This essay explores the role of music composition within the curriculum of a typical small liberal arts college and the faculty composer's role(s) in facilitating the study of composition. The relationship between composition and campus performance is discussed, particularly in light of the increased emphasis on performance in formerly all-male…

Proposes the educational activities in a modern, multicultural society and explains that these aims have strong implications for the ethical import of music education. States that music has a significant role in the personal and social development of students. Discusses the potential impact music education has on society. (CMK)

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)

Suggests that the role of music and music education in supporting culture is very powerful. Focuses on students learning about music as opposed to performance. Presents background information on historical developments in relation to early twentieth century musical avant-garde and music education. Discusses issues of multiculturalism with music…

Analyzes excerpts from the soundtrack of the movie, "Paradise Road: Song of Survival," to demonstrate that music not only arouses emotions; but also, aroused emotions can be specific and focused. States that a service learning course can connect the empathy aroused from music to the real world. (CMK)

Examines the way education in the United Kingdom is organized around the idea of passing on received wisdom, suggesting education is for life. Presents a model of the musical self to examine a range of musical experiences within the music curriculum. (CMK)

Explores consciousness studies as a basis for music education philosophy. Examines five areas: (1) background on human consciousness; (2) consciousness as seen from two paradigms; (3) music viewed from a larger perspective; (4) importance of music education as reflecting real-life music making; and (5) critique of music education practice. (CMK)

Discusses Native American music and curricula, the differences in Western and Native American perspectives of music, the role of music in Native American life, and music as art. Considers how Native Americans live in two worlds (the preserved and lived cultures) and how Native American music should be taught. (CMK)

Describes Native American musics, focusing on issues such as music and the experience of time, metaphor and metaphorical aspects, and spirituality and sounds from nature. Discusses Native American metaphysics and its reflection in the musics. States that an effective curriculum would provide a new receptivity to Native American musics. (CMK)

Establishes a black essentialist aesthetic for jazz rap, showing its relation to an African-derived history and other black traditions. Examines newer lines of argument in aesthetics about contemporary recordings focusing on Theodore Gracyk. Argues that jazz rap is defined by actual, not recorded, performance. (CMK)

Summarizes six principles that might serve as a theoretical framework supporting a new vision for the purposes and processes of music teacher preparation. Draws the principles from the conceptions of learning and teaching of Jerome Bruner, Maxine Greene, and Vernon A. Howard. Provides background information on their ideas. (CMK)

Discusses how the outgrowth of the praxial philosophy in music education is misunderstood and has led to a lack of informed dialogue on the differences between praxis and philosophical bases for music education. Presents an interpretation of Aristotle's idea of praxis and considers praxis in terms of implications for music education. (CMK)

Defines historical research in music education by specifically evaluating the history and usage of each of the four words: (1) music; (2) historical; (3) education; and (4) research. Finds that the good of historical research in music education is both intrinsic and extrinsic because it benefits the researchers and their audiences. (CMK)

Addresses some historical reasons why music education historiography developed the way it did and discusses the role of musicology as a link between historiography and music education historiography. Argues that historical researchers in music education have been directed more by the traditions of historical research than by values-driven…

Argues that there should be a broader definition of the history of music education by challenging the traditional focus of music education history. Believes that there are four alternative perspectives to the canon in music education: (1) African-Americans; (2) the female experience; (3) African-American women; and (4) music in oral traditions.…