The Piano Book: Buying & Owning a New or Used Piano by Larry Fine, is probably a good place to start. There may also be helpful information at the "Piano Buyer".
Ebony Music, Inc. “Shifting the Spotlight on Black Pianists and Black Composers”. The website contains an important database created by Black pianists, and also contains useful pedagogical information.
From Spirituals to Symphonies: African-American Women Composers and their Music, by Helen Walker-Hill, gives information about a rich repertoire of music that sadly escapes notice of many people who love classical music.
A Seat at the Piano: Promoting Inclusion in Piano Repertoire contains an easy-to-use database of piano repertoire by a wide variety of underrepresented composers, along with much additional useful information.
Expanding the Music Theory Canon: A Collection of Inclusive Music Theory Examples This website includes a wealth of examples of music theory concepts that draw from compositions of under-represented composers.
From the Top is a weekly National Public Radio show devoted to showcasing talented young musicians. Listening to these musicians play their instruments and talk about their lives can be inspiring, and can help young people understand what can be possible with dedication and practice.
“How a Bach Canon Works”, gives a wonderful visual depiction of a Bach Canon from his Musical Offering. Be sure to watch the video to the very end.
The Peak-End Rule: A simple Way to Make Practicing Feel Less like a Chore" by Dr. Noa Kageyama. This article explains how and why ending practice with easier or particularly enjoyable material can help students want to return to the piano for another practice session.
Video: "Loser's Club" by Jon Nakamatsu. Here 1997 Cliburn Competition Gold Medalist gives a motivational speech aimed at the contestants that did not win prizes in the Cliburn Amateur Competition. He tells about the many times when he did not win piano competitions, or was told he did not have much talent. This video may be helpful for students who have become discouraged in some way about their playing.
International Music Scores Library Project’s Petrucci Library contains thousands of musical scores that are in the public domain. Scores can be downloaded free of charge.
Yesterday Service, is an online music store that operates mostly by mail order.
Playing Your Best When It Counts, by Dr. Bill Moore, a sports psychologist who has turned to working with musicians, gives important information on practicing specifically for performances.
A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Peformances by Eloise Ristad, with whom I took improvisation classes when I was in high school, offers thoughtful comments about music performance and more. Her comments are still pertinent, even many years after she first wrote this book.
Chopin: Pianist and Teacher As Seen by his Pupils by Jean-Jacques Eigeldinger provides a glimpse into this great composer's piano teaching studio that almost makes you feel as if you had eavesdropped on some of the piano lessons he gave.
Performance Practices in Classic Piano Music: Their Principles and Applications, by Sandra Rosenblum, with whom I have given presentations as a member of the New England Piano Teachers Association [link to: http://www.nepta.info] Editions Committee, has compiled a large volume of detailed scholarly research in this volume. If you have ever wondered how to play a trill in Mozart this is the place to look.
“Bebung” in Beethoven?: The Meaning and Execution of the Composer's Indications for Change of Fingers on Tied Notes in the Piano Works, by Deborah Yardley Beers. Yes, this was my own Doctor of Musical Arts dissertation, and the result of library research, sometimes in rare book collections, in several languages. This dissertation views keyboard instruments of the Classic period and music written for them, through the lens of a rather obscure topic. It is now available in a number of libraries and can be purchased from Proquest here.
In his bestselling book, The Checklist Manifesto: How to Get things Right, Atul Gawande describes in a riveting narrative how the humble check-list has cut life-threatening errors in medical care and aviation. Inspired by this book, I have been developing two planners/checklists which musicians and music students may download for free in their current form for non-revenue-generating personal use only (no other authorizations or permissions are granted with respect to these planners/checklists). I invite people who use these planners/checklists to send me suggestions for future revision.
1. "Planner/Checklist to organize and make most of time between music lessons".
The Goal: To help a student develop capacity to do independent work, and to increase the student's rate of progress and level of satisfaction in practicing.
2. "Planner/checklist for upcoming performance of memorized solo music that lasts for up to 15 minutes".
The Goal: To help performers feel prepared, play their best, and learn the most from a performing experience. Ideas from Playing Your Best When it Counts were also used in preparation of this planner/checklist.(This planner/checklist is not applicable to those rare people who are able to start learning their music on the train going to a performance, and still perform well!)
Making it Stick, by Peter C. Brown, Henry L. Roediger III, and Mark A. McDaniel. This book gives very helpful suggestions about learning that can be applicable to practicing.
The Musician’s Way by Gerald Klickstein, offers helpful suggestions about practicing and much more. Klickstein also has an interesting blog.
“The Most Valuable Lesson I Learned from Playing the Violin”, by Noa Kageyama, Ph.D., contains excellent information about avoiding pitfalls and establishing an effective approach to practicing.
A Daisy Chain", by Fitch, Graham, in the Practising the Piano Blog, describes a useful way of practicing by breaking music down into very short segments at first, and then chaining them together. I teach a variation of this method. Sometimes I think it can be useful to break the bars down into still smaller units than what Graham recommends. In complex music that includes a lot of fast notes within a beat, I sometimes even recommend a segment that starts on one beat and ends after playing the next beat. A note of caution: some people, upon reading the article, may start to write fingering in for every note. Not a good idea, I think! As a rule, I think it is best to write in only fingerings on the first note when the hand moves out of 5-finger position! I would suggest, differing a bit from Fitch's suggestion, that after a student has practiced one segment, the next segment should be the section that ends with the first note of the segment that the student just finished practicing.
"The Practice of Practising" The Telegraph. In this article Stephen Hough gives practical tips on practicing. He mentions the value of breaking down hard sections and how slow practice can either be effective or ineffective, depending on how it is carried out.
“10 Easy Ways to Optimize your Music Practice”, by Anastasia Tsioulcas, gives excellent quick tips about practicing.
"Tools for Memorisation", by Graham Fitch, in blog, Practicing the Piano. There are many helpful tips here for making sure memory is secure. Sometimes my opinion differs a little from Fitch's, though. While I think it is useful for musicianship to transpose music, I am not sure that transposition of a selection is useful when trying to memorize it. Also, in the "Tracking" method, which I call "Starting Places" with my students, I advocate playing playing just beyond the next "Track" or "Starting Place" so that the sections connect smoothly.
"Why the Progress You Make in the Practice Room Seems to Disappear Overnight." by Dr. Noa Kageyama, in blog BulletproofMusician. Students often seem surprised when I take a stand against repeating a passage ten times in a row for practice. I was delighted to read Dr. Kageyama's article about why endless repetition doesn't work well, and why another kind of practice is more effective. Dr. Kageyama is a psychologist who works a lot with musicians and has also written other helpful articles.
How Many Hours Should We Be Practicing? VC Masterclass. Pamela Frank, Curtis Institute. You can watch Pamela Frank speak on this video, or you can read her wise words in the transcript about how to practice efficiently.
How to Practice Without Your Instrument. YouTube video: theOpenScore. June 7, 2014. This video featuring a young woman named Michelle gives some worthwhile advice about practicing effectively away from the instrument.