LEGAL BASIS OF MAPEH 1987 Philippine Constitution Article XIV
Education, Science And Technology, Arts, Culture And Sports EDUCATION
Section 1. The State shall protect and promote the right of all citizens to quality education at all levels, and shall take appropriate steps to make such education accessible to all.
Section 2. The State shall:
1. Establish, maintain, and support a complete, adequate, and integrated system of education relevant to the needs of the people and society;
2. Establish and maintain, a system of free public education in the elementary and high school levels. Without limiting the natural rights of parents to rear their children, elementary education is compulsory for all children of school age;
3. Establish and maintain a system of scholarship grants, student loan programs, subsidies, and other incentives which shall be available to deserving students in both public and private schools, especially to the under-privileged;
4. Encourage non-formal, informal, and indigenous learning systems, as well as self-learning, independent, and out-of-school study programs particularly those that respond to community needs; and
5. Provide adult citizens, the disabled, and out-of-school youth with training in civics, vocational efficiency, and other skills.
Section 3.
1. All educational institutions shall include the study of the Constitution as part of the curricula.
2. They shall inculcate patriotism and nationalism, foster love of humanity, respect for human rights, appreciation of the role of national heroes in the historical development of the country, teach the rights and duties of citizenship, strengthen ethical and spiritual values, develop moral character and personal discipline, encourage critical and creative thinking, broaden scientific and technological knowledge, and promote vocational efficiency.
3. At the option expressed in writing by the parents or guardians, religion shall be allowed to be taught to their children or wards in public elementary and high schools within the regular class hours by instructors designated or approved by the religious authorities of the religion to which the children or wards belong, without additional cost to the Government.
Section 4.
1. The State recognizes the complementary roles of public and private institutions in the educational system and shall exercise reasonable supervision and regulation of all educational institutions.
2. Educational institutions, other than those established by religious groups and mission boards, shall be owned solely by citizens of the Philippines or corporations or associations at least sixty per centum of the capital of which is owned by such citizens. The Congress may, however, require increased Filipino equity participation in all educational institutions. The control and administration of educational institutions shall be vested in citizens of the Philippines.
No educational institution shall be established exclusively for aliens and no group of aliens shall comprise more than one-third of the enrollment in any school. The provisions of this sub section shall not apply to schools established for foreign diplomatic personnel and their dependents and, unless otherwise provided by law, for other foreign temporary residents.
3. All revenues and assets of non-stock, non-profit educational institutions used actually, directly, and exclusively for educational purposes shall be exempt from taxes and duties. Upon the dissolution or cessation of the corporate existence of such institutions, their assets shall be disposed of in the manner provided by law.
Proprietary educational institutions, including those cooperatively owned, may likewise be entitled to such exemptions, subject to the limitations provided by law, including restrictions on dividends and provisions for reinvestment.
4. Subject to conditions prescribed by law, all grants, endowments, donations, or contributions used actually, directly, and exclusively for educational purposes shall be exempt from tax.
Section 5.
1. the State shall take into account regional and sectoral needs and conditions and shall encourage local planning in the development of educational policies and programs. 2. Academic freedom shall be enjoyed in all institutions of higher learning.
3. Every citizen has a right to select a profession or course of study, subject to fair, reasonable, and equitable admission and academic requirements.
4. The State shall enhance the right of teachers to professional advancement. Non-teaching academic and non-academic personnel shall enjoy the protection of the State.
5. The State shall assign the highest budgetary priority to education and ensure that teaching will attract and retain its rightful share of the best available talents through adequate remuneration and other means of job satisfaction and fulfillment.
LANGUAGE
Section 6. The national language of the Philippines is Filipino. As it evolves, it shall be further developed and enriched on the basis of existing Philippine and other languages.
Subject to provisions of law and as the Congress may deem appropriate, the Government shall take steps to initiate and sustain the use of Filipino as a medium of official communication and as language of instruction in the educational system.
Section 7. For purposes of communication and instruction, the official languages of the Philippines are Filipino and, until otherwise provided by law, English.
