Music in America has an elitist history. While music colleges stress the development of performers, there is no comparable education for the audience which must support them. Music appreciation should emphasize aural memory, so that audiences can understand the basic materials which lead to musical coherence. (CS)

As a teacher, conductor, adjudicator, and composer, the Danish immigrant Carl Reinhardt Busch educated the citizens of Kansas City and other cities to a higher level of music comprehension and appreciation. He contributed significantly to the development of music education and should be recognized in its history. (SR)

Discusses some of the factors such as cultural attitudes, student expectations, and teaching methods that affect and impede the teaching of college-level courses in music appreciation. An alternative teaching approach, which presents ways composers have portrayed events in the human life cycle, is described. (AM)

A model of music preference theory suggests ways that teachers can broaden their students' musical preferences. Teachers can change preferences by changing something in the listener, the social environment, the music, or the ways that the listener processes information. (AM)

European music is more relevant to contemporary Japanese life than Japanese classical music is. The sociocultural and economic reasons for the Japanese fondness for European culture and their active participation in European musical life are discussed. (AM)

Performance preferences and students' ideas of "correct" performance were affected by appropriate and inappropriate models. There was a slight difference between boys and girls and an overall preference for fast/loud music over slow/soft music. Correlations between verbal and behavioral preference indications were low but positive. (Author/SJL)

This paper argues that, although T. S. Eliot's "Four Quartets" provoke comparisons with the late quartets of Beethoven, an analysis of Four Quartets and Bela Bartok's Fourth and Fifth String Quartets produces a clearer understanding of the formal structures in the poetry and music. Symmetries offset asymmetries. (Author/KC)

Descriptions of music and visual art peak experiences obtained from persons were content analyzed and factor analyzed. The peak experience accounts for mirrored conflicts in aesthetic norms and suggests a greater role for individual differences in aesthetic theories. (Author)

The author presents a brief discussion of the uses of aesthetic theory in aesthetic education, followed by the explication of one subsidiary aspect (regional qualities) of Monroe Beardsley's theory, and by a demonstration of how that aspect can be applied in musical analysis and in teaching for perceptive music listening. (Author/SJL)

Examined 80 children in second and fourth grades on melodic and rhythmic discrimination and classification tasks. Found evidence to support the existence of internal representations of tonality and meter in both groups, as well as evidence of a developmental effect for the classification task. (EAJ)

Reports a study designed to investigate patterns of music listening among music and nonmusic majors regarding four primary constituent elements of music--rhythm, dynamics, timbre, and melody. Finds that musicians do attend to listening in a significantly different manner than nonmusicians do. (DB)

Chances are that future music lovers are right now sitting in the orchestra, chorus, band, or general music class, waiting to be enlightened. True, they are working diligently in rehearsals toward excellent intonation in that Schumann transcription, and they seem to be loving the gem of a concert march they've been working on, but are they also…

David Stevenson's thoughts regarding Reichling's essay are offered in this article, and he begins his response by saying that Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. He points out that Reichling states…

Phenomenology has been defined as "an approach to philosophy centering on analysis of the phenomena that flood (human) awareness" (Jorgenson, 1992), including the essences, meanings, and essentially necessary relations of these phenomena. In the last fifty years, an increasing number of writers have begun to examine the music-listening experience…

This article builds an interdisciplinary perspective on the nature of western classical music performance by combining concepts from literary theory, music philosophy and music education philosophy. The article concludes with practical proposals for the education of music performers. (Contains 2 notes.)