Music Exploration Workshop for Young Piano Students

MUSIC EXPLORATION WORKSHOP FOR YOUNG PIANO STUDENTS

A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for University Honors

Ying Han Gan

May 2011

Thesis written by

Ying Han Gan

Approved by

______, Advisor

______, Director, School of Music

Accepted by

______, Dean, Honors College

TABLE OF CONTENTS

ACKNOWLEDGEMENTS………………………………………………………………iv

CHAPTER

I. INTRODUCTION………………………………………………………..1

Guidelines to Reading the Lesson Plans…………………………………2

II. CLASS 1: DOWN THE TIME TUNNEL OF MUSIC………………….3

Lesson Plan………………………………………………………………4

PowerPoint Presentation………………………………………………...11

Teaching Diary…………………………………………………………..17

III. CLASS 2: EXPRESSIONS IN PIANO PLAYING……………………..18

Lesson Plan……………………………………………………………....19

PowerPoint Presentation…………………………………………………25

Handouts……………………………………………………………..…..30

Teaching Diary………………………………………………………..…32

IV. CLASS 3: HOW TO? THE ART OF PRACTICING AND PREPARING FORAN EVENT………………………………………………………...33

Lesson Plan………………………………………………………………34

PowerPoint Presentation………………………………………..………..39

Teaching Diary……………………………………………………….….44

V. THE PREPARATION PROCESS……………………………………....45

VI. WORKSHOP FLYER…………………………………………………...48

iii ACKNOWLEDGEMENTS

I am most grateful to Dr. Donna Lee, my thesis advisor for helping me construct this music workshop from the very beginning. This music workshop would not have been as successful without her constant encouragement and patient guidance. I would like to thank my oral defense committee members, Dr. Jerry Wong, Dr. Bill Sallak and

Professor Gianna Committo for their warm support. I would also like to thank my honors advisor, Carolyn Sampson for believing that I was capable of completing this task. My appreciation goes to my fellow piano peers that have always been there whenever I needed them. Last but not least, many thanks to honors alumna, Dr. Hilary Ratner for her kind donation.

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INTRODUCTION

With how piano lessons are taught today, piano teachers constantly face the dilemma of time distribution within a lesson. Due to practical reasons such as parents’ expectation, upcoming performances and pressure from society norms, piano teachers would normally succumb to dedicating most of the lessons to performance repertoire.

Nevertheless, understanding and obtaining knowledge of related musical subjects such as music history, various means of musical expressions in piano playing as well as ways to achieve productive practicing and effective performance is vital in the musical growth of young piano students.

Therefore, I organized a “Music Exploration Workshop for Young Piano

Students” which includes three classes targeting young piano students from ages six to fifteen. The goal of this workshop is to nurture these young piano students to be better musicians. I hope that this workshop would serve as a possible solution for the time distribution problems that piano teachers face at present. My goal is that these young students would learn and be inspired from this workshop, hence incorporating the ideas and concepts introduced in their own piano playing.

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Guidelines to reading the lesson plans

The lesson plans are organized to supplement information for the teacher in direct relationship with the PowerPoint presentation prepared. The left column of every table represents a rough idea of each PowerPoint slide while the right column contains notes related to the material on the slide.

CHAPTER 2

CLASS 1: DOWN THE TIME TUNNEL OF MUSIC

The first class of this music workshop, “Down the Time Tunnel of Music” was held on Friday, November 19th 2010 at 4.30pm in D106, Music and Speech building,

Kent State University.

This class covered music history, focusing on important composers for piano as well as significant pianists. Major musical periods of western art music namely Baroque,

Classical, Romantic and 20th Century were explored. Influential pianists starting from the

Romantic period, where the idea of performing pianists flourished, were also introduced.

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Lesson Plan Class 1

Down the Time Tunnel of Music (Title page)

Baroque (1600-1750) - Four major music periods in the Classical (1750-1820) history of classical music Romantic (1820-1900) 20th Century

3 Baroque - Portuguese; pearl of irregular shape - “barroco” - Relate to picture of Baroque - Highly decorated architecture.

4 Baroque - Important keyboard instrument associated with Baroque period. Harpsichord - Compared to the piano. (how sound is - Different sound produced) Piano: hammer strikes the string. Harpsichord-pluck.

