In the event, and as the service proceeded, I began to sense what would be right. There were the silences and I thought of my own fore bearers killed in both wars. There were poignant words read by a frail age-ed man and the final hymn was to be ‘I vow to thee, my country’.
I now became clearer about what would be right. I would play ‘I vow to thee, my country’. The congregation would make good sense of this repetition I thought.
As the time approached to play my final part in the service I again felt the mood of the place as I imagined the people’s feelings and sensibilities. And now with a sense of what was right here and now I drew the Lieblich Gedact stop  and played the first line of ‘I vow to thee, my country’ slowly and as a single line melody, the second line harmonised and so on with some variation and ending with a lone voice in the lowest of registers.
Later I reflected on what kind of knowledge I had been engaged in.
It wasn’t a matter of knowing that this is the case, these are the facts, here is theoretical knowledge  to be applied, but a practical form of knowing bound to particular circumstances drawing upon feeling and intuition to discern what was right. Thought was bound to feeling. It was knowledge that was experienced, felt, saturated with value and independent of concepts and categories and not translatable to any other kind of knowledge.
All this has great relevance for the music classroom and just what it is that is being valued (assessed) and for the ways of knowing that are being prized, for the ways pupils are making sense of their experience.
In response to the demand for a knowledge curriculum, for facts to lead the way, for knowledge to be reduced to statements of truth, for 100 pieces of classical music to be recognised and named, it is helpful to be reminded of a practical form of knowledge that I have tried to communicate above. This will be about learning and living out dispositions towards making music well, finding out what feels right so that all other manifestations of musical knowledge can be imbued with meaning, significance and placed with care in the order of things.
 ‘Ombra mai fu’ from the opera Serse.
 Just to note that Michael Young’s Powerful Knowledge is theoretical knowledge.