Student and Graduate Views on Effective Music Education at the Academy of Music

A broad array of forces shapes the success of music education — political, economic, social, and cultural shifts in society, along with developments in education science (Gillen, Wright, & Spink, 2011).

Within effective music education, teaching acts as a crucial condition for nurturing learning in both instrumental and vocal music. The part a teacher plays during lessons must be considered from multiple angles, since the one-to-one educational relationship involves various personal and professional dimensions. Improving music teaching requires understanding all these elements, the connections between them, and how they affect teacher training and professional growth. The impact of a teacher’s own preparation also matters, as it forms a significant component of successful instruction (Concina, 2015).

Researchers around the world approach effective music education through differing lenses. Georgii-Hemming & Westvall (2010), looking at Swedish music education students, examined how learners perceived their own teacher training. Their results sparked debate about ideological concerns related to democracy, music’s value, and its role in the curriculum. In Norway, Saetre (2018) investigated the link between a teacher’s competence and what actually happens in music lessons, finding that competence is the most powerful factor driving music-making in schools. A qualitative U.S. study by Gruenhagen (2012) explored novice music teachers learning in communities and applying their training in practice. That research pointed to several keys for effective education: clear structures and processes, building community within classes and among colleagues, and collaboration — which includes support, different viewpoints, validation, and a shared vision. From Nigeria, Adeogun (2015) argued that improving how musician-teachers are prepared is absolutely necessary for music education to keep growing as a field. Cheng (2018), working in Hong Kong, focused on information technology and described the laptop ensemble as a platform made possible by computer technology, allowing people to make music together. Participating in such an ensemble, says the study, helped students build both musical and technical skills — fitting a framework of digital musicianship that modern music educators need.

Yet several additional elements strongly affect effective instrumental music education: (1) the relationship between teacher and student during lessons; (2) the teacher’s competence; (3) the teacher’s creativity, organization, and ability to communicate; (4) the classroom atmosphere; and (5) teaching methods.

Biasutti & Concina (2018) and Krause & Davidson (2018) examined aspects of effective music education to improve student outcomes and personal growth, while also fostering positive educational diversity. They noted that instrumental and professional music instruction has unique qualities compared to other academic fields. The music education process, therefore, depends on several factors specific to instrumental training. The primary goal of an instrumental-vocational training process is to develop a professional musician, so students are selected for their talent, knowledge, and skills. Second, informal education teaches specific music-oriented content along with intensive specialization. Third, during instrumental lessons the teacher works face-to-face with the student — a special arrangement where the student relates primarily to a single teacher. This kind of teaching demands attention not just to technical variety and teaching methods but also to music theory, rhythm, and ear training.

This context raises these research questions: How do students and graduates who continuously practice and study instrumental music describe effective music education? And how do they see the teacher’s role within it? The study’s aim was to explore and describe effective music education through the experiences and opinions of students and graduates from the Academy of Music.

Methodology

Approach

The researcher assumed that effective music education is shaped by the teacher-student relationship; the teacher’s competence; the teacher’s creativity, organization, and communicability during lessons; classroom atmosphere; and teaching methods. This qualitative research looked at effective musical education through the eyes of professional musicians in various specializations.

Sampling and Sample

Participants were chosen through purposeful sampling — a method widely used in qualitative research to find information-rich cases related to the phenomenon being studied (Palinkas, Horowitz, Green, Wisdom, Duan, & Hoagwood, 2015). Purposeful sampling means viewing sampling as strategic decisions about who, where, and how to research, meaning the choices must align with the research objectives. There is no single best strategy; which works best depends on context and what researchers want to achieve (Palys, 2008).

The sample included 14 men and women aged 20 to 30, all active as professional musicians in various fields. All had either already graduated or were in their final (fourth) year of an undergraduate program at a Music Academy, and all had been performing music for at least fifteen years. Seven were graduates and seven final-year students. In the findings, discussion, and conclusions these two subgroups were not separated or compared; the aim was to provide a deep description of the phenomenon rather than to generalize (Jugder, 2016).

