for learning through a modern approach and modern music, and the best description of Salzedo's influential teaching. This began a collaborative partnership of several books. The Salzedo Method, as it is referred to, is perhaps the most widely used harp method book of the 20th Century. It is a deliberate break, in some aspects, with the traditional French approach found in methods by contemporaries such as Renie. It is more of a leap directly from the popular Universal Method of Bochsa into the Modern age, bypassing the late-romantic period altogether. When Salzedo was invited to found the harp department of the newly formed Curtis Institute of Music, Florence Wightman was hired as his teaching assistant. When Wightman left to take the position of Principal Harp with the Cleveland Orchestra, Lawrence was hired in 1927 as Associate Instructor. As such, she taught the first-year students, who included such legendary harpists as Edna Phillips and Alice Chalifoux. When cutbacks due to the Depression caused her to be laid off in 1928, she was invited to found the Harp Department at the Philadelphia Musical Academy. She was so successful with her students there, as she put it, that after just two years, she was brought back, along with her best students, to the Curtis faculty where she remained until 1933, having become a competitive threat to Salzedo. Having joined Radio City's orchestra in 1932, her schedule was ultimately too heavy to continue traveling to Philadelphia to teach, so she resigned from the Curtis. She continued to teach privately, and joined the faculties of the Mannes College of Music, later Manhattan School of Music, and Boston University and its Tanglewood Harp Seminar. She also taught at the Longy School, Teacher's College of Columbia University, and gave master classes in Houston, San Jose, Denver, Michigan, Philadelphia (her last master class was held there in 2003) and many other locations. For many summers she taught 10 to 16 students of all ages at Tanglewood, giving an intensive 8-week learning experience of twice-weekly private lessons and weekly master classes. She served as the first president of the American Harp Society, and as a judge for the International Harp Contest in Israel, where her student Grace Wong was the highest-placed American winner (second prize). Her students have held many important orchestral and teaching positions and won many competitions. They are known for high musical and technical standards. Over