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A comparative study of piano curricula in Egypt and the USA (with specific
reference to the School of Music at the University of Illinois)
Sahar Abdel Moneim Hanafy Eid
International Journal of Music Education 2010 28: 353
DOI: 10.1177/0255761410381725
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What is This?
International Journal of
Music Education
A comparative study of piano 28(4) 353–368
© The Author(s) 2010
curricula in Egypt and the USA Reprints and permission: sagepub.
co.uk/journalsPermissions.nav
(with specific reference to the DOI: 10.1177/0255761410381725
http://ijm.sagepub.com
School of Music at the University
of Illinois)
Abstract
This research draws a comparison between the School of Music at the University of Illinois, USA
and the Faculty of Music Education at Helwan University in Cairo, Egypt (the researcher’s academic
appointment is at Menofia University, but she teaches on the faculty of Helwan University). The
research answers two important questions: (1) What weaknesses in Egyptian piano curricula lead
to students’ poor performance in exams? (2) What steps can be proposed to address these
weaknesses and to help improve students’ performances in piano exams?
The research comprises three parts: Part 1 presents an overview of music education in Egypt
and a detailed description of the Faculty of Music Education, its origin and development over
the years. This part addresses music education in general and piano curricula in particular, while
focusing on the relevant shortcomings that lead to students’ poor levels of piano performance.
Part 2 sheds light on the piano curricula in the School of Music at the University of Illinois. Part
3 compares undergraduate piano curricula in both situations, highlighting relevant strengths and
weaknesses. Finally, recommendations are proposed and conclusions stated to address weaknesses
in the piano curricula of the Faculty of Music Education at Helwan University.
Keywords
Egypt, instruction and study, piano curricula, piano pedagogy
Introduction
With the advent of the 21st century, it is imperative to ask ourselves: what did we do to prepare our
younger generations for the new century? To answer this question, in the context of Egyptian music
education, it is important to examine the existing music curricula, especially with respect to the
Corresponding author:
Sahar Abdel Moneim Hanafy Eid, St# 1 Al-Madrasa Al-Kawmiya, Awl Al-Manial, Apt# 5, Cairo, Egypt.
Email: saharhanfy@yahoo.com
piano major. Identifying strengths and weaknesses in piano curricula is essential to enhance the
professional development of future music teachers.
Higher education represents the main vehicle to achieve progress and advancement, especially
in developing countries. Acknowledging the vital role education plays in countries worldwide is
important as societies seek to improve their various educational institutions. That being said,
developing university education in general and music education in particular has become a priority
in Egypt. Remedial action is urgently required because of the weak standard of music students in
Egypt. Arguably, in Egypt’s higher education system, students’ piano performances reflect obvious
weaknesses in the undergraduate music education curriculum.
During the period as a Visiting Scholar at the University of Illinois at Urbana-Champaign, from
November 2007 until July 2008, I compared the undergraduate piano curricula in the Faculty of
Music Education at Helwan University, Cairo, Egypt1 to that of the School of Music at the University
of Illinois, USA. I examined the undergraduate admission standards, heard the students perform,
observed teaching approaches, studied online statements about the university’s music curricula, and
took advantage of the vast resources of the University of Illinois world-class music library.
Furthermore, many in-depth discussions with Dr Reid Alexander, Professor of Music (piano and
piano pedagogy), who agreed to sponsor me as a visiting scholar, proved illuminating. It is expected
that changes will be proposed at Helwan University based on the research findings of this article.
music with al-turath, the heritage of the Egyptian folk music, and muwashahat, which means
traditional song. A goal of the Opera House is to build the personality of the Arab and Egyptian
individual through art and music.
Second, faculties of specific education (Menofia University, 2006–07, pp. 2–3) were estab-
lished in different parts of Egypt in 1989. These various faculties cover numerous academic disci-
plines and follow a typical four-year course of study providing an undergraduate degree in different
majors, including music education. Thus, the faculty of music education is considered the govern-
ing umbrella for all Egyptian music departments that train future teachers in the music discipline.
Throughout Egypt, faculties of specific education accept students who hold the General Secondary
Certificate and pass appropriate discipline specific entrance exams.
Bachelor degree in Music Education (BME). The required period to obtain the Bachelor in Music
Education is five academic years starting with a preparatory year. To be accepted students must
pass a musical aptitude test.
