BACKGROUND: We define teacher wait time (TWT) as a pause between a teacher question and the following response given by a student. TWT is valuable because it gives students time to activate prior knowledge and reflect on possible answers to teacher questions. We seek to gain initial insights into the phenomenon of TWT in medical education and give commensurate recommendations to clinical teachers.
METHODS: We observed n = 719 teacher questions followed by wait time. These were video-recorded in 29 case-based seminars in undergraduate medical education in the areas of surgery and internal medicine. The seminars were taught by 19 different clinical teachers. The videos were coded with satisfactory reliability. Time-to-event data analysis was used to explore TWT overall and independently of question types.
RESULTS: In our sample of case-based seminars, about 10% of all teacher questions were followed by TWT. While the median duration of TWT was 4.41 s, we observed large variation between different teachers (median between 2.88 and 10.96 s). Based on our results, we recommend that clinical teachers wait for at least five, but not longer than 10-12 s after initial questions. For follow-up and reproduction questions, we recommend shorter wait times of 5-8 s.
CONCLUSIONS: The present study provides insights into the frequency and duration of TWT and its dependence on prior questions in case-based seminars. Our results provide clinical teachers with guidance on how to use TWT as an easily accessible tool that gives students time to reflect on and respond to teacher questions.

In health courses, the students must be familiar with the effects of intravenous solutions on cell volume and function, a topic where there can be learning difficulties and misunderstandings. Since educational games can assist in understanding complex concepts, we created a game relating solution osmolarity and tonicity to red blood cell volume that was used in undergraduate Dentistry and Medicine courses. The students, working in groups, completed the game board by indicating the effect of the solutions on the red blood cell volume and classifying the solutions in terms of tonicity and osmolarity. The student indicated that the use of the educational game contributed to their understanding of osmolarity and tonicity.NEW & NOTEWORTHY This study describes an educational game for teaching osmolarity and tonicity, using classical red blood cell experiment results. The game was used during dialogic teaching, which was interrupted three times so that the student groups could answer questions about the experiments by completing a table describing the effects of different solutions on cell volume. According to the students\' perception, the game contributed to their understanding of osmolarity and tonicity as related to human cells.

Since communication and expression are central aspects of music performance it is important to develop a systematic pedagogy of teaching children and teenagers expressiveness. Although research has been growing in this area a comprehensive literature review that unifies the different approaches to teaching young musicians expressiveness has been lacking. Therefore, the aim of this article is to provide an overview of literature related to teaching and learning of expressiveness from music psychology and music education research in order to build a new theoretical framework for teaching and learning expressive music performance in instrumental music lessons with children and teenagers. The article will start with a brief discussion of interpretation and expression in music performance, before providing an overview of studies that investigated teaching and learning of performance expression in instrumental music education with adults and children. On the foundation of this research a theoretical framework for dialogic teaching and learning of expressive music performance will be proposed and the rationale explained. Dialogic teaching can be useful for scaffolding young musicians\' learning of expressivity as open questions can stimulate thinking about the interpretation and may serve to connect musical ideas to the embodied experience of the learner. A \"toolkit\" for teaching and learning of expressiveness will be presented for practical application in music lessons. In addition, a theoretical model will be proposed to further our understanding of teaching and learning of expressive music performance as a multifaceted and interactive process that is embedded in the context of tutors\' and learners\' experiences and environment. Finally, implications of this framework and suggestions for future research will be discussed.