Music education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles. Despite gender-affirmative employment practices, men constitute a…

One of the most critical limitations in music education is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not…

Explores the concept of aims in music education through investigating the ideas of four philosophers: Wolfgang Brezinka, Richard S. Peters, Bennett Reimer, and David Elliott. Inquires into the empirical and logical aspects of aims and clarifies the relationships between "musical behaviors." Concludes by discussing the relevance of conceptual…

Believes that learning must have meaning for students and some promise of application to the real world. Maintains that music teachers cannot educate their students successfully through the traditional methods of instrumental instruction, but must teach by improvisation in order to appeal to each individual student and assist in the…

Suggests that music is a psychic necessity that originates in the structure of the brain and is passed on genetically from one generation to the next. States that both the differentiations by culture and subculture and the human fundamental impetus to make music should be a part of music education. (CMK)

Concentrates on the role verbal language plays in relation to music listening, or "knowing within" music. Discusses three different forms of knowledge (episteme, phronesis, and aisthesis) that are inherent in language and the musical listening experience. Expounds that knowledge by aisthesis depends on one's ability to perceive the relevant…

Gives an overview of the nine current models in multicultural music education. Discusses and critiques an intercultural, or tree, model that offers the possibility of comparison of performing and composing in a variety of styles. Explains that the tree model also suggests a way of looking at and comparing various musical cultures. (CMK)

Explores a semiotic consideration of the differences between the aesthetic philosophy and David Elliot's praxial philosophy of music education. Explains Alfred Lang's semiotic theory in detail as a means to examining the two theories. Concludes that there is neither a "significant difference" between the philosophies nor a new philosophy in music…

Focuses on the connections among the concepts of virtuosity, performance, and knowledge. Defines a virtuoso performance and the two different types of virtuoso performers. Considers to whom the label "virtuoso" should or should not apply and limits its literal application to performers who participate in the interpretive realization of art works.…