Master’s degree in Music Education (MME). The Master’s Degree is given in one of the following
majors:2
1. Theory and Composition (world music, composition, western music theory and history)
2. Performance (piano, voice, orchestral instruments)
3. Music education studies (solfège, rhythm, and improvisation)
4. Arab music (Arab music composition, Arab music history)
Regulation of study
The academic year is divided into two semesters, each semester lasting for approximately 3 months
or the equivalent of 14 weeks. To take the examination for any subject, the student must attend a
minimum of 75% of class meetings. If the student’s attendance is poor, the faculty council can
issue a resolution prohibiting the individual from sitting for the final examination. By submitting
an acceptable excuse to the faculty council, the student can then take the final exam. Promotion to
the next academic year occurs if all exams are passed. However, if three subjects are failed in the
discipline, the individual cannot advance to the next academic year.
1. Scales: Si (Ti) and Fa# (B, F-sharp), similar motion, two octaves, unless stated differently:
a. Major and all forms of the minor
b. Harmonic minor scales in contrary motion
c. Arpeggios of the above major and minor keys
d. Dominant and diminished seventh arpeggios, root position
e. Above major and minor scales in thirds
2. Bartók: Select one piece from Mikrokosmos, Vol. 4
3. Bach: Select one three-part invention
4. Studies: Select one study from Czerny, op. 299
to eight students meeting twice per week. As mentioned earlier, piano students in Egypt’s Faculty
of Music Education are taught on an individual basis. It should be noted that the curriculum for
students taking piano as a secondary instrument in group classes progresses through a very orga-
nized syllabus (Alexander, 2007) using two texts, Keyboard Musicianship, volumes I and II (Lyke,
Alexander, Caramia, & Haydon, 2003, 2004), that were designed for use with music majors.
1. All major and harmonic minor scales and arpeggios in four octaves (scales must be played
from memory)
2. At least one composition by J. S. Bach (e.g., Two- or Three-part Inventions, Preludes and
Fugues, etc.)
3. At least one movement from a sonata by Haydn, Mozart or Beethoven
4. At least one composition from a composer of the Romantic period or 20th-century
5. Harmonization of a familiar melody to be selected by the audition committee
6. Sight-reading
ear-training or aural skills, music history, voice and piano. Divergence of curricula mainly occurs
because Egyptian students pursue the study of both western and Arab music. During the senior
year, Egyptian students are in residence the entire year whereas UIUC students are off-campus
student teaching during the final semester of residency.
One weakness in Egypt’s Faculty of Music Education that must be identified and addressed is
the entrance aptitude test:
1. The entering solfège test falls short in assessing the student’s actual ability to play the piano.
The solfège test is helpful in testing the student’s ability to sing and memorize melodies,
essential for pitch recognition. The rhythm test measures the student’s ability to maintain a
steady tempo. However, neither test assesses the student’s ability to play the piano or for that
matter any musical instrument.
2. The aptitude test does not assess the overall motor coordination between different muscles
of the fingers, hand, arm and shoulder. Some students exhibit weaknesses in small motor
coordination, which makes it hard for them to develop the hand and arm coordination neces-
sary for reading two clefs simultaneously.
3. The majority of applicants who wish to enroll in the music program usually have no prior
music education or experience. Egyptian music professors exert significant energy in teach-
ing basic musical and pianistic skills that should have been developed prior to matriculation.
The piano will be needed by all those who are majoring in teaching of some phase of music itself.
Included in this group are those who plan to teach general school music, instrumental music, music
appreciation, music history, music theory in its several branches, or performance in voice or on an
instrument. Some are preparing for work in the [public] schools, others in studios, conservatories and
colleges. (p. 11)
Now, six decades later, it could be argued by music educators that piano skills are essential only for
teachers of choral music. There surely are many examples of excellent instrumental and general
music teachers who teach well without a piano. Even so, current NASM guidelines state that,
within a common body of knowledge and skills, all undergraduate music majors must attain key-
board competency (NASM, 2008/2009, p. 84).15 How the competency is developed is the respon-
sibility of the individual school or department.
At the University of Illinois, the secondary piano curriculum for students studying piano as a
minor encompasses short musical examples that develop keyboard-reading skills in a progressive
manner. Additional activities focus on technical development, harmonizing melodies, improvising,
transposing and developing the ability to sight-read.
