(Photo credit: Ferne Millen, 2022)
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Excerpts from "Optimizing Pianism: Evidence-Based Perspectives"
(Rowman & Littlefield, 2025) "There is no need to be a puppet of our old mind’s operation system. Our job is to be the leader of a new one, an ideal one, that combines the most courageous fictions of artistic imagination with the best tools that reality can offer to deliver them." "...if the narratives of all the injured pianists were taken into account, certain methods of practice may not be viewed so favourably." "in addition to their mechanical role in producing sounds, motor actions learn to embody musical meaning and convey it motorically. What meaning the movements learn depends on what meaning they are taught" |
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Dr. Roberts is a world-class pianist and teacher. He is also a practising medical doctor. Further, he holds a PhD on the physical and perceptual aspects of touch. He is based in London and teaches advanced principles of piano performance and technique optimisation to talented and professional pianists. Passionate about piano playing and the magic that it can create, he is equally passionate about helping pianists achieve their potential and not suffer from the pitfalls of misguided practice time and injury.
He is frequently engaged to present at schools, universities, conservatories and conferences on the topic of Optimizing Pianism. He works with both talented students and professional pianists who strive for the highest levels of pianistic excellence, whilst offering specialist advice and services to pianists who suffer from technical problems, pain and performance-related injuries. He welcomes enquiries from pianists who strive for excellence in pianism, or who seek help with the diagnosis and management of pain or injury. |
Teaching / Coaching
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INDIVIDUAL
5-WEEK COURSE 
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5-week course (£500/ 5 lessons)
Learn how to learn. Learn the secrets of piano virtuosity. Covering the principles of optimization, as described in "Optimizing Pianism: Evidence-Based Perspectives". 1• Assessing (your) pianism using the "3M Model of Pianism". Overcoming misinformation, pianistic pitfalls, perception errors and maladaptive learning psychology. 2• Mechanics and Movements: how to optimise pianistic movements. 3• Memory and Learning strategies for fast learning and better recall. 4• Musical artistry, how to manipulate senses and emotions in listeners. 5• Practice and Process optimisation: how to learn effectively and efficiently. |
Book
*Purchase on Amazon here
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After more than 14 years of preparatory work, Dr Roberts' book, 'Optimizing Pianism – Evidence-Based Perspectives', is finally published (Rowman & Littlefield). The book is for advanced pianists and teachers, and addresses the central pedagogical theme of touch, the touch-tone interaction, its mechanics, our perceptions of it, and how we can optimise it. Uniquely, it examines this topic through the eyes of science in an evidence-based way, challenging the assumptions of standard traditions and exposing the pitfalls of many pedagogical schools of thought – systems that continue to permeate teaching methods around the world and lead to suboptimal outcomes and injuries.
Chiefly, the book is concerned with separating what matters from what doesn't matter in regards to achieving virtuosity. It highlights how errors of thinking (psychology), errors of mechanics (physics), and errors of learning (physiology) – are the main factors that prevent pianism from succeeding. It outlines an approach to overcoming such problems by targeting improvement in the Mechanical, the Mental and the Musical elements of pianism:'The 3 M's of Pianism'. |
Book Reviews
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"This book is a revelation. The universe of pianistic art is examined from all sides and put to the test. The approach is a scientific, rational one, but at the same time the author is also an artist and is familiar with the language of emotions and the fragility of aesthetic categories. The book contains everything an advanced pianist needs to know; from the physics of sound production on the grand piano to the anatomical details of the hand, forearm and upper arm, and from the choreography of movements to the secrets of expressive playing that moves and captivates the listener. In doing so, it is not judgmental, but critically analytical, questioning. And it contains countless practical tips, from preventing overuse injuries to working through the difficult etudes of the Romantic period and designing a pianistic life plan. Thank you, Cameron!"
