The most common criticism of the Hanon exercises is that having students drill on purely physical exercises results in an unmusical, mechanistic attitude toward the piano. Critics argue that practicing in an unmusical way dulls one's musical instincts, especially when forced upon children and beginners (though in the introduction he does state that the book should be begun a year or so after beginning piano study), who need to cultivate their musicality rather than inure themselves to rote physicality. It is also argued that it is more efficacious to practice one's musicality as one practices one's technique; training in most art forms involves practicing technique, however repetitively, within artistic context. It is further argued that musicality drives technique; the flow of musical expression is a potent motivator to finger agility. In the notes accompanying his work Hanon considered his exercises less "dry" than other "five-finger exercises".
Piano students all over the world know of Hanon’s famous training exercises. Both and claimed Hanon to be the secret of why the Russian piano school delivered an explosion of in their time, for the Hanon exercises have been obligatory for a long time throughout Russian conservatories; there were special examinations at which one had to know all exercises by heart, to be played in all tonalities at high speed.
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It has been a recent trend for music schools to hold a Hanon Marathon, Church Street School for Music and Art being the first to have coined the term and held the event, in which Hanon Exercises are played competitively. Other works of Hanon include 50 instructional pieces, Méthode Élémentaire de Piano, and a collection of 50 Ecclesiastical Chants. So Charles Nunzio wrote "Hanon for Accordion", a two-volume set of exercises for Piano Accordion based on a similar philosophy, which has recently been reissued in an updated edition. A Hanon for guitar and bass have also been written.