This dissertation reports the results of a qualitative study of master teachers in music performance. In order to identify the subjects of the study, a survey was conducted of musicians in 15 professional orchestras and applied faculty of 11 schools of music. Three master teachers (flute, clarinet, and tuba) from among the teachers identified in the survey agreed to be interviewed and observed. An observational framework was developed that combined Benjamin Bloom”s (1985) theory of talent development with his theory of school learning (Bloom, 1975). The observations focused on the master teacher”s management of instructional cues, participation, reinforcement, and feedback/corrective strategies. Data were collected in three stages. First, preobservation interviews were conducted with the master teachers regarding preinstructional decisions and instructional context. Next, the teachers were observed and recorded in several studio lessons. Third, separate postobservation interviews were conducted with the teacher and student following each lesson. Analysis of the interview and observation data indicated that master teachers (1) provide instruction clearly and efficiently, (2) encourage high levels of task-engagement, (3) reinforce students effectively, and (4) carefully monitor the effects of instruction and make appropriate instructional correctives when necessary. In short, master teachers conform closely to Bloom”s theory of how effective teachers manage instruction in one-to-one teaching/learning environments. However, the artist/teachers observed in this study exhibited a comparatively narrow repertoire of teaching strategies and the pedagogical adaptability and accommodation associated with classroom teaching was largely absent. Nevertheless, the teachers were extraordinarily effective and revered by students. The apparent effectiveness of this seemingly static pedagogical style is partially explained by the teacher”s extraordinary consistency and by careful auditioning that screens students for (1) technical and musical prerequisites, (2) ability to quickly respond to instruction, and (3) personal and pedagogical compatibility. Although many of the generic teaching skills exhibited by master studio teachers are worthy of emulation, other teachers should make adjustments for more common teaching environments, different levels of student aptitude, and divergent goals of instruction.
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