From the Stage to the Studio

“The fact is, you will teach.”
from the Foreword by Stephen Clapp,
Dean Emeritus, The Julliard School

From the Stage to the Studio
by Cornelia Watkins and Laurie Scott
Oxford University Press

Whether serving on the faculty at a university, maintaining a class of private students, or fulfilling an invitation as guest artist in a master class series, virtually all musicians will teach during their careers. From the Stage to the Studio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of combined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student interactions. Premised on the synergistic relationship between teaching and performing, this book provides a structure for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, interviewing for a job, judging competitions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college music majors, and professionals looking to add effective teaching to their artistic repertoire.


  • Gives performing musicians a frame on which to build their own pedagogical approach
  • Can be utilized by the private sector, or in academic settings as a pedagogy or music education class textbook
  • Includes a complete two-semester syllabus, which can guide a pedagogy instructor in course planning


“I love what this book says about the art of music. When I think of how many years, master teachers, serendipitous or just fortuitous moments of realization and connection between body and soul, how many once-in-a-lifetime revelations I have accumulated and, NOW, to find it all in one book! I am stunned, amazed, and forever grateful.” –Richard Stoltzman, Grammy Award-Winning Clarinetist

“From the Stage to the Studio is an essential keystone for any musician who wishes to build a career that arches between the pillars of performing and teaching. Its guidance is strong, thorough, inspirational, and practical, including everything you need to know, as well as workbook activities that help you grasp your own personal understandings and lifelong learning goals. I recommend it highly.” –Eric Booth, International arts learning consultant, author of The Music Teaching Artist’s Bible (Oxford, 2009)

“From the Stage to the Studio is amazingly comprehensive. The insightful, practical and creative advice of Watkins and Scott exceed what could be taught in years of pedagogy courses or private lessons. Kudos to the authors on their infinitely practical suggestions, which will be invaluable to musicians, teachers and their students!” -Barry Green, Bassist, Author of Inner Game of Music, The Mastery of Music, and Bringing Music to Life

More Stage to Studio Reviews:


Philippa Bunting, (The Strad July 2013)  
“This book is the product of the combined wisdom of two hugely experienced and hugely generous, pedagogues: Cornelia Watkins of Rice University and Laurie Scott of the University of Texas at Austin. It is written for already accomplished performers, leading them gently but firmly to a consideration of what it means to be a great teacher as well.

The authors are careful throughout not to promulgate the artificial dichotomy between the two identities, but rather to show that the same foundations of musicianship and artistry underpin both. The music education they advocate always has an embodied, listening musician at its core, one in whom the roles of performer and teacher are inextricably linked. The book speaks always colleague to colleague, with none of the exclusivity and patronage that ‘educationalists’, perhaps keen to shore up their own position as professionals, can sometimes show towards the ‘unqualified’.

At one end of the spectrum there is an investigation of educational theory and philosophy, and at the other practical, no-nonsense advice on the business side of things—even a reminder to keep your studio well-stocked with pencils! The book has a real richness of texture: quotations, convincing real-life scenarios; a useful ‘Personal Inventory’ strand, which encourages reflective practice to link one’s own performance skills to effective teaching; frequent provocations to thought in boxes titled ‘Consider This’; worksheets; checklists; suggested reading’ and entire curriculum map for an undergraduate module in pedagogy. This is not just a great book about music education—it is a great book about music and what it can mean to people. As the authors avow, ‘No matter what your position in the musical world, your nurturing and presence in people’s lives will carry more weight than the most substantial performance resume, and your magnanimous sharing of what you know and love will resonate far beyond the last note you play—beginning with those who now call you “teacher.”’ Philippa Bunting, THE STRAD July 2013

“I was lucky to take the class with the author of this book. Every time I grab this to read, I can easily see her professionalism on her face. This book is a very easy to follow even for student who have limited English skills, for those like me who get bothered by unnecessary heavy English words. In fact this book is a step to step teacher of its own. I found it very informative, drawing from very practical teaching settings. You be a teacher or a student, a beginner or advanced – it is the book for you.”

“This is a systematic book. It takes you to a point where you can help your students acquire their level of expertise. It is the book written by experience Professors in the field. The literature is made very tutorial and practical.”

 “Gosh- this book is phenomenal! A friend of mine was required to get it for a graduate class as part of his Master’s degree in Choral Music Education- and thought I’d enjoy reading it, as well. I will post an addition to the review as I finish the book- but I wanted to go ahead and post that I think it is excellently put together and very well-written. As a private voice and piano instructor (and an accompanist at a local high school) I’ve found myself putting a sticky note in many, many times for things I want to go back and reread or revisit.”

“Fantastic and insightful book on the art and practicalities of teaching. A Must-Read.”

“This book is great! Recommended to all musicians!”

(Academic, UK) Many of the issues tackled in the chapters of this volume will not be novel in content or perspective, especially for the reader who has some experience in professional performance or teaching; the real worth of the book ultimately lies in the fact that it is one of the few to combine, in the same volume, so many issues pertinent to teaching performance with a wealth of practical advice and suggestions, in a manageable and flowing narrative. The vast width of scope pursued in the volume results in an inevitable restriction on the depth of analysis; it is unfortunate that the authors do not manage to balance this in their recommended reading lists at the end of each chapter, which include more practical guides and general textbooks and articles, but relatively very few publications of recent research in the fields of music education, performance and psychology (Davidson, 2004; Hallam, 2006; Parncutt & McPherson, 2002; Rink, 2003). Despite this fact, the book is definitely a good starting point for performance students and anyone with a general interest in music education, as it is extremely easy to read and manages to highlight virtually every aspect of teaching performance; moreover, although it is not the purpose of the authors to contribute in the research literature on the subject, performance and education researchers may find reading this book a useful reminder of the challenges and problems faced by beginning professionals and of the areas of research most pertinent to everyday performance instruction.  Artemis Apostolaki University of Hull, UK

Available from Oxford University Press