (44:28) In today’s episode, Heidi talks with flutist and teacher, Dr. Terri Sánchez. The ladies discuss Terri’s process of writing her two books, flute-practicing ideas, and the creative process. Stay-tuned for Episode 57, which will air on April 27, 2019 where Heidi talks with Terri’s flute studio about their academic year! Episode 49 – Main Points: 0:24 – Straubinger Flute Company 1:07 – Welcome! 1:53 – Terri’s two flute books. 2:20 – Taffanel et Gaubert 3:49 – Terri’s “Crazy, Cool Chromatics” 4:03 – Terri’s “Epic Warm-Up” 5:09 – “Ah Ha!” Moments 8:24 – “I am a big believer in leaving clues or breadcrumbs, because sometimes the door disappears.” – Terri 8:39 – The Chronicles of Narnia 9:09 – Terri’s Sound Sheet 10:56 – SMU’s Music Department 15:12 – Terri’s gift to the music community: “Substituting judgment for curiosity!” – Terri 17:17 – William Westney’s book, “The Perfect Wrong Note” 17:34– Zanders’ book: “The Art of Possibility” 20:13 – Questions: What were your processes like for both books? 20:27 – Gabriel Sanchez, pianist 20:55 – Lessons from Gabriel on meaningful practice. 22:54 – Simon Berry, flutist 24:51 – Enesco’s “Cantabile et Presto” 28:11 – Pop music descendants. 29:33 – David Forrest, TTU Assistant Professor of Music Theory 30:24 – Question: Please share some highlights from your books. 30:50 – Kim Clark, flutist & Floot Fire 31:04 – Finale and Sibelius 31:36 – Helen Blackburn, flutist & Super-Duper Zen Yoga Warm-Up 34:26 – Practice Junkie! 35:07 – Question: What is your advice for the aspiring author? 35:30 – Terri’s Answer 37:13 – Mark Sparks, flutist 37:29 – Stay-tuned for Mark’s Episode 51, which will air on 04/16/19. 38:04 – The creative process and co-creation. 38:52 – Heidi’s trip to Greece. 39:43 – Valuing creativity, spontaneity, and one’s own ideas. 40:31 – Picks!   Picks: Terri Zanders’ book: “The Art of Possibility” Julia Cameron’s book: “The Artist’s Way” Heidi The Teahouse in Santa Fe, New Mexico Strawberry Mango Episode 49 – Resources Mentioned: Terri’s Faculty Bio Terri’s Website Terri’s Miyazawa Artist Profile Terri’s & Gabriel’s Recording of Poulenc’s Flute Sonata, Mvts. 2 and 3 Terri’s Book: “The Aspiring Flutist’s Sound & Scale Book” Terri’s Book: “The Aspiring Flutist’s Practice Companion” Episode 49 – Sponsors: Gold: Straubinger Flute Company Silver: Contact Heidi for details! Bronze: J&K Productions’ Website

Erik give props to some of his favorite books related to the saxophone and music performance. Among those mentioned... 1. Larry Teal, The Art of Saxophone Playing; 2. David McGill, Sound in Motion; 3. Michael Hester, Saxophone Master Classes; 4. James Umble, Jean-Marie Londeix: Master of the Modern Saxophone; 5. William Westney, The Perfect Wrong Note ...and many more! Get in touch at lttcapshow@gmail.com or eriksteighner.com  

Show notes and transcript at: https://www.leanmusician.com/podcast/william-westney William is a concert pianist, professor at the University of Texas & the author of ‘The Perfect Wrong Note’ a book about - as the subtitle says - ‘rediscovering your musical self’. He’s a perfect guest for episode number one & of course that’s no accident. During the episode we discuss his life’s work in education, as well as his deep exploration of practice & performance. At first glance, the concepts that William explores here are non-traditional, but as you will hear - they are from a tradition and musical wisdome that has been around for a long time.