With the exception of vocal performance, vocal music education, and general music education,
only one year of piano is required of UIUC undergraduate music majors. A concern is whether tak-
ing only two semesters of piano is adequate preparation. By any reasonable musical standard, one
year of piano is not sufficient to develop competency at the keyboard, especially for music majors
who enter with no piano background. At UIUC, in recent years, the large majority (80%) of music
students enter with no background in piano. This parallels the fact that approximately 90% of
Egyptian music majors enter with no piano background.
Even though Egyptian music students enter with little or no music background, by the end of
four years they progress further in piano than the music education students at the University of
Illinois. This is because the Egyptian piano curriculum in the Faculty of Music Education is
designed with a vision to prepare all future music teachers as pianists. Thus, all students study
piano for five years (including the preparatory year), not just one year. In Egypt, the music profes-
sor is responsible for guiding the younger generations in the field of music and the piano is consid-
ered an essential tool in that preparation. Based on this perspective, the Helwan University piano
curriculum stresses that all music students develop piano skills leading to the repertoire at the early
advanced level of Bach Inventions and Chopin Waltzes.
It is also interesting to note, at least in the observations conducted at UIUC, that graduate teach-
ing assistants, not full-time professors, taught music education piano majors. This is not the case in
Egypt. Students studying major instruments are taught by faculty members.
Recommendations
The first step toward improving piano entrance standards in Egypt’s Faculty of Music Education is
changing the aptitude (admission) test so that it genuinely checks each candidate’s ability to play
the piano. Accordingly, I recommend the following changes:
piano. For the latter, small group instruction (rather than weekly private lessons totaling 2
hours) would be a more efficient use of faculty time and foster general musicianship.16 In
a group environment, students could work on the basic skills beyond just playing pieces.
Lyke, Enoch and Haydon (1996, p. 419) recommend that class size be small.17
7. Set up a digital MIDI18 piano laboratory for group instruction with corresponding teacher
training on how to use the equipment effectively.
8. Revise the Helwan University Syllabus for Piano 2007–2008 to include a better balance
between technique and repertoire from all musical periods in each semester with a greater
variety of composers.19
9. Require one 20–25 minute recital during the senior year.
10. For the preparatory year, adopt a beginning piano text designed for use with adult begin-
ners rather than using books based on an elementary children’s method.20 Such a volume
would be Keyboard Fundamentals, volume I, by Lyke, Edwards, Haydon, and Chioldi
(2006).
Conclusions
The art of piano teaching and its pedagogical approaches and emphasis have changed greatly dur-
ing the last 50 years. Wei (2008), in her insightful study on teaching piano to adults, states:
Pedagogical thought after 1940 continues to advocate that an instructional sequence for piano study
should foster the development and growth of musical understanding; aural control (critical self-listening),
rhythmic control, and technical control. (p. 37)
These changes are most evident in the teaching of beginners, whether adults or children, with the
continued development of appropriate instructional materials and emphasis on the development of
sound fundamentals of excellent piano playing accompanied by an ever-expanding knowledge of
music (Sabry, 1965, pp. 34–35): improving students’ performances has always spurred heated
debate among teachers of Egypt’s Faculty of Music Education. Raising the standard of piano play-
ing for matriculating students will depend on gradually embedding classical music in Egyptian
society and families encouraging their children, with provision, to take private lessons during the
elementary and secondary school years.
Solutions continue to be sought with respect to our educational policies and maintaining market
demand for music teachers in Egypt. In an attempt to solve many of these problems and also to
spread western music in Egyptian culture, the faculty inaugurated a Center for Arab and World
Music in 1998 that provides music education to individuals from all ages and groups. It would also
prove fruitful to host visiting scholars from different countries. This will help exchange knowledge
in the field of music education and improve dialogue among different cultures.
Notes
1. The researcher’s academic appointment is at Menofia University; however she teaches on the faculty
of Helwan University.
2. A general diploma in music education may precede formal master study. It is considered a pre-master
year for graduates from the faculty of specific education who have an earned BME. A general grade of
Very Good in the area of undergraduate specialization is required for admission.
3. A PhD may be earned in the same four departments.
4. Professors who teach methodologies of music education and supervise student teaching in secondary
schools have their academic appointments in this department.
5. During the preparatory year, the student is only examined in piano at the end of the year. Students
develop their basic music reading skills through a set curriculum using elementary piano method
books. They also study scales, Bartók’s Mikrokosmos (Vol. 1), and one composition by an Egyptian
composer.
