Calls for realistic attitudes among educators who are attempting to include the arts, especially music, in the basic school curriculum. States that unrealistic hopes and expectations invite disappointment and frustration and risk the dissipation of resources. Examines the questions of what to teach and why, who will teach, and who will be taught.…

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)

Advocates that art should be taught by the certified art educator. Suggests art programs should be based on a substantive content foundation, sequence, and integrated with four components: art production, aesthetics, art criticism, and art history. Questions the worth of enrichment, exposure, or entertainment without substantive content…

Discusses the roles of specialist, generalist, and visiting artist impact on policy, instructional philosophy, content, and staffing. Concludes that a quality music education program should capitalize on the strengths of all three types of teachers. (TRS)

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)

Maintains that only people prepared through an arts education can truly receive and understand the benefits of civilization. Argues that we may counteract the undesirable effects of an easy, "instant response" society by focusing our collective and cooperative energies on education about the arts. (TRS)

Discusses the connection of the arts and art education with politics, advocating that art educators can improve the status of arts in U.S. schools by applying political leverage and the insights of political science. Examines the Finnish system of arts education as a possible model for the United States. (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)

Outlines how past art education provided a refuge for students from the rigors of other academic subjects. Observes that in recent years art education has become "discipline based." Argues that art educators need to reaffirm their commitment to a humanistic way of knowing. (KM)

Proposes that the nature and need of the learner dictate decisions about who teaches arts and what an arts education should be. Maintains that teaching partnerships be established within the arts education community to revitalize the arts curriculum and outlines a model for a school arts program. (TRS)

Traces financial support of the arts over the past 40 years to point out how little change has been brought about from the increased private and governmental patronage. Maintains that educational failure of the arts, producing art/culture insufficiencies, must be corrected. (TRS)

Argues that comprehensive arts education includes multiple art forms learning, skills development, critical analysis, historic context, and expression opportunities. Its future may be in partnerships between arts educators and arts institutions. Examines past and current partnership successes and concludes that partnerships can ensure future…

Speculates that a balance can be found by focusing on artistic concepts, learned through experience and broadening the range of cultural exemplars. Posits that the balance is best found by teachers in tune with the school community. (KM)

Critiques the effectiveness of various National Endowment for the Arts programs which sought to develop a broad and discerning audience for the arts. Explores the underlying reasons for the failure of government policy in arts education to promote aesthetic welfare and educational/cultural participation. (TRS)