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Teaching Performance: A Philosophy of Piano Pedagogy

Jeffrey Swinkin (2015: 4, 8)

It should be remembered that a reverence for cultural history is itself a cultural idea
of relatively recent invention. Significantly, our concern with music of the past is
largely a product of the rise of classical musicdeveloped the idea of composing
not just for the present but some notion of posterity, for those who follow. (Johnson,
J. 2002: 93 Who Needs Classical Music? : Cultural Choice and Musical Value)
Musical taste has a historical tendency to be unitary and exclusive in tis appeals to
nature, and classical music, as a product of that Enlightened era whose ideology still
holds sway with us today, always in the end makes the most successful claim to
universality and autonomy. (Green, L 1988:6 Music on Deaf Ears: Musical Meaning,
Ideology, Education) (127)

Our team does not support the contemporary music education due to its lack of
value. For instance, folk music is not necessary to put it in the curriculum as its
come naturally out of itself. Despite both its obviousness and its lack of pedagogic
necessity, school folk was, like the avant-grade, unpopular with many teachers
because of dislike or unfamiliarity. (Green, L 1988:73) However, teachers would not
say this about classical music.
In addition, many of teachers would not teach contemporary music which is more
often its ubiquity and inferiority more than their lack of knowledge about it. For
example, Afro-Caribbean music, it is worthless to lay emphasis on the real music
score and put it in the examination. Bennett Reimer (1989) in A Philosophy of Music
Education mentioned that the musical work should be emphasized on the music
pedagogy with the aesthetic relations and effects of the abstract. Classical work can
infuse pedagogical practice, by exploring the aesthetic ideology and music
education. The teaching philosophy is to provide knowledge for students to
appreciate music and fine arts.
Classical music is revealing our study of musical meaning and ideology. Music
education is of relevance to the sociology of music, not just because of the part
educations plays in the reproduction of the musical mode of production within
school, but also because of the effects it has on musical production and beliefs as
they exist outside. (Green, L 1988:80)
Some music school such as GCSE or ABRSM are expending to different type of music
in the syllabus. Even though students might explore in a wider sense, however, it is
not deeply integrated. Popular music just likes a simple mathematics. Classical
music is more specific, such as physics is a typical subject in sciences, it is an
extension of collective consciousness, expression and application. (302)