| Question|Title | Issue | Authors |
| Have you tried teaching with all the plugs pulled? | 1990, 1-2 | Martha Appleby |
| What are your favorite pieces? Why do you like them? | 1990, 1-3 | Virginia Campbell, Lisa Strouse Caramia, Claudia McCain, Joanne Haroutounian |
| As a composer, what are your guidelines when writing music for early-level students? | 1990, 1-4 | John Robert Poe, Robert Vandall, Dennis Alexander |
| What are your guidelines when selecting early-level music for publication? | 1991, 2-1 | Mary Elizabeth Clark, Gayle Kowalchyk, Carole Flatau, Barbara Kreader, Beverly McGahey |
| How do you plan a student's repertoire for the coming school year? | 1991, 2-2 | Sara Krohn, Leanne Stehle Hedges, James B. Lyke |
| What is the first Bach piece you teach and what does the student need to know before beginning to learn it? | 1991, 2-3 | Annette Conklin, Janet S. Swanzy |
| What is the first Mozart or Haydn piece you teach? What does the student need to know before beginning to learn it? | 1991, 2-4 | Patricia Banks, Marsha Hollingsworth |
| How do you teach a student to communicate when performing? | 1992, 3-1 | Dawn Costello Miller, Donna O'Steen Edwards |
| What is the first Bartok piece you teach? | 1992, 3-2 | Marilyn Krummel, Anita Whalen |
| What is your favorite early-level and intermediate-level ensemble music and why? | 1992, 3-3 | Paul Pollei |
| What is your favorite early-level and intermediate-level ensemble music and why? Part II | 1992, 3-4 | Dallas Weekley and Nancy Arganbright, Rachel Kramer |
| Beyond the Beginning—How do you choose repertoire for your intermediate students? | 1993, 4-1 | Martha Appleby, Jane Magrath |
| What important elements of jazz are appropriate for early-level students? | 1993, 4-2 | Ann Collins, Tony Caramia, Arletta O'Hearn |
| What is your favorite recital repertoire for 1st-, 2nd-, and 3rd-year students? | 1993, 4-3 | Kathleen Schubert, Lisa Bastien Hanss |
| What competition pieces do you use with early-level students and why? | 1993, 4-4 | Maryen Herrett, Scott McBride Smith |
| What is appropriate at the early level for the gifted child? Do you use a method book? | 1994, 5-1 | Suzanne Guy, Ingrid Clarfield |
| What is good material to use with elementary transfer students who are playing music far too difficult? | 1994, 5-2 | Yu-Jang Yang, Gayle Kowalchyk |
| How important are editions for the earliest repertoire? | 1994, 5-3 | Carol Leone, E.L. Lancaster |
| How do you transfer students' understanding of theory to their understanding of repertoire? | 1994, 5-4 | Linda Stump, Ann Milliman Gipson |
| Is the repertoire you are teaching in 1994-1995 different from the repertoire you taught in 1984-1985? | 1995, 6-1 | Vicki Gray, Janet Mason, Carol Winborne |
| How do you teach intuitive students to make decisions about interpretation? | 1995, 6-2 | Dona Buel, Kaleel Skeirik |
| Can beginner pieces be attractive to recital audiences? | 1995, 6-3 | Julie Sondag, Christine Franklin |
| What keyboard chamber music repertoire do you use with early intermediate students? | 1995, 6-4 | Joanne Haroutounian, Kathryn Ranger, Dawn Costello Miller |
| How do you use repertoire to teach an analytical student to perform expressively? | 1996, 7-1 | Dona Buel, Kaleel Skerik |
| What pieces do you teach that will never appear on your recitals? | 1996, 7-2 | Martha Appleby, E. Gregory Nagode |
| Too late, too soon, too old, too new—What repertoire is the right repertoire? | 1996, 7-3 | Martha Appleby |
| What interactive software do you find successful with early-level students? | 1996, 7-4 | Leanne Hedges Kirkham, Julie Romeo |
| It's a long walk! How important is stage etiquette at a piano recital? | 1997, 8-1 | Martha Appleby, Claudette Sorel |
| What kind of repertoire do you assign for an extended summer break? | 1997, 8-2 | Sara McDaniel, Judy Plagge, Linda Witchie |
| What kind of repertoire do you assign to start off a new year? | 1997, 8-3 | Kathryn Sherer, Roma Eicher, Donna Saunders |
| What repertoire helps your students prepare for Baroque style? | 1997, 8-4 | Marvin Blickenstaff, Amy Rothstein, Sandra Stewart, Yat-Yee Chong |
| When choosing a method for your beginning students, what role does the repertoire play in your decision? | 1998, 9-1 | Mary Sallee, Sister Cecilia Byrns, Vivian Miller Dula, Carol March |
| When choosing a method for your beginning students, what role does the repertoire play in your decision? Part II | 1998, 9-2 | Helen Canine, Beatrice A. Miller, Erica G. McClellan |
| How do you balance repertoire students want to play with repertoire you want to teach? | 1998, 9-3 | Peggy Hegel, Karen Harrington, Susan See |
