Dance Education and Music Education are not the same, but are often considered together as Arts Education along with Theatre Education and Art Education. The history of Dance Education as a discipline is much shorter than Music Education, so Dance Education often looks to music education for leadership as well as scholarship. Remixing the…

Like so many other doctors, the author loves the arts deeply. Playing a musical instrument and making photographs have been joyful pursuits throughout his schooling, training, and subsequent forty-five-year career as a medical school professor and practitioner of diagnostic radiology. Despite stretches when his healing art pushed aside his visual…

Suggestions to help music teachers adapt the following teaching methods are provided: the Dalcroze method for dance class; the Kodaly method for instrumentalists; the Orff method for string players; the Suzuki method for instrumentalists; and the Kodaly method for chorus. (RM)

For philosopher Gilles Deleuze, the work of philosophy consists of affirmatively and artistically creating and reworking concepts in response to real-life problems in an ongoing process that invites new perspectives and ways of thinking. Carol Matthews's music composition pedagogical practices reflect these processes, arguing that they demonstrate…

In this anthology the issues related to the fine arts (music, theater, visual arts) in the elementary secondary curriculum are examined. The fifteen articles, ranging in length from one to seven pages, are followed by a biographical page briefly identifying the contributors. The articles are: "What's It All About?" (Frederick B. Tuttle, Jr.);…

Addresses the common confusion about the nature and use of intellect in the arts. Attempts to demonstrate the forces that promote and reinforce this confusion in relation to the nature and use of intellect in the arts. (CMK)

Argues that art skills can be taught, but the way that individual artists use those skills cannot be taught. Discusses how teachers in the arts require different preparation from that provided today and that new approaches are needed to teach art lovers and aspiring professionals. (KM)

Highlights characteristics of arts education in Norway, especially with regard to music education. Discusses arts education policy issues such as School Reform 97, the aesthetic dimension, and the idea of the core curriculum. Observes how these different policy issues affected arts education and music/dance education in particular. (CMK)

Describes the American public's growing interest in art after World War II. Discusses the problematic history of arts in the public school curricula, in which arts programs are seen as a last priority in school reform and are the first to be eliminated in school districts facing financial retrenchment. (SR)

Addresses what arts education may be like in the future. Explains that the arts are context bound. Discusses individual cases of present visual experiences. States that the key concern in the future will be the quality of the arts experiences that students receive. (CMK)

States that the arts education disciplines, such as music education, have changed but have not improved overall. Explains that music education has to define its discipline and focus on the history of music education. Addresses the vision of school music in the year 2050. (CMK)

Since the early 1900s, the influence of Emile Jaques-Dalcroze has been felt worldwide in the field of music, as well as dance, theater, therapy, and education. To understand this influence, one needs to know something of his lifelong endeavors and dedication to improving the teaching of music. (RM)

A college course in Queensland (Australia) brings Indigenous women into the class to teach their music and dance. Performative pedagogy involves students as audience and participants, providing opportunities to critically engage with the social, political, and ethical dimensions of power and knowledge in the university setting. Student comments…

Responds to Charles Fowler's article, "Arts Education and the NEA: Does the National Science Foundation Point the Way?" Suggests that arts education is in crisis because of lack of audience support. Recommends that the National Endowment for the Arts (NEA) emphasize the importance of arts education as a part of basic education. (KM)

Asserts that the arts, including art, music, dance, and theater, often are ignored or shortchanged in the school curriculum. Discusses how language education has assumed a central place in the school curriculum and whether art education can use curriculum integration to achieve the same status. (CFR)