Writing a book

White Patriarchy in Classical Music and Blind Tom

My dissertation was on the genesis of memorization as a piano performance practice, an astonishingly unexplored historical topic. Initially, I had no intention of making any statement about social/historical injustice on racial and gender inequality. I chose the topic for purely musical interest. It turned out to be an extremely complicated subject I needed to contextualize within the major technological, political, aesthetic, and philosophical movements of the nineteenth century. For the purpose of this blog, I will say (although this is a gross generalization) that memorization became a way for non-composing performers – often women, child prodigies and/or ethnic minorities – to transform themselves as conduits to the canonized white male composers.

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My Book “Why Piano Now?” Overview

“Why Piano Now” re-introduces piano playing as a practice to explore one’s mind, senses and context. The book surveys history, and the latest scientific findings on the benefit of music, while putting the search in the context of the author’s personal journey for her authenticity and authority as a Japanese classical pianist, grappling with its historical cultural imperialism. The prescriptive nonfiction, with supplemental audio/visual recordings, calls for a revolution in the way music is taught, used and practiced, today.

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