| What repertoire do you pull out of the hat when a student falls into a slump? | 1998, 9-4 | Sixteen teachers who are listed at the end of the article |
| How do you check that a recital piece is well memorized? | 1999, 10-1 | Robert Vandall, Karen Vandall, Barbara Wasson |
| What is the pedagogical legacy of Louise Bianchi? | 1999, 10-2 | Marvin Blickenstaff, Sam Holland, Joanne Smith, Becky Corley, James Goldsworthy |
| What is your favorite repertoire for the teaching of alberti bass, trills, different articulations between the hands, and balance of melody and accompaniment? | 1999, 10-3 | Teachers in North Carolina and Colorado |
| Do you ever assign arrangements of traditional repertoire? | 1999, 10-4 | Marvin Blickenstaff, Kathryn Sherer, Arlene Steffen, Beverly Lapp, Monica Hochstedler |
| How does the student's reading level influence your repertoire assignments? | 2000, 11-1 | Marvin Blickenstaff |
| How do you introduce new pieces to students? | 2000, 11-2 | Martha Smith, Yu-Jane Yang, Annette Conklin, Susan See |
| When you know that high school will be the end of a student's lessons, what repertoire should have been covered? | 2000, 11-3 | Gay Garard-Brewer, Jean Fox, Avonne Higgins, Anita Renfroe |
| What makes a piece too hard for a student? | 2001, 12-1 | Sylvia Coates, Melissa Falb, Karen Bauman Schlabaugh, Benjamin Whitten |
| What pieces have you written that you consider preparation for style? | 2001, 12-2 | Nancy Faber, Catherine Rollin, Paul Sheftel |
| How do you cultivate your students' understanding of theory through the repertoire they play? | 2001, 12-3 | Audrejean Heydenburg, Marilynn A. Snyder, Suzanne Torkelson |
| How (and when) do you teach phrasing? | 2001, 12-4 | Karen Beres, Mariam Eley, Mary Reiff |
| What are some of your students' favorite recital pieces? | 2002, 13-1 | Carolyn Cassidy, Sister Mary Jane McGettigan, Rosemary Olson, Donna Sanders |
| What is your student's first encounter with sonatina literature? | 2002, 13-2 | Miriam Byler, Yat-Yee Chong, Amy Glennon, Debra Ronning |
| What repertoire do you use as preparation for Romantic style? | 2002, 13-3 | Elizabeth Gutierrez, Sylvia Hunt, James Litzelman |
| Are duets a regular part of your elementary and intermediate level students' repertoire assignments? | 2002, 13-4 | Carol Burggraaf, Laurisa Cope, David Sharpe, Martha K. Smith |
| What jazz materials do you use with your students? | 2003, 14-1 | Virginia and Kathryn Moore, Charlotte Rowe, Karen Thickstun |
| Do you assign special repertoire during the summer? | 2003, 14-2 | Jennifer Lim, Cathy Lynn Smetana |
| Are there special pieces that help you start a new teaching year on a positive and successful note? | 2003, 14-3 | Vivian Dula, Sherilyn Ortman, Barbara Wing |
| What repertoire have you used for "theme" recitals? | 2003, 14-4 | Marie Burnette, Noël Hogberg |
| Do you use recordings to reinforce your teaching of repertoire? | 2004, 15-1 | Mary Jane Clarke, Carla Dean Day, Jama Reagan |
| How do you include music history in the study of repertoire? | 2004, 15-2 | Renée Derstine, Jean Stackhouse, Sheila Vail |
| What repertoire do you use when a student can play with only one hand and how do you assign it? | 2004, 15-3 | E. Douglas Bomberger, Sharon L. Parker, Rachael Short |
| How do you introduce your students to Beethoven's "Fur Elise?" | 2004, 15-4 | Ann Guest, Jan Houser, Denise Strayer |
| When do you introduce original classics to beginning students and what are some of your favorite pieces/collections at this level? | 2005, 16-1 | Lynn Singleton, Janet Bass Smith, Chee-Hwa Tan |
| How do you introduce pieces with more than two flats or sharps, and what favorite repertoire do you use in more difficult keys? | 2005, 16-2 | Donald Morelock, Sister Bernadone Rock, Suzanne Torkelson |
| When do you introduce concertos and what are some you have taught at the elementary and intermediate levels? | 2005, 16-3 | Kim Bakkum, Gregory Butler, Paul Wirth |
| Concertos, Part II: What are the first Mozart Concertos you teach and why? And what other early advanced concertos do you recommend? | 2005, 16-4 | Laurent Boukobza, Virginia Marks, Sylvia Roederer |
| What are some of your favorite "surefire" pieces for today's junior high and high school students? | 2006, 17-1 | Christopher Fisher, Kathleen Guehlstorff, Mary Ann Head |
| When is a student ready to begin Bach Inventions? Which one do you assign first and where do you go from there? | 2006, 17-2 | Father Sean Duggan, Louis B. Nagel |
| What do you think is essential when teaching the interpretation of music in the Classical style? | 2006, 17-3 | Augustus Arnone, Phyllis Rappeport |
| How did your studies with a world-renowned interpreter of Chopin's music impact your own playing and teaching? | 2006, 17-4 | Ann Schein, Jerry Wong |