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Music can improve child’ abilities in learning and other nonmusic tasks, but it’s important to understand that music does not make one smarter. The many intrinsic benefits to music education include being disciplined, learning a skill, being part of the music world, managing performance, being part of something you can be proud of, and even struggling with a less than perfect teacher.

It’s important not to oversell how smart music can make you. Music makes kid interesting and happy, and smart will come later. It enriches his or her appetite for things that bring you pleasure and for the friends you meet.
While parents may hope that enrolling their child in a music program will make her a better student, the primary reasons to provide your child with a musical education should be to help them become more musical, to appreciate all aspects of music, and to respect the process of learning an instrument or learning to sing, which is valuable on its own merit.

There is a massive benefit from being musical that we don’t understand, but it’s individual. Music is for music’s sake. The benefit of music education for me is about being musical. It gives you have a better understanding of yourself. The horizons are higher when you are involved in music. Your understanding of art and the world, and how you can think and express yourself, are enhanced.

History of the Piano

The story of the piano begins in Padua, Italy in 1709, in the shop of a harpsichord maker named Bartolomeo di Francesco Cristofori (1655-1731). Many other stringed and keyboard instruments preceded the piano and led to the development of the instrument as we know it today.

Mankind’s knowledge that a taut, vibrating string can produce sound goes back to prehistoric times. In the ancient world, strings were attached and stretched over bows, gourds, and boxes to amplify the sound; they were fastened by ties, pegs and pins; and they were plucked, bowed or struck to produce sounds.

Eventually, a family of stringed instruments with a keyboard evolved in Europe in the 14th century. The earliest of these was a dulcimer, a closed, shallow box over which stretched wires was struck with two wooden hammers. The dulcimer led to the development of the clavichord, which also appeared in the 14th century. These were followed by the spinet, virginal, clavacin, gravicembalo, and finally, the harpsichord in the 15th century.

The harpsichord, however, was limited to one, unvarying volume. Its softness and loudness could not be varied while playing. Therefore, performing artists could not convey the same degree of musical expression as that of most other instruments. The artistic desire for more controlled expression led directly to the invention of the piano, on which the artist could alter the loudness and tone with the force of one’s fingers.

The harpsichord was a particularly important development leading to the invention of the piano. Its ability to project sound more loudly than its predecessors and refinements in the action (or touch) inspired many more musicians to compose for the keyboard and thus, to perform keyboard works.

First exhibited in Florence in 1709, Cristofori’s new instrument was named gravicembalo col piano e forte (roughly “soft and loud keyboard instrument”). Eventually, it was shortened to fortepiano or pianoforte, and finally just piano. His earliest surviving instrument dates from 1720 and is on display at the Metropolitan Museum of Art in New York City.

Despite many improvements during the past 300 years, it is truly astonishing to observe how similar Cristofori’s instruments are to the modern piano of today.
New Technology in Pianos

We are living in perhaps the most exciting time in history to buy, own or play that eternal instrument, the piano. Whether your goal is to purchase something as small as software that can record what you play, a newly designed player piano, a digital instrument or a classic acoustic model, there have never been as many choices for the consumer.
Player Pianos

Also called “reproducing pianos,” this class of instrument represents a modern update on the paper-roll player pianos you remember from old movies, and they’ve grown enormously in popularity over the last decade.

These are not digital instruments – they’re real, acoustic pianos with hammers and strings that can be played normally – but they can also “play themselves” using sophisticated electronic technology. Instead of punched paper, they take their cues from floppy disks, specially formatted CDs or internal memory systems. Several manufacturers offer vast libraries of pre-recorded titles for their systems—music in every genre from pop to the classics—recorded by some of the world’s top pianists. These sophisticated systems capture every nuance of the original performances and play them back with startling accuracy—providing something that’s actually much better than CD fidelity because the performances are live.

Thanks to these new systems, many people who don’t play the piano are enjoying live piano music any time of the night or day. Whether they’re accompanying dinners for two or entertaining a houseful of partygoers, these high-tech pianos take centre stage. For people who do play the piano, these systems can be used to record their own piano performances, interface with computers, aid in music education, assist with composing and many other applications. In short, these modern marvels are not your grandfathers’ player pianos!
Digital Pianos

To the uninitiated, digital pianos may appear related to the inexpensive toy keyboards than can be purchased over the counter at electronics stores. But that’s like comparing a go-kart with a fancy touring sedan. The digital pianos produced by many of today’s top piano companies produce sophisticated, sampled piano sounds taken from their own top models. What’s more, they offer other instrument voices – sometimes by the hundreds – with striking realism.

