School curricula in the United States tend to focus on students' visual sense, making the teaching and learning of aural art a unique and challenging endeavor. In this philosophical inquiry with practical applications, I propose that the music curriculum be reevaluated with an ear toward the quality of sounds students hear daily as a foundation…

Professional discussion of curricular change and innovation is essential for maintaining and increasing the positive effects that music education can have on schoolchildren. Much recent discourse about curricular change has focused on critiques of the traditional large-ensemble model of music education, technological innovation applied to teaching…

The ideas of three curriculum theorists (John I. Goodlad, Ralph Tyler, and Elliot Eisner) offer a rich source for the development of rationales that can establish music education as an indispensable part of the curriculum. (AM)

Discusses the Manhattanville Music Curriculum Project's concentration on the purpose, substance, and means of music instruction. Describes improvisation as the dominant means for teaching concepts, knowing how music works, and knowing how to make musical sense. Urges that the same goals of aural acuity, creative thought, and musical facility are…

Examines the use of avant-garde works to expand the musical horizons of elementary, junior high, and high school choirs. Lists the criteria which determine avant-garde music, suggests sources of appropriate works, and presents examples of available music in this field. (GEA)

Discusses how music educators can work to convince others of the importance of music in the curriculum. Includes suggestions for using objective data in stating a case to fellow teachers, administrators, parents, and others. (GEA)

Discusses the need for a clearly articulated, continuous music curriculum in elementary and secondary education. The author stresses the importance of teachers and administrators being willing to share information on teaching techniques as an essential part of a coordinated approach to music curricula. (AM)

Jazz has been increasingly accepted into the college music curricula from 1960 to the present. As the popularity of jazz broadened, the demand for high school and college jazz courses grew, more music for jazz ensembles was published, and the number of college jazz festivals increased. (AM)

Music education should be conceived as aesthetic education which is devoted to the systematic development of musicality. Music education curricula should incorporate contemporary psychological methods which encourage creativity while focusing on the nature of music meaning and expression and the development of the capacity for musical response.…

Recommends a holistic approach to teaching that emphasizes learning as a generative amalgamation of actions, cognitions, and emotions. Discusses the implications for change that such an approach would have for the teacher education curriculum. Argues that individuals do make a difference that can be positive if teachers embrace a principal of…

Provides an overview of issues contained in the feature articles on teacher education reform. Maintains that college-level music educators must break the "vicious circle" which results from the tendency of teachers to teach as they were taught, not as they were taught to teach. Concludes with recommendations for changes in recruitment, selection,…

This article reviews common music education admission requirements and screening tests. The author maintains that if teacher educators are clear about the characteristics and competencies potential teachers should possess, equitable and valid means of assessing teacher candidates can be developed. (JDH)

Teaching music to the early adolescent is a challenging and sometimes difficult task. Characteristics of early adolescence are described, and reasons why some middle level music programs are not effective are discussed. Tips for tailoring instruction to this age group are presented. (RM)

Discusses the difficulty in providing general music education for all high school students. Examines teacher resistance to such courses and negative student attitudes towards any required course. Argues that such education is valuable in that its purpose is to refine the aural perceptions and musical curiosity of all students. (GEA)

Discusses ways in which instrumental music teachers can benefit from teaching nonperformance classes and the reasons why these teachers are a natural choice for the job. Examines specific competencies of instrumental music teachers, suggesting ways they can be put to work in nonperformance classes. (GEA)