Flute 360 | Episode 10: “An Interview with Dr. Sam Hood” (1:16:12) Today, Heidi talks with Dr. Sam Hood about his thesis research, “The Flutist’s MAPP (Movement Applications for Practice and Performance): A Dalcrozian Approach to Flute Pedagogy.” Sam talks about Dalcroze’s method and how it led him to his thesis topic. In addition, he discusses three exercises (tap the balloon, arm flute walking music, and “hoopbrato”) that flutists can incorporate within their own practice session! Episode 10 – Main Points: Background of “The Flutist’s MAPP” (2:40) Sam’s Teachers: Bonnie Jacobi, Fritz Anders, & Dr. Lisa Garner Santa Who is Jaques-Dalcroze? (5:41) Dalcroze’s Violin Concerto (6:04) Alexander Technique (8:11) Eurhythmics (8:47) Sam’s takeaway – it’s a personal experience Teaching Music In The Twenty-First Century by Robert Abramson, et al (11:19) A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances by Eloise Ristad (12:50) Resources for Listeners – please see below (14:00) Rhythm and Life: The Work of Emile Jaques-Dalcroze by Irwin Spector (15:40) Dalcroze Videos – please see below (16:30) William Westney at Texas Tech University (18:08) Dalcroze foundation to “The Flutist’s MAPP” (20:26) Three Aspects (22:18) 1.) Improvisation 2.) Time, Space, & Energy 3.) Rhythmic Layers Rhythm and Movement: Applications of Dalcroze Eurhythmics by Elsa Findlay (23:40) 2ndAspect – Time, Space, and Energy (30:18) 3rdAspect – Rhythmic Layers (35:04) 1.) The pulse of the piece (36:00) 2.) The breath (37:03) 3.) The fingers (39:38) Bringing Music to Life by Barry Green (40:02) 4.) The tongue (43:35) Try learning the music without your flute. (45:34) “The Flutist’s Mapp” Exercises – please see videos below 1.) Tap the Balloon (47:27) 2.) Arm Flute Walking Music (52:01) 3.) “Hoopbrato” (1:00:23) Episode 10 – Resources Mentioned: Books: Teaching Music In The Twenty-First Century by Robert Abramson, et al A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances by Eloise Ristad Rhythm and Life: The Work of Emile Jaques-Dalcroze by Irwin Spector Rhythm and Movement: Applications of Dalcroze Eurhythmics by Elsa Findlay Bringing Music to Life by Barry Green Rhythm, Music and Education by Jaques-Dalcroze Emile YouTube Videos: Fritz Anders Dalcroze Eurhythmics with Lisa Parker Dalcroze Eurhythmics Skipping Game with Greg Ristow Dalcroze Eurhythmics Stopping-Starting Quick Reaction with Greg Ristow Dalcroze Eurhythmics Jumping Game with Greg Ristow Sam Hood’s Videos: Video 1 – Time, Space, & Energy Video 2 – Tap the Balloon Video 3 – Arm Flute Walking Music Video 4 – “Hoopbrato” Contact Information: Sam Hood’s Website: https://samuelhood.com Sam Hood’s E-mail: hood.samuelj@gmail.com Heidi Kay Begay’s Website: https://heidikaybegay.com Heidi Kay Begay’s E-mail: heidikaybegay@gmail.com Flute 360's Sponsor: J&K Productions: https://jaykayproductions.media

Have you ever heard of Dalcroze? It’s a remarkable and effective approach to music-learning that’s often discussed alongside Kodály or Orff. Today we're speaking with Dr. Jeremy Dittus, the founder and director of the Dalcroze School of the Rockies in Denver, one of the most prominent Dalcroze schools in the US, about his own experiences learning this approach and how (and why) he teaches it now. In this conversation we talk about:   - How “reading between the lines” of sheet music, Schenkerian analysis, and Dalcroze training all helped transform Jeremy into the musician and educator he is today - What exactly "Dalcroze" is and how each of its five components can benefit a musician - How and why Dalcroze uses both the fixed and movable do systems of solfege - How Dalcroze can enrich a musician who's learning in the traditional way, and why walking past a Dalcroze classroom typically means seeing a room full of adults smiling, moving and having fun.     Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS   Full Show Notes and Transcript: Episode 046   Links and Resources • The Dalcroze School of the Rockies • Videos of Plastique Animée • Video of Eurythmics class • Website: Dalcroze USA • Book: “The Perfect wrong note” by William Westney     Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

William Westney has long followed the path of an Integrated Scholar. His efforts have earned him the university’s highest honor, being named a Paul Whitfield Horn Professor—for his excellence in teaching, research and creative activity—as well as receiving the TTU System Chancellor’s Council Distinguished Teaching Award and the TTU President’s Book Award, among other commendations. Westney brings fervor to engaging his students. Since coming to Texas Tech as the Eva Browning Artist-in-Residence in 1978, Westney has expanded his focus from concert piano performance to the intersection of the arts, sciences and philosophy. His research concentrates on nonverbal interactions and understandings, and how these apply to the performance, teaching and aesthetics of music. This focus contributed to publication of the book “The Perfect Wrong Note: Learning to Trust Your Musical Self” and underlies the experimental collaborative project—one that integrates performance studies with technology—that his research team has been pursuing under the aegis of Texas Tech’s Transdisciplinary Research Academy. Westney’s research continues to shape his teaching, whether in one-on-one piano lessons or in his larger performance workshops called “Un-Master Classes.” He is a popular guest presenter for classes in other divisions of TTU’s School of Music as well as for departments across campus, offering enrichment activities to students in such areas as physics, mathematics and art.