Because digital pianos are software-driven, they also open up exciting new ways for beginners to make music. For example, some keyboards feature lights over the keys to help you play a favourite tune or learning programs that combine the music with an on-screen display.

Digital pianos help home musicians get more out of the Internet as well, and they can be connected not only to a computer, but to other instruments for arranging and orchestration. With memory storage setups such as Flash ROM, users can download and store new music.

There are also a number of digital pianos that offer a variety of unique functions—such as providing you with a lot of different preset and combo sounds, ones that can give you a layering effect to your playing. Some of these instruments also include a Karaoke/Video output for the next time you want to put a little life in your party.
Software

There is probably no more exciting area of growth in the piano industry than that of software technology. Science fiction writers of the past would be impressed by today’s advancements – like software that converts music files to sheet music… downloads and unzips music files and Karaoke files from the Internet… or even lets musicians print entire musical scores and analyse their harmonies and chord names. Today’s software will even let users shop for, purchase and print sheet music over the Internet, if you can’t find the score in a store.

Kurt Vonnegut, who wrote “Player Piano” in the 50s, would not believe the new software that currently exists for these instruments. For example, there is now software for the piano that will allow it to load hours of pre-recorded music, with no discs or CDs to change; everything from jazz to the classics. Should you be looking for music by a specific pianist, you will be able to find it: everyone from Floyd Cramer to Peter Nero is represented and can keep your piano (or your get-together) humming.

But software is not just for the player piano. For the budding composer, there is also new technology galore. For instance, the first ensemble piano that features CD-R technology is now available. This piano has the capability of CD-R – meaning you can put a disc in this piano, record a CD of a song you have written or played, and, immediately play the disc back in your boom box or PC. And not just keyboard sounds; vocals, too, can be ‘burned,’ enabling any budding songwriter to produce a 16 track studio-quality ‘demo.’

Synthesisers are still very popular among jazz and rock musicians. Among the newest is a synth that offers multiple oscillator technologies and has real-time control over pitch, time and format. There are also synthesisers that give players the ability to control audio with the same flexibility as any music file, all due to new technology. This new software can take on all sorts of new musical and recording functions.
The Traditional Piano

And what of traditional concert pianos? Have they been lost in the technological shuffle? Far from it. With countless artists from Bruce Hornsby to Michael Feinstein using them, the acoustic piano is still very much in demand.

While the basic design of the acoustic piano is remarkably similar to the first models from around 1700, manufacturers are including innovations at a rapid pace. Some of the updates draw on materials science, to find special woods or newly available materials that make a piano more durable and tonally stable. Some use engineering know-how to strengthen the piano and keep its sound deep and rich for years. And 300 years of experience with the mechanics of a piano’s action has resulted in keyboards that feel great and stay in tune better.

Concert grands are used by numerous conductors, composers and songwriters—and are more available and affordable than ever. And although concert grands are the choice of performers, there are many high-quality baby grands that are designed to meet the needs of the homeowners and players of all levels.

Whether you are looking for a compact instrument or a larger one renowned for its lower register and power – whether you want a piano than can keep up with the loudest orchestra, one that re-creates a classic style from the past, or an instrument made of a particular kind of wood – you should have no trouble finding the traditional piano that suits your needs.

It’s very clear in 2004, that whether you want to play, record, mix, have a player piano entertain you, or sit down and practice Brahms or Bach, there probably has never been a period in which the piano has been available in so many different and useful forms. Whatever your musical needs, there is a piano (and perhaps software) out there waiting for you.

We believe in the importance of all-round musicianship and this forms the basis of our exams. To become an all-round musician students need a range of interlocking skills – in performance, technique, notation, and listening and musical perception – as well as knowledge, understanding and creativity. These are the things we assess in our exams.

ABRSM exams are music exams rather than instrumental or theory exams. Examiners are assessing the quality of the music-making, not how it is achieved. For this reason we do not restrict examiners to assessing only their own instrument but require them to examine all instruments.

We have designed our graded music exams to motivate instrumental ,theory and singing students of all ages and a wide range of abilities. They are available at eight levels – Grades 1 to 8 – and provide:

How many marks are available?

Total marks in all individual Practical exams are 150.

• 100 marks are required to achieve a pass.
• 120 marks are required to pass with merit.
• 130 marks are required to pass with distinction.

A popular measure of progress, especially for children, is external assessment of the progress of the pupil by a regular examination. A number of exam boards assess pupils on music theory or practice. These are available for almost every musical instrument. A common method to mark progress is graded examinations for example from grade 1 (beginner) to grade 8 (ready to enter higher study at music school). Some teachers prefer other methods of target-setting for their pupils. The most common is the pupil's concert, which gives experience in playing in public and under a certain degree of pressure, without outright criticism or a more or less arbitrary marking system. Another is the graded system of books followed by teachers of the Suzuki method, in which the completion of each book is celebrated, without a system of marking or ranking of pupils.

