Kevin Fitz-Gerald, associate professor, keyboard studies, studied at the Victoria Conservatory, the Banff School of Fine Arts and the Royal Conservatory of Music in Toronto where his principal teachers were Alma Brock-Smith, Marek Jablonski and Robin Wood. In addition, he has worked extensively with Leon Fleisher, John Perry, Menahem Pressler and Gyorgy Sebok. He has won several prestigious competitions including the Du Maurier Search for the Stars, CBC National Radio Auditions and the Young Artists' National Piano Competition. Mr. Fitz-Gerald performs frequently as a recitalist, orchestra soloist and chamber musician. His concerts have frequently been recorded for CBC, KUSC and NPR radio networks as well as national television. His first recording for the Summit label included the Septet of Camille Saint-Saens and was released in 1994. An active chamber musician and teacher, Mr. Fitz-Gerald has appeared at numerous music festivals. He has collaborated with internationally renowned artists such as Patrick Gallois, Stephen Isserlis, Richard Stolzman, Alan Civil, Camilla Wicks, Shauna Rolston, the Bartok String Quartet and the St. Lawrence String Quartet. He performs two-piano and four-hand repertoire with Bernadene Blaha at venues throughout North America.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, talks about his background. Fitz-Gerald is a concert pianist, clinician, and collaborative artist. While his specialty is in the classics, he does do a lot of contemporary classical music. Fitz-Gerald covers how he got his teaching position as well. He had always been in performance and had no idea he was going to be teaching. He applied for Brooks Smith's position. Fitz-Gerald explains that his vast past experience made himself valuable, such as working in an opera house, with orchestras, as an accompanist, and at master classes. He had a lot of connections. Fitz-Gerald stresses networking.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, offers advice to aspiring musicians. He suggests being fearless and moving forward. Individuals must also love what they're doing. There are a lot of easy times, yet a lot of difficult times as well. Therefore, Fitz-Gerald stresses the need for perseverance and a sense of optimism.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, talks about the importance of varied arts awareness. He points out that young people do not attend operas, ballets, or musicals anymore. Fitz-Gerald shares his belief that musicians must expose themselves to various forms of art. He encourages the very young by giving listening assignments.

Kevin Fitz-Gerald, an Associate Professor at the University of Southern California, discusses the audition process, how it works, and what the auditors are looking for. He stresses the importance of a good first impression, and shares his thoughts on what separates the right candidate from all the wrong ones.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, talks about piano students. A lot of pianists dream of becoming a concert pianist. However, that isn't realistic. Therefore, Fitz-Gerald mentions collaborative arts programs. Collaborative arts programs teach musicians how to play in chamber groups and as an accompanist. They also teach how to deal with people and sell one's self. Also in this segment, Fitz-Gerald discusses the inherent quality required of a collaborative arts student. Individuals must have the musical and intuitive sense. He explains that in his collaborative arts program class, he assists students by showing them how to bend when working with another person. The significance of understanding the text of a song is covered as well. Composers use word painting. One must play to reflect the feeling of a particular word. Thus, musicians must research the music. Fitz-Gerald also talks about how simply being music doesn't cut it today. There are too many educated collaborative artists.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, talks about the recording industry and competition circuit search for perfect mechanical playing. However, Fitz-Gerald points out that individuals often forget the essence of performing arts. Fitz-Gerald also explains that young people are afraid of being themselves. Instead, they settle for being average. Also in this segment, Fitz-Gerald discusses a good teacher. A good teacher draws on what the student already has. He shares that when he takes students from other teachers, he often must undo styles or sounds that have been imposed on the student. Fitz-Gerald also suggests making the best of one's strong points and building up one's weak points.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, talks about his heroes. He mentions some of his heroes such as Joseph Levine, Joseph Hoffman, Rubinstein, and Rachmaninoff. Fitz-Gerald also shares that his teacher, Marek Jablonski, was one of his heroes. Also in this segment, Fitz-Gerald discusses what all of his great influences had in common. The pianists had the ability to be themselves and be honest with the music. They each had an individual sound and texture as well. Fitz-Gerald also talks about where sound begins. Sound starts in one's imagination. Additionally, Fitz-Gerald shares what he admires. All of his heroes had a natural relationship with their instrument.

Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at the University of Southern California, shares important characteristics of a music teacher. At a young age, a teacher should focus on building the foundation of playing. Fitz-Gerald explains that in Canada, the conservatory system teaches technique in a standardized and progressive format. However, in the United States, it is left up to the teacher and student. The teacher should also build a love of music and introduce their students to a lot of different music. Also in this segment, Fitz-Gerald emphasizes that the teacher must be right for the individual. He points out that a teacher that works well with people is a good early teacher. Eventually, the student will move up to a teacher with a higher sense of technique. This could be through recommendations. Fitz-Gerald also discusses students who become burned out. They had an early start on their instrument. However, by the time they become an adult, they are burned out from the work that's involved.