Scholars continue to identify and describe various concerns about traditional approaches to one-to-one learning and teaching of music. These include the limited adaptability, relevance, and generalisability of the learning that often takes place (e.g., Mills, 2002; Carey & Grant, 2014); student submissiveness and dependence, teacher dominance, and other issues of power that can arise between teacher and learner (Burwell, 2013; Carey, 2008; Long, Creech, Gaunt, & Hallam, 2014); and the lack of formal accreditation for one-to-one pedagogy (Gaunt, 2009), meaning that standards of teaching across and even within institutions may be erratic. Notwithstanding recent calls by sector bodies like Association Européenne des Conservatoires (AEC) for teacher professional development, skills renewal, and improved quality assurance and enhancement processes (AEC, 2010), in many conservatoires around the world, there remains ‘the tendency to maintain time-honoured practices that continue to be exempted from scrutiny’ (Carey, Grant, McWilliam, & Taylor, 2013b, p. 151). As such, the ‘intense critical scrutiny’ (Long et al., 2014) of traditional one-to-one pedagogy in recent research has not yet filtered through to practice, which remains relatively unchanged (Perkins, 2013). This situation seems poised to shift, partly because music institutions are facing such high pressure to be more accountable and transparent to their parent universities and through them, their clients (the students).