The theory of music has been identified as a significant theory for studying the structure with respect to music. It is said to be including the considerations with respect to form, harmony, counterpoint, rhythm, melody, systems of tone, intervals, turning, scales, proportions of duration, dissonance, consonance, and the acoustics with respect to the systems of pitch, performance, composition, ornamentation, orchestration, production of electric sound and improvisation (Cooper, 2009). In the etymological sense, the theory of music is referred as an act with respect to contemplating, for inspecting, looking at, beholding, observing, and considering. In such a manner, oppositions have been received from practices but these aspects of practicality as to create or to perform music, or the pedagogy of music, currently are considered to belong within the domain related to the theory of music. In simple words, it can be stated that these teachers are the ones having the tendency of teaching skills of popular music in an extremely traditional way of instrumental teaching. It has been noted that one thing is experiencing a way to learn and the other thing is recognition of the level of feasibility as a method of teaching (Hasty, 1997). It can be considered as being reasonable as well as sensible for hypothesising that the formal methods of instrumenting popular music are highly mutual with the formal tuition of classical instruments and comparatively little in mutuality with the informal practices of learning music.