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| List of Illustrations and Exhibits | |
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| Preface | |
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| Introduction: American Society and Music Education | |
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| Social and Intellectual Foundations of Contemporary Music Education | |
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| A Brief History of American Music Education | |
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| Early American Music Education | |
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| Music Instruction in Schools | |
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| Music Education at the End of the Nineteenth Century | |
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| Music Education in the Context of Education Reform | |
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| The 1950s | |
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| The 1960s | |
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| The 1970s | |
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| The 1980s | |
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| National Reports on American Education | |
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| Attempting to Fix Education | |
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| The 1990s | |
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| The Twenty-First Century | |
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| Conclusion | |
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| Notes | |
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| Pivotal Events of the Contemporary Era | |
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| A Time of Change for Education and Music Education | |
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| The Contemporary Music Project | |
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| The Yale Seminar on Music Education | |
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| The Juilliard Repertory Project | |
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| The Tanglewood Symposium | |
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| The Goals and Objectives Project | |
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| The Development of Professional Standards | |
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| National Standards for Arts Education | |
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| Vision 2020: The Housewright Symposium on the Future of Music Education | |
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| The Centennial Congress of the Music Educators National Conference | |
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| The National Coalition for Core Arts Standards (NCCAS) | |
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| Four Statements of Belief and Purpose | |
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| The Recommendations of the Yale Seminar | |
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| The Recommendations of the Tanglewood Declaration | |
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| The Recommendations of Vision 2020: The Housewright Declaration | |
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| The Recommendations of the Centennial Declaration of MENC: The National Association for Music Education | |
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| Summary | |
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| Notes | |
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| Intellectual Currents of the Contemporary Era | |
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| Philosophy and Psychology | |
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| Philosophy of Music Education | |
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| The Historical Basis of Music Education Philosophy | |
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| A Utilitarian View of Music Education | |
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| Early Music Education in Colonial and Nineteenth-Century America | |
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| The Shift from a Utilitarian Belief to an Aesthetic Philosophy | |
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| Two Books That Helped Launch the Contemporary Period of Music Education | |
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| Bennett Reimer's A Philosophy of Music Education | |
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| Music Education Philosophy: An International Pursuit | |
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| The Emergence of a Praxial Philosophy | |
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| Will Time Ever Be One Unified Philosophy of Music Education? | |
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| Psychology and Music Education | |
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| Four Themes in Psychology | |
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| Jerome Bruner and the Development of Conceptual Learning | |
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| Cognitive Psychology and Arts Education | |
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| Project Zero | |
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| Theories of Multiple Intelligences | |
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| Arts PROPEL | |
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| Cognitive Psychology Supports Music Education | |
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| Specialized Music Education Interests in Music Education and Cognitive Psychology | |
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| Support for Music Education from Outside of the Profession | |
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| Notes | |
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| Advocacy: Connecting Public Policy and Arts Education | |
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| Public Policy and Arts Education | |
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| Public Policy | |
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| Advocacy for Arts Education | |
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| Why Is Advocacy Needed? | |
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| Arts Education Coalitions | |
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| The Twenty-First Century | |
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| State Advocacy Efforts | |
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| Other Advocacy Efforts | |
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| Allies from the Scientific Community | |
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| What Advocates Advocate For | |
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| The Federal Government and Arts Education | |
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| A Brief Overview of Federal Programs That Have Affected | |
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| Music Education | |
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| The United States Department of Education | |
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| The Elementary and Secondary Education Act of 1965 | |
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| The Education Professions Development Act of 1967 (EPDA) | |
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| The National Foundation on the Arts and the Humanities | |
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| ArtsEdge | |
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| Congress Supports Arts Education | |
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| Goals 2000: Educate America Act | |
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| The No Child Left Behind Act | |
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| Some Relief for Underperforming Schools | |
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| Race to the Top | |
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| The Common Core State Standards Initiative (CCSSI) | |
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| STEM | |
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| Conclusion | |
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| Notes | |
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| The Music Curriculum | |
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| Music Education Methods | |
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| Conceptual Education | |
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| The Dalcroze Method | |
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| The Orff Approach | |
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| The Kod�ly Method | |
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| Manhattanville Music Curriculum Program | |
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| Cycle 1 | |
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| Cycle 1 Skills | |
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| Comprehensive Musicianship | |
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| Gordon's Music Learning Theory | |
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| Discrimination Learning | |
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| Inference Learning | |
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| National Standards for Arts Education | |
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| Final Thoughts | |
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| Notes | |
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| Materials and Tools of Music Education | |
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| Jazz and Popular Music | |
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| The National Association of Jazz Education | |
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| The Youth Culture | |
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| Multicultural Music Education | |
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| Legislation Supporting Multiculturalism in Education | |
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| Multicultural Music Education | |
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| Cultural Authenticity | |
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| World Musics or Multicultural Musics? | |
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| Teaching Multicultural Musics | |
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| Preparing Music Educators for Multicultural Teaching | |
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| Technology and Music Education | |
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| The Adoption of Technology in Schools | |
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| Notes | |
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| Areas of Perennial Concern for Music Education | |
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| Music Education for Students with Exceptional Needs | |
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| Music in Special Education | |
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| Legal Bases for Special Education | |
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| The Music Student with Exceptional Needs | |
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| Gifted Education | |
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| Music in Urban Education | |
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| The Social Revolution and Education | |
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| Students At Risk | |
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| Music Education in Urban Schools | |
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| Notes | |
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| The Education of Music Teachers | |
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| Competency-Based Teacher Education | |
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| Characteristics of Competency-Based Teacher Education | |
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| Competency-Based Music Teacher Education | |
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| Music Teacher Education Accreditation | |
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| Music Education Methods Courses | |
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| Personal Qualities | |
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| Musical Competencies | |
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| Professional Qualities | |
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| Specific Applications of Competency-Based Music Teacher Education | |
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| Criticisms of CBTE | |
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| Examinations to Qualify for Teaching | |
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| The Praxis Series | |
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| Professional Certification | |
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| The Society for Music Teacher Education | |
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| Music Education Research | |
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| The Music Education Research Council | |
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| The Society for Research in Music Education | |
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| Special Research Interest Groups | |
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| The NAJME Historical Center | |
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| The Journal of Research in Music Education | |
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| The Council for Research in Music Education | |
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| Other Research Journals | |
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| Handbook of Research on Music Teaching and Learning | |
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| Research Symposia and Conferences | |
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| The Ann Arbor Symposium | |
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| The Wesleyan Symposium on the Application of Social Anthropology to the Teaching and Learning of Music | |
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| Other Symposia and Conferences | |
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| Conclusion | |
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| Notes | |
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| Finale | |
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| Assessments in Music Education | |
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| The National Assessment of Education Progress | |
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| Goals of the NAEP | |
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| Methodology of the NAEP | |
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| NAEP in Music | |
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| Music Achievement: The First Assessment | |
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| Music Achievement: The Second Assessment | |
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| The 1997 NAEP in the Arts | |
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| The 2008 NAEP Arts Assessment | |
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| Summary of the NAEP Arts Assessments | |
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| State Assessments | |
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| Other Kinds of Assessments | |
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| Data Collected by the National Arts Education Research Center | |
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| Data Collected by the Music Educators National Conference | |
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| Indicators of the Success of Arts Students | |
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| Notes | |
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| CODA | |
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| The Need for a Unified Profession | |
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| Belief in the Value of One's Profession | |
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| Music Education and the Local Community | |
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| Research to Serve Practical Needs | |
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| An Active, Vibrant Profession | |
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| Note | |
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| Bibliography | |
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| Index | |