The regional languages are the auxiliary official languages in the regions and shall serve as auxiliary media of instruction therein.
Spanish and Arabic shall be promoted on a voluntary and optional basis.
Section 8. This Constitution shall be promulgated in Filipino and English and shall be translated into major regional languages, Arabic, and Spanish.
Section 9. The Congress shall establish a national language commission composed of representatives of various regions and disciplines which shall undertake, coordinate, and promote researches for the development, propagation, and preservation of Filipino and other languages. SCIENCE AND TECHNOLOGY
Section 10. Science and technology are essential for national development and progress. The State shall give priority to research and development, invention, innovation, and their utilization; and to science and technology education, training, and services. It shall support indigenous, appropriate, and self-reliant scientific and technological capabilities, and their application to the country's productive systems and national life.
Section 11. The Congress may provide for incentives, including tax deductions, to encourage private participation in programs of basic and applied scientific research. Scholarships, grants-in-aid, or other forms of incentives shall be provided to deserving science students, researchers, scientists, inventors, technologists, and specially gifted citizens.
Section 12. The State shall regulate the transfer and promote the adaptation of technology from all sources for the national benefit. It shall encourage the widest participation of private groups, local governments, and community-based organizations in the generation and utilization of science and technology.
Section 13. The State shall protect and secure the exclusive rights of scientists, inventors, artists, and other gifted citizens to their intellectual property and creations, particularly when beneficial to the people, for such period as may be provided by law.
ARTS AND CULTURE
Section 14. The State shall foster the preservation, enrichment, and dynamic evolution of a Filipino national culture based on the principle of unity in diversity in a climate of free artistic and intellectual expression.
Section 15. Arts and letters shall enjoy the patronage of the State. The State shall conserve, promote, and popularize the nation's historical and cultural heritage and resources, as well as artistic creations.
Section 16. All the country's artistic and historic wealth constitutes the cultural treasure of the nation and shall be under the protection of the State which may regulate its disposition.
Section 17. The State shall recognize, respect, and protect the rights of indigenous cultural communities to preserve and develop their cultures, traditions, and institutions. It shall consider these rights in the formulation of national plans and policies.
Section 18.
1. The State shall ensure equal access to cultural opportunities through the educational system, public or private cultural entities, scholarships, grants and other incentives, and community cultural centers, and other public venues.
2. The State shall encourage and support researches and studies on the arts and culture. SPORTS
Section 19.
1. The State shall promote physical education and encourage sports programs, league competitions, and amateur sports, including training for international competitions, to foster self-discipline, teamwork, and excellence for the development of a healthy and alert citizenry.
2. All educational institutions shall undertake regular sports activities throughout the country in cooperation with athletic clubs and other sectors.
REPUBLIC ACT NO. 4723
REPUBLIC ACT NO. 4723 - AN ACT GIVING IMPORTANCE TO THE TEACHING OF MUSIC IN THE CURRICULA OF ELEMENTARY AND SECONDARY SCHOOLS, AND APPROPRIATING FUNDS THEREFOR
SECTION 1. Commencing with the school year nineteen hundred sixty-six — sixty-seven, music shall be taught together with arts as a separate subject area, with music allotted three days a week in all the grades in elementary schools, whether public or private; and shall be taught together with arts, physical education and health as a separate subject field, with music allotted at
least one day a week in all the years in general or vocational secondary schools, whether public or private.
SECTION 2. The Secretary of Education shall issue such rules and regulations as may be necessary to carry out the purpose of this Act.
SECTION 3. The sum of five hundred thousand pesos is hereby appropriated, out of any funds in the National Treasury not otherwise appropriated, to carry out the purpose of this Act during the fiscal year nineteen hundred sixty-six — sixty-seven. Thereafter, such sums as may be necessary for the same purpose shall be included in the annual General Appropriations Act. SECTION 4. This Act shall take effect upon its approval.
