Integration Piano Week 2025 blends education and performance in a three-day workshop and closing concert that focuses on bringing classical music training together with the latest in neuroscience, functional anatomy, and the Alexander Technique.
This is the first time that the Integration Piano Method will be formally presented in Canada.
The event will be led by pianist and educator Yoshimi Ito and neuroscience researcher Shigeru Yamauchi, both visiting from Japan.
Yoshimi Ito is the founder of the Integration Piano Method and Academy, based in Tokyo. She works with musicians to help them play more freely, and release unnecessary tension.
Neuroscience & Alexander Technique Specialist Shigeru Yamauchi is a holistic practitioner, acupuncturist, and certified Alexander Technique teacher with over 30 years of experience. He is co-director of the Integration Academy, bringing a science-informed approach to artistry and performance.
The Alexander Technique
The Alexander Technique, developed by Frederick M. Alexander, uses an understanding of anatomy and neuroscience to improve mind-body coordination, crucial to musical performance. Born in 1869 in Tasmania, Alexander suffered from ill-health as a child.
He was drawn to the arts, and became an elocutionist, or professional reciter. However, Alexander would go through bouts of hoarseness, and had difficulty breathing on stage at times.
In his quest to find the root of the problem, he made critical discoveries about the relationship between unconscious habits and how they can affect how we perform certain acts at specific times, such as on stage, or under stress.
In essence, The Alexander Technique involves being fully conscious of everything you are doing, every small motion. It’s a technique whose validity has been confirmed by physiologists since that time.
The Event
The workshop will explore the interconnections between movement, pain, and musical expression, and how they are processed in the brain and body. It’s a science-informed alternative to the traditions of Western piano pedagogy.
Advanced students, teachers, and professional musicians who are dealing with injuries or performance stress may particularly benefit from the information.
Concert: Threads of Time
The workshop ends with a concert by performers — Mariko Minematsu, Yuka Kagami, Yoshiko Nagao, Naomi Harada, Ai Homma, and Mariko Avenesian — who are trained in this method, demonstrating its technical and artistic impact.
We asked pianist and educator Yoshimi Ito a few questions about the event.
Yoshimi Ito: Q&A
LV: Why has physicality been overlooked in performance training?
YI: In the classical music world, the focus has traditionally been on interpretation, analysis, and hours of practice at the instrument. Physicality — how the body actually moves, balances, and supports musical expression — has often been taken for granted. It was assumed that if you practiced enough, the body would “figure it out.” Unfortunately, that often leads to unnecessary tension, injury, or limitations in artistic freedom. What has been missing is a systematic way to connect body awareness, neuroscience, and musical performance.
LV: Is the Alexander Technique becoming more common?
YI: Yes — there is definitely more awareness today. Many conservatories and professional organizations have started to introduce Alexander Technique, Feldenkrais, or other body-based approaches. However, they are often offered as optional extras, not yet fully integrated into the core of music education. Our approach goes a step further by combining Alexander principles with current neuroscience and performance psychology, making it directly relevant to the challenges musicians face on stage.
LV: Have you encountered resistance?
YI: There can be resistance, especially from institutions where tradition runs deep. Some people feel that focusing on the body distracts from the “real work” of music. But once musicians experience the difference — feeling freer, more expressive, less pain — the resistance usually dissolves. It’s less about changing tradition and more about enriching it with tools that allow musicians to flourish.
LV: What kind of impact does this science-informed approach have?
YI: The impact is profound. On a functional level, it helps performers play with less effort, avoid injury, and sustain long careers. But it doesn’t stop there: when the nervous system is regulated and the body is free, the music itself changes. Tone becomes more resonant, timing more organic, and expression more authentic. It absolutely helps musicians become better artists — not only technically capable, but able to move audiences with genuine presence.
- Find details and information about the workshop October 21 to 23 at Heliconian Hall [HERE].
- Find information about the October 25 concert at the Glenn Gould Studio [HERE].
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