Taylor Chan

Taylor learned the art of collaboration—in music and in life—while completing her M.M. in Collaborative Piano at the San Francisco Conservatory of Music. There, she is currently a staff accompanist and coach to students in Voice / Opera Studies, and has the pleasure of regularly performing alongside them in musical theater and opera productions. She has also held various administrative positions at SFCM in production-adjacent roles, enjoying projects that involve technical writing, data management, creating efficient systems, and identifying ways to optimize collaborative workflow.

Most recently, her relationship with music has expanded in the direction of pedagogy, as she actualizes her general life-calling of knowledge transmission. She would like to pass on her methodologies of self-led skill acquisition to younger artists’, in order to enable them to transcend the limitations of their personal challenges, to raise their ceilings of self-expression and self-actualization.

In addition, she enjoys analyzing piano technique and articulating principles of its physics and physiology, approaching it as a simultaneously scientific and spiritual study. She wishes to change the culture in which chronic repetitive-stress injuries are a given, yet rarely openly discussed.

Her favorite past performances include: the full-length version premiere of Mortal Lessons (2018), a medical oratorio by Ryan Brown (b. 1979); Meredith Monk’s Ellis Island, with pianist Kate Campbell, in a side-by-side concert between SFCM and San Francisco Contemporary Music Players (2018); Steve Reich’s Music for 18 Musicians at the 2019 Hot Air Music Festival, and Philip Glass’ La Belle et la Bête with Opera Parallelè.

Outside of music, her interests include interpersonal psychology, neuroscience, philosophy, writing, design, visual art, and cats.