Music Education in Philippines Primary and Secondary Schools
To study music is to study the basics. Music is a comprehensive art - within its study students come into contact with other basic areas of the curriculum: math, science, social studies, languages and physical education. While music is a subject with its own body of knowledge, and is inherently worth knowing, its comprehensive nature serves as a foundation for a unified and comprehensive educational setting.
In 1963, DECS Memorandum #11,s.1963 was issued pointing out that Arts and Physical Education in the elementary grades were often neglected for the sake of instructional and administrative expediency. It called for the proper implementation of D.O. #1,s. 1957, singling out Arts & Physical Education as the proper vehicle for DECS' cultural revival program.The directive also aimed to make Art Education, Music and Physical Education required subjects in the elementary grades. Under Arts and Physical Education, all such subjects were to be allotted a 40-minute and 50-minute instruction time in the primary and intermediate grades respectively. It was further stated that the above mentioned subjects should not be sacrificed for the sake of any other subjects in the elementary school curriculum. (DO Memorandum #1,s. 1963 - cultural Revival. Through Art Education, Music and Physical Education in the Elementary Schools). Bulletin #6,s.1959, titled Improving the Teaching of Music, was a follow up of D.O. #1,s. 1957, observations being that "music has for some years not been seriously taught". Prescribed in this bulletin was for music to be combined with Art Education and Physical Education , and not as erroneously concluded from the title 'Art Education and Physical Education' where Music seemed to have been scrapped from the daily schedule of subjects. General Letter #23, dated July 21, 1956 gave specific instructions that music should have a definite period or time on the day's program in addition to its correlation with appropriate subjects. As early as 1950, D.O. Memorandum #72, came out with a prescription of "Music courses in the Secondary Schools' General Curriculum". Courses in Second, third and fourth year were likewise suggested:
1. voice culture - for those inclined to singing 2. courses on orchestral instruments
cornet, xylophone, saxophone, etc. The explanatory work was either vocal or instrumental and should be for 6 weeks, 80 minutes a day.
The setback to the suggested music course offerings were and still is the absence of orchestral and band instruments which were/are very expensive. Some sectors did come to have band instruments via donations or private sponsorship as fundings for their procurement was yet
to be appropriated.
The memo mentioned further that a school should not offer any music course unless a qualified teacher is available. It deemed essential that a teacher of music must have a thorough academic and professional training experience, a pleasant and dignified personality alongside the provision of a well-equipped music room.
A subsequent bulletin #6,s.1959 from the Bureau of Public Schools, titled Improving the
Teaching of Music underlined that not any teacher can teach music. It states that a teacher of
Music should be one with a special aptitude, not only because he can sing or play an instrument but also because he possesses a knowledge of Music reading and notation. If there is only one qualified music teacher in a school, Music instruction may be given once or twice a week for the total time allotted to the subject during the week.
The Bureau of Public Schools likewise encouraged the training of all music teachers: consultants from the General Office, Music instructors from the nearest regional normal schools, and lay music leaders of the community.
The increasing importance given to music education was reflected in the passage of R.A. 4723 (Music Law). Enacted in 1966, the Music Law was the first legislative Act in the history of the country to directly benefit school music education. The law envisioned the upgrading of Philippine Musical Culture through the improvement of Music instruction on the elementary and secondary school levels of both public and private schools.
The second Republic Act that has benefited Music education is R.A. 5523. Enacted in 1968, the law has created various school division positions. It specially provide for 10 music supervisory positions in ten school divisions of the Bureau of Public Schools.
The initial implementation of the above stated laws has firmly rooted music in the curriculum of both public and private schools in the country.
Not until recently, the time allotted for each of the three subjects: Arts, Music and Physical Education, were 40 minutes daily for Grades I-IV, and 50 minutes daily for Grade V-VI.
With the implementation of the Music Law, the subjects were subdivided into distinct areas, namely:
1. Music and Art 2. Physical Education
Implementing regulations of R.A. 4723 (Music Law) was embodied in the bureau of Public Schools Circular #24,s.1967 but was rescinded by Department Order #10,s.1970 with the advent of the 1970 Revised Elementary Education Program. The latter provides that Music and Arts be treated as separate subject areas with Music allotted 3 days a week and Arts 2 days.