5 Baroque - American harpsichordist http://www.youtube.com/watch?v=71iUAFF The Harpsichord vs. Piano Test Q8ik 00:00-00:30 - Elaine Comparone - Hungarian pianist. - Andras Schiff http://www.youtube.com/watch?v=Xt- anoUcFgw 00:00-00:30 - Watch videos and compare.

6 Baroque - Written for his second wife. Johann Sebastian Bach (1685-1750) - Understanding the dance forms will help Anna Magdalena’s Notebook us play the pieces better. Dance forms - Is it in 2? 3? 4? - Minuet Minuet - 3 - Bourree Bourree- Quick 2. - Gavotte Gavotte- Moderate 2.

7 Clapping Time Can You Clap Along to this Minuet? Minuet- in 3. Emphasis on 1. - Demonstrate clapping. Invite audience. Johann Sebastian Bach – Minuet in G - Play through piece once. Invite audience to clap along.

8 Classical (1750 – 1820) - Italian; meaning sound. Piano - Most important composition form for Melody and Accompaniment keyboard at this time. Sonata - Literally means small sonata. Usually - “Sonare” simpler than a sonata. - Sonatina

9 Classical (1750 – 1820) - Anyone heard of Mozart?

Wolfgang Amadeus Mozart

10 Classical (1750 – 1820) - Anyone heard of Beethoven?

Ludwig van Beethoven

11 Classical (1750 – 1820) Melody or Accompaniment - Interactive activity with audience. - Detective work: Where is the melody? Beethoven, Sonatina in G – Moderato Is it in the right hand or the left hand?

12 Classical (1750 – 1820) Melody or Accompaniment - Interactive activity with audience. - Detective work: Where is the melody? Clementi, Sonatina Op. 36 no. 1 – Is it in the right hand or the left hand? Andante

13 Romantic (1820 – 1900) - Romanticism New emotional depth - Basically means being able to play a Virtuoso lot of notes very fast.

14 Romantic (1820 – 1900) - Suggestive titles Robert Schumann (1810 – 1856) - Composed for his 3 daughters. - Character pieces - 43 pieces - Album for the Young Op.68 - Eg. Soldiers March, Spring Song.

15 Question - Character pieces, suggestive titles What is the name of this piece? - Guide them through. A is probably sad, A. The Poor Orphan minor key and B is probably happy, B. Happy Farmer lively and in a major key. - Write them down on the board. - Play recording. - Guide them through checklist.

16 Romantic (1820 – 1900)

Composer and pianist - Polish Frederic Chopin - Polish dance forms: polonaises, mazurkas. Franz Liszt - Hungarian. Johannes Brahms - Virtuoso - German

17 20th Century - Who watches the TV every day? - Who has a computer at home? Technology - These composers that we discussed World Wars previously did not have that. - Exposure of new sounds - War. Sense of feeling lost. - Complex, mixture of a lot of feelings

18 20th Century - Relate to Monet’s painting

French Impressionism - Nature Water, light - Color, sound

19 20th Century - Inspired by daughter, Emma. 6 pieces French Impressionism - Interesting names, eg. Jimbo’s lullaby (Jimbo being Emma’s toy elephant), Claude Debussy the snow is dancing etc. - Children’s Corner Suite http://www.youtube.com/watch?v=vUALE40j No. 6 Golliwog Cakewalk 3TE Alfred Cortot - 06:24 – 07:14 - 1936 animation Maurice Ravel - Swiss/French pianist

20 20th Century - Music educator Russian Composers - Consistent efforts in connecting children with music Dmitri Kabalevsky (1904 – 1987) - Interested in folk elements (Relate to next exercise-folk dance)

21 Clapping Time - In 2 (Previous clapping exercise was Can You Clap Along to this Folk in 3) Dance? - Demonstrate clapping. Invite audience. Dmitri Kabalevsky – Folk Dance - Play through piece once. Invite audience to clap along.

22 20th Century - Contemporary of Kabalevsky Russian Composers - Pianist

Dmitri Shostakovich

23 Melody or Accompaniment? - Interactive activity with audience. - Detective work: Where is the melody? Dmitri Shostakovich – March Is it in the right hand or the left hand?

