Music educaiion in the cuwiculum- If the present ‘teaching diplomas’ in music could become some-
thing other than just ‘soft options’ for the more exacting ‘solo’
qualifications, and could insist on a breadth of musical knowledge
and experience so rarely accepted as essential for good teaching,
students would be far more likely to choose the right course from
the beginning, rather than drift later into an appointment for which
they are not fitted. - One of the anomalies of the educational system is that in spite of
all encouragement given to music as an art, it makes no automatic
provision for training in a large area of the practic,: of that art-
namely, practical mastery of an instrument. Yet some of the ex-
amining bodies require evidence of attainment in practical music
for the general certificate examination.
INDIVIDUAL AND
PRIVATE MUSIC INSTRUCTION
IN THE PHILIPPINES
bY
Lucrecia R. KASILAG
Dean, College of Music and Arts of the Philippine Women’s UniversityIndividual and private music instruction has generally been undertaken
in our country by music teachers who fall into one of three categories.
Most come into category A which is made up of music graduates with
teacher’s certificates, professional diplomas or bachelor degrees. A
great number of these teachers are attached to music academies or
conservatories while others run their own private music studios. Ca-
tegory B includes the uncertified-very often understood to mean
‘unqualified’-private teachers, and these exist in considerable num-
ber. They have undergone some kind of musical training but have
been forced by financial circumstances or other reasons to discontinue
their music studies. They have their own following of students who
naturally pay much less for their music lessons. To category C belongs
the barrio or rural type of teacher whose only training in music has been