6. Graduate music degrees (DMA, PhD, EdD, MM) are offered in various music disciplines at the mas-
ter’s and doctoral levels.
7. Current curricular guidelines for the Baccalaureate Degree in Music Education appear in the
National Association of Schools of Music Handbook 2009–2010 (National Association of Schools
of Music (NASM), 2008/2009, pp. 94–8). These guidelines are organized by (1) Curricular Structure,
(2) Program Content, and (3) Desirable Attributes, Essential Competencies, and Professional
Procedures.
8. Teacher certification requirements for the state of Illinois are available at the following website: http://
www.isbe.state.il.us/certification/Default.htm
9. The UIUC School of Music has two fully equipped Yamaha Clavinova piano laboratories each with a
midi Visualizer.
10. The audition requirements for students entering in music education as a piano major are the same
as piano performance except that music education piano applicants must memorize only one
composition.
11. A related BM major, titled Piano Pedagogy, occurs in the open studies degree track. It is very similar
to the Piano Performance major except that students are required to take additional practica on the
topic of teaching piano. Additionally, only one degree recital is required though most students choose
to do two recitals (as is the case with the Piano Performance major). Students choosing this curriculum
desire richer preparation in the area of teaching, often wanting to combine private studio teaching with
performing after graduation. The entrance audition requirements for students entering the Piano
Pedagogy major are the same as Piano Performance.
12. There are three music education specializations at the University of Illinois, Choral, Instrumental and
General. For the purposes of this curricular comparison, Choral is selected, as it most resembles the
Egyptian Music Education curriculum.
13. Credit hours presently are not used at Helwan University.
14. Raymond Burrows is a distinguished American piano educator who served on the Piano Faculty of
Columbia University (New York City) and was one of the first who taught piano to college music
majors using group instruction techniques. Even today, this typed thesis influences contemporary
thought because it was one of the first case studies to compare collegiate private instruction (one on
one) with group piano teaching.
15. For all Music Education degrees, NASM further defines keyboard competency as acquired ‘functional
performance abilities in keyboard’ (NASM, 2008/2009, p. 96).
16. The recommended structure could be one of two models: Group classes meeting three times a week in
groups of 8–10 students or group classes meeting twice per week with one weekly 30-minute private
lesson for each student in the class. Either model would be more efficient than the current private les-
son model at Helwan University.
17. Lyke recommends, as do others, that first-year classes be limited to 10 students and second year
classes to six to eight students.
18. MIDI is the acronym for musical instrument digital interface.
19. For example, instead of citing only Bach and Bartók for the first semester of the freshman year, a wider
range of composers could be used including music from the Classical and Romantic periods.
20. Many adult piano texts, suitable for teaching beginners, have been developed for use in US music
schools and include compact discs with attractive teacher accompaniments.
References
Alexander, R. (2007). Handbook for graduate assistants teaching group piano [typed document, 65 pages).
Champaign, IL: Author. (The author can be reached at the University of Illinois School of Music, 1114
West Nevada Street, Urbana, IL, 61801, USA.)
Anderson, R. (2001). Egypt, ancient music. In S. Sadie (Ed.), The new Grove dictionary of music and musi-
cians (2nd ed., Vol. 8, pp. 1–7). London: Macmillan.
Burrows, R. (1944). Elementary piano instruction in college [typed thesis]. New York: Columbia University
Teachers College.
Helwan University. (2007–08). Course catalog 2007–2008. Retrieved 5 July, 2008, from http://web.helwan.
edu.eg/tarbeyamusic/gadwall.htm
Lyke, J., Alexander, R., Caramia, T., & Haydon, G. (2003). Keyboard musicianship (8th ed., Vol. 1).
Champaign, IL: Stipes. Retrieved 5 July 2008, from http://www.stipes.com/music.html
Lyke, J., Alexander, R., Caramia, T., & Haydon, G. (2004). Keyboard musicianship (8th ed., Vol. II).
Champaign, IL: Stipes.
Lyke, J., Edwards, D., Haydon, G., & Chioldi, R. (2006). Keyboard fundamentals (4th ed., Vol. 1). Champaign,
IL: Stipes.
Lyke, J., Enoch, Y., & Haydon, G. (1996). Creative piano teaching (3rd ed.). Champaign, IL: Stipes.
