Music House

Music House

5.0 (3)
1 employee
20 years in business

About this pro

Since 2000, Music House has helped hundreds of children and adults discover and develop their inner musician. You may choose to focus on piano, guitar, violin, autoharp, or find the instrument that is right for you. Through a unique approach to music learning that includes ear training, exploration and problem solving, you will acquire a solid musical foundation that will help you achieve your musical goals. Under the expert guidance of musician, educator and author Meryl Danziger, Music House students have gone on to careers as composers, classical violinists, folk guitarists and pop musicians with their own bands. No matter your age or background, Music House will superglue your music learning experience to your needs, interests and learning style to help you find the way to music making that is right for YOU!  

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New York, NY 10128
Email verified

3 Reviews


  • Elena

    Cole cherishes his lessons. I think that you have tapped into his inner “workings” that very few have seen and not until he started studying at the Music House did he really take an interest in putting it out there. Your patience as a teacher and mentor is really key here. I think he feels safe and therefore secure at the Music House. 

We really trust you. I think Cole has stored so much- you are peeling away the layers to it. And I’m really amazed at your descriptions of his talent. I’m so glad for Cole that he has this gift, something of his own that he can do well and is so motivated to do, for him it’s piano before breakfast and school, piano at every piano he comes across, and piano waiting while we make dinner. It lives and breathes with him. We are so excited and grateful that Cole has you to guide him through his musical journey, or is that journeys? -Elena Pavlov, parent of a 9 year-old

  • Heather Henderson

    I remember with trepidation, when I was a little older than William, the idea of studying music theory — it sounded so dry and, well, theoretical. And to think that he is learning so much theory as he experiments with the sounds of these musical pieces. It’s so exciting! I do feel your mentoring of William has been crucial to his development as a musician and SUCH a positive factor in his life. He just lights up whenever he sees you. He clearly benefits so much from working with you. Whatever goes on between you, it is obviously working. Working? That’s an understatement; it is the highlight of my son’s entire life.

  • Martha Edwards

    This is a letter I wrote to Meryl about my son's participation in Music House when he was 10 years old: David is learning so much from you about music and loves it so much. What a joy it is for us to see his excitement in the discovery of different aspects of music. He is singing so much around the house these days — now with much more sense of the music, his voice, etc. On his own, he plays the piano, experiments with things. It’s such a joy. I was taken with how focused, energized, and — grown-up — he seemed when I picked him up last week. It is clear that he takes what the two of you do together very seriously. It’s just wonderful to see David blossom in the wonderful environment you provide. The exploration that you do with him is just so rich, and I love the idea of trusting the process and, even if it may not be clear at any particular moment, that it will go somewhere eventually. We were talking about his sessions this evening and he said, “I’m going to Music House for the rest of my life.” Then he began to muse that at some point he would come by himself and then maybe he could drive up to see you. And then he wouldn’t be living here anymore, but he would still come. That’s quite a testament to his enjoyment and involvement. We feel so fortunate that David is attending Music House. Thank you so much.

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What is your typical process for working with a new student?

My approach is devoted to meeting students where they are and sprouting music learning from there. I always invite a new student to decide whether to start right with one instrument or explore the environment. They may do either on their own or ask for guidance.  Allowing students a say in their learning ensures that the experience will be meaningful, and that they will have ownership of their own learning, At some point during the first session I invite the student to the piano, where they begin learning to play by ear. Discovering that you have the ability to figure out a song by ear is one of the most empowering musical experiences a learner can have, and one that will set them on a path to confidence and competence.

What education and/or training do you have that relates to your work?

My career as a music educator, along with a parallel one as a professional violinist, has spanned over twenty years and two continents. I have composed, written and published songs, plays and stories. My current book "Music House" has served as a guide for music educators, and my latest music-related publication is "Sing It! A Biography of Pete Seeger."  I hold a Masters degree from Goddard College. 

Do you have a standard pricing system for your lessons? If so, please share the details here.

Half hour: $60

45 minutes: $80

One hour: $100

How did you get started teaching?

I began teaching simply because I wanted children to know that learning  music could be fascintating, relevant, soul-feeding, and incredibly fun. 

Music House began in 2000 when a dad at the Little Red School House where I was teaching came to me in despair becasue his son wanted to quit his piano lessons. I knew that his child was extremely musical, so I offered to try a different approach and see if it could turn things around. It  did, and I realized that a personalized, holistic approach could transform the music lesson. This has ben my musical path ever since.

What types of students have you worked with?

I have worked with students of every musical persuasion and circumstance, from children with no musical background to advanced performers who want to better understand how music works (beyond only playing their instrument); adults who dropped out of childhood lessons convinced they were musically hopeless (They aren't!).  Some of my students want to focus on one instrument, others prefer to experiment with several. I've worked with individuals who learn music through a passion for improvisation, conducting, songwriting, accompanying, music theory, experimenting with sound, learning music history. Everyone has a musical spark and we are all musical in different ways!

What advice would you give a student looking to hire a teacher in your area of expertise?

Try to find a teacher who can be flexible enough to mold your learning to who you are, what you are ready for, and what interests you.

What questions should students think through before talking to teachers about their needs?

Students and, probably, their parents, should try to find out whether a teacher rigidly adheres to doing certain things a certain way in a certain order, or whether the teacher is willing to incorporate what the student may want, for example, exploration, ear training, creativity.