Editing Music lesson (section)

== Pedagogy ==
Music lesson (also known as studio or applied music) [[pedagogy]] and instruction has many influences and aspects. Both the teaching methods and content of music lessons must be somewhat varied according to the level of the student, the goals of the lessons, the student's age, and the instructional context.<ref name=":0">{{Citation |last=Abeles |first=Hal |title=Designing Effective Music Studio Instruction |date=2011 |work=Advances in Social-Psychology and Music Education Research |url=https://www.taylorfrancis.com/chapters/edit/10.4324/9781315565743-4/designing-effective-music-studio-instruction-hal-abeles |access-date=2024-05-15 |publisher=Routledge |doi=10.4324/9781315565743-4/designing-effective-music-studio-instruction-hal-abeles |isbn=978-1-315-56574-3}}</ref> Interpersonal rapport between student and teacher is another important element of studio music pedagogy. Other important factors important to student outcomes include how instructors communicate, their skills at teaching, how they organize their lessons, and how flexible they are to making adjustments.<ref>{{Cite journal |last=Abeles |first=Hal |last2=Goffi |first2=Jeanne |last3=Levasseur |first3=Susan |date=2022-02-25 |title=The Components Of Effective Applied Instruction |url=https://digitalcommons.lib.uconn.edu/vrme/vol16/iss3/15 |journal=[[Visions of Research in Music Education]] |volume=16 |issue=3 |issn=}}</ref> Some teachers also view physical proximity and energy as important aspects of music instruction.<ref>{{Cite journal |last=Blackwell |first=Jennifer |date=2020-01-27 |title=Expertise in applied studio teaching: Teachers working with multiple levels of learners |url=http://dx.doi.org/10.1177/0255761419898312 |journal=International Journal of Music Education |volume=38 |issue=2 |pages=283–298 |doi=10.1177/0255761419898312 |issn=0255-7614}}</ref>

Studio lesson teachers often embody different pedagogical approaches and philosophies. Two broad teaching philosophies can be categorized as the transfer approach and the transformative approach. The transfer approach is primarily performance and outcome-based. The most important goals of the lesson are confined to the technical quality of the musical performance. The [[Transformative learning|transformative]] approach, by comparison, is rooted in [[Constructivism (philosophy of education)|constructivist]] educational philosophy and is not only concerned with technique and musical execution, but also with person-based learning and artistic processes. These two approaches show that musical technique is not necessarily the only goal of music lesson instruction.<ref>{{Cite journal |last=Carey |first=Gemma Marian |last2=Bridgstock |first2=Ruth |last3=Taylor |first3=Peter |last4=McWilliam |first4=Erica |last5=Grant |first5=Catherine |date=2013 |title=Characterising one-to-one conservatoire teaching: some implications of a quantitative analysis |url=http://dx.doi.org/10.1080/14613808.2013.824954 |journal=[[Music Education Research]] |volume=15 |issue=3 |pages=357–368 |doi=10.1080/14613808.2013.824954 |issn=1461-3808|hdl=10072/55276 |hdl-access=free }}</ref>

Successful instructors are often deliberate and clear, explain practice strategies in detail, account for students' emotional needs, and elevate the long-term performance expectations for their students.<ref>{{Cite journal |last=Parkes |first=Kelly A. |last2=Wexler |first2=Mathias |date=2012-07-01 |title=The Nature of Applied Music Teaching Expertise: Common Elements Observed in the Lessons of Three Applied Teachers |url=https://scholarlypublishingcollective.org/bcrme/article/doi/10.5406/bulcouresmusedu.193.0045/255296/The-Nature-of-Applied-Music-Teaching-Expertise |journal=Bulletin of the Council for Research in Music Education |language=en |issue=193 |pages=45–62 |doi=10.5406/bulcouresmusedu.193.0045 |issn=0010-9894}}</ref> The student's specific needs, strengths, and challenges can also influence the teacher's choice of pedagogy. High achieving students may be well suited to unmodified strategies, whereas intermediate students may benefit from modifications. For example, a studio teacher focused on a specific aspect of music and seeking high achievement in one area may momentarily accept a lower performance level on other aspects that are unrelated to the focus objective.

Understanding their student’s perspectives helps music lesson teachers support their students. A primary concern for any lesson instructor is student [[motivation]] for the long-term learning of an instrument. Student motivation pertains to how students of all ages develop the desire to study musical instruments, how and how much they value the learning, what influences their persistence/intensity of study, and student self-perception of success or failure. Motivation is a prerequisite for student development of [[Adaptive behavior|adaptive behaviors]] that increase success in personal goals. Relevant to motivation are [[expectancy-value theory]], [[self-efficacy]] constructs, [[Flow (psychology)|flow]] theory, [[Attribution (psychology)|attribution]] theory, and [[Mastery learning|mastery]] motivational patterns. Musical learning is also [[Social influence|socially influenced]] by teachers, parents, and others.<ref>{{Citation |last=O’Neill |first=Susan A. |title=Motivation |date=2002-04-18 |work=The Science &amp; Psychology of Music Performance |pages=31–46 |url=https://doi.org/10.1093/acprof:oso/9780195138108.003.0003 |access-date=2024-05-15 |publisher=Oxford University Press |doi=10.1093/acprof:oso/9780195138108.003.0003 |last2=McPherson |first2=Gary E.}}</ref>

[[Practice (learning method)|Practicing]] by the student is another integral aspect of musical learning through music lessons. Student practice is often unsupervised and usually takes place outside of the lesson. Instructors often focus on teaching students how to practice using methods such as increasing the [[tempo]] of a piece from slow to faster, analyzing pieces, marking or annotating the music, setting practice goals, practicing in more frequent shorter sessions, and using a [[metronome]]. Teachers can influence students through the demonstration of practice methods or verbal description, although demonstration is often more effective.<ref>{{Citation |last=Barry |first=Nancy H. |title=Practice |date=2002-04-18 |work=The Science &amp; Psychology of Music Performance |pages=151–165 |url=https://doi.org/10.1093/acprof:oso/9780195138108.003.0010 |access-date=2024-05-15 |publisher=Oxford University Press |doi=10.1093/acprof:oso/9780195138108.003.0010 |last2=Hallam |first2=Susan}}</ref>

Music lessons are an important part of both music performance and [[music education]] degree programs in [[higher education]]. Both music education and performance majors can expect to teach music lessons in their musical careers. Students benefit from courses which teach studio instructional methods, allow students to practice instructional techniques, engage in self-reflection, and refine their pedagogy.<ref name=":0" />