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The article provides information on the benefits of music portfolio for music students who want to pass the graduate school music audition process. It states that music portfolio can be used to set oneself apart as a professional. Moreover, it notes that a successful music portfolio that consists of performance and teaching components demonstrates the applicant's organizational skills, thoughtful career, and writing skills. Furthermore, it stresses that music portfolio helps students establish professionalism and preparedness and gives an overview of the applicant's success in completing the graduate degree program.

The article provides information on the recognition of Carola Grindea, performer and founder of European Piano Teachers Association (EPTA) and the International Society for the Study of Tension in Performance in Europe. It states that Grindea was recognized by the Music Teachers National Association (MTNA) with the citation at the EPTA conference on November 2, 2007, in which she was distinguished for her singular work as a unifier of music teachers around the world. Moreover, it notes that Grindea has made a significant impact on the field of piano teaching with her accomplishment as a performer, teacher and lecturer. Furthermore, it mentions that Grindea was also presented with a Citation for Leadership by MTNA president Gail Berenson in April 2008.

The article discusses the several factors that need to be considered by piano teachers and students for carrying out auditions for college piano education in the U.S. It states that music teachers should develop plans on when to conduct the audition, create requirements for the audition and organize the degree programs to be offered by music schools. It shows that students must perform for audition pieces as well as consider the duration of the performance. It suggests that students should engage into rehearsals prior to the scheduled audition to enhance their performance. It also advises students to wear the appropriate dress during the audition in which they will feel comfortable and can move freely while playing the piece.

The article highlights a session presented by Christopher Kowal and Lynda Metelsky, two senior members of the RCME College of Examiners, at the collaborative conference of the Canadian Federation of Music Teachers' Associations, Music Teachers National Association and The Royal Conservatory of Music on March 23, 2007. The session provided an overview of the changes to the Technical Requirements for each of the grades in the upcoming "Piano Syllabus," 2008 edition. There was also discussion of each of the new candidate's choice technical requirements, which have been introduced at the Grade 10 and Teacher's ARCT levels, and about how the new curriculum prepares candidates for the challenges they will meet in the repertoire at their grade levels.

The article highlights a session presented by Janet Lopinski and Jennifer Snow at the collaborative conference of the Canadian Federation of Music Teachers' Associations, Music Teachers National Association and The Royal Conservatory of Music on March 23, 2007. The presentation provided an overview of the general goals of the curriculum structure of the Royal Conservatory of Music (RCM) Examinations Piano Pedagogy Certificate Program, as well as outlined the requirements for all three levels of the program. It also provided audiences the opportunity to see how the examiner engages the student in discussions and how the student is directed and evaluated.

The article highlights the mock examinations sessions presented at the collaborative conference of the Canadian Federation of Music Teachers' Associations, Music Teachers National Association and The Royal Conservatory of Music on March 23, 2007. Each of the sessions began with a brief introduction to the RCM Examinations system which provided snapshot of the examination curriculum and an introduction to the exam structure at various at levels and for different instruments. Attendees watched a simulated strings examinations and participated discussion of how it would be marked by RCM experienced examiners.

The article highlights a session presented by Ingrid Clarfield, professor and coordinator of the piano department at Westminster Choir College of Rider University in Lawrenceville, New Jersey, at the collaborative conference of the Canadian Federation of Music Teachers' Associations, Music Teachers National Association and The Royal Conservatory of Music on March 23, 2007. The session focused on assessment in the studio, providing ways in which music teachers can help guide their students. Clarfield used musical examples to give insightful suggestions for creative teaching and music performance.

The article highlights the "Sharpen Your Pencils and Mark with the Examiners" sessions presented at the collaborative conference of the Canadian Federation of Music Teachers' Associations, Music Teachers National Association and The Royal Conservatory of Music on March 23, 2007. The interactive sessions were participated by senior members of the College of Examiners which outlined the procedure and guidelines for marking the examinations in the given subject area. Examiners shared their comments and marks and answered questions about how the grades were determined. A list of the subject areas discussed in the sessions is supplied, including advanced rudiments and basic harmony.

The article discusses the highlights of the collaborative conference of the Canadian Federation of Music Teachers' Associations, Music Teachers National Association and The Royal Conservatory of Music on March 23, 2007. The event focused on the evaluation and assessment of musicianship skills among music teachers and students. The programs were designed to provide opportunities for music teachers to explore a wide range of approaches to inspiring, motivating and evaluating their students.

The article reports on the new Indiana University (IU) faculty member, Sylvia McNair. She is an Indiana University alumna and a two-time Grammy Award winner and an internationally renowned soprano. She has returned to the university's school of music to join the voice faculty. McNair had more than 70 recordings and regular performances with leading orchestras and opera houses in the U.S., Europe and Asia, and had worked with prominent conductors. She received honorary doctorates from Westminster College and IU.

This article reports on the winners of the 7th National Chopin Piano Competition in 2005 in the U.S. A jury of nine international artists selected the winners of the 7th National Chopin Piano Competition. The four medalists were Mei-Ting Sun, Rachel Kudo, Sean Kennard and Esther Park. Two special awards of $ 2,000 were awarded to finalists who were non-medalists namely Juilliard student Igor Lovchinsky and San Francisco Conservatory of Music student Howard Na. Moreover, special awards of $ 1,000 each were given to Igor Lovchinsky for Best Performance of Mazurka and Mei-Ting Sun, who received awards for Best Performance of Polonaise and Best Performance of Concerto. The medalists will participate in the International Chopin Piano Competition in Warsaw, Poland with all expenses paid by the Chopin Foundation. The first prize winner will tour the U.S. in a series of more than 20 concerts prearranged by the Chopin Foundation.

Reports on the appointment of soprano Dawn Upshaw as the Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor of Arts and Humanities at Bard College Conservatory of Music. Involvement of Upshaw in the development of the of Bard's Richard B. Fisher Center for Performing Arts; Educational background of Upshaw; Information on the opera and concert career of Upshaw.