This article reviews the literature and anecdotal data charting potential problems in the training of gifted musical performers. The objective of this article is to feature a conceptual framework that evaluates the role of a musical maestro (or master performer as educator) in the development of talent. Although research into the training of performers in music conservatories is scarce, clinical psychology and performance art medicine report evidence that musicians may suffer from the expectations, psychological paradoxes, and traditions inherent in the so-called “conservatory culture.” The literature suggests that musical maestros, themselves highly gifted performers, may at times be unsuitable teachers and mentors.
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