Abstract
A primary method for integrating educational psychology and music teaching practice, has a multidimensional impact on piano learners’ development by accurately delivering learning information and building interactive teaching cycles. The research presented in this paper employs a systematic review of literature, drawing upon both Chinese and English sources from databases such as Web of Science and CNKI. It delves into the mechanisms and empirical impacts of feedback-oriented teaching on piano learning performance, which includes technical accuracy and musical expression, as well as on learning satisfaction and intrinsic motivation. The findings indicate that immediate and specific feedback has a significant positive impact on performance technical indicators. For instance, the quantitative feedback from smart pianos results in a 37% reduction in pitch timing errors. Additionally, scaffolding feedback, which is grounded in Vygotsky’s zone of proximal development theory, effectively enhances learners’ sense of autonomy and competence, with 85% of participants reporting an increase in their learning autonomy. The study also reveals a direct correlation between feedback quality and teacher-student trust with teaching satisfaction. However, it highlights a gap in current research regarding the integration of technical feedback with humanistic guidance. The conclusions drawn suggest that feedback-oriented teaching necessitates the integration of multimodal feedback and personalized strategies in order to achieve a combined effect of technical enhancement and emotional development.
References
[1] Cardenas, R. (2023). Feedback methods in the music classroom: A review of literature. Update: Applications of Research in Music Education, 43(1), 30–38. https://doi.org/10.1177/87551233231186533
[2] Cheng, Z., & Southcott, J. (2023). Practice and learning the piano: Motivation and self-regulation. International Journal of Music Education. Advance online publication. https://doi.org/10.1177/02557614221125173
[3] Deci, E. L., & Ryan, R. M. (2000). The “what” and “why” of goal pursuits: Human needs and the self-determination of behavior. Psychological Inquiry, 11(4), 227–268.
[4] Hamond, L. F. (2020). The pedagogical use of visual feedback for enhancing dynamics in higher education piano learning and performance. Journal of Music Pedagogy Research, 8(2), 41–59.
[5] Hattie, J., & Timperley, H. (2007). The power of feedback. Review of Educational Research, 77(1), 81–112.
[6] Lappe, C., Lappe, M., & Keller, P. E. (2018). The influence of pitch feedback on learning of motor-timing and sequencing: A piano study with novices. PloS ONE, 13(11), e0207462. https://doi.org/10.1371/journal.pone.0207462
[7] Olszewska, A. M., Gaca, M., Droździel, D., Jednoróg, K., Marchewka, A., & Herman, A. M. (2025). Piano training induces dynamic neuroplasticity of bimanual coordination but not auditory processing in young adults. Journal of Neuroscience Research, 103(7), e70067. https://doi.org/10.1002/jnr.70067
[8] Szabo, M. (2016). Utilizing immediate feedback in piano pedagogy (Master’s thesis). University of South Florida.
[9] Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Harvard University Press.
[10] Wood, D., Bruner, J. S., & Ross, G. (1976). The role of tutoring in problem solving. Journal of Child Psychology and Psychiatry, 17(2), 89–100.
[11] Xi’an Conservatory of Music Research Group. (2024). Multidimensional influence of feedback mechanism in music teaching: An exploration based on expectancy-value theory. Journal of Music Education, (4), 56–68.

This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2025 Xinxin Xu, Raja Zulkarnain
