While I concur that “perfect pitch” is a vernacular term, the issue that absolute pitch is wholly genetic, like say, blue eyes, is still a controversial theory in the scientific community.

What is perfect, or (as it is also called) absolute, pitch? It is relative, not absolute, and anything that is relative is not “perfect.”

True improvisation is simply the act of making things up.

I’ve heard countless stories of performers who were discouraged by their instrumental teachers when they would improvise or compose, as it took away from valuable practice time and was a “distraction.”

Can you just tell a composer to do an educational project along with a commission and expect success?

It is one thing to see a child crying tears of frustration when learning a new piece; but it’s quite another thing when it is a professional musician.

Combining one’s work with one’s family life can be a very tricky business, especially if it means deciding to teach your own child music.

What makes a good teacher for a young player?

How do we undo negative experiences with teachers so that children can still be receptive and willing to try again?

In our desire to give our students the tools to master every skill, are we starving them of the time to be creative?