The second article in this series about the Taubman Approach familiarized the reader with some of the many testimonials regarding the validity of Taubman's work, its significant impact on pianists of all levels, and its ramifications for injured instrumentalists. We have heard from musicians who had questions answered they did not even know they had — yet were essential to their well-being at the instrument.
I really appreciate the opportunity to reach out to a large number of readers through Blogcritics, introducing Taubman’s work to many for the very first time and opening up a forum for an exchange of experiences and opinions. I truly value readers’ contributions, which give real meaning to the fascinating and engaging interaction the blogosphere has to offer.
When I met Dorothy Taubman in the summer of 2009, she talked about her motivation for starting to investigate the secrets of what was happening at the piano. According to her, she just had to find a solution for her students who, for the most part, were very talented, yet had issues that kept them from being the pianists they might have been otherwise.
And she did. Over 50 years of research have resulted in a groundbreaking analysis of what underlies virtuoso piano playing, and produced an impressive body of knowledge on the elements that make for an effortless and brilliant technique.
Some of Dorothy Taubman’s students have incorporated her work into their own piano teaching, adhering to her principles to varying degrees and - depending on the duration and intensity of their studies with her - at different levels of expertise.
Operating under the Taubman label, the “Dorothy Taubman Seminar” was founded in 2003 by Maria del Pico Taylor, Sondra Tammam, Father Paul Maillet, and the late Eleanor Hancock. Their goal was to offer hands-on training as well as master classes with Dorothy Taubman at Temple University in Philadelphia. Many others have incorporated elements of Taubman’s work without drawing special attention to it.
The general interest in body awareness practices, like the Alexander Technique or the Feldenkrais Method, led to different initiatives to directly connect Taubman’s findings to other disciplines, thus creating innovative symbioses. In terms of the Alexander Technique, in which I am personally engaged in and which I find most fascinating, I would agree with my Alexander teacher, Monika Gross, who sees the technique as supportive to the Taubman Approach.