Collegiate class piano for music majors has grown substantially since its beginnings in the mid-twentieth century and has been developed by music teachers and organizations. Research on collegiate group piano has increased in the past forty years, and literature on teaching strategies, professional development, technology, and perceptions of students is available. Presently, there have not been any post-pandemic studies which have collected instructor perceptions on collegiate group piano. Additionally, there is limited literature focusing on collegiate class piano outside the United States. The purpose of the study was to investigate the status of group piano instruction as well as instructor perceptions in universities throughout North and South America through a mixed methods investigation. To accomplish this goal, the researcher collected data from class piano instructors in universities across eight different countries within the Western Hemisphere. The questionnaire developed by the researcher served as the survey instrument for this investigation. The researcher used the data collected to analyze the program structure of collegiate group piano classes, investigate the materials, resources, and equipment used by instructors, as well as collect information about instructors' educational backgrounds and group piano training. The researcher sent emails to a total of 40 universities across North, Central, and South America, and received replies from 20 universities. The number of participants for the present study was 28. Results from the questionnaire indicated that piano performance (36%) was the participating instructors' most common musical concentration during their training. Other areas were reported as well, such as piano pedagogy, theory/composition, collaborative piano, music education, musicology/ethnomusicology, conducting, and jazz. Out of all instructors, a slight majority (54%) had not received training specifically in group piano pedagogy. Data from the questionnaire revealed that the typical number of sequential semesters of class piano offered at universities was 3.55, with music theatre (M = 3.5, SD = 1.91) and theory/composition majors (M = 3.29, SD = 1.07) being required to take the most semesters. Weekly contact hours were reported to be slightly below two hours (M = 1.93, SD = 0.73). The textbook most frequently chosen from the questionnaire's list for classroom use was "Alfred's Group Piano for Adults" (43%), however several instructors from South America shared titles of the books and materials that they use in their classes which gave deeper insight into the curriculum used in other countries. Names of smart device applications and websites were also shared. Of the digital tools listed in the questionnaire, the most used item across all participating countries (30%) was YouTube. The questionnaire also revealed significant differences in some perceptions between North and South America. When instructors were asked to rate their students' attitudes toward the university class piano requirement, North American instructors' ratings (M = 3.4, SD = 0.83) were lower than South America instructors' ratings (M = 3.92, SD = 0.52). Another significant difference found between the two continents was that when asked to rate the importance of 11 skills commonly learned in class piano, South American respondents overwhelmingly rated chord progressions very highly (M = 4.7, SD = 0.4) whereas North American responses exhibited greater variability and an overall lower rating (M = 4, SD = 1.13). The reason for this disparity is likely due to the manner in which chord progressions and accompaniment styles are taught in South American countries. Near the end of the questionnaire, instructors also shared their thoughts on the possibility of a national standard for university class piano in their countries. Those who were not in favor of a standardized curriculum mentioned that it is important to keep class content flexible, and respondents who were in favor of a national standard stated that it would be useful for more uniformity across institutions. According to the results from the research questionnaire, the researcher recommends that more rote teaching be implemented into North American class piano instruction to enhance the student learning experience. The researcher also proposes that while a standardized curriculum may not be necessary, more national guidelines can ensure consistency across universities to give students a strong foundation of piano fundamentals on which they can build upon if specialized skills are desired in the future. Finally, the researcher suggests embracing the fusing of international cultures into piano pedagogy, and that an increased awareness of methodologies and literature from around the world be adopted. The goal of this study is to encourage instructors worldwide to engage in increased international dialogue to foster sharing of repertoire, learning new pedagogical strategies, and nurturing mutual growth. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://www.proquest.com/en-US/products/dissertations/individuals.shtml.]