By M. Ross
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Extra info for The Aesthetic in Education
As 21 individuals Percy Grainger's idea that all the world should hear all the world's music was not a plea for some kind of superficial United Nations Assembly of Music. He recognized that music was not a universal language but that individuals could respond intuitively to unfamiliar idioms, so that there might be a chance for more human beings to be uplifted by music. If people in a particular society appear to be tune deaf, it is not because they are inherently unmusical. It is because the lack of opportunity or certain institutional restrictions have prevented them from exercising their innate capacities.
The claim that such products are autonomous and publicly available for the scrutiny of others seems to equate creative work with the production of physical objects. Although a physical material might be contingently necessary for the creation of a work of art, it is not logically sufficient. For works of art unlike physical objects are not governed by scientific laws of time, space and causality. They are imaginative objects, and essentially unreal. Art objects are unlike such "things" as tin-openers, hydrogen bombs, and kidney machines insofar as they do not interact with other physical objects in the world.
It is not the task of formal education systems to transmit Little Traditions, as distinct from knowledge about them and awareness of their presence. In the context of contemporary British society, Indipop clearly has more significance than Khyal or Kathak, and a policy of multicultural education could entrench this division. With an open-minded system of music education appropriate for the Great Tradition of Europe, Khyal and Kathak, as well as Indipop, would receive proper attention, not because there are A False Trail for the Arts?
The Aesthetic in Education by M. Ross