Aesthetic doctrine hypothesizes a for-its-own-sake, "disinterested" autonomy of music from life and assumes, then, that "good" music exists only to be contemplated, and that proper "appreciation" depends on informed "understanding." This distantiation of music from life creates a gap between aesthetes who have (unfortunately) sacralized classical music and the public who regard music (even classical music) praxially--i.e. as serving various social needs and "goods," absorbed listening being only one. "School music" premised on aesthetic suppositions attempts to elevate taste by "converting" students to the sacralized view, with negative results that create an increasing need for "advocacy." The solution is to acknowledge music as praxis and thus to adopt a praxial approach to teaching that bridges the gap between "school music" and music as used meaningfully "in life." Viewed praxially, music is not to be "understood"; rather, mindful use (particularly enthusiastic amateuring) is empirical evidence of "appreciation." (Contains 59 notes.)