Author explores the role of music in each person's life and investigates the question of whether music should be just another of the subjects taught at school, or should it be a strong, edifying influence in a child's upbringing. (Author/RK)

Music teacher lists some of the amusing names his students have given to different musical compositions and their composers while developing their music listening abilities. (RK)

Discusses the child's awareness of music and the continuously developing realization of what music actually is. (Author/RK)

Discusses the lack of awareness students have in considering classical music and presents methods for kindling their interests in a music form relatively unknown to them. (RK)

Presents a music curriculum which provides a music program for preschool through high school students that emphasizes comprehensive musicianship in all learning experiences. (Author/RK)

Author complains that many students with four years of high school band will still be musical illiterates, ignorant of Western civilization's musical heritage. (JB)

Developed a model and tested the following hypotheses: (1) esthetic features--tempo, rhythm, dynamics, and phrasing in piano performance--are accurately perceived by audience members and (2) such perceptual veridicality does not depend upon one's degree of education/training and is therefore shared by critics and audience members. (PD)

Noting that the use of behavioral objectives poses a particular problem for arts instruction, since it is difficult to formulate the aesthetic experience into identifiable behaviors, the author suggests that Polanyi's theory of tacit knowing may help explain how formal music study can influence the aesthetic experience of music. (Author/SJL)

Defines cultural literacy, relating it to verbal and musical literacy. Discusses how reading with comprehension compares to listening to music. Describes what musically literate people know, and the level of their knowledge. Maintains that to attain musical literacy one needs to know some cultural data but primarily one needs to listen to music.…

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)

Presents several examples of short Hispanic ballads for incorporation into advanced secondary school and undergraduate courses. The ballads' historical and cultural significance are explored as well as their linguistic value. (CB)

Emphasizes the importance of student choirs as an ideal environment for music education in four articles by: Kenneth H. Phillips, Mary Goetze, Sally Herman, and Donald L. Neuen. Articles cover issues related to the growth of choral music, techniques to improve learning and performance in children's and junior high school choirs, and the qualities…

Points out that high school band programs are often geared toward entertainment and the short-term reward of competitive recognition. Suggests the goal should be toward the development of musical skills including understanding, creating, and appreciating the art of music. Suggests how band programs can contribute to the music education curriculum.…