24 20th Century - Hungarian - Collect Hungarian folk song BelaBartók (1881 – 1945) - Usage of Hungarian folk themes in compositions (Relate to next exercise)

25 Melody or Accompaniment? - Warn them that something is going to be tricky this time. (The melody is in Bartók – Folk Song II, from Three the left hand Hungarian Folk Songs

26 Pianist - During the Romantic period - Liszt: Solo piano recital, memorization. - Russian style - French style - German style

27 Pianists The Elders Franz Liszt Anton Rubinstein Clara Schumann Theodor Leschetiszky Carl Tausig Ignacy Jan Paderewski

28 Pianists of the early twentieth century - Recording technology. Impact on pianists. Russian school German school - Briefly guide audience through the list Godowsky Petri Rachmaninoff Schnabel Lhevinne Backhaus Hofmann Edwin Fischer Arthur Rubinstein

29 20th Century Pianists (deceased) - Briefly guide through names. Claudio Arrau - Picture of Horowitz on piano in power Leonard Bernstein point. ShuraCherkassky Alfred Cortot Georges Cziffra Rudolf Firkusny Walter Gieseking Emil Gilels Glenn Gould Vladimir Horowitz Arturo Michelangeli Sviatoslav Richter Rudolf Serkin

30 Living Pianists - Picture of Mitsuko Uchida on power point presentation. Martha Argerich - This is not anywhere near the number of Vladimir Ashkenazy pianists out there performing. Daniel Barenboim - I just want to inform you of the many Alfred Brendel musician out there working hard to Leon Fleisher create wonderful music. Marc-Andre Hamelin - Questions? Lang Lang Garrick Ohlsson Maurizio Pollini Andras Schiff Mitsuko Uchida Krystian Zimmerman

31 Next class - Thank everybody for coming - Remind them of the next class Expressions in Piano Playing - Contact information January 21st 2011, 4.30pm - Flyers available - Snacks prepared

PowerPoint Presentation Class 1

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Teaching Diary Class 1

This class turned out very well. I was a little nervous before this class, as it was the first class of the workshop. Before the actual day, I practiced teaching the class with the PowerPoint presentation. I felt that practicing really helped me organize my teaching better as well as building confidence for myself. I panicked a little while setting up due to some technology problems. Fortunately, I had tried the technology system in that classroom beforehand and the problem was solved.

I spent a lot of time thinking of ways to effectively relate to the target audience and I felt that it got across really well. I realized that giving compliments and positive energy kept the attention of the audiences. It also helped the flow of the class. The interactive activities worked out and the audience was very responsive. The audio and video clips played were also enjoyed. I noticed how the “kid-friendly” presentation I designed appealed to the audience.

In general, I am very happy with how this class turned out. For the next two classes, I strive to feel more comfortable teaching in front of an audience and hence enjoy teaching even more. I hope to continue to inspire and motivate these young piano students.

CHAPTER 3

CLASS 2: EXPRESSIONS IN PIANO PLAYING

The second class of this music workshop, “Expressions in Piano Playing” was held on Friday, January 21st 2011 at 4.30pm in D106, Music and Speech building, Kent

State University.

In this class, different ways to achieve musical expressions in piano playing were discussed. The contents covered were organized into six elements namely rhythm, melody, dynamics, articulation, pedaling and color.

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Lesson Plan Class 2

1 Expressions in Piano Playing (Title Page)

2 Expressions in Piano Playing - Expressing your emotions. - Intentions of the composer Rhythm Melody Dynamics Articulation Pedaling Color

3 Rhythm - Examples: heartbeat, clock ticking

Pulse - The constant speed

4 Rhythm - Sesame street anybody? - Elmo and yellow bird, which one Groupings do you think is bigger? 1 unit = 1 beat - Incorporate the characters as a symbol of the small and big beats. Shorter/smaller beats Vs Longer/ bigger beats

5 Rhythm - Different kinds of groupings. - Clap 1st. Invite audience to join in, Groupings exaggerating the different beat 1 2 123 1234 values. 12 123 1234

Tip: Accent the 1st beat **Hint** Accent = slightly louder

6 Rhythm - Introduce the term “tempo”.

Tempo

Fast or Slow?

7 Rhythm - Introduce some of the most common performance directions Tempo used with tempo. Foreign terms AdagioàAndanteàModeratoàAllegro

Accelerando Ritardando

8 Fun Time - Inspired by Dalcroze’s method, eurhythmics. Pass the ball to the beat - Helps establish good rhythm by feeling and filling the space with Joseph Haydn – Gypsy Dance gestures.