Some studies suggests that music lessons provide children with important developmental benefits beyond simply the knowledge or skill of playing a musical instrument. Research suggests that musical lessons may enhance intelligence and academic achievement, build self-esteem and improve discipline. A recent Rockefeller Foundation Study found that music majors have the highest rate of admittance to medical schools, followed by biochemistry and the humanities. On SAT tests, the national average scores were 427 on the verbal and 476 on math. At the same time, music students averaged 465 on the verbal and 497 on the math - 38 and 21 points higher, respectively. However, the observed correlation between musical and mathematical ability may be inherent rather than acquired. Furthermore, it is possible that the correlation between taking music lessons and academic ability exists because both are strongly correlated with parental income and education. Even if music lessons had no impact on academic ability, one would expect to see a correlation between music lessons and academic ability.

Skills learned through the discipline of music may transfer to study skills, communication skills, and cognitive skills useful in every part of a child's studies at school, though. An in-depth Harvard University study found evidence that spatial-temporal reasoning improves when children learn to make music, and this kind of reasoning improves temporarily when adults listen to certain kinds of music, including Mozart. This finding (named The Mozart effect) suggests that music and spatial reasoning are related psychologically (i.e., they may rely on some of the same underlying skills) and perhaps neurologically as well. However, there has been considerable controversy over this as later researchers have failed to reproduce the original findings of Rauscher (e.g. Steele, Bass & Crook, 1999), questioned both theory and methodology of the original study (Fudis & Lembesis 2004) and suggested that the enhancing effects of music in experiments have been simply due to an increased level of arousal (Thompson, Schellenberg & Husain, 2001).

A relationship between music and the strengthening of math, dance, reading, creative thinking and visual arts skills has also been reported in literature. (Winner, Hetland, Sanni, as reported in The Arts and Academic Achievement - What the Evidence Shows, 2000) However recent findings by Dr. Levitin of McGill University in Montreal, Canada, undermines the suggested connection between musical ability and higher math skills. In a study conducted on patients with Williams Syndrome (a genetic disorder causing low intelligence), he found that even though their intelligence was that of young children they still possessed unusually high level of musical ability.

Music lessons are a type of formal instruction in playing a musical instrument or singing. Typically, a student taking music lessons meets a music teacher for one-on-one training sessions ranging from 30 minutes to one hour in length over a period of weeks or years. For vocal lessons, teachers show students how to sit or stand and breathe, and how to position the head, chest, and mouth for good vocal tone. For instrument lessons, teachers show students how to sit or stand with the instrument, how to hold the instrument, and how to manipulate the fingers and other body parts to produce tones and sounds from the instrument. Music teachers also assign technical exercises, musical pieces, and other activities to help the students improve their musical skills. While most music lessons are one-on-one (private), some teachers also teach groups of two to four students (semi-private lessons), and, for very basic instruction, some instruments are taught in large group lessons, such as piano and acoustic guitar. Since the widespread availability of high speed. low latency Internet, private lessons can also take place through live video chat using webcams, microphones and videotelephony online.

Music lessons are part of both amateur music instruction and professional training. In amateur and recreational music contexts, children and adults take music lessons to improve their singing or instrumental playing skills and learn basic to intermediate techniques. In professional training contexts, such as music conservatories, university music performance programs (e.g., Bachelor of music, Master of music, DMA, etc.), students aiming for a career as professional musicians take a music lesson once a week for an hour or more with a music professor over a period of years to learn advanced playing or singing techniques. Many instrumental performers and singers, including a number of pop music celebrities, have learned music "by ear", especially in folk music styles such as blues and popular styles such as rock music. Nevertheless, even in folk and popular styles, a number of performers have had some type of music lessons, such as meeting with a vocal coach or getting childhood instruction in an instrument such as piano.

For vocal lessons, teachers show students how to sit or stand and breathe, and how to position the head and mouth for good vocal tone. For instrument lessons, teachers show students how to sit or stand with the instrument, how to hold the instrument, and how to manipulate the fingers and other body parts to produce tones and sounds from the instrument. For wind and brass instruments, the teacher shows the student how to use their lips, tongue, and breath to produce tones and sounds. For some instruments, teachers also train students in the use of the feet, as in the case of piano or other keyboard instruments that have damper or sustain pedals on the piano, the pedal keyboard on a pipe organ, and some drums and cymbals in the drum kit such as the bass drum pedal and the hi-hat cymbal pedal. In addition to teaching fingering, teachers also provide other types of instruction. A guitar player learns how to strum and pluck strings; players of wind instruments learn about breath control and embouchure, and singers learn how to make the most of their vocal cords without hurting the throat or vocal cords.

