CALIFICACIÓN DEL ROL LABORAL 2. Definiciones

After eight years (1955-1963) of working closely with Clark and the rest of the faculty at Westminster Choir College and the New School for Music Study, Pearce made a decision to pursue her own path. “I was half done with my life and I needed to figure out what [I was] going to do with the other half,” she says.102 _{Several circumstances led}

to that decision.

While preparing and presenting workshops for Clark, Pearce became familiar with a Summy-Birchard employee named John Pearce who was in charge of organizing the workshops. On one tour through the Midwest, Pearce met John in person for the first time. After seeing her picture on a flyer for a workshop in the window of the Lyon and Healy music store, John decided to drop in and introduce himself. “I was practicing because I always played at least several pieces at the workshops,” Pearce says. “He came upstairs and I was the only one there, of course, in the piano room at that hour. I had

finished a piece of Brahms. That’s all I remember. I saw this man standing in one of the door things. He came in and introduced himself… So, he invited me out and we had dinner and got very well acquainted.”103

On June 29, 1963, Elvina Truman married John Pearce, a choral director at Thornridge High School in Dolton, Illinois at the time.104 _{The wedding took place at the}

Boston Avenue Methodist Church in Tulsa, Oklahoma. After the wedding, John moved to Princeton to be with his new wife and landed a job in Philadelphia with Singing City.105 _{That lasted only a year and, in 1964, he decided to move to Evanston, Illinois,}

where many of his contacts resided. Pearce agreed to resign from her role at The New School for Music Study in order to move to Illinois with her husband. Upon arriving in Evanston, she devoted a year to practicing and resting because, she says, “there was never a vacation with Clark!”106

A year after moving to Evanston, in 1965, John Pearce became the choral

instructor and Chairman of the Music Department at Naperville Central High School, so the couple moved to Naperville, Illinois. Fortunately, the wife of one of John’s new colleagues was an organist at a local church who had around twenty piano students ready for Pearce to begin teaching piano in Naperville. During this time, Pearce was still involved with the Frances Clark workshops and she continued to teach piano privately

103 _{Pearce, Interview 4 of 10, July 11, 2018.}

104 _{The Times, Munster, Indiana, January 13, 1963, Newspapers.com.} 105 _{Choral organization in Philadelphia founded by Dr. Elaine Brown in 1948.}

until she eventually was approached about an opportunity that would lead to the next chapter of her career.

A woman from North Central College in Naperville contacted Pearce, requesting her assistance in enlarging the local college’s piano program. Peace gave it some thought and ultimately decided to join the school’s piano faculty in 1973.107 _{Shortly thereafter,}

the college decided to discontinue the piano degree, so by the time the enrolled students graduated in 1979, that part of her work dissolved. In 1980, Pearce founded and became director of North Central College’s Piano Preparatory Program and Community Music School, a position she held until 1989. Under her direction, the Preparatory Program and Community Music School she founded grew to include over two hundred students. After 1989, Pearce continued to provide pedagogical support for teachers as a consultant for this program, many of whom were protégés of Frances Clark.

Around 1972, Pearce was approached by Frances Larimer, director of Piano Pedagogy at Northwestern University in Evanston, IL.108 _{Larimer knew of Pearce}

through her workshops and invited her to present to her pedagogy class once a semester as a guest lecturer. This was so successful that she invited Pearce to help improve the pedagogy program at Northwestern.109

107 _{Holland Evening Sentinel, Holland, Michigan, November 5, 1976,}

Newspaperarchive.com.

108 _{Holland Evening Sentinel, Holland, Michigan, November 5, 1976,}

Newspaperarchive.com.

109 _{Dana Lamparello, e-mail message to author, September 24, 2019. Pearce’s}

employment dates at Northwestern University are inconclusive. This email indicates that Pearce is listed in the class schedules from 1984-1993. Other sources indicate Pearce taught guest

Pearce recalls that one of Larimer’s primary goals for the Northwestern program was to give college students the opportunity to observe an experienced, successful pre- college teacher work with young students. After a few years of presenting occasional workshops at Northwestern during the semester, Pearce’s time there increased to two to three days a week.110 _{This involved a two-hour, one-way commute, but for Pearce, it was}

worth it to instruct student teachers on how to teach piano.111

Pearce’s teaching at Northwestern encompassed “everything that the Frances Clark books represented,” she says. “It was how students learn, what do they learn in the area of technique, theory, musicianship, all those things. We always had a year where they did what we did at The New School [for Music Study], which was we would teach with supervision with Frances [Clark], or someone sitting in on our lessons and then having conferences.”112 _{During this time, student teachers at Northwestern recorded their}

lessons and Pearce watched the recordings and gave feedback. “I started out with just doing the teaching followed by lectures,” Pearce says. “Then little by little, I would hand over the teaching to [the students], and each one of them would have one student that they would follow up.”113

Each year at Northwestern University, Pearce students were tasked with preparing a student of their own for a recital, the course’s most important project. Pearce was less concerned with taking her students through a comprehensive overview of methods, and

110 _{Multiple sources indicate that she taught at Northwestern for fourteen years.} 111 _{Pearce, Interview 5 of 10, July 11, 2018.}

more concerned with teaching them “how to get kids to play with intelligence and love and confidence and all those good qualities of making music. And how do you get there from square A to square B.”114

When reminiscing about her time at Northwestern University, she echoed a familiar sentiment of her time with Frances Clark. “It all came down to the one thing,” she says, “and that is that we’re just not teaching a subject to a kid, but we’re teaching them how to think. In this case, how to think about music in terms of their life

experience.”115

In 1981, in response to a challenge from her former student, Lynn Freeman Olson, Pearce composed a collection of elementary piano pieces called, Sound Reflections, published by the Alfred Publishing Company.116 _{In 1986, she published Solo Flight}

which would go on to become her best-selling collection.117 _{Throughout the next three}

decades, Pearce composed over twenty collections of elementary and intermediate level teaching literature. Her compositions were published by The New School for Music Study Press, Belwin-Mills, Frederick Harris, FJH, Hal Leonard, Bradley Publications, and Alfred Publishing Company.

In addition to her teaching responsibilities and compositional work during this period, Pearce was active within several national professional organizations. The

114 _{Pearce, Interview 5 of 10, July 11, 2018.} 115 _{Pearce, Interview 5 of 10, July 11, 2018.}

116 _{Elvina Truman Pearce, Sound Reflections, Books 1 & 2, (Van Nuys, CA: Alfred}

Publishing Co. Inc., 1981).

inaugural National Conference on Piano Pedagogy took place in 1978. In subsequent conferences, she was chair of the committee for intern teaching and served on the

committee on piano teaching materials. She also led a teaching demonstration during the 1982 conference.

From 1967-1984 Pearce was also active in developing and implementing teaching certification at the local, state and national level through the Music Teachers National Association. At the national level, she served as chairman of the MTNA Certification Board from 1981 to 1984. “The certification of qualified teachers is one excellent way to publicly promote the upgrading of our image,” she wrote in a column. “Becoming certified not only indicates one’s affirmation of the need to enhance this image, but also one’s willingness to become actively involved in this nationwide project.”118 _{In 1983,}

MTNA awarded her a Master Teacher Certificate.