The Philippine Society for Music Education (PSME), a non-profit association composed of music educators all over the country, had its beginnings on November 23, 1971. Its primary intent was to improve music education in all its areas, to share new knowledge and ideas on music and music education. Symposia, workshops and annual general assemblies marked the infant years of PSME with Dr. Lucrecia S. Kasilag, now National Artist for music as founding president. As a direct effect of its historic formation, three music organizations - the Philippine Choral conductors' Association, the Philippine Society for Organists, and the Piano Teachers'
Guild of the Philippines were likewise founded.
In November 7-9, 1975, the succeeding president Dean Corazon S. Maceda spearheaded a workshop aimed at the formulation of goals of Music Education in the Philippines. Twenty-nine workshop participants, all distinguished Filipino educators, came up with well-articulated goals for elementary, secondary and tertiary (music majors and none-music majors) level of music education.
From 1975 onwards, PSME continued on its mission to improve music education through yearly seminars and workshops and lecture series, to help produce competent music teachers. One such notable program undertaken under Dr. Loreto C. Gloria, was a nationwide scholarship program for public and private teachers from elementary and high school. This program was implemented in cooperation with the National Commission on Culture and the Arts (NCCA) and the Philippine Normal University (PNU). To date, two groups of Scholars have completed their training while a third batch is presently being readied for the second summer session by 1999, with completion seen by summer of 2000. The Department of Education and Culture (DEC) issued an Order #21,s.1973 which was a "Clarification on the Revised Physical Education and Health, Music Pre-Military Training (PMT) and Scouting Program for School Year 1973-1974. The course name was changed to Youth Development Training (YDT) to replace Physical Education, Health, Music and PMT in the first to third years of high school. Weekly schedules of 40 minutes per period were as follows:
First Semester Second Semester
Scouting 2 days 1 day
Physical
Education 1 day 2 days
Health 1 day 1 day
Music 1 day 1 day
Citizens' Arm Training (CAT), replaced PMT, PE, Health and Music for the fourth year. A 40-minute weekly schedule per period were to be followed for both semesters.
CAT 2 days
Physical Education 1 day
Health 1 day
As a YDT component, Music Education was offered in all curriculum years. Approximately 65% of the total number of music pieces to be learned in each curriculum year should consist of Philippine folk and composed music and the rest, foreign music, to include internationally known music matters. The creative uni-segmented and integrative conceptual approaches are
suggested for music teaching-learning situations.
Meanwhile, in 1970-71, the Revised Elementary Education curriculum gave Music and Arts, 30 minutes per day, to schedule as follow:
First Semester Second Semester >Music 3 days 2 days
Art 2 day 3 days
Department of Education and Culture (DEC) Memorandum #65,s.1974 announced a "Third National Seminar - Practicum in School Music Education ", sponsored jointly by DECS, the Philippine National Society for Music Education and the UNESCO National Commission of the Philippines, dated September 7-8, 1974. It was held at Teachers' Camp, Baguio city. The theme was: "Innovative Musical Dimensions for the furtherance of the Quality of School Music Education in the New Society" with foreign music experts as resource speakers. The above national seminar-practicum came after the conclusion of a 5-year UP-BPS (University of the Philippines and Bureau of Public Schools) Scholarship Program from 1968-1973. Annual scholarship recipients were teachers teaching music both in the elementary and secondary schools. The period covered 2 semesters and 1 summer with a stipend for books and a living allowance including regular salaries. An average of 30 to 40 scholars a year attended the program highly benefitting Music Education in the country. 1971 saw the start of the National Music Competitions as an annual undertaking aimed to discover and nurture young music talents from among school children. Concerned music educators of varied expertise and persuasions voluntarily came together to contribute their time and experiences towards the yearly endeavor. Teachers prepared their choirs and students to compete. The DECS in various regions through regional levels, and the Cultural Center of the Philippines (CCP) was mainly responsible for the week-long National finals held every last week of November. This coincides with the National Music Week (Presidential Proclamation #1173 dated August 7, 1973). From then on, the competition expanded to include not only children's choirs but also solo instruments, piano solos, youth choirs, college choirs and
eventually, also included the rondalla competition.
