An argument is made for increasing community-based art education programs for adults. Identification of this need emerged from information gathered in a 24-month field research project designed to examine how the attitudes of persons supporting the arts might influence local school policies on arts education. (KO)

States that implementation of the Getty proposals for discipline-based art education would be bad for art education, for schools, and especially for students. Develops several arguments critical of the proposals and critiques the "flawed notions of art, intelligence, and art education" which underlie them. (GEA)

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)

Provides an annotated bibliography for art education. Includes the following areas of interest: educational evaluation, tests and measurements, philosophical and aesthetic issues in art evaluation, and testing and evaluation in the visual arts. (GG)

Describes the New York City Board of Education's Arts Partners program which brings artists into the schools to provide learning experiences to students. Points out ways in which the artists are provided the opportunity to improve their instructional skills. Concludes that everybody benefits from the effort. Provides Board's address for requesting…

Outlines 26 ideal instructional competencies in four disciplines of learning art: art production, aesthetics, art criticism and art history. Reviews the positions of the United States Office of Education, the National Endowment for the Arts, the Association for Supervision and Curriculum Development, and the National Education Association on…

Highlights the purpose and role of the arts in society, discussing the problems involved in arts education for a culturally diverse community such as the United States. Explores the linkage between politics and the arts, and the importance of providing educational opportunities for young people to experience the arts. (GEA)

Raises a central issue in music education: whether performance is an end in itself or whether it is ancillary to something else. Discusses the traditional aesthetic education notion of musical performance and develops a new concept of the nature and values of music performance in music education. (KM)

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)

Outlines a comprehensive integrated program of arts education for the public schools. Describes the role that each of the following should have in such a program: the federal sector, the regulatory and curricular sector, the professional associations sector, the advocacy sector, the commercial sector, and the arts world. (KO)

Reviews the history and state of general music education for K-12 students. Points out that the goals of the Music Educators National Conference were to have music education available to all students and to have all schools and universities require music by 1990. Examines the present situation to determine whether these goals have been attained.…

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)