Explores what it means to be a human being and the role music has in people's lives as a justification for teaching music in the schools. Believes that music plays an important role in the lives of human beings and allows them to express feeling about what it means to be human. (CMK)

Attempts to begin a process of pedagogical self-evaluation by considering how David Hume's Is-Ought fallacy can serve as an instrument with which to evaluate the content presented in a given teaching situation. Investigates the Is-Ought fallacy through an in-depth examination, and relates it to specific pedagogical issues in music education. (CMK)

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.…

Reiterates the common wisdom of teaching the musical sounds before the corresponding signs in early music education. Stresses the phenomenological importance of teaching the relationships among the sounds as part of a tonal unit. Advocates beginning music education with the students' specific musical culture. (MJP)

Presents 44 entries from a modern composer and music professors' journal, culled from 1993 to the present. Includes comments and criticisms of composers and musicians, as well as philosophical and practical observations. (MJP)

Attempts a deeper understanding of, and justification for, music education by concentrating on its application in two historic periods. Contrasts the utilitarian approach of Greek civilization with the religious and liturgical concepts of the Medieval period. Asserts that historical awareness is an integral component of music education. (MJP)

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)

Presents a fascinating comparison of the musical styles and respective theologies between an Anglican church service and a black fundamentalist service. Maintains that the Anglican service depends on a logocentric vision of the world, separating emotion from intellect. The black church exemplifies a more holistic, transcendent experience. (MJP)

Examines spirituality in music, not as a historical perspective, but as an essential, experiential component. Discusses transcendent states engendered in religion, music, and art. Calls for a new conceptualization of arts education and curriculum incorporating spirituality into humanistic education and self actualization. (MJP)