Dr. Thomas Lanners has appeared worldwide as a pianist and clinician, presenting his New York solo debut in Weill Recital Hall at Carnegie Hall in 2004. His performances and commercial recordings of composers such as Leonard Bernstein and Ned Rorem have been broadcast nationally and internationally on programs that include American Public Media’s Performance Today, BBC3 in London and RTÉ Radio 1’s Sunday Miscellany in Ireland. Designated the 2014 OMTA Distinguished Music Teacher and inducted into the Steinway & Sons Teacher Hall of Fame in 2021, he serves as Professor of Piano at Oklahoma State University’s Greenwood School of Music. He has presented numerous sessions at MTNA conferences, the NCKP, and prominent international conferences, and his feature articles and reviews have been published in American Music Teacher, Piano Magazine, and others. Thomas received his graduate degrees from the Eastman School. His major teachers include Barry Snyder, John Perry, and Jerome Lowenthal. HELPING STUDENTS DEVELOP THE COURAGE TO COMMAND THE STAGE: Developing the courage to perform in an authoritative fashion – one that sets audiences at ease and convinces them that they are listening to musical statements that deserve to be heard - requires perseverance from young musicians. Because psychological elements are involved, the ability to “command the stage” in performance must be charted over a broad time period. Progress can begin immediately, though, when certain concepts are understood. Those include the ability to make “bold mistakes,” avoid obsessive perfectionism, realize that listeners want performers to succeed, and keep perceived failures in proper perspective. Making “bold mistakes” heightens students’ emotional commitment to music making, as they are relieved of the burden of perfection, and ironically it often eliminates persistent faults that plagued their performances. Fear of failure is perhaps the greatest obstacle to the development of onstage confidence. Students benefit from a reminder that, in all the arts, “beautiful” often trumps “perfect.” I remind them that music is not brain surgery, wherein one false move can cause permanent damage or even death. In a worst-case scenario, a musician simply tries again, humbled by facing their natural human imperfections in a practice room, in lessons or on stage. Mistakes are an essential part of the learning process, helping the brain eventually find north on its compass. Conversely, obsessive perfectionism inevitably causes physical tension, which diminishes technical skills, creativity, and the sense of improvisation in the moment. This session should surely be of use to musicians and teachers of all ages and abilities.