Different Approaches to Music Teaching: Why Learning Design Matters Most





Posted on July 18, 2025


Ask ten music teachers how they teach, and you’ll likely get ten different answers. Some emphasize classical training. Others focus on improvisation or playing by ear. Some prioritize theory and sight-reading early on, while others delay it. 


But the real question isn’t which method is better. It’s how people actually learn music. 


That question changes everything. Instead of debating styles or methods, we start with the learner. And that’s where the most effective music teaching begins. 


Why Learning Comes First


At our school, we believe that good teaching begins with a solid understanding of how people learn. That’s why we created our Applied Learning Design diploma. It’s designed to help educators plan lessons and programs based not just on content, but on how the brain actually engages with that content. 


Learning music isn’t just about passing along knowledge. It’s about guiding students to process, internalize, and apply what they learn. That means thinking about memory, attention, motivation, emotion, and even identity. These aren’t abstract academic terms. They’re the real forces that shape how someone learns to play, perform, and express themselves through music. 


The Science Behind Learning 


Understanding learning means understanding a bit about the brain. For example: 


    

  • Working memory is limited, so breaking music into smaller chunks or patterns helps students absorb more. This is why short phrases, simplified rhythms, or repeated left-hand patterns are so effective in the early stages. 
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  • The brain learns through connections, not isolated facts. Teaching a new chord as part of a song the student already knows helps them retain and apply it more easily. 
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  • Motivation plays a huge role. According to Self-Determination Theory, learners thrive when they feel autonomy, competence, and connection. If a student feels ownership over their progress and genuinely enjoys the process, they’re far more likely to stay engaged and keep going. 
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In short, we’re not just teaching music. We’re creating experiences that help the brain want to learn—and remember what it learns. 


What Learning-Centered Teaching Looks Like


So what does it mean to put learning first? It’s not about deciding between “sight-reading first” or “playing first.” It’s about how we present and guide each element in a way that supports the learning process. 


Here are a few examples from our classrooms: 


    

  • Sight-reading becomes a game. With the right materials and gradual progression, reading music turns into a fun challenge. Students start recognizing patterns, predicting what comes next, and feeling proud when they “crack the code.” 
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  • Scales become tools, not drills. When learners see how scales relate to songs they’re playing or help them create their own melodies, they become more purposeful. Technique becomes empowering rather than tedious. 
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  • Mistakes become part of learning. Instead of jumping in to correct every error, we ask students to reflect. “What did you hear?” or “What might you try differently?” These questions build awareness and confidence. 
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Real-Life Moments of Learning Design


Here are a few small moments where learning-centered teaching made a big difference:


    

  • A young piano student was struggling with rhythm drills. We had them walk around the room while tapping rhythms to their favorite song. The movement helped engage their body, and the song triggered memory. Suddenly, the beat made sense.
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  • A teenage guitarist dreaded theory worksheets. We changed direction and started analyzing chord progressions in songs they loved. Suddenly, theory stopped feeling abstract and started feeling like a tool. 
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  • One adult singer had performance anxiety. Instead of focusing only on technique, we built in small, low-pressure performances during class. Later, she completed an online performance exam. It offered a structured, supportive way to perform without the pressure of a live audience. Her confidence didn’t come from “fixing flaws,” but from gaining real experience in a safe, encouraging setting.
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So… What Works Best?


There’s no one-size-fits-all method in music education. What works best is what helps your student learn best.


That might mean:


    

  • Adjusting your teaching to suit the learner’s pace, personality, and goals
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  • Connecting musical concepts to things they already enjoy or understand
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  • Using strategies that build curiosity, confidence, and a sense of mastery
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  • Finding the right balance between structure and flexibility, challenge and support
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Good teaching doesn’t depend on a particular style or genre. It depends on how thoughtfully we design the learning process for each student.


Final Thought


Music teaching becomes truly effective when it’s rooted in learning science, empathy, and thoughtful design. That’s why we focus on learning first. When we understand how people learn, we can teach in a way that feels natural, meaningful, and memorable.


If you’re a music educator who wants to go deeper into designing learning experiences, our Applied Learning Design diploma was created with you in mind. But whether you teach in a classroom, a studio, or at home, one thing remains true:


The best teaching always starts with learning.