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Qualitative research uncovers the link between social cognitive theory and music education in early childhood, highlighting the role of observational learning and family support.
The Suzuki approach is a universal music education model suggesting that musical talent is not innate but can be developed through natural processes and social interaction. Social cognitive learning theory explains how individuals learn by observing and imitating others, evaluate their own behaviors, and interact with their social environment during learning. Accordingly, this research aimed to examine the fundamental principles of the Suzuki approach within the framework of social cognitive learning theory. The research, which reveals the relationship between the Suzuki approach and the principles of social cognitive learning theory, offers an original contribution to the literature by providing a new perspective for educators and researchers. Moreover, by emphasizing the social dimension of the Suzuki approach, it underscores the significance of interaction-based learning in music education. The study explores the main principles of the Suzuki approach: early childhood education, learning by listening, repetition, observation and imitation, family support, motivation, and character education. A holistic single-case design, a qualitative research method, was used, and data were obtained through document analysis. The results indicated that early childhood education, learning by listening, repetition, and observation and imitation in the Suzuki approach align with the principle of observational learning in social cognitive theory. Family support was related to observational learning, vicarious learning, and reciprocal determinism. Motivation corresponded to self-efficacy and vicarious learning, while character education related to self-regulation and observational learning. From the perspective of social cognitive theory, the Suzuki approach represents a multidimensional educational model grounded in individual, family, and social interaction, positioning music as a social learning tool and elevating music pedagogy to a social phenomenon.
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Bilge Özel (2026) studied this question.
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