Disklavier and music technology experts from across North America for an inspiring two-day summit at the Royal Conservatory of Music in Toronto. The event takes place July 12-13, 2014. Presenters and keynote speakers include Mario Ajero, Shana Kirk, Stella Branzburg, George Litterst, Janet Lopinski, and Royal Conservatory pedagogues.

NYC--Yamaha Artist Tony DeSare is well known for crossing boundaries. His agility in interpreting American standards has landed him on serious jazz stages from Birdland to the Vail Jazz Festival, and even on the hallowed piano bench beside Marion McPartland. As an aficionado of more modern classics (and as true child of the 80s) DeSare has also paid tribute to rockers from Journey to Bon Jovi and Prince. In a live show, he’s just as likely to kick out licks (literally — with his size 10 Chuck Taylors in Great Balls of Fire), as mist your eyes with his original ballad “How I Will Say I Love You.” 

The Disklavier is an amazing instrument with a sophisticated record-and-playback system. When used as a standalone device, it is a simple matter to initiate recording and playback. Little instruction is required.

The instrument also has MIDI connectivity features that make it a compelling instrument for use in varied contexts, including music composition, interactive performance using computer software, and recording studio applications.

When one uses the instrument as a MIDI device, it is important to have a deeper understanding of the ways in which MIDI is implemented in this acoustic piano.

When Wayne State’s Music Department Chair, Dr. Linda Christensen isn’t coming up with new ways to use their school’s Disklavier pianos, she can be found teaching one of the most innovative class piano programs in the country in a state-of-the-art Yamaha Clavinova lab with computers and network connectivity at each station. In the 2013-14 school year, Christensen added a new twist to the class, inviting collaboration with counterparts at the University of Sao Paolo, Brazil.

This article originally appeared in The Wayne Stater. Reprinted by permission.