Presents a brief historical overview of the basic premises for fine arts education. Emphasizes that the fine arts should be taught as an end in themselves, with no utilitarian function attached to them. States that such aesthetic education is a necessity in the development of human beings. (GEA)

Discusses the difference between viewing music as a thing and as a process. Advocates conceptualizing music as a process of the mind. Offers a discussion of neurophilosophy as a means of focusing attention on the need for a revised epistemology of music and to highlight educators' responsibility for revamping the curriculum. (KO)

Discusses the need for a coherent curriculum in arts education. Suggests that the discipline-based art education (DBAE) approach has as its goal the achievement of coherence and the acceptance of art as a basic in education. Recommends that each individual teacher evaluate program alternatives in terms of their own needs. (KO)

Examines the role of the National Endowment for the Arts in determining art education policy, stating that the organization has become increasingly political and has failed to realize its early promise. Argues that the arts should be regarded and taught as a humanity. Advocates an "excellence curriculum" for secondary art education. (GEA)

Discusses the potential impact of the recent call for cultural literacy on arts education. Describes current design approaches in the arts education curriculum. Suggests a number of ideas that are deemed important for curriculum reform. Cautions that curricular changes, although much needed, must be thoughtfully considered before implementation.…

Proposes a model for a comprehensive arts curriculum. Discusses the significant phases of the curriculum and relates them to each other. These phases include identification of values, conceptualization, systematizing, interpretation, operation, and experience. Lists five objectives that serve as criteria for judging the worth of curricula. (KO)

Discusses the preservice education of art teachers. Suggests that there are three major challenges for teacher education programs. Points out the need to individualize such programs, the need to update curricula in order to answer the call for reform, and the need to ensure that teachers have a firm commitment to art. (KO)

Argues that art history should have a more prominent place in primary and secondary education. Suggests promoting art history by (1) ensuring that teachers are knowledgeable in the discipline; (2) studying art history through other disciplines; and (3) exposing students to real artworks, local architecture, and the significance of popular culture.…

Examines issues of integrating and funding arts education in public school elementary core curricula. Recommends that art become part of daily, and nonexpendable, school experiences. Suggests that art teachers should be consultants for designing curricula, training, and assisting classroom teachers. Urges higher education should better prepare…

Outlines a philosophy for music literacy for all students that emphasizes wholeness. Suggests that music educators concentrate on nonverbal knowing, integrating popular and classical culture, balancing learned literature and improvisation, and making singing a central part of the music curriculum. Maintains that artistic excellence should be a…

Examines the style and content of evaluating student achievement in arts education. Considers student and teacher roles. Advocates formative rather than summative evaluation. Outlines Bennett Reimer's seven modes of interaction with the arts, seeking a vocabulary of arts assessment. Cautions against standardized testing in the arts. (KM)