Education, like all other forms of social communication, was essential for Fronzoni. He felt it necessary to pass on the knowledge he had accumulated through years of practice. Fronzoni's workshop "trained and directed students towards the art of continual research and turning that research into the essence of life, nature and the form around them".
"Since being invited into schools in 1967, I have become more and more aware that the real job of the designer, rather than any technique, is to cultivate: the designer's real objective is not to build the city but to show how a city may be built, with the city as a tangible form of civilisation."
Fronzoni claimed that he was not aiming to satisfy the needs of the clients, but rather to do away with them. Fronzoni believed that the art of design should not be kept to the professionals but be as "widespread as writing". He believed his only client was the community and in turn became a designer for the people.
Liszt did not charge for lessons. He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann.
Liszt also wanted to avoid creating carbon copies of himself; rather, he believed in preserving artistic individuality.
Liszt offered his students little technical advice, expecting them to "wash their dirty linen at home," as he phrased it. Instead, he focused on musical interpretation with a combination of anecdote, metaphor, and wit.