The oral transmission of a classical style. What can the impact of colonialism on music pedagogy in North India tell us about current debates on curriculum music in England?

This paper explores the intersection of colonialism, music pedagogy, and curriculum reform, using North Indian Classical Music (NICM) as a case study. Drawing on ethnographic and interdisciplinary research—including fieldwork, thematic analysis of video data, and reflective practice—it examines the impact of colonial reformers' attempts to modernise and systematise NICM. These reforms, while integral to the establishment of music colleges and formal qualifications, often undermined the traditional oral teaching methods of the guru-śiṣya paramparā, replacing them with pedagogies rooted in hierarchical and colonial logics. By comparing oral and written traditions, this study highlights the persistence of oral practices within NICM, even as they adapt to contemporary contexts, including small-group instruction and institutional frameworks. It critiques parallels between colonial impositions on NICM and the privileging of Western classical music notations within England’s National Curriculum for Music. This privileging marginalises oral and alternative forms of musical literacy and sustains inequalities in music education. The paper argues for a more inclusive and equitable music curriculum that values diverse pedagogical approaches alongside diverse content. Oral transmission, as a pedagogical model, offers unique opportunities to engage students in immersive and culturally authentic learning experiences. The discussion concludes with practical considerations for decolonising music curricula, proposing that awareness of non-Western teaching traditions can inform a more holistic, inclusive, and equitable future for music education.