• Prof. m. Dr. med. Dipl. mus. Eckart Altenmüller, FEAN Institute of Music Physiology and Musician’s Medicine, Hannover University for Music, Drama and Media "Highly recommended - a forensic exposé of the megalomaniacal, imperialist and superstitious BS behind many destructive piano pedagogy belief systems, this is a keenly scientific and rational handbook on pianism that can assist pianists in skewering the cultural cringe and confidently think for themselves. You may not be able to choose your family, but you can sure as hell choose your own “ultimate pianism”. • Dr Michael Kieran Harvey, FAHA Adjunct Professor, Piano/Composition, University of Tasmania "Dr Cameron Roberts is the most ideal person to embark on such a study. As a brilliant pianist and practising medical doctor he combines the disciplines of science and art. Cameron Roberts brings his knowledge of the workings of the body in relation to pianism in all its aspects, and challenges received ideas which have been passed on over generations. It is first and foremost intelligent and informative; it is thought-provoking, also amusing. It is both absorbing and enjoyable to read." • Ronald Farren-Price AM. DMus Hon, FMusA Hon. Former Dean and Head of Keyboard, University of Melbourne |
Presentations & Masterclasses
• Book presentation – 'Optimizing Pianism (and anything else!) – Why guess when you can know? – Goodenough College, London, Apr 2025
• Masterclass – 'Optimising pianism – help from science'. Conservatory of Music, Melbourne, Uni. Aug 2022
• Workshop – Elder Hall, University of Adelaide, Australia. Jul 2014
• Keynote speaker – "The Application of Science and Medicine to Piano Technique", 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – Tamworth Conservatory of Music. Jul 2012
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Apr 2012
• Masterclass – Australian National Academy of Music, Melbourne. Apr 2010
• Workshop – Australian National Academy of Music, Melbourne. Mar 2010
• Masterclass – Wangaratta Performing Arts Centre, Victoria, Australia. Mar 2010
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Mar 2010
• Doctor for Australian Youth Orchestra. European Tour, 2004
• Masterclass – 'Optimising pianism – help from science'. Conservatory of Music, Melbourne, Uni. Aug 2022
• Workshop – Elder Hall, University of Adelaide, Australia. Jul 2014
• Keynote speaker – "The Application of Science and Medicine to Piano Technique", 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – 6th WA Piano Pedagogy Conference, University of West Australia. Apr 2012
• Masterclass – Tamworth Conservatory of Music. Jul 2012
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Apr 2012
• Masterclass – Australian National Academy of Music, Melbourne. Apr 2010
• Workshop – Australian National Academy of Music, Melbourne. Mar 2010
• Masterclass – Wangaratta Performing Arts Centre, Victoria, Australia. Mar 2010
• Presentation – "The Application of Science and Medicine to Piano Technique", Faculty of Music, University of Melbourne. Mar 2010
• Doctor for Australian Youth Orchestra. European Tour, 2004
Academic
• Fellow, Royal College of Anaesthetists (FRCA), UK. 2018
• PhD - ‘How the pianist’s touch affects tone quality – a review of performance-based and scientific literature with applications to piano practice and performance’, University of New England, Australia. 2015
• Masters (Music) – Dissertation: 'Symbolism in the late works of J.S.Bach', University of Melbourne, Australia. 2006
• Bachelor of Medicine & Bachelor of Surgery (MBBS), University of Melbourne, Australia. 2002
• Associate of Music Diploma, Australia (violin), Australian Music Examinations Board. 1993
• Licentiate of Music Diploma (with distinction, piano), Australian Music Examinations Board. 1992
• PhD - ‘How the pianist’s touch affects tone quality – a review of performance-based and scientific literature with applications to piano practice and performance’, University of New England, Australia. 2015
• Masters (Music) – Dissertation: 'Symbolism in the late works of J.S.Bach', University of Melbourne, Australia. 2006
• Bachelor of Medicine & Bachelor of Surgery (MBBS), University of Melbourne, Australia. 2002
• Associate of Music Diploma, Australia (violin), Australian Music Examinations Board. 1993
• Licentiate of Music Diploma (with distinction, piano), Australian Music Examinations Board. 1992
Scholarships & Awards
• Australian Postgraduate Award (APA) for PhD research, Australia. 2010-13
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2011
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2008
• Michael Kieran Harvey Scholarship, Australia. 2006
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2006
• Australian National Academy of Music, full-residential scholarship. 1998-99
• Pearis Rodger scholarship, University of Melbourne. 1996-98
• Northcote Trust scholarship. 1994
• State Premier's Award for Music, Victoria, Australia. 1994
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2011
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2008
• Michael Kieran Harvey Scholarship, Australia. 2006
• Ian Potter Cultural Trust: grant for investigation on the application of science to musical injury prevention. 2006
• Australian National Academy of Music, full-residential scholarship. 1998-99
• Pearis Rodger scholarship, University of Melbourne. 1996-98
• Northcote Trust scholarship. 1994
• State Premier's Award for Music, Victoria, Australia. 1994