In the light of an apparent paradox that has resulted from the integration of 'world music' into the school curriculum in many countries, the present paper proposes a tri-partite approach to music education. Such an approach would clearly distinguish between the teaching and learning of: 'inherent meaning', or the study of music for music's sake;…

The authors' intention in writing this article is to dispel any fears and mysteries previously subscribed to about appreciating and creating music. Through simplification and isolation, the understanding of music will inevitably unfold as predictably and beautifully as a blossom on a warm summer day. Their hope is that, people may use this…

New York City as a subject has fascinated generations of artists, writers, and musicians. However, the glamorous image of the city has changed over the years, and in the 1960s, popular music, in particular, began to reflect a utopia/dystopia dichotomy in relation to New York. During the past twenty years, six popular singer-songwriters who have…

Discusses the development of an interdisciplinary "Arts Awareness" class for adults at Arizona State University, West Campus (Phoenix). Describes how events in the areas of art, dance, drama, and music were selected for class viewing and details course objectives and evaluation procedures. (GEA)

Music education should be conceived as aesthetic education which is devoted to the systematic development of musicality. Music education curricula should incorporate contemporary psychological methods which encourage creativity while focusing on the nature of music meaning and expression and the development of the capacity for musical response.…

Focuses on the desirability of teaching children how to read notation and to develop in them the skill of translating symbols into music. Describes the usefulness of the Kodaly method of teaching music reading. (SS)

Describes the role of music in society. Discussion concerns music in the context of purpose, intention, understanding, social reality, stereotypes, awareness of difference, and other areas. (RJC)

Explores the personal and informal dimensions of listening to and making music, noting the varieties of genres and cultural representations in Hawaii. The article explains how to expand one's experiences with music and discusses how to select musical activities. Descriptions of pitch, time, medium, form, and expression are included. (SM)

I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was of a medium I already knew, the vocabulary and grammar of my own…

Children are naturally musical and should be musically educated. Music provides a unique way for children to grow intellectually, emotionally and socially. Music fulfills an inner drive to express feelings and experiences in a symbolic, abstract, creative, and acceptable manner which is positive and valued. Musical nurture should begin within the…

Discusses (1) the assumption that pop music can be legitimized in school by establishing that different criteria are necessary; (2) the attempt to provide appropriate analysis tools for music evaluation by arguing that music has a kind of social referent; and (3) the uses to which music is put. (Author/RM)

Contains a response to Swanwick's critique of the authors' sociological perspective on music education. A detailed presentation of the sociology of music thesis demonstrates that accusations of social determinism and referentialism are both misconceived. (Author/RM)

The job of college music programs is not only to teach the classics but also to teach and encourage appreciation of the relative merits of all forms and periods of music, and to teach methods of evaluating musical quality. (MSE)

Using Bob Dylan's three somewhat different versions of "It Ain't Me, Babe," the author investigates the variables of Dylan's performances and how they alter the meanings of his songs, and suggests that the more we know about popular song the more we will understand the songs we subsequently encounter. (KC)

The author reviews the problems of providing a comprehensive music literature program to general music students and suggests objectives and activities for such a program at the elementary and secondary grade levels. (SJL)