ABSTRACT
Several music schools resisted this post-colonial scenario because they felt it was against their nationalist sentiments and their status as local musical enterprises. Miranda provided an example of the children's experiences with musical examination. None of the children in this study, with the exception of Miria from Ayios Dhometios, reported attending adult concerts, although many of them went to the music school's student concerts. It seemed easy for the children to identify this music with the corps of great composers living in mythological sphere with no historical specificity. As Nettl explains, the great composers, particularly Mozart and Beethoven, dominate the realm of Western classical musical culture, and have contributed to the canon of musical works which in turn upholds the images of the composers who created them. He argues that the most important feature of a piece is the identity of the composer. Children who take music school lessons learn the notes and they can play the school songs easily.
