Background: Research on music practice has a very long history with the first studies carried out in the 1940s. The research has used a wide range of methods including, experiments, recordings (sound and video), observations, interviews and questionnaires. Aim: The aim of this presentation is to review and synthesise the findings from the research and consider what music educators can learn from it to help those learning to sing and play musical instruments to maximise the effectiveness of their practice. This is particularly important as the consequences of spending too much time in physical practice can lead to injuries.Method: Extensive searches were undertaken to identify relevant research. All studies, whatever the methods adopted, the instruments played or the level of expertise of the learners were included.Findings: Initially, practice was viewed as simple repetition. Now practice is seen as multi-faceted meeting the needs of musicians in the 21 century whatever the contexts or genres they work in. Practice may focus on: the development or maintenance of technique; learning new repertoire; analysis, interpretation, improvisation, memorisation, preparation for performance, evaluation, or planning for future practice. Practice can be physical or mental. Each learner brings to their practice a range of individual characteristics: level of expertise; metacognitive knowledge; capacity for self- regulation; approach to practice; musical potential; personality, gender, musical identity, self-beliefs and motivation. As expertise develops practice becomes more effective and longer time is spent practicing. The multifaceted and dynamic nature of practice has led to the development of several models. Conclusions and implications: For practice to be effective learners need to: have an aural schemata of what they are to learn; have a clear aim for each practice session and longer-term goals; get an overview of repertoire to be learned; identify difficulties; work out how to tackle them; monitor progress; and change approach if necessary; understand their strengths and weaknesses (technically, musically, metacognitively, self-regulatory) and plan, organise and evaluate practice.If learners do not learn to practice effectively, they are more likely to drop out of musical activities. Teachers can help students to practice effectively by modelling how to practice and asking learners to record their practice for discussion in the lesson. They can also encourage: group musical activities to consolidate technique; listening to develop aural schemata; and mental practice to reduce the risk of injury.