In 1982, the Ministry of Education and Culture issued MEC Order #6,s.1982 outlining the New Elementary School Curriculum (NESC). Beginning school year 1983-84, the new curriculum was introduced by grade levels. The gradual implementation of NESC in Grades I through Grade VI saw the absence of Music in Grades I and II. In the Revised Elementary Education Curriculum effective 1970-71, time allotment (minutes daily) for Music and Arts was:
30 30 30 30 30
With the advent of the New Elementary School Curriculum effective school year 1983-84, time allotment for Arts and Physical Education became:
I II III IV V VI
40 40 40 40
Music lost its identity with its marked absence in Grades I and II. Music for the elementary grades was offered only from Grades III to VI.
Time allotment - Minutes per week for Arts and Physical Education:
I II III IV V VI
200 200 200 200
Equal distribution of time for Music, Arts and PE was on a 2-2-2 plan the whole year round. In the mid-90's Physical Education regained its foothold in Grades I and II through Gr. VI with 120 minutes per week time allotment. Meanwhile Music and Arts remained integrated in Civic and Culture in Grades I and II, while in Grade III and VI, they were eased out of the equal time sharing and given only 80 minutes a week divided by the 2 areas, Music and Art. Music became a 40-minute, once-a-week-subject per period. The preparation of students for Olympic competitions became the thrust of DECS up to present. The New Secondary Education Curriculum (NSEC) became effective by School Year 1989-90. Physical Education, Health and Music, Citizen's Army Training (CAT) remained a component of PEHM in the fourth year. Arts became integrated with Music in the 3rd and 4th
year levels.
Since 1973-74 with D.O. Memorandum #16.s.1973,v"Classification on the Revised PE and Health, Music, PMT and Scouting Program - Music was given a 40-minute once-a-week time allotment at all levels. This continued with the 1989 NSEC but by 1997, under the Revised Rating System, time allotment for PEHM/CATwas scheduled as follows:
First and Second Year
First Semester - one day a week - 40 minutes Second
Semester - two days
(Health opposite Music on a 1-2; 2-1 arrangement)
Third Year
First
Semester
Music - 1 day as Music and Arts (40 minutes) PE - 2 days (40 minutes) Second Semester
Health - 1 day (40 minutes)
Music - 1 day (40 minutes)
Music and
Arts - 1 day (40 minutes)
PE - 2 days (60 minutes)
Fourth Year
Health 1 day 40 minutes
Music and Arts 1 day 40 minutes Physical
Education 2 day 60 minutes
CAT 1 day 80 minutes
History of Music Education in the Philippines
Music education is the dissemination of music knowledge, skills and appreciation. The process may occur in the structured setting of a school or in a more informal manner. Music permeates the daily lives of indigenous culture groups. it is used in connection with life-cycle events such as birth, courtship, marriage and death. Occupational activities such as planting, harvesting, hunting and fishing and functions such as peace pacts and victory celebrations are occasions for music making. Lullabies are sung to put babies to sleep, instruments are played to drive away evil spirits and songs and chants accompany the playing of children. In these communities, singing of songs and playing of instruments are naturally learned through participation. Formal ways of learning are however practiced among many culture groups.