9 Fun Time

Pass the ball to the beat

Franz Schubert – Two Ecossaises, No. 2

10 Melody - Next element: Melody. - Explanation of the term melody. Melody is… The “Tune” That is Sing-able And The one that you will Remember

11 Melody - Interactive activity with audience. Melody or Accompaniment? - Detective work: Where is the melody? Is it in the right hand or Peter Tchaikovsky – The New Doll, the left hand? CW 155

12 Melody - Introduce the musical term phrases.

Phrases - Sentences in music - Breathing points

13 Melody - Incorporate this activity with the Fun Time idea of phrasing and shaping. How well can you phrase and shape a Connecting the dots melody? How smoothly can you connect them? - Examples prepared. (Connect the dots, page 30)

14 Melody - Another aspect in dealing with melody. Balance - Which voice should be louder?

15 Melody - Interactive activity with audience. Melody or Accompaniment? - Detective work: Where is the melody? Is it in the right hand or Wolfgang Amadeus Mozart the left hand? - Menuetto from Viennese Sonatina - Prepare to use this piece in the next no.1 activity about balance

16 Melody - We have had determined that the Balance melody is in the right hand. - So which hand or voice should be Wolfgang Amadeus Mozart louder? - Menuetto from Viennese Sonatina - Demonstrate both ways. no.1

17 Dynamics - Next element: Dynamics

Soft or Loud

18 Dynamics - Shading exercise Fun Time - Gradual shades from the lightest to the darkest. Shading - Relate this to dynamics. - How big of a contrast can you - Examples prepared create? (Dynamics Worksheet, Page 31)

19 Dynamics - Common performance directions Foreign terms for dynamics ppàpàmpàmfàfàff - Imagine accidentally sitting on the volume button on the television Crescendo remote control. Diminuendo

20 Articulation - Next element: articulation - Achieved through our touch on the Touch piano, or the speed of attack and - Speed of attack release. - Introduce foreign terms “legato” Legato vs Staccato and “staccato”.

21 Articulation - Portray the effect that can be Legato vs Staccato achieved through different articulation. Ludwig van Beethoven - Demonstrate piece in its original staccato and contrasting legato. - Staccato: lively; Legato: less active.

22 Pedaling - Next element: Pedaling Right pedal – sustains - Explains the three pedals with image of the grand piano pedals. Middle pedal – prolongs the specific notes - Demonstrate on the piano. that were played when pedal was depressed ( C major arpeggio)

Left pedal – shifts the keyboard slightly to the right

23 Pedaling - Go through some of the more Performance directions commonly seen performance Right pedal directions for each pedal. Middle pedal Left pedal

24 Color - Next element: color - Bright yellow for spirited and Different moods happy; dark blue for sad. Ways to achieve coloring - All of the previous elements that we - Dynamics have discussed and also imagery. - Articulation - Imagery-the pictures we have in - Pedaling mind when we hear or perform - Imagery music.

25 Color - Dynamics. Show contrast. - Pedaling. Show difference. Nancy and Randall Faber – Storms on - Incorporate imagery. Powerful Saturn, from Piano adventures Lesson lightening across the sky versus Book Level 2A distant rumbling of thunder.

26 Questions

27 Next class - Thank everybody for coming How to? - Remind them of the next class The Art of Practicing and Preparing for an - Flyers available event February 4th 2011, Friday 4.30pm D 106

PowerPoint Presentation Class 2

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Handouts

Connect the dots

Dynamics worksheet

Music Exploration Workshop Class 2 Expression in Piano Playing January 21st 2011

Dynamics

Shade in the rectangles, creating gradual shades from the lightest to the darkest.

Lightest pp Softest pianissimo

p Light piano soft

mp Moderately light mezzo piano Moderately soft

Moderately dark mf Moderately loud mezzo forte

Dark f

Loud forte

Very Dark ff Very Loud fortissimo

Ms. Han (908)568-3067 [email protected]

Teaching Diary Class 2 (January 21st 2011)

I had a large number of fourteen students in this class, thanks to the participation of community piano studios. I designed more interactive activities for this class compared to the preceding class, due to the nature of this topic. The students were very responsive and cooperative. I had two peers as my helpers and they provided a lot of support. They helped maintain the flow of the class during activities by participating in activities such as “Pass the ball to the beat” as well as distributing worksheets for “Connecting the dots” and “Shading in Dynamics”.

