Interview with Dr. Jill Schneider by Joann Richardson

Dr. Jill Schneider is a Visiting Artist (VA) who is highly qualified in both piano and organ. Jill is fairly new to the roster of VAs, but she is a VA I can highly recommend. I have had the privilege to have Jill be the VA for my organ studio’s Music Artistry Program (MAP) for the past two years. I am impressed by Jill’s ability to share her years of expertise with the student (and the teacher!) in an encouraging and professional manner. In order for WSMTA members to get to know Jill better, Jill has graciously agreed to answer some questions.

You are highly qualified as a VA in both piano and organ. Would you briefly share some of your background in both instruments?
I started piano at age 7 and organ at age 16. I have played both piano and organ in churches since the age of 16. Being able to play both instruments has been helpful as I sought church and academic positions in different areas of the country. I have a Bachelor of Music in Organ from the University of Colorado and a DMA in organ from the University of Georgia. I also hold Bachelors and Masters degrees in Music Education. I have taught piano and organ for over 40 years.

Why did you decide to go through the process of becoming a VA?
I was finishing 20 years of teaching at Washington State University and wanted to stay involved with students and teaching. I also knew that it would be a good way to meet teachers and share ideas.

How might participation in MAP be beneficial for the student and/or teacher?
It is a great way to provide motivation and encouragement. Because of the structure provided through MAP, students and teachers have time to plan and prepare. Working toward a goal helps the student achieve at a new level each year.

How might you work with a student who may have given a disappointing performance (for example, due to: nervousness, insufficient preparation, unfamiliarity with the instrument, or any other reason)?
When teaching and adjudicating, I like to use the “sandwich” approach. That means that I start and end by highlighting something that the student has done well. There is always something about the student’s performance that shows their strengths; usually this will shine through even if they are nervous or underprepared. Then, in between, I ask questions and give suggestions for improvement. I like to focus on the “how” of improving by working on a short passage in a new way or suggesting practice strategies for the future.

What have been some of your best experiences as a VA?
It has been amazing to see students that really want to be playing and improving as musicians. This was particularly evident in the past few years as students played in masks and/or did a virtual performance for MAP. I met numerous teachers with amazing organizational skills and pre-performance routines. I have learned a lot!

Many organ teachers have not yet entered students into the MAP for organ and are therefore unfamiliar with the program. How would you explain the benefits of MAP participation to: (1) a highly-trained organ teacher or (2) a church organist who is primarily a piano teacher?
It is very helpful for students to get a chance to play for someone new who shares a passion for music and the organ. In addition to having a reason to practice and prepare their pieces to the best of their ability, they should get some fresh ideas about practicing, interpretation, performance practice and repertoire. Coaching is definitely a part of the process!

In addition, there is no pressure to play difficult organ repertoire. Many students may wish to play a piece first learned on the piano (such as a Baroque piece). If a student is relatively new to the organ, they can play a solo piece or hymn with manuals only.

How might the adjudication process be different for an organ MAP than from a piano MAP?
It is important to have a chance to practice on the organ used for the Music Artistry Program. Organists often play with music rather than from memory. In addition, organ students are encouraged to play a hymn in addition to a solo piece since that is an important skill often required of organists.

Do you have anything else that you’d like to share?
I hope more teachers will help their students prepare for an Organ Music Artistry Program. It is great that the WSMTA is getting this started! There is definitely a shortage of organists and piano students often enjoy taking their keyboard skills to a new instrument.

Thanks again to Dr. Jill Schneider for answering a few questions so we may get to know her better. We truly appreciate all of the time and effort that Jill and our other VAs put into working with the music students and teachers of Washington State.