The development of the 1997 assessment of arts education marks the third time music and the visual arts have been addressed in a national assessment. Using the consensus process, a framework was produced that describes the 1997 assessment. The process was founded on the vision of a society that believes the arts are essential to every child's…

States that well-planned, efficient music rehearsals are essential in achieving educational goals. Outlines five steps for planning rehearsals; explains how to use warm-ups effectively; and discusses how to tune musical instruments more efficiently. (BSR)

In the fall of 1996, the State Board of Education adopted Vermont's Framework of Standards and Learning Opportunities. Over the years, the aim has been to make the standards more useful as guides to curriculum development. In 2000, the standards were formally revised and again adopted by the State Board. In 2004, another chapter in the standards,…

Responds to "Toward Civilization, A Report on Arts Education" by the National Endowment for the Arts, published in May, 1988. Examines implications of the report for drama education as part of the curriculum in elementary school, focusing on the purposes of understanding civilization and developing aesthetic literacy in drama. (MM)

This paper focuses on Austria's arts and cultural education. The Austrian arts curriculum is organised as separate subjects. It includes music, visual arts and crafts (divided into two separate subjects: technical crafts and textile arts). The Austrian curriculum refers to "Bildungs- und Lehraufgaben", i.e. educational and teaching…

This paper focuses on Malta's arts and cultural education. The Ministry of Education, Culture, Youth and Sport is responsible for setting the aims for cultural and creative dimensions of education. It is the duty of the state to ensure the existence of a system of schools and institutions accessible to all Maltese citizens catering for the full…

The Ministry of Education and Research in cooperation with the Ministry of Culture are responsible for setting the aims for the cultural and creative dimensions of education. Decisions about the creation of the curriculum related to culture and creativity within education are made on central level as well as the creation of the arts curriculum.…

We focus on the music students at a conservatoire (A) that only trains performers and composers (performers/composers); a conservatoire (B) that also trains classroom teachers (education students); and a university (C) with only education students. We used a questionnaire to compare the experience and beliefs as instrumental teachers of the…

The author describes a performance-oriented music program, and suggests that performance-oriented skills should play a major part in the general music curriculum; when teachers demonstrate the value of performance-oriented objectives to administrators and the community, general music programs are less likely to be cut. (KC)

The new University of the Arts was created by the merger of the Philadelphia College of Art and the Philadelphia College of the Performing Arts. An increasing interchange among art disciplines is seen, but each student must also take liberal arts courses. (MLW)

Closure is that element of the learning experience wherein the important points of the class period are reviewed and short-term goals are evaluated and related to long-term goals. The need for closure in musical rehearsals is discussed, and examples of closure are provided. (RM)

This research document looks at: (1) the criteria for assessment and assessment methods employed by Canadian high school teachers of art, music, and drama; (2) the extent to which this data forms common categories within subject fields; and (3) comparisons and contrasts between categories derived from Canadian art teachers' responses and…

This volume highlights thought-provoking issues in visual arts, drama, and music education presented at the 1998 meeting of the American Educational Research Association. Following a message from the Special Interest Group Chair, Larry Kantner, and an editorial, articles in section 1 are: "Art Beginnings" (L. A. Kantner); "Teachers'…

Recommends that high school social studies teachers exploit student interest in contemporary musicians to teach techniques of biographical construction. Maintains that innovative classroom practices involving non-traditional subject matter can foster intellectual growth and historical understanding. (Author/DB)

Provides specific suggestions to music teachers on preparing their students to view an opera broadcast on television, including use of other teachers or community personnel to provide background information. Approaches are outlined for introducing students to an opera's plot, music, design, costumes, makeup, lighting, and staging. (SJL)