Data Collection

Semi-structured interviews served as the data collection method. Interviews are now widely accepted as the main data-gathering tool in qualitative research (Kvale & Brinkmann, 2009). Many researchers prefer semi-structured interviews because questions can be planned ahead, helping the interviewer appear prepared and competent while still letting participants speak freely in their own terms (Blandford, 2013). This format does not follow a strict list of questions; instead the interviewer asks open-ended questions that invite discussion rather than a simple question-and-answer session (Kvale & Brinkmann, 2009).

Research Tool

The tool consisted of five main questions asked during the interviews, with some having follow-up questions (three in total):

1. “Tell me about your musical path.” “Why did you choose it?”
2. Main question: “How many teachers did you meet on your musical path who influenced your further musical path?” “Tell me about the teachers who were authorities to you and who you could say were effective.”
3. “Describe your experience with the teacher who has made an impact on your musical development.”
4. Main question: “What was the most memorable event related to your effective teacher?” “How did that teacher inspire you?”
5. “Is the professor’s opinion important to your musical career as an artist/soloist/musician now?”

Data Analysis

Thematic analysis was used to analyze the data. This approach, widely applied in qualitative research, looks for patterns of meaning across a dataset to answer a research question (Maguire & Delahunt, 2017). Coding is the main way to develop themes from raw data — researchers identify important moments and encode them before interpreting (Jugder, 2016). Themes are presented through in vivo interview statements.

Findings

Theme: The multilayered beginning of the professional path

“Everything happened really completely unplanned, I had been thinking about music, because I was the only child who didn’t go to music school.” (R1)

The musical journeys of the participants varied widely. Some called it an unexpected choice:

“Well, my musical path started very unexpectedly. My mother found an advertisement that children are accepted to play instruments at a music school.” (R3)

Others initially never imagined a music career:

“Then I thought and told myself that I would never go to the music school and I never related my future with music because it is hard to live on. But after a while, everything turned around.” (R2)

Some felt that music chose them:

“I think that music has chosen me itself. Since early childhood, music has been beside me because I had a childish dream to be a singer and it came true.” (R5)

Parental influence was a strong factor for some:

“I have chosen my musical path. My parents put a lot of attempts in order to put me in this direction. They helped me a lot, encouraged me and supported me as well.” (R6)

For a few, a coincidence started everything:

“Everything started by chance. Accidentally I came to music school: some teachers from music school were looking for gifted students who could and would like to enter music school.” (R4)

Theme: Teacher’s personality influence on a professional music career

“My first music teacher spoke about the [musical] path very attractively and with a great love. Being a musician to me is a wonderful gift.” (R11)

Research participants described how various teachers affected them. These were not only specialty teachers but also instructors of theoretical subjects, who contributed to the musicians’ overall musical understanding:

“Being a musician, I have met numerous brilliant music specialists. The first specialty teacher has not only been my specialty teacher, she has been my life teacher as well. Studying in the music academy, I had a wonderful professor who motivated me a lot.” (R7)

Many encountered several specialty teachers, each helping them at different stages:

“I had three specialty teachers of singing and they contributed a lot to my musical path. In all I got singing lessons as well as life ones, interesting stories about music.” (R10)

Some acquired both knowledge and ideas about their own future as teachers and performers from these encounters:

“I have met wonderful teachers in my path. Certainly, they were the teachers of my specialty, but most of them ‘crashed’ into my memory. These people not only gave me knowledge, they showed and explored to me a good example as well.” (R8)

Others, however, said the teachers they met had little effect:

“Sincerely speaking none of teachers where I was studying made anything special to me.” (R9)

Theme: Being more than an ordinary music teacher

“That teacher has really taught me a lot. <…> he has taught me how to work, how long I have to play in order to reach good results and how to study, how to understand right.” (R14)

Participants pointed to a variety of teacher qualities. Chief among them were love for music, life lessons, and cultivating inner personal qualities. For some, the teacher provided not just technical musical abilities but also the determination needed to survive as a true artist:

“When I was younger, I always thought I was playing well, but after joining higher level music studies I realized it wasn’t like I thought. And finally, the teacher himself told me that it was not as good as I thought. Frankly, I did the best I could, I felt a very big encouragement from my family members. And the teacher himself did his best.” (R13)

Many said their main professor set them on the right path. “I can say that he formed me as a musician.” (R12)

Participants acknowledged that when they were “immature,” they could not fully grasp what the teacher was offering. “Perhaps I gained the greatest influence on my musical development from the last teacher who gave me the most for my vocal knowledge.” (R11)

