Ruby Morgan has been described as "one of the outstanding pianists of the South," performing solo recitals and chamber music throughout the eastern United States and Europe. She made her orchestral debut at 15 with the Brevard (N.C.) Music Center Orchestra and has since performed such diverse works as the Bartok Concerto No. 3, Saint-Saens Concerto No. 2, Liszt Concerto No. 2, Beethoven Concerto No. 3, the "Choral" Fantasy, and the Ravel Concerto for the Left Hand. She has performed extensively as a member of the Heritage Chamber Players, with frequent broadcasts on South Carolina Public Radio.

Morgan has performed solo recitals for the left hand at the Musica di Camera Series at Spoleto, USA, the National Meeting of the College Music Society, the New York Piano Teachers' Congress, the MTNA National Conference, the Music on Madison and the Music @ Ascension Series.

In addition to her performances, Morgan has impacted a number of students as a teacher at Furman. Her students have won both state and national competitions and many have pursued postgraduate degrees at some of the nation's leading music schools. She has served as adjudicator for various competitions as well as lecturer for workshops on piano playing. For eight summers, she was a member of the artist-faculty of the Brevard Music Center. She also provided her expertise at the Taubman Institute at Amherst College and Williams College, where the focus was on performance injuries and injury prevention.

Name Title Description




String Ensemble


Bsc Musicianship II: Keyboard

Ongoing study of voice leading, diatonic harmony, basic modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.


Bsc Musicianship III: Keyboar

Ongoing study of voice leading, chromatic harmony, advanced modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.


Bsc Musicianship IV: Keyboard


Histry & Lit of the Instrument

A comprehensive study of the development of a specific instrument and a survey of the music written for it. Topics will include music written originally for the medium as well as modern developments in musical variety


Piano Pedagogy

Designed for pianists to better understand the process of teaching piano. Learning theories, various piano methods, appropriate literature, and laboratory application, developing teaching skills for the piano.

I believe that connections are the key elements in a piano studio. There must be a connection of mutual understanding and respect between the professor and the student. There must be a connection and comprehension between the student and the composer?and the musical composition. There must be a connection and coordination between the student and the piano. There must be a connection and communication between the student and his or her audience. All of these aspects of making music are what draw me to teaching and what my teaching at Furman provides as the "purpose driven life."

  • Honored by a former student through the "Furman Standard" Endowment Program
  • Who's Who in America
  • National Phi Kappa Phi Graduate Fellowship
  • Sylvan Award as Outstanding Magna Cum Laude Graduate
Professional Studies Program
The Julliard School of Music
D.M.A., M.M.
Florida State University
Winthrop University
Training Under
Martin Canin
The Julliard School of Music
Edward Kileny
Florida State University
Jack Tait
Winthrop University
Edna Golandsky and Lillian Kallir
Other instructors

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