A Maranao lad who wishes to specialize in singing certain types of the extensive Maranao vocal repertoire studies with a professional singer in a kasombak (apprenticeship) system. He stays with the goro (teacher) and does daily chores for free instruction, board and lodging. The training of the morit (student) begin with the learning of songs by rote, gradually progressing to creating
improvisations and variations and ends with the student singing in his own style songs prepared by the teacher. Training includes learning the vocabulary and grammar of specific song languages, and other aspects of performance (Cadar, 1981). Among the Tausug highly formalized systems of instruction are practiced in the study of the purely vocal tradition, mixed vocal-instrumental genres such as the paggabang, and solo instruments such as the tata gabbang (solo gabbang) and tata biyula (solo biyula. Trimillos, 1972). The Spanish colonizers who arrived in the 1500's brought with them missionaries who established churches, convents and schools in different parts of the islands. Among them were church musicians and music teachers who composed and performed liturgical music, wrote books on music and taught young Filipino boys to sing the Gregorian chant and play instruments for church services. Among the schools established was a Franciscan seminary in Lumban, Laguna in 1606 where 400 boys were trained in singing and playing of instruments. Many years later, the Colegio de los Niños Tiples de la Santa Iglesia Cathedral, a school noted for its excellent training of boy's, choirs, offered classes in solfeggio, vocalization, composition and the playing of organ and other stringed instruments. Graduates of the school included musicians such as Salvador Pinon, Fulgencio Tolentino, Antonio Garcia, and Simplicio Solis. Founded in 1742, the Colegio existed until the outbreak of the Second World War (Banas, 1969). In the 1800's a rich musical life developed in the urban areas particularly in Manila and the more affluent provinces. This was brought about by a large number of visiting foreign musicians, singers and opera companies who performed in the theaters and concert halls of Manila and in some cities in the South. These musical events contributed greatly to the music education of the Filipinos along
secular forms of Western music. (Guevara, 1971).
The American colonial government established public schools all over the islands. The first teachers were American soldiers who were later replaced by the Thomasites. Curricula of these schools included music in the elementary level. Music instruction concentrated based on the Progressive Music Series, a graded foreign collection of songs, and a Philippine edition of the same series by Norberto Romualdez. Similar materials which were used much later were the 6 volumes of the Bureau of Public School Series which consisted of basic songs (the Philippine National Anthem and other patriotic songs) folk songs of the Philippines and other countries, works of Filipino and foreign composers and suggestions for the teaching of rondalla and rhythm
band. (Yamson, 1972).
In 1966, the Philippine Congress passed Republic Act No. 4723 popularly known as the Music Law which provided for the teaching of music and art as a separate subject in the elementary level and the teaching of music once a week for one hour in the secondary level (Yamzon, 1972). The New Elementary School Curriculum of 1982 however, required the teaching of music as a separate subject only from grades III to VI and its integration with other subjects in Grades I & II. In the high school, music was made a part of a subject area, PEHM, which includes Physical Education and Health. Content of instruction consists of a study of Philippine, Asian and Western music. The Philippine High School for the Arts (PHSA) is a special secondary school established by the government in 1977 which provides training in music, dance and the visual arts. Here, music scholars are given instruction in performance, theory and literature as well as academic subjects. In the tertiary level, schools of education offer PEHM specialization and 6 units of music for students studying for a Bachelor of Science in Elementary Education degree.
Colleges and universities offer undergraduate and graduate courses in music. Various courses range from a Diploma in Music, Bachelor of Music and Master of Music in Performance (major in piano, voice, strings, winds, or percussion) Composition, Musicology, Conducting and Music
Education, to a Diploma or Certificate in Performance.
The University of the Philippines (UP) College of Music is one of the leading schools of music in the country. Originally a conservatory patterned after European and American music schools, the College today has strong multicultural thrust reflected in the integration of non-western music courses of studies in the fabric of its over-all curriculum program. Other schools with strong departments offering music degrees are: the University of Sto Tomas (UST), St. Scholastica's College, Philippine Women's University, St. Paul's College, Sta. Isabel College, Centro Escolar University, Asian Institute of Liturgy and Silliman University. Music instruction are also being provided by tutors, numerous private studios teaching art and popular music, and music organizations that hold seminars and workshops to improve the quality of instruction in
their specific fields of specialization.