Some noted influence from peers too. “One friend had a big influence on me. Being beside him, I had the opportunity to observe the whole creative process. And it is not a technique, it is a general understanding, perception of what music is.” (R12)

Theme: Being in togetherness with the teacher by experiencing teaching through example(s)

“The most memorable thing was singing with the teacher while the symphony orchestra was playing.” (R10)

Effective music education, participants felt, demands not only pedagogical rigor but also an informal atmosphere. Some remembered events where teachers blended formal and informal instruction:

“There is an event which happened with the professor. The lecture was going on, I performed the music piece and he said to me: ‘You know what, you are very similar to a basketball player S. Jasikevicius.’ At first I did not understand him. So, later he said: ‘You are a fighter as he is.’ His words touched me.” (R9)

Several participants felt great satisfaction when attending their professor’s concerts: “The most memorable event was my professor’s anniversary concerts and the preparation for them, where I had the opportunity to sing for the first time at such level concerts, sing with the orchestra and perform for a very special audience.” (R14)

For other participants, travel and competitions with teachers stood out: “I cannot say that there is only one memorable event. Since childhood, traveling together remained in my memory.” (R7)

Many believed the best events were those helping them connect with many professional musicians: “One of many such events was that I got to know him and I knew a lot of bright specialists with whom I had to work and cooperate.” (R6)

Theme: Importance of the professor’s opinion

“It is very important because if you take a new piece of music that you have never heard and seen before, then who will give you advice if it is not the teacher?” (R5)

Participants emphasized that a teacher’s input matters at every learning and career stage, especially at the beginning. “The Professor’s opinion for my music career was really of great importance. Especially during my studying years I was listening to it.” (R8)

Others noted that student musicians need to balance their own judgment with the professor’s advice while finding their own path: “Well, I would say that you have to listen the professor with ‘one ear’.” (R9)

If the professor’s statements are reasonable, you have to accept them. (R4)

But research participants also believe it is essential to gain the most from the teacher, and if that good relationship continues after their studies, that is wonderful:

“You have to listen to your teacher when you really have no idea what to do and when to start.” (R9)

Other participants consider ongoing or permanent collaboration with a former teacher meaningful:

“My opinion on my music career is very important. I know people who finished studies 10 years ago, but they still have consultations with their teachers.” (R1)

Discussion

The thematic analysis revealed and presented a range of participant views. Research participants placed considerable weight on the personality and professional skills that demonstrate a teacher’s expertise in their musical field. Every respondent agreed that the key quality of an effective music teacher is dedication to music education — that is, a passion for their work and the capacity to instill that passion — in this case, for the world of music — in students. Participants also heavily stressed proficiency in the specific musical discipline. Consequently, the study found that a teacher’s competence encourages effective learning. This finding aligns with research by Gruenhagen (2012), Adeogun (2015), and Krause & Davidson (2017). For some participants, educators were not just music instructors but also people who imparted valuable life lessons. These teachers could understand, support, and guide them through difficult situations. Furthermore, participants learned about trust, a love for music, and professionalism within the music world. Some researchers — Gillen, Wright, & Spink (2011); Reyes, Brackett, Rivers, White, & Salovey (2012) — emphasize the importance of personality traits for effective teaching.

The research indicated that a positive, supportive teacher–student relationship fosters a continuing and productive music career. This outcome corresponds with findings from Concina (2015) and Cheng (2019). When the teacher–student bond is built on equal partnership, mutual understanding, discovery of positive qualities, respect, and love for the person, all these factors promote effective music education that places the student on a creative career path in music (Biasutti & Concina, 2017).

Conclusion

Effective music education does not hinge on the student’s aspiration to become a professional musician but primarily on the music teacher’s professionalism, competence, and personal qualities. Therefore, effective music education requires the teacher not only to have strong musical knowledge or technical mastery but also to convey musical attributes to students.

Students need to feel their music teacher’s support, understanding, and guidance toward musical knowledge. However, they must also work on developing their own personal understanding and interpretation of music, which calls for dialogue with the teacher. Students need opportunities to reflect through discussion, to be accepted and respected — even if criticized — for their original vision and courage to express it verbally in conversations and through musical performance.