About

Edna Golandsky is the leading exponent of the Taubman Approach. She has earned wide acclaim throughout the United States and abroad for her extraordinary ability to solve technical problems and for her penetrating musical insight. She received both her bachelor of music and master of music degrees from the Juilliard School, following which she continued her studies with Dorothy Taubman.

Performers and students from around the world come to study, coach, and consult with Ms. Golandsky. A pedagogue of international renown, she has a long-established reputation for the expert diagnosis and treatment of problems such as fatigue, pain, and serious injuries, including carpal tunnel syndrome, tendonitis, focal dystonia, thoracic outlet syndrome, tennis and golfer’s elbow, and ganglia. She has been a featured speaker at many music medicine conferences. She is also an adjunct professor of piano at the City University of New York (CUNY).

Ms. Golandsky has lectured and conducted master classes at some of the most prestigious music institutions in the United States, including the Eastman School of Music, Yale University, the Curtis Institute of Music, and Oberlin Conservatory. Internationally, she has given seminars in Canada, Holland, Israel, Korea, Panama, and Turkey. In 2001 she was a guest lecturer at the European Piano Teachers’ Association in Oxford, England, and in July 2003 she conducted a symposium in Lecce, Italy. In August 2010, she gave a master class and judged in a piano competition at the Chatauqua Festival. She was a guest presenter at the World Piano Pedagogy Conference in 2003 and 2009 and was engaged to return in October 2010. In 2011 she was a guest presenter at the Music Teachers National Association in Milwaukee, Wisconsin; the Piano Teachers Congress of New York; and the Music Teachers Association of California. She gave week-long workshops at the Panama Jazz Festival at 2009, 2010 and 2012.  This spring, she presented as a part of the New York University Steinhardt Masterclass series as well as at the Music Teachers Association of California annual convention in San Diego.

For the past three years, Ms. Golandsky and violinist Sophie Till have been working on a detailed application of the Taubman principles for string players. An instructional book about beginning lessons in the Taubman Approach for violinists is slated to come out in the future. Ms. Golandsky’s application of the work for computer users has resulted in Healthy Typing, an instructional DVD.

Edna Golandsky is the person with whom Dorothy Taubman worked most closely. In 1976 Ms. Golandsky conceived the idea of establishing an Institute where people could come together during the summer and pursue an intensive investigation of the Taubman Approach. She encouraged Mrs. Taubman to establish the Taubman Institute, which they ran together as co-founders. Mrs. Taubman was executive director and Ms. Golandsky served as artistic director. Almost from the beginning, Mrs. Taubman entrusted Ms. Golandsky with the planning and programming of the annual summer session. She gave daily lectures on the Taubman Approach and later conducted master classes as well. As the face of the Taubman Approach, Ms. Golandsky discusses each of its elements in a ten-volume video series. Mrs. Taubman has written, “I consider her the leading authority on the Taubman Approach to instrumental playing.”

Edna Golandsky’s lectures have broadened the Taubman Approach and imparted it to many people who have come to benefit from it. As her knowledge deepened over the years, she continued to develop new material. Some of the results are the  three-disc DVD sets of her lectures and master classes entitled The Forgotten Lines, as well as The Art of Rhythmic Expression, which has been heaped with praise from around the world. Michelle Conda says in American Music Teacher, “The pieces presented came alive to me in a whole new way through Golandsky’s explanations…Most importantly, Golandsky based her ideas on the music, not on the ‘this is the way I do it, you should do it the same way’ approach.” In the May/June 2006 issue of Clavier, the reviewers “highly recommend” the DVD set as “an informative and inspiring tool, presented in a convincing manner by an excellent teacher.” David Martin, a writer for the European Piano Teachers Association (EPTA) Piano Professional, states “Golandsky proves once again that through shaping, tone production and the correct emphasis of beats, rhythmic vitality, flow and swing can be achieved” and “this collection of DVDs will strengthen your own expertise to a much deeper level and I warmly recommend these from a powerful standpoint in piano pedagogy.”

Don Glanden, chairman of the Piano Department, University of the Arts, writes, “The Golandsky Institute has contributed an important and innovative work with the release of this three-disc set. Ms. Golandsky gives a fresh perspective on the development of rhythmic piano performance and continues to explore a new paradigm in piano pedagogy. Not to be overlooked is the enjoyment of hearing Edna Golandsky perform extended excerpts from the musical examples provided with the DVDs. Her pianism is extraordinary…and she swings!”

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