Perhaps what I am ultimately saying is just a kind of common sense: that there may ultimately be no such thing as a purely "practical" kind of musical pedagogy that is wholly devoid of theory--and just as well, too. If the rhetoric of these many musical writings I have quickly reviewed today may not strike us consistently as overtly theoretical, their underlying structure and content reveals the truth. For in a real sense, we are all theorists: those of us who think about music, who teach music, who wrote and play music. For as soon as we bring our own mind and sensibilities to the written score, to the sounding frequencies; in other words, as soon as these acoustical signs are interpreted by us, we engage necessarily in a kind of cognitive processing that is the ontological essence of theorization. At the same time, however, this theoretical knowledge helps shape how we learn music, how we perform or perhaps compose, just as it helps us hear things in sharper, fresher ways. It is, if you will, an inescapable circle of perception and apperception.