The purpose of this study is to explore the life and work of Pierre Sancan (1916-2008), an exemplary piano teacher who, like many masters in the apprenticeship tradition, is chiefly remembered today by his pupils alone. An all-round musician, Sancan had early success as a composer when he won the Prix de Rome in 1943, and enjoyed a flourishing…

The purpose of this study was to develop a measure to investigate studio teacher's observational skill as a function of the observer's ability to identify effective pedagogical practices. A secondary purpose was to see if observational skill varied as a function of scores on a measure of empathy. Participants (N = 60) were saxophonists who…

Music sight-reading is a valuable skill that eludes and frustrates many musicians. Techniques for teaching sight-reading are varied, with teachers mostly falling back on personal experience or simply hoping that, somehow, the penny will drop for the student. This study reports on a survey of the music learning and playing habits of expert and…

This study, generated from considerations of embodied cognition, observational learning, and cognitive load theory, investigated the effect of mimicking gestures on learning to play piano tasks. Fifty university students from an Australian University, with two different levels of piano-playing experience, were randomly assigned to one of the two…

The purpose of the present investigation was to analyze the teaching characteristics and instructional patterns of an expert teacher, and then to examine whether those observed teaching aspects could transfer into a musical setting. A teacher of swimming was videotaped giving the first four swim lessons to a 2-year-old child. Recordings were…

The importance of music teachers reflecting on their teaching practise has been discussed for a long time [(Gaunt 2008. "One-to-one Tuition in a Conservatoire: The Perceptions of Instrumental and Vocal Teachers." "Psychology of Music" 36 (2): 215-245; Schön 1987. "Educating the Reflective Practitioner." San…

Musical independence has always been an essential aim of musical instruction. But this objective can refer to everything from high levels of musical expertise to more student choice in the classroom. While most conceptualizations of musical independence emphasize the demonstration of knowledge and skills within particular music traditions, this…

This paper describes the research conducted in the Republic of Croatia during the 2012/13 academic year. We have gathered opinions from experts, i.e. teaching methods teachers from seven faculties of teacher education, regarding the music teaching competencies necessary for primary education teachers teaching music in the first several grades of…

Practice is a major element in cultivating musical skill. Some psychologists have proposed that deliberate practice, a specific framework for structuring practice activities, creates the kind of practice necessary to increase skill and develop expertise. While psychologists have been observing behavior, neurologists have studied how the brain…

The purpose of this project was to examine adult learning perceptions of a model music program with group piano instruction and group percussion ensemble for beginning-level musicians (ages 60-86 years). Participants were matched by age and education to two 16-week music programs. Forty participants completed a post-training questionnaire related…

The purpose of this article is to provide a mnemonic device that when incorporated into practice behavior is shown through case study to help students develop an understanding of the relationship between exercises, new and old, and the music that they are preparing. I developed the mnemonic "Preparation of Relevant Activities Causes Technical…

This case study compares the teaching strategies employed by a novice and an expert instructor of two beginning children's group-piano classes. In the United States, there is a century-long tradition of teaching piano to children in groups, and group teaching is championed in pedagogy texts and at professional educator conferences throughout…

In an exploratory study lasting more than 16 weeks, 15 undergraduate and graduate piano students prepared a short piece by the Brazilian composer Guarnieri, "Ponteio" no. 22, without guidance from their piano teachers. The data that were collected included their performances, interviews pertaining to their practice and stimulated recall…

This paper reviews latest research findings on practising in an attempt to encourage studio music teachers to trial new approaches. Literature shows that expert performers begin learning an instrument at an early age, and sustain and increase their deliberate practice over at least 10 years. A certain amount of practice hours is needed to achieve…