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Campbell Kelly (A.MusA., B.Mus.Hons., M.Mus.R., K.Dip.) was born and raised on the coast of central Queensland where he grew up surrounded by music, often played by his father - a successful musician and entertainer.  He received a scholarship to study classical piano at the Queensland Conservatorium in Brisbane and has since completed a Bachelor of Music (Hons) and a Masters of Music Research. During this time he had the opportunity to study piano with Oleg Stepanov, Daniel de Borah, and Mark Hooper. While studying Campbell also developed a passion for teaching and has subsequently taught piano extensively across Brisbane.  

After his studies in Australia, Campbell was accepted to the Kodály Institute of the Franz Liszt Academy in Hungary where he completed a Diploma in Kodály Pedagogy with Piano Specialisation. While there he studied with world class pedagogues including musicianship classes with Katalin Körtvési, and piano with Anikó Novák. 

In his spare time Campbell enjoys reading, composing, practicing, long distance running, and drinking copious amounts of coffee. 


Teaching piano lessons within the framework of the Kodály Method creates a powerful basis for learning, understanding, and playing music. One of the notable tools that is central to the Kodály methodology, and one that many would recognise, is the use of solfa (pictured opposite). Yet this represents only one aspect of the Kodály philosophy which encompasses a holistic, developmental, approach to music education. 

For young students, emphasis is placed on being able to play and sing simple tunes (nursery rhymes) that the student would be familiar with. This is an important step that prepares fundamental musical structures and concepts (e.g reading music notation, harmony) that are understood consciously through solfa and other methods at a later date. Kodály emphasised the importance of experience preceding comprehension and for this reason it is common for many of my young students to play and sing between 15 and 20 (often more) nursery rhymes and songs from memory in the first 6 months of lessons.

At the other end of the spectrum, for the student looking to develop their ability to a high level and undertake exams, I have extensive knowledge of the physical and theoretical aspects of playing and interpreting repertoire. My Masters Thesis focused specifically on this challenge through study and application of the Feldenkrais Method. Furthermore, my extensive studies with various teachers has given me a respect for and knowledge of the interpretive traditions of classical piano. 

When asked to summarise my teaching approach I am reminded of French music pedagogue Jaques Dalcroze's statement, 'A true teacher should be both psychologist, physiologist, and artist'.   

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