Mimicry is extremely important in much of "learning of music" although the reference below is not as good an example as my own -- my own "playing of the piano."
As a young boy I took piano lessons. My teacher did NOT ever mention the word "mimicry" and in fact took the (what I believe is less useful) form of my learning the symbols for music on a sheet of paper -- and an intellectual understanding that the symbol on the piece of paper "was the same as" some particular key on the piano.
I would study musical scores -- even if they were much more simple than the image on the right.
As a beginning [piano] student I imagined that music learning would go just as it is depicted by music teachers: begin with simple pieces, learn the names of the notes, practice scales and exercises, memorize, play in student recitals, then move on (shakily or steadily) to more and more difficult music. Source
This may be how the great majority of people "learn" piano, but a pure mimicry approach to teaching piano would have the teacher sitting at the piano and touching some key -- say the letter "C" on the piano.
The teacher then gets up and invites the student to press the same key -- to mimic the teacher.
There could then be an infinite number of "drills" where the teacher plays two or three notes, with no rhythm at first, then with rhythm, and each time asks the student to mimic.
Chopin was noted as a great "mimic."
"The story is about how he brings the piano to life,ââ Felder explains, ââand he talks about his soul and how it relates to his music.
Chopin was a notorious mimic, and Felder has his character bring to life a variety of unseen guests, such as Franz Liszt. (source)
It appears possible that the great musicians may have SEEMED to study music 
theory, but they LEARNED by mimicking their teachers and idols.
Young student artists would often learn how to paint by "copying" the master's work, or you could say "mimicking it." An image that contains a mimicry would not be the same as "mimicking" a piece of art to produce "another" that was a copy or mimic.
This is a oft-used technique of teaching, even if seldom-labeled as mimicry.
The piano student can quickly observe that "playing random notes on the piano will not attract much applause -- because "people are familiar with familiar music" which flows in scales and chords which have been used for centuries and longer.
So, the student must force himself into the mold of "learning the scales" but that is an easy intelectual subject -- if you start with the C Major Scale and don't worry about learning the other scales, at first, but play the C Major Scale with the right hand, then the left -- realize, one way or another, that fingering has a great deal to do with "good music" and LEARN the proper fingering for various scales.
Then, practice that C Major Scale up and down, left and right, one octave and two, playing in "doubles" or "triples" (where two keys are played with the accent on the first one) and changing accents and finally changing rhyhtms.
You could get better and better with this sort of practice, then take on the G Major Scale, etc., the Minor Scales, the "Diminished Scales" and before long you could play simple scales, with accent and rhythm variation that "would sound like music."
And, behold! Many is the "piece of music" that has been taught -- music that is nothing more than a demonstration of the ability to do fancy fingering, or various scales and switch from one scale to another -- throw in some simple chords -- never "learn" anything about "music scores" and you could play your own original music that would sound and be wonderful to the great majority of your listeners.
What was learning during all this?
Your fingers learned these mechanical skills. There is a magic in understanding this and using these concepts to learn anything, Kung Fu included, that includes motion of body parts.
The example given below includes SOME mimicry, and on my first search for examples it seemed good enough. I leave it in, now, but my own personal experience is far more illustrative of the concept.
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Mike's Master Classes is a centralized source for studying with great Jazz Masters from around the world.
This unique, on-line workshop format makes it possible for you to learn from different Masters and network with other musicians around the world from the comfort and convenience of your own home, or anywhere you are with a computer and a high-speed internet connection!
Just as well, the Masters can be located anywhere and still provide this valuable service. Many will travel with a laptop and the other necessary equipment so even while they are on tour, you will still have access to them!
The Masters Mike has lined up and will continue to add to the roster are comprised of some or the best performers and instructors in the world. The focus will be predominately on jazz and for those who want to expand their improvisation and performance skills. Initially, the Masters will be guitarists, with plans to soon expand with other instrumentalists and vocalists as well, in addition to general sessions on improvisation and ear training for all musicians.
Just imagine being able to attend a one-and-a-half hour Master Class that fits into your schedule, without needing to contact the Master, trying to find a date and time that you are both available, and spending your time and money to travel to and from the Master's location! The only time you will need to allocate is for the actual session itself.
How Does It Work?
You can think of Mike's Master Classes as a virtual meeting room. On this site you will find a Class Schedule with information about the Masters and the dates and times of the classes (Click here for The World Clock to see what time the class is in your time zone relative to Washington, DC). You can reserve and pay for a seat (securely on-line with your credit card or Pay Pal account) for one or more classes at a time. Before the session, you will receive an e-mail from me that will include any materials prepared by the Master ahead of time, which might include written music and diagrams as well as pre-recorded demonstration videos. You will also receive the necessary information and instructions to access the class you will be attending.
You will be able to see the Master on your screen and listen either with your computer's speakers or via a headset. You will also be able to type questions via a chat function. If you would like the ability to speak and/or be seen by the Master and other students, you can optionally use a microphone and a web cam. See the FAQ's for the minimum requirements.
Mike will be the Moderator of each session. The typical format will consist of a lecture and demonstration segment by the Master followed by a question and answer session including all of the Students. During the first segment, Students' audio will be muted to allow for the best quality and focus of the Master and Students. However, during this time you will be able to type in questions as they come to mind, and then Mike can pose these to the Master at the appropriate time. During the question and answer session, the audio will be opened up to all and Students and the Master can interact freely. Following the session, any subsequent materials or information that the Master wants to disseminate to Students will be forwarded by Mike.
June 28, 2006 - Wednesday - 7:30 PM EDT
Jack Wilkins -Guitar - "Jazz Guitar Fundamentals and Chord Solos"
In Jack's first Master Class, he will review “fundamentals” that many guitarists overlook. Theses include 6 basic scale and arpeggio fingerings; picking techniques – alternate, consecutive, slur; inner voices; voice leading and comping. Jack will then explain and demonstrate his approach to chord solos. In addition, he will leave plenty of time for an open forum with questions and answers. This will be one fun and exciting session not to be missed!
Jack Wilkins has been a part of the New York jazz scene for more than four decades. His flawless technique and imaginative chordal approach have inspired collaborations with Chet Baker, Sarah Vaughan, Bob Brookmeyer, Buddy Rich and many others. A consummate accompanist, Wilkins has played and recorded with renowned singers Mel Torme, Ray Charles, Sarah Vaughan, Tony Bennett and Manhattan Transfer.
Look for another class by Jack Wilkins in the fall!
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