Admission Frequently Asked Questions

How is the Zinn Piano Program system different from other teaching systems?

Have you heard about piano lessons making kids smarter? Most people have heard about this line of research. As scientists and researchers ourselves, we know:

Which studies are not correct and which ones are
When there IS an effect, what makes it happen (what it is that actually produced the enhanced cognition)
What brain areas are affected, how much they are affected, and what it "looks like" when working with a client.

Our system is not based on traditional teaching, Suzuki philosophy, or any other recognizable teaching system or philosophy 'out there.' Our program is developed in accordance with two major influences; Developmental Cognitive Neuroscience, and the MTNA Essential Skills recommendations (Essential Skills Part 1, Essential Skills Part 2, Essential Skills part 3, Essential skills part 4). When we work with your child, we will target various aspects of your child's cognitive capabilities, then work within a Social Cognitive Learning Theory and Developmental Psychology framework to achieve the musical ends. We have also woven into our matrix elements of Social Cognitive Neuroscience, Clinical Psychology, Learning, Motivation and Behavior. The music instruction is then conducted within the preceding framework, As trained clinicians in psychology, we know when children are making gains in certain areas. Every child will have a different plan so as to enhance that child's capabilities and make the most of them.

What are your credentials?

For our piano training, we were fortunate in that we were able to study with two world-class concert pianists, Daniel Pollack and Donald Walker. Professor Walker is no longer with us, but we still consult with Professor Pollack to this day. He remains a major source of knowledge and inspiration.
We also had the good fortune to work with other talented pianists; Julian Dawson, Gellert Modos, Ann Collins and James Magsig. For psychology and neuroscience, Dr. Marcie received three psychology degrees; an MS in Learning and Behavior, and MA in Clinical, and a dual Ph.D. in Clinical Health Psychology and Rehabilitation. Mark has extensive post-graduate training in psychophysiology and psychology, and is currently in training to receive his MS in Child Psychology. Mark and Marcie have worked with many talented individuals such as Charles Merbitz, Leonard Schmaltz, David Shapiro and others who have shaped our attitudes about child development, learning and other relevant aspects of psychology. See our bios on the About Us page.

Is this really a music program? Why so much psychology?

The major problem in music education today (music education outside the school system) is that there has been NO true scientific research that has governed any type of intervention used in music instruction. It is not nearly enough to say, "music study makes one smarter" due to the nonspecific nature of HOW it does so. Stated differently, all other major educational endeavors use psychology--public and private schools, sports, preschool. Even those who conduct daycare programs have to know way more about psychology than music teachers. The result is that students are receiving private music instruction in the same style as students of 100 years ago. This fact is irrespective of any statement schools or individuals delivering music lessons claim--piano teachers just do not study psychology. Among the problems created by the sheer lack of human understanding are pitting students against one another, attempting to teach young children as though they are adults, giving preferential treatment to students whom are more well liked, failing to understand how the students are learning, and there are more. Dr. Linda Hamilton reviews the problems well in her book about the problems in dance instruction. We here at ZPA simply base our music instruction on psychological principles. For example, when a student does not practice, we do not assume the traditional view that students are just lazy and unmotivated. We have access to, and use, the information from psychology that helps us diagnose problems and work with the student until the problem is resolved. Without that knowledge, we would do no better than students from other teachers, irrespective of their teacher training. However, since we have the insight, we use it, and it makes all the difference.

How many students are at your program?

We currently have about 100 students enrolled here. We have openings for more.

When was the Zinn Piano program founded?

Our program was founded in 1972 by Dr. Marcie Zinn. After beginning her piano studio in Lewistown, Illinois (near Peoria), she soon found that many of the issues that come up in lessons were psychological, not musical. That is when she began the process you see today--the application of sound psychological principles to music instruction.

Do you teach good piano technique?

We teach world-class piano technique, learned from our mentors Donald Walker and Daniel Pollack. We have developed a system to teach that world-class technique to students of all ages. We also do technique retraining and are qualified to work with students with performance injuries.

How can we meet our children's teachers?

We are available for brief interviews during the admissions process. We will meet you during our Open House, where you can come and see if this program is for you. We encourage you to read our website; we have anticipated many of your questions and you will find many answers here.

Do you offer Group Piano?

No. We strongly believe that everyone needs individual attention. We are shaping your child's attitudes, learning styles and other cognitive aspects of what it takes to play piano well, and doing so within the pieces we teach. We cannot respond to individual students in a group. However, our program includes Music Classes where students come and learn other important aspects that can only be learned in groups. By dividing our program, it is stronger.

How many students are there in a Music Class?

It depends on the ages of the participants. Our classes range from 5 to 10 students per class.

What if my child does not like piano?

That situation is rare. However, we only invoice for 10 weeks at one time. That way, it is easy to discontinue lessons when you wish to drop (simply remain in our program for 10 weeks, then stop).

What do you do about performance stress? Do you require that students play in recitals?

We take performance stress very seriously, since our program motivates students to want to perform. We know what creates performance stress and make sure that no student develops it. We watch every child closely, know the Developmental milestones, and make sure no child is overlooked. We teach world-class performance techniques to children as young as age 3. We require that students attend recitals but students who do not wish to play are never forced to play. HOWEVER, it is a very rare event that students do not wish to play. Our students love to perform and love to share their art. When we say, "motivation through imagination, we mean it. When students can realize their dreams and be validated for their every attempt. they simply do not learn performance anxiety.

What do you mean by a Comprehensive Musicianship Program? Is your program progressive?

A comprehensive musicianship program goes way beyond traditional rote learning. It recognizes that music learning is not just one thing (typically, rote memorization of notes). We stress mastery of requisite sub skills but continually go beyond these skills, enabling our students to reach heights in the personal growth not possible without performance psychology. We build an atmosphere of trust and mutual respect among our students and their parents, providing arenas for true collaboration. We recognize that all students need our help when they need it, while knowing that each student will go at his or her own unique pace in piano.

What is the Zinn Piano system philosophy? Mission?

Our mission is to create peak performance in all cognitive areas for our clients through musical competency by reaching them at their developmental level and their ability level, and do so without the problems inherent in traditional teaching. We value each and every student's uniqueness while delivering the most challenging curriculum found in music instruction today.

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