For examples of this effect in language learning, check out the writings of All Japanese All The Time, and for this in fitness, see Crossfit where the group setting and competitive features provide additional motivation and is wildly successful.
Of course, this doesn't ONLY apply to those things. This is also the secret of success for unschooling. As far as I have heard unschooled kids have the effortless joy of learning whatever they want at their own pace end up going much deeper on subjects that are of interest to them, and in the end they end up only 1 grade level behind their peers who went through 12 years of relative suffering.
They don't put you through all that out of some perverted wish to make you suffer. They do because they know what's at the other end of that practice.
I do agree not all teachers are good teachers (if you get yelled at, you DEFINITELY have a mediocre teacher) - teaching is first and foremost about transmitting a passion, then explaining the theory which holds it up. And in order to do so you've got to figure out what your student's interests are.
You get people interested in the instrument first by giving them a taste of how they can actually play things they like. Let them explore and have fun. Point out problems they might have with technique, but do it within the framework of getting them where THEY want to be, playing what THEY want to play.
Don't force focus on theory and reading sheet music. When you're a kid who just wants to play something cool that shit is boring and it sucks. Once you get a handle on the instrument and really get passionate about it the theory end starts to become interesting on its own.
Seriously, these teachers didn't know a damn thing I don't know now, and there's a much better way to go about this.
> You get people interested in the instrument first by giving them a taste of how they can actually play things they like.
That can work, but its very dangerous for the student to develop bad habits in doing so - which are then next to impossible to undo to learn the proper method required to play effortlessly. My first year in music school was basically unlearning everything I learned before. Not fun. I saw a lot of people giving up right there.
Learning to read and write text is boring and sucks, yet absolutely nobody will argue its useless. Once you realize the world of possibilities knowing how to read/write opens - you forget it was a pain to learn. You're even thankful for the people who forced you to learn it. Everyone learns it, even if only a handful push it all the way to university as their major.
Music should be the same, it looks alien to teach theory and posture because its not the norm like teaching how to read is. But when you think about it people saw reading the very same way when only the elite had access to this knowledge. Promoting a culture of anti-intellectualism does nobody a service.
> Seriously, these teachers didn't know a damn thing I don't know now
I very highly doubt that, simply because its impossible for you to know what they knew, and they most likely knew a whole lot more than they made it seem when teaching you.
I used to look down on non-readers, but have had to re-think that attitude, simply due to the reality of how music gets played by a lot of people.
But the parent is talking about the electric bass, which I also play. There are plenty of successful electric bassists who never read a single dot off a page. A lot of music is performed without having a written bass part, or improvised from abbreviated notations such as chord charts, Nashville numbers, etc.
Also, it's hard to get motivated to learn reading, when your preferred genre has no written repertoire. Written charts are used in the studio, but seldom by working bands.
A problem with reading is that it's a long learning curve -- especially for adults who already know how to play -- and not much use for it unless you can do it at a fairly advanced level and seek out work that requires it. So, the so called "reader gigs" are covered by a cadre of players who specialize in that kind of work, including myself.
As a jazz musician, I live in two worlds. When I play in larger ensembles, or bands that have heavily composed / arranged repertoire, then I do a lot of reading. But when it's a jazz combo playing standards, I don't even bring a music stand.
There are plenty of counterexamples. My kids have both done quite well with traditional training, as have I. They are both at the top level of the local youth orchestra program. They love classical music, especially the modern stuff. One is also exploring fiddling, the other, singing.
But I've talked to parents, and have told them: The classical thing is great, but if it doesn't work, don't force it to the point where it becomes miserable. Try something else. And just like we don't know why some people seem to learn programming more easily than others, we don't know why some musicians can learn to read. It's kind of a strange skill.
Oddly enough, I've also played electric bass live in front of paying audiences, though the double bass has become my main instrument. Every instrument has its own requirements and learning curve, and each of us gravitates to the instrument that works for our temperament and interests, that change over time. I'm grateful for my classical technique and fluent sight-reading ability, because they figure into the instrument and music that I happen to enjoy playing.
In the Suzuki method, which is favored today, they don't focus on theory or sheet music until the kids have already been playing for a while.
She also didn't believe in using mnemonics to memorize notes - that knowledge would just come from repetition. Though she did hit me pretty hard when I messed up so not sure if that's good or bad.
From that experience I feel having fun is very important, and so is repetition. But also seemingfully boring practice session in class probably helped setting foundation as well.
Some pain in learning process is not probably unavoidable and could even be beneficial but then it's very hard to keep yourself motivated enough to continue when it's not compulsory.
My hypothesis is that the "old-school approach" works for adults but is directly at-odds with teaching children.
As an adult human being of average IQ, you can keep "proper posture", note names, etc. all in mind quite easily as you learn, such that it then needs relatively little reinforcement and you can quickly get to playing music.
As a child, focusing on one thing makes you instantly revert to your "natural behaviour" in every other respect. You can pose, or put your hands on the right keys, but you don't have enough executive control to keep track of both.
The simple solution: stop trying to teach kids piano; start trying to teach adults piano (and encouraging adults to learn piano.)
The songs I had to learn were obscure classical pieces. It was all so horrifically boring, and GOD FORBID if I ever just sat down at the piano and played around, making sound that interested me or trying to replicate something I heard on the radio. That was "unstructured time" on the instrument and was counterproductive to "real" practice.
I absolutely hated every single second of it, and finally quit in a huge blowout fight with my mom when I was about 9 years old, and just refused to keep playing.
As a teenager, I taught myself to play bass, and spent my 20's playing in bands, working in music, touring and all that good stuff. I still play bass and guitar constantly and I've never had any formal instruction in either instrument, but honestly I really wish I had kept playing the piano. The problem was, the way kids are taught, the same way I was, seems designed to make it as repellent as humanly possible.
It would be so easy to make piano interesting, and more importantly, FUN to practice and play, but the old-school approach, making kids play garbage they have no interest in, yelling at them over and over about sitting up straight, is the worst possible way to go about it.