This may be less clear today, since contemporary society is characterized by the fragmentation of older taste cultures and the proliferation of new ones. In this context, cultural musical transactions take place with increasing rapidity hence the heating up of the cultural economy and its rapid turnover of new products. Not only are taste cultures themselves shifting, but people now tend to move between them with greater ease. These factors contribute to a sense of the relativity of any single position. Contemporary musical choices enable us to make selection from among umpteen choices, such choices refer to the pluralism, and the effect of that plurality is inevitably to confirm that, in matters of musical judgment, the individual can be the only authority. (Johnson, 2002, p.Musicians are perceived as “speaking on behalf” of the cultures they perform. As Harnish says, “For those of us teaching in geographic areas of little diversity, we are charged with or charge ourselves with the task of representing the music and culture of the ensemble”. (Solis, 2004, p. 14) Debate about music, even technical debate between musicians, has always been an attempt to wrestle with this conundrum: music flows from individuals to other individuals and yet seems to be shaped by supra individual forces. The basic model of that conundrum does not change.Music teachers, however, are the only representatives of these cultures in the areas where they teach. Those involved with music of ethnic groups not only strongly represented in the U. but also to the population that tend to present public performances almost exclusively before nonheritage. Directors thus find themselves relatively free to present to their students no direct aural experience of the tradition other than hearing themselves and audiences any type of repertoire, played at nearly any level of competency. The sonic and visual novelty is often enough, initially, to sustain interest and to entertain for reasons entirely at odds with “authentic” aesthetic criteria. (Solis, 2004, p.History makes it clear that there is nothing natural or essential about the ways we experience music today and the ways we account for that experience. That means cultural music oblivion has made us to forget our origins and the nature to which we belong. Today fiercely emotive defense of an individual response to music is not only of relatively recent
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