![]() As reported by Collens and Creech (2013), one major weakness is that “one-to-one tuition can develop into a site of interpersonal conflict and high anxiety where the relationship itself can become an obstruction to learning” (p. Nonetheless, while individual tuition can indeed lead to a number of optimal learning experiences, and is flexible enough to be adapted to the various needs of students and teachers ( Gaunt, 2011), it is also necessarily limited. This research offers a rich overview of the many positive outcomes of one-to-one pedagogical settings (see Davidson and Jordan, 2007 Creech, 2012). There is a growing body of work that examines the interactive dynamics between students and their teachers in musical settings (see Siebenaler, 1997 Rostvall and West, 2003 Zhukov, 2012). Not only can similar forms of close collaboration stimulate the learner in taking a more active role in the dynamics of, and preparation for, the class, they can also help the teacher better address critical weaknesses of the student (e.g., control of each voice in a polyphonic piece, accuracy in tremolo technique, etc.) and provide a useful meeting point for discussion, constructive criticism, and mutual reflection (see Elliott and Silverman, 2015 van der Schyff et al., 2016 Schiavio, 2019). Consider, for example, how a classical guitar student can contribute to designing a curriculum with his or her teacher where the planned repertoire involves flamenco, jazz, or folk music, and where transcriptions from non-classical literature could become the main focus of the student’s learning trajectory and not just a deviation from the standard set of pieces to be studied. Ideally, this can facilitate skill development in the former and help the latter monitor the student’s progress over time (see Sosniak, 1990). 3), such a learning format is usually implemented in musical settings through adaptable rules negotiated by a learner and an educator. Defined as “an agreement between a skilled person and an unskilled person, whereby the unskilled person learns to practice a specialized craft” ( Coy, 1989, p. As reported by Calvert (2014), learning based on craft apprenticeship remains a fundamental aspect of contemporary education, and it receives growing attention in research concerning a rich variety of domains, ranging from government-related careers ( Fuller and Unwin, 2007) to the arts ( Nerland and Hanken, 2004). This master-apprentice model has a long tradition and continues to play an important role in current pedagogical systems in music, and beyond. In Western classical musical contexts, the process of learning to play an instrument is often framed within a combination of individual practice and one-to-one lessons with a music teacher ( Creech and Gaunt, 2018). We discuss results and suggestions for future research in teaching and learning music in different contexts in the light of recent theoretical research in the cognitive sciences, considering implications for educators interested in diverse skill levels. Despite intrinsic differences concerning the general goals of their teaching and the educational systems in which they operate, our data indicate the ability to “listen and respond to others” as the most important ensemble skill, whereas “time management,” “comparing yourself to the class,” and the “development of responsible ways of learning” emerged as main learning skills. We integrate both studies and discuss overlapping findings. The second reports data from teachers based at the Royal College of Music, London, where the main emphasis is on Western classical repertoire. The first study focuses on collective teaching settings offered to amateurs, jazz musicians, and university students with various levels of musical expertise. Both questionnaires aimed to explore teachers’ pedagogical and performative practice and included open questions elucidating musical skills emerging in groups. In this article, we report data from two survey studies administered to expert music teachers. 4Faculty of Medicine, Imperial College London, London, United Kingdom.3Centre for Performance Science, Royal College of Music, London, United Kingdom. ![]() 2Institut für Musikwissenschaft und Medienwissenschaft, Humboldt-Universität zu Berlin, Berlin, Germany.1Centre for Systematic Musicology, University of Graz, Graz, Austria. ![]()
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