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)

Music study should be construed primarily as an experience of its feeling content. Taught so, it can reach for the inner core of the early adolescent, to pierce that sometimes hard outer surface that protects the vulnerable inner life. Attempts to intellectualize music with young teens are doomed. (Author/SJL)

This document is a South Carolina curriculum model that identifies four broad areas of study. These components, which should be present in all music education courses, are: (1) aesthetic perception and concept development; (2) creative expression and skills development; (3) music heritage, both historical and cultural; and (4) aesthetic valuing,…

Asks the questions (1) what is critical thinking in music?; (2) why is it so important that we engage students in it?; and (3) what does it have to do with music education? Answers these questions and elaborates on the notion of critical thinking as an educational goal and tool. (MJP)

Describes and defines the steps involved in measurement and evaluation: (1) determining an outcome; (2)defining scoring criteria; (3)establishing appropriate assessment tasks; and (4)creating opportunities for learning. Includes a flow chart for a design-down curriculum and an example of a vocal performance rating scale assessment. (MJP)

Maintains that music educators have struggled for decades with issues related to a "multimusical culture." Contends that balancing the musical traditions of Western civilization and honoring the varieties of music of cultural subgroups is a major issue in contemporary music education. (CFR)

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)

Contends that a number of music educators believe that music should be taught in the same rigorous, sequential, and comprehensive way that other subjects are taught. Asserts that critical thinking skills and interpretation are essential factors in this process. Recommends cooperative learning and portfolios as appropriate instructional strategies.…

This teacher's guide accompanies a series of television programs in music education for kindergarten and first-grade children. The story line of the programs centers around the revitalization of a once run down neighborhood called Strawberry Square where people had forgotten how to sing, dance, and live joyful lives. The program builds upon the…

The document presents 17 syllabi for undergraduate humanities courses treating black culture. This first volume of syllabi was prepared by participants in a 1981 Humanities Institute at Spelman College as part of an National Endowment for the Humanities (NEH) grant. The document is divided into two parts. Part one, the bulk of the document, is…

Profiles music scholar Charles L. Seeger and his contribution to U.S. musical life. Seeger played a significant role in introducing vernacular music to schools, extending the definition of U.S. music in the curriculum, presenting music as a cultural subject, and promoting musical diversity in the classroom. (MJP)

The document presents 23 syllabi for undergraduate humanities courses treating black culture in the 20th century. This second volume of syllabi was prepared by participants in a 1982 Humanities Institute at Spelman College as part of a National Endowment for the Humanities (NEH) grant. The document contains 23 syllabi designed to cover the history…