There is a long history of debate over what opera is. Since it's more or less formal beginning in the sixteenth century as a reconstruction of ancient drama, opera as an art form has been controversial. The received understanding--emphasized by the genre's founders and in periodic efforts at reforming the standards of composition and…

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)

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;…

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.…

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…

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)

In this essay, the author describes her view of the concept of the aesthetic in music education as "essentially contested" and subject to reinterpretation. She attempts to expand "traditional" notions of the aesthetic in music education beyond a view of the aesthetic transaction as "passive," focused on audience-listening for traditional…

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)

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)

Inclusion of music in public school programs was originally justified on the utilitarian grounds that it fostered social and academic skills. Later an aesthetic rationale emphasized an intrinsic value of music in childrens' development. The position of music education will be precarious until educators provide strong evidence for their positions.…

Reviews the history and state of general music education for K-12 students. Points out that the goals of the Music Educators National Conference were to have music education available to all students and to have all schools and universities require music by 1990. Examines the present situation to determine whether these goals have been attained.…

Contends that music educators must develop a stronger rationale for music education in the face of economic pressures and questions about the value of aesthetic education. Argues that music educators must stress both the utilitarian and aesthetic objectives of music. Includes six basic rationale statements for music education. (CFR)

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)

Argues that both religion and the arts provide primary evidence for understanding human history. Maintains that the marginalization of both subjects denies students insights into some of the fundamental subjective experiences of humankind. Provides a few examples of the interconnection between the arts and religion. (MJP)

Argues music educators must holistically address the subjective side of music listening as well as objective properties. States individual perceptions are neglected and students must experience the balance between subjective and objective realities to fully educate the senses. Advocates critical thinking and moving beyond a technical vocabulary to…