The Philippines Society for Music Education (PSME) founded in 1971 is the main organization in the country actively engaged in upgrading the standards of classroom music teaching in the elementary and secondary schools today. It took over the work begun by the Philippine National Society of Music Education (PNSME), which was founded in the early 1960's and was active until 1970. Other music organizations are the Piano Teachers Guild of the Philippines, Kodaly Society of the Philippines, Aschero Society of the Philippines, the Philippine Federation of Choral Music, and the National Music Competitions for Young Artists (NAMCYA) Foundation.
MUSIC EDUCATION
Music education is a field of study associated with the teaching and learning of music. It touches on all domains of learning, including the psychomotor domain (the development of skills), the cognitive domain (the acquisition of knowledge), and, in particular and significant ways,the affective domain, including music appreciation and sensitivity. The incorporation of music training from preschool to postsecondary education is common in most nations because involvement in music is considered a fundamental component of human culture and behavior. Music, like language, is an accomplishment that distinguishes us as humans.
Overview
In Elementary schools, children often learn to play instruments such as keyboards or recorders, sing in small choirs, and learn about the elements of musical sound and history of music. Although music education in many nations has traditionally emphasized Western classical music, in recent decades music educators tend to incorporate application and history of non-western music to give a well-rounded musical experience and teach multiculturalism and international understanding. In primary and secondary schools, students may often have the opportunity to perform in some type of musical ensemble, such as a choir, orchestra, or school band: concert band, marching band, or jazz band. In some secondary schools, additional music classes may also be available. In junior high school or its equivalent, music usually continues to be a required part of the curriculum.[2]
At the university level, students in most arts and humanities programs may receive academic credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of music ensemble in which students from various fields of study may participate such as a choir, concert band, marching band, or orchestra. Many universities also offer degree programs in the field of music education, allowing their students to become certified educators of primary and secondary school ensembles as well as beginner music classes. Advanced degrees can lead to university employment. These degrees come with the completion of varied technique classes, private instruction, numerous ensembles, and in depth observations of educators in the area. Music education departments in North American and European universities also often support interdisciplinary research in such areas as music psychology, music education historiography, educational ethnomusicology, sociomusicology, and philosophy of education. The study of Western art music is increasingly common in music education outside of North America and Europe, including Asian nations such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music), as well as even rock music (see popular music pedagogy).
Music education also takes place in individualized, life-long learning, and community contexts. Both amateur and professional musicians typically take music lessons, short private sessions with an individual teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.
Instructional methodologies
While instructional strategies are bound by the music teacher and the music curriculum in his or her area, many teachers rely heavily on one of many instructional methodologies that emerged in recent generations and developed rapidly during the latter half of the 20th Century:
Major international music education methods Dalcroze method
The Dalcroze method was developed in the early 20th century by Swiss musician and educator Émile Jaques-Dalcroze. The method is divided into three fundamental concepts - the use of solfege, improvisation, and eurhythmics. Sometimes referred to as "rhythmic gymnastics", eurhythmics teaches concepts of rhythm, structure, and musical expression using movement, and is the concept for which Dalcroze is best known. It focuses on allowing the student to gain physical awareness and experience of music through training that takes place through all of the senses, particularly kinesthetic. According to the Dalcroze method, music is the fundamental language of the human brain and therefore deeply connected to what human beings are.
Kodály method
Depiction of Curwen's Solfege hand signs. This version includes the tonal tendencies and interesting titles for each tone.
Zoltán Kodály (1882–1967) was a prominent Hungarian music educator and composer who stressed the benefits of physical instruction and response to music. Although not really an educational method, his teachings reside within a fun, educational framework built on a solid grasp of basic music theory and music notation in various verbal and written forms. Kodály's primary goal was to instill a lifelong love of music in his students and felt that it was the duty of the child's school to provide this vital element of education. Some of Kodály's trademark teaching methods include the use of solfege hand signs, musical shorthand notation (stick notation), and rhythm solmization (verbalization). Even though most countries have properly used their own folk music traditions to construct their own sequence of instruction, America primarily uses the Hungarian sequence even though Hungarian folk music is completely different