ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book investigates chiefly through the micro-analysis of two clarinet lessons undertaken by an expert teacher working with undergraduate students. Spatial behaviour has been, to date, the least explored in the research literature on instrumental teaching and learning. Performance behaviour has been timed, and classified according to the strength of its resemblance to full concert performance. This tacit aim of instrumental teaching and learning, apparently embedded in the broader musical culture, is approached in different ways by individual students, whose behaviour may be variously contextualized by personality theory. Until musical communities of practice have developed and agreed on a better approach to the teaching and learning of performance skill, the studio should remain intact, its practice respected by the institution.