This class was a really good experience for myself in ways to deal with unexpected situations spontaneously. Because of the larger audience, I felt that I needed more confidence and energy than the previous class to maintain their attention. The topic of this class was “Expressions in Piano Playing” and I played excerpts from pieces of important composers. I made sure that I was giving good demonstrations not only with the elements that contribute to expressions but also with posture and other related matters. I felt that it was important to set a good example for these young students.

This class ran slightly shorter that expected. Instead of the previously timed forty minutes during rehearsal runs, it turned out to be approximately thirty-five minutes. I could probably improve that by encouraging the students to participate more in discussions as well as question and answer sessions.

CHAPTER 4

CLASS 3: HOW TO? THE ART OF PRACTICING AND PREPARING FOR AN EVENT

The third and last class of this music workshop, “How to? The art of Practicing and Preparing for an event” was held on Friday, February 4th 2011 at 4.30pm in D106,

Music and Speech building, Kent State University.

This class was organized into three main sections namely practicing, memorizing and performing. Ways to achieve efficient practicing and improve memory was discussed. Besides, helpful tips to cope with performance anxiety were also introduced.

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Lesson Plan Class 3 – February 4th 2011

1 How to? The Art of Practicing and Preparing for an event (title page)

2 The Process of Learning a New Piece 1. The Basics 2. Technique and Expressions 3. Practicing Performing

3 Try This… - Sight read at a slower tempo Sight read the new piece - Good practice for sight-reading meanwhile getting a general idea of the whole piece

4 - Important tips/ways to lead to good Practicing practicing

5 Practicing - Very important to be concentrated and focused when practicing. Concentrate! Focus! - Ways to get focused: breathing and stretching exercises. Breathing Stretching - Demonstrate a few exercises, invite students to participate

6 Practicing - Being organized will help with time management Set goals! - Run through sample checklist. What would you like to achieve in today’s practicing? (sample checklist)

7 Some good way to practice: - Hands Separately - Slow tempo - Working backwards - Counting

8 Remember… - Ways to self-motivate: think of the satisfaction after a good - Be Patient performance; watch performances - Get motivated of your favorite pianists for inspiration.

9 - Ways to help memorizing pieces Memorizing

10 Memorizing Listen (Audio) Watch (Visual) Think (Analytical)

11 Memorizing - Some possible resources to find Listen audio recordings of the piece Listen to recordings of the piece - Naxos Music Library - Classical Music Library - KSU Performing Library - Kent Free Public Library

12 Memorizing - Remind yourself about musical Watch decisions made - Study score away from piano - Hearing how you would like it to - Audio-visual recording sound in your head - YouTube

13 Different Interpretations - Informing them of the possibility of Robert Schumann – Traumerei different interpretations http://www.youtube.com/watch?v=qq7ncjhSqtk Vladimir Horowitz - Russian pianist. Phenomenal virtuoso of Yundi Li the 20th century. Died in 1989. http://www.youtube.com/watch?v=SMVJ0P- Sfvg - Chinese pianist. Late 20s. Known for being the youngest pianist to win the International Chopin competition.

14 Memorizing Think Identify - Patterns - Motion

15 Memorizing - Example of identifying patterns and motion Dmitri Shostakovich – Waltz

Performing

17 Performing The Performance Mode - Imagine performance setting (practice awareness) - I will play through to the end - I will not stop - Actively listening

18 Performing Practice performing - Being comfortable in performance mode - Perform for family and friends

19 Performing - Positive nervousness will help you Positive nervousness perform and stay engaged, focused vs - Negative nervousness may get in Negative nervousness the way and overwhelm you

20 Helpful Tips to cope with performance anxiety Ritual - Slow practicing with full gestures - 3C: Calm, Confident, Controlled - Stretch, breathe, visualize

21 Helpful Tips to cope with performance - Potassium, vitamin B6 anxiety - Maintains stress level, nervous Bananas system Oatmeal

22 Helpful Tips to cope with performance - Preparation on stage before playing anxiety

- Get comfortable, hands on lap - Pulse - Character - Sound

23 - And have fun! Enjoy making music Have Fun

Questions?