Teachers also show students how to achieve the correct posture for most efficient playing results. For all instruments, the best way to move the fingers and arms to achieve a desired effect is to learn to play with the least tension in your hands and body. This also prevents forming habits that can injure the skeletal frame and muscles. For example, when playing the piano, fingering which fingers to put on which keys, is a skill slowly learned as the student advances, and there are many standard techniques a teacher can pass on.

There are many myths and misconceptions among music teachers, especially in the Western classical tradition, about "good" posture and "bad" posture. Students who find that playing their instruments causes them physical pain should bring this to their teachers' attention. It could be a potentially serious health risk, but it is often overlooked when learning to play an instrument. Learning to use one's body in a manner consistent with the way their anatomy is designed to work can mean the difference between a crippling injury and a lifetime of enjoyment. Many music teachers would caution students about taking "no pain, no gain" as an acceptable response from their music teacher regarding a complaint of physical pain. Concerns about use-related injury and the ergonomics of musicianship have gained more mainstream acceptance in recent years. Musicians have increasingly been turning to medical professionals, physical therapists, and specialized techniques seeking relief from pain and prevention of serious injury. There exists a plurality of special techniques for an even greater plurality of potential difficulties. The Alexander Technique is just one example of these specialized approaches.

To fully understand music being played, the student must learn the basics of the underlying music theory. Along with musical notation, students learn rhythmic techniques like controlling tempo, recognizing time signatures, and the theory of harmony, including chords and key signatures. In addition to basic theory, a good teacher stresses musicality, or how to make the music sound good. This includes how to create good, pleasing tone, how to do musical phrasing, and how to use dynamics (loudness and softness) to make the piece or song more expressive.

Most music lessons include some instruction in the history of the type of music that the student is learning. When a student is taking Western classical music lessons, music teachers often spend some time explaining the different eras of western classical music, such as the Baroque Era, the Classical era, the Romantic Era, and the contemporary classical music era, because each era is associated with different styles of music and different performance practice techniques. Instrumental music from the Baroque era is often played in the 2000s as teaching pieces for piano students, string instrument players, and wind instrument players. If students just try to play these Baroque pieces by reading the notes from the score, they might not get the right type of interpretation. However, once a student learns that most Baroque instrumental music was associated with dances, such as the gavotte and the sarabande, and keyboard music from the Baroque era was played on the harpsichord or the pipe organ, a modern-day student is better able to understand how the piece should be played. If, for example, a cello player is assigned a gavotte that was originally written for harpsichord, this gives the student insight in how to play the piece. Since it is a dance, it should have a regular, clear pulse, rather than a Romantic era-style shifting tempo rubato. As well, since it was originally written for the harpsichord, a light-sounding keyboard instrument in which the strings are plucked with quills, this suggests that the notes should be played relatively lightly, and with spaces between each note, rather than in a full-bodied, sustained legato.

Although not universally accepted, many teachers drill students with the repetitive playing of certain patterns, such as scales, arpeggios, and rhythms. Scales are often taught because they are the building blocks of melody in most Western art music. In addition, there are flexibility studies, which make it physically easier to play the instrument. Percussion instruments use rudiments that help in the development of sticking patterns, roll techniques and other little nuances such as flams and drags.

There are sets of exercises for piano designed to stretch the connection between fourth and fifth fingers, making them more independent. Brass players practice lip slurs, which are unarticulated changes in embouchure between partials. Woodwind players (Saxophone, Clarinet, and Flute) have a multitude of exercises to help with tonguing techniques, finger dexterity, and tone development. Entire books of etudes have been written to this purpose.

Teachers typically assign the student pieces (or songs for vocal students) of slowly increasing difficulty. Besides using pieces to teach various musical rudiments (rhythm, harmony, pitch, etc.) and teach the elements of good playing (or singing) style, a good teacher also inspires more intangible qualities such as expressiveness and musicianship. Pieces (or songs) are more enjoyable for most students than theory or scale exercises, and an emphasis on learning new pieces is usually required to maintain students' motivation. However, the teacher must not over-accommodate a student's desire for "fun" pieces. Often the student's idea of fun music is popular vocal selections, movie soundtracks, and TV show theme songs, etc. While some of these "fun" pieces can be performed, pieces should also be selected for pedagogical reasons, such as challenging the student and honing their skills. Student should learn something from every piece they play. In addition, for students to be well rounded they must play many types of pieces by composers and songwriters from different eras, ranging from Renaissance music to pieces from the 20th and 21st century. A varied repertoire increases the student's musical understanding and skill.