Menofia University (2006–07). Courses catalog 2006–2007. Retrieved 5 July, 2008, from http://www.
menofia.edu.eg/
Music Educators National Conference. (1953). The evaluation of music education: Standards for the evalua-
tion of the college curriculum for the training of the school music teacher. Commission on Accreditation
and Certification in Music Education (pp. 1–5). Reston, VA: MENC.
National Association of Schools of Music (NASM). (2008, 22 December/2009, 16 June). National Association
of Schools of Music Handbook 2009–2010. Retrieved 20 September 2009, from http://muehandbook.
music.uiuc.edu/MECeight.pdfhttp://muehandbook.music.uiuc.edu/MECeight.pdf
Sabry, H. N. (1965). The adaptation of class piano methods as used in the United States of America for use in
the Egyptian educational system (doctoral dissertation, Indiana University, USA), Dissertation Abstracts
International, 26/10, 6093.
Shehab, Y. (1996). Contemporary Egyptian music (doctoral dissertation, University of Illinois at Urbana-
Champaign). Dissertation Abstracts International, 57/04, 1383.
UIUC Music Education Division (n.d.). Music education division undergraduate choral music education
handbook. Retrieved 2 July, 2008, from http://muehandbook.music.uiuc.edu/MECeight.pdf
Wei, M. H. (2008). The effects of a performance-oriented music appreciation class on beginning adult piano
study (doctoral dissertation, University of Illinois,USA). Dissertation Abstracts International, 70/02: 37.
2. Technique A: Longo, Book 1A, select six exercises from page 8 to endii
3. Technique B: One original piece by Hoda Sabryiii
4. Bach: One selection from the Notebook for Anna Magdalena (omit no. 14)
5. Bartók: Mikrokosmos, Vol. 1, select four examples from no. 15 to the end of the book
Piano II.
1. Scales: Fa#, Do#, La-flat (F#, C#, A-flat), same as Piano I
2. Technique: Longo, Book 1A (same as Piano I)
3. Studies: Czerny, op. 599 (select one study)
Czerny, op. 261 (select one study)
4. Sonatina style: The first movement of any classical sonatina
5. Pieces: Two compositions, any style period (one must be by an Egyptian Composer)iv
6. Sight-reading: At the standard of the first year.
Author biography
Sahar Eid (PhD) is Associate Professor of Piano at Menofia University in Cairo, Egypt, where she teaches
undergraduate and graduate piano. Her doctoral dissertation was a study that compared selected dances by
Smetana and Dvorak. She is very active in her native country having recently presented papers at international
music conferences at Ain Shams University (Cairo) and Minia University (Minia, Egypt). Her recent paper,
‘Improvement in Piano Performance, A Comprehensive Perspective’, was presented at the international con-
ference Music Education: A Vision for the Future. She is active on many committees at Menofia University,
including the committee for purchasing musical instruments.
Abstracts
Une étude comparative des formations de piano entre l’Égypte et les Etats-Unis (En
faisant plus précisément référence à la faculté de musique de l’Université d’Illinois)
Cette démarche effectue une comparaison entre la faculté de musique à l’Université d’Illinois
(USA) et la faculté de l’éducation musicale à l’Université Helwan au Caire. L’étude a pour but
de répondre à deux questions: (1) Quelles faiblesses de la formation égyptienne menaient à de
mauvais résultats sur les contrôles pratiques de piano? (2) Quels remèdes peuvent être mis en
marche pour permettre aux élèves d’améliorer leurs résultats sur ces examens?
Cette recherche consiste en trois parties. La première partie présente un aperçu de l’enseignement
musical en Egypte et une description détaillée de la faculté de l’éducation musicale, ses origines,
et son développement à travers les années. Cette section étudie l’éducation musicale en général et,
plus précisément, la formation de piano, se concentrant sur les défauts pertinents qui aboutissent
aux niveaux faibles des élèves sur les examens mentionnés ci-dessus. La deuxième partie introduit
et explique la formation de piano à l’Université d’Illinois. La troisième partie effectue une compa-
raison entre les formations au sein de ces deux institutions, soulignant les points forts et faibles des
deux programmes. Nous concluons avec des recommandations pour atténuer les faiblesses consta-
tées dans la formation de piano de la faculté de musique à l’Université Helwan.