I studied with distinguished masters and not one of them ever taught me a procedure. For years I took it as a failing on their part. It is in fact a consequence of how competence works.
The beginner has rules and applies them. The expert has cases and recognizes them. It is not more information: it is the same thing in another form, and that form is not made of words.
If what matters does not travel through words, what does a master actually do? Three things, and none of them is explaining. The most important is the only one that cannot be recorded.
If competence is compiled and the teacher does not transmit it, where does a procedure come from? From a breakdown. And why the strongest objection to all this is also the one that saves it.
Why a good reader can have a terrible memory, what the four channels of musical memory actually are, and who is playing when you are not thinking.
A procedure, almost an algorithm: build a spoken index, calibrate it, maintain it, and use it to come back after a break. The thing nobody at the conservatory ever taught me.
Why three validators are enough to create a phenomenon in contemporary art, and why no number of them is enough in music. Two opposite markets, and a single object of difference.