The purpose of this article is to reveal ways to provide the opportunity for students to have aesthetically engaged learning experiences. Using John Dewey's ideas from "Art as Experience" as a framework, the author uses aesthetic theory to show how such ends can be reached. In addition, he suggests six themes that teachers can draw upon to help…

The purpose of music education is to promote the aesthetic response to music by developing perception of the various music elements, including melody. Discussed are what melodic perception is and how it develops, the nature of melody from the psychological point of view, and some experiments on melodic perception. (RM)

This reprint of a 1938 article presents a plea for art education by American artist Grant Wood. Wood says that all children need the opportunity to express themselves in drawing and painting in order to be happy. He explains the importance of teaching expression through art rather than teaching art techniques. (SM)

Addresses the question of how to infuse an artistic aesthetic into classroom music performance. Recommends using material that offers students an aesthetic opportunity yet remains within their intellectual and artistic grasp. Discusses types of compositions that meet these requirements and suggests some creative rehearsal techniques. (MJP)

Contends that music educators must develop a stronger rationale for music education in the face of economic pressures and questions about the value of aesthetic education. Argues that music educators must stress both the utilitarian and aesthetic objectives of music. Includes six basic rationale statements for music education. (CFR)

Asserts that aesthetic questions and aesthetic understanding provide the framework for learning in art. Contrasts formalism (the belief that art exists for its own sake) with contextualism (the belief that art is part of a social communication system). Maintains that a balanced art program should incorporate both approaches. (MJP)

Reprint of the 1966 article as a representative example of thinking about art education during the 1960s. Reiterates the need for aesthetic judgement in art education and discusses those characteristics and approaches that render a judgement valid. Maintains that justification or an aesthetic opinion should be descriptive rather than explanatory.…

Examines types and functions of useful definitions of art in education. Considers the strengths and limitations of functionalist and proceduralist definitions. Identifies art as a concept operating within a culture; therefore, recommends embracing a variety of definitions to be used in contextually significant ways. (MJP)

Outlines six instructional approaches to aesthetics and discusses the instructional applications of these approaches. Assesses their feasibility for classroom practice and places them in relation to established educational rationales. Considers multicultural aesthetics, humanist applications, populist applications, studio instruction applications,…

The author rejects the point of view that says that the development of prose rhythm is "largely a question of sensitiveness and of experience." Prose rhythm is analyzed, to provide objectives for a unit of instruction. (RM)

Asserts that the National Standards for Arts Education ignore the values that shape, define, and illuminate democracy. Calls for attention to child development, school environment, and teaching strategies to supplement the work already done on curriculum standards. (CFR)

Proceedings of a conference on art history, art criticism, studio art, and aesthetics are presented. An overview entitled "For a New Beginning" outlines Pennsylvania's new curriculum requirements and their relationship to art education. Listings follow which cover Pennsylvania's goals of quality education and arts and humanities objectives…

Asserts that art education affirms its identify within the school curriculum by the way it controls and assembles its beliefs. Concludes that it is only at the level of reflective interaction that the cultures of art and art education can be resolved and a rationale for art education developed. (CFR)

Questions whether art educators are using outmoded, traditional methods in a nontraditional world. Contends that teachers must be appreciative of art's eclectic nature and its ability to help students understand contemporary society. Asserts that the relationship between the art teacher and the student must be both active and reflective. (CFR)

Reviews the political controversy regarding the National Endowment for the Arts and the relationship of art to human existence. Argues that art is an essential aspect of the human spirit. Proposes a definition of art as human activity that illuminates the universal qualities of a particular action or experience. (CFR)