This article views "Music Educators Journal" ("MEJ") and the hundred years of music education it has served through the lenses of the depth and breadth of music education at the present point in the profession's history. "MEJ" has been an important component in our depth of understanding of the nature and values…

Ambitious ideals are seldom achieved completely. Realistically, the criterion of success is not so much full accomplishment as satisfactory progress. The author urges music educators to pause now and then to consider their status in this regard. Are they moving ahead to fulfillment of their hopes in ways adequate to their compelling vision? Events…

This article presents Scott Shuler's "Five Guiding Principles for Music Education": (1) An education in "all" the arts is important for "all" students; (2) Independence--music literacy in the broadest sense--is necessary to lead a life enriched by music; (3) Independent music literacy can be defined as the ability to carry out the three artistic…

This article discusses the author's reflections about three aspects of his MENC-based writings that represent the major issues and dilemmas addressed in articles and books outside MENC. Here, the author focuses on the need for performance teaching in schools to be guided by philosophy and for philosophy to be applied to forging better practices.…

Music offerings in United States schools have remained largely the same for well over half a century. Basic program consists of general music classes up to and sometimes through middle school and elective performance opportunities in upper elementary grades through high school, primarily focused on band (including jazz groups), orchestra, and…

Explores the argument introduced by the "Mozart Effect" research: that music's positive influence on spatial-temporal reasoning should be the purpose for music education. Considers the implications by reshaping the National Standards for Music Education to fulfill the spatial-temporal rationale. Suggests how to reconcile musical and other purposes…

Contends that only students with performance or composing abilities are given a chance to explore music in their education. Stresses the importance of teaching all students how to listen to music in an active, "minds-on" way instead of only teaching hands-on activities. Challenges the traditional music curriculum by refuting five myths about…

Reviews the major trends and influences on music education in recent years, considers the current situation, and projects into tomorrow. (Editor)

Describes a project to develop a comprehensive arts program in Cleveland. It is called "Education for Aesthetic Awareness", and is a total arts program, with an initial focus on inservice teacher education and embodying the most advanced thinking to date on aesthetic education. (Editor/RK)

Cites the publication of "Basic Concepts in Music Education," and "Foundations and Principles of Music Education," as the event which compelled music educators to seek guidance from aesthetics. Identifies two fundamental principals of aesthetic education. Concludes that computer technology and cognitive psychology will have a profound effect on…

Argues that the developing computer technologies will allow more people to compose. Contends that this composing ability can be enhanced for more students through the curriculum. Envisions a three-part music program consisting of required and elective courses designed to meet the needs of all students. (GEA)

The author of "A Philosophy of Music Education" is interviewed regarding his views on recent criticism of aesthetic education, trends in music education, the lag between theory and practice, and the philosophy of music education. (KC)

Aesthetic education should be the strongest countervailing force against the superficiality of so much of people's experience. (Author)

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)

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)