Policies often directly impact teachers' lives and practice, requiring them to engage in spite of extremely busy schedules. This article offers encouragement to music educators wanting to be active--and become activists--in education policy. Before becoming active, one must understand how music education policies come to be. I argue that arts…

In times of difficulty, it is easy to see what many policymakers value. It would seem that many of them view the arts as a noncrucial element of a child's school curriculum. They want to cut music because they do not value music for its own sake, nor can they see how music could possibly help students in math, reading, or science. But what do the…

Discusses the National Endowment for the Arts' program, Arts in Education. Explains that the most popular program is artist residencies in which an artist works directly with teachers and classes. Suggests that enthusiasm and planning are the most important elements of success with the program. Includes information on the application process,…

Outlines the work of psychologist Howard Gardner, who isolated and identified seven basic, autonomous intelligences. Discusses the ideas presented at a 1989 South Carolina conference that probed the implications of Gardner's theory of multiple intelligences for the arts and for education. Contends that the theory of multiple intelligences…

The arts statement in the College Board's book "Academic Preparation for College" is discussed. The book recognizes the arts as a necessary academic area of study and defines the necessary arts competencies both for general college success and for advanced artistic study. Its suggestions should be adopted. (RM)

Maintains that efforts to link the arts for educational purposes have been made since the 1960s. Proposes three approaches to link visual art, dance, music and other aesthetic endeavors into one course. Concludes that, although integrating the arts is more work, the motivation for doing so rests on improved student learning. (CFR)

A comprehensive arts in education program is made up of four segments: specialized arts instruction, arts in general education, community arts resources, and arts for special populations. Each of these segments is discussed. A selective bibliography to help fine arts educators involved in curriculum development is provided. (RM)

Argues that if discipline-based music education is to be successful, change initiatives must take place at all levels of instruction. Discusses the collaborative efforts necessary to accomplish this. These include coordinated efforts among state departments of education, higher education and K-12, performing arts centers, teacher and professional…

Considers the implications of discipline-based art education (DBAE) for music education. Recounts the historical shift in art education that produced DBAE. Identifies DBAE's characteristics. Explores the influence of the Getty Center for Education in the Arts upon DBAE. Urges further discussion of incorporating DBAE ideas into music education. (CH)

Defines the role of the music specialist in designing and implementing a discipline-based music education program. Discusses team teaching and other collaborative efforts between the specialist and the classroom teacher. Includes a discipline-based teaching checklist and selected readings for thematic teaching. (MJP)

Examines specific approaches and strategies for teaching discipline-based music education (DBME). DBME incorporates history, aesthetics, and criticism into traditional music education. Discusses creating a DBME unit, what questions to ask, and what resources to use. Includes a sample approach. (MJP)

Provides a thorough introduction to the origin, ideas, and current state-of-the-art of discipline-based music education (DBME). DBME expands music education beyond performance to include aesthetics, history, and criticism. Discusses the music specialist's role in this process, gives guidelines for implementation, and includes a list of resources.…