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Dominic Meiman

  • Degrees and StudiesSuzuki Piano Books 1-7, School for Strings, New York, NY.; Theory and Composition studies, Mannes School of Music; Piano studies with Joseph Prostakoff and Sophia Rosoff; B.A., Harvard University
  • Music Conservatory of WestchesterFaculty since 2017
Born in: Pensacola, Florida

Performances and Distinctions:
Pianist/conductor, national tours of The Merry Widow and Naughty Marietta for Columbia Artists Management; arranger and co-librettist/lyricist for children’s opera, The Ring of the Fettuccines, at the Kennedy Center, Detroit Institute, Brooklyn Academy, and on CBS Cable TV; orchestrator for Richard Rodgers revue, Something Wonderful; orchestrator/pianist for CD of The Night They Invented Champagne, Operettas and the Musicals They Influenced; author of “The 20-Minute Miracle,” article on transposition, Clavier Companion, Dec./Jan. 2011.

Statement of Teaching Philosophy:
"I fully embrace the Suzuki philosophy of 'Every Child Can’ and believe that all children have the potential to become as fluent on the piano as they do in their native language. A growing body of evidence strongly suggests that expert ability is more heavily influenced by environmental factors than innate gifts. This means that two essential ingredients in the development of expertise—passion and perseverance—can themselves be developed. To accomplish this, the three members of the Suzuki Triangle—Parent, Child, and Teacher—must adopt a growth mindset, each contributing equally to the success of the venture. I encourage parents to consider instrumental study as an essential part of their child’s education. Maintaining motivation takes time. Along the way, the learning process needs to be enjoyable, even when the going gets tough.

My teaching focuses on 3 overarching aspects of performance skill: aural awareness, physical coordination, and emotional connection, all of which work together synergistically. The Suzuki method beautifully addresses the development of ears and coordination, but it provides little guidance in the matter of reading. Learning to read and learning to play are each substantially challenging. For that reason, I believe that while learning to read music should begin at the start of study, it should be kept on a separate track until the student has acquired a certain fluency playing the instrument itself. At that point, sight-reading—that is, reading and playing at the same time—may more comfortably be introduced."


 

 

 

 

 

 

 

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