25 - Thank audience for participation (End Page) - Acknowledge thesis advisor for guidance and encouragement

PowerPoint Presentation Class 3

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Teaching Diary Class 3

I felt the most nervous teaching this class compared to the two preceding classes.

I started the class and it was harder than usual to gather my confidence. Fortunately, piano performance experiences did help me to hold myself together and feedbacks that I got after the class did not seem like my nervousness escaped to the audience. I calmed down as the class went on and it turned out to be a pretty good class.

My main goal for this class was to improve on my interaction with the students. It was a very scary thought at first to give up the control and be prepared for unexpected situations. I had to collect courage to stand in front of the class teaching, and the idea of being spontaneous was rather nerve-racking. After discussions and seeking advice from my thesis advisor, I finally felt that it was possible. I could be skillful with the questions I ask and control the possibility of situations that could be out of my control. In the future,

I hope to be more comfortable with spontaneous interaction with the students.

This is the third and last class of my music workshop. I felt a lot more confident and comfortable designing the class, knowing from previous experiences what would work better than others. I was excited to share different experiences with them that would hopefully help them practice, memorize and perform better.

CHAPTER 5

THE PREPARATION PROCESS

There were a number of challenges along the preparation process of this music workshop. As a piano performance major, my studies at Kent State University have been mainly focused on the performance aspect of piano playing. In the process of preparing and finishing this project, many thoughts have been devoted to piano pedagogy.

Nevertheless, the amount of knowledge and education that I obtained through this process was definitely worth the hard work.

Firstly, putting together materials that would suit the target audience was very challenging. It took a lot of research and brainstorming sessions to finally decide on the content as well as organization of each class. On this matter, the first class was the hardest not only due to the fact that it was the first, but also because of the amount of music history materials possible. Serious consideration had to be given in the process of selecting content. For example, I had to struggle between which composers to focus on as well as which pianists to introduce in the class. I was in dilemma whether I should focus on piano composers that contributed to the staple piano repertoire or composers that wrote for the young pianists. Besides, it was impossible to mention every pianist and hence making the decision of which ones to introduce was also difficult.

Next, it took a lot of hard work and creativity to design a class that was appealing to the target audience. Young piano students which ages range from six to fifteen tend to

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have a limited attention span. Therefore, it was important for me to design the classes with this understanding. I had to be careful with wordings and phrases used in class.

Besides, interactive activities that would encourage participation from the students were also vital. Throughout the three classes of this workshop, I included a various activities.

The second class, which was “Expressions in Piano Playing”, was the most interactive of the three because of the nature of the topic. Activities that were introduced in this class include, “Melody or Accompaniment”, “Pass the ball to the beat”, “Connect the dots” as well as “Shade in the dynamics”. It was very valuable to have the skill of being able to react off responses of the student. After teaching the three classes, I feel that I have improved in dealing with these more impromptu-like situations.

The experience of organizing a music workshop would not be complete without going through the obstacles of trying to get an audience. A workshop flyer was designed and distributed to advertise this music workshop. The dates, times and venues of the classes were decided carefully with the help of my thesis advisor in hope of attracting more students. The original target audience was the students of the Teaching Institute

Program (TIP) at Kent State University. After encouragement by my thesis advisor, I also contacted some community piano studio around the area. I enjoyed this opportunity to practice my networking and social skills. I received some very positive feedbacks for these community piano teachers and I thoroughly enjoyed the participation of the students.

Finally, teaching the class itself was one of the biggest challenges. Self- confidence was very much needed and I obtained that by rehearsing the classes numerous

times before the actual day. It helped for me to think of these presentations as a performance and by relating teaching with performing; it helped me cope with my anxiety. I was very cautious with making sure that I would not have any unexpected technology related problems. I made sure I checked the technology equipment in the classroom beforehand and that I were comfortable operating them. Besides, seating arrangement was also considered for optimum interaction during classes.

As a conclusion, it has been a wonderful experience organizing this music workshop. This project has been a wonderful gateway for me to venture more into the piano pedagogy field. In addition, the social and networking skills obtained were also essential. It was very satisfying to work with the young piano students knowing that they learned something from this music exploration workshop.

CHAPTER 6

WORKSHOP FLYER

A flyer was designed and distributed in October 2010 to promote and advertise this music workshop. Related information of each class such as date, time, venue and topic were specified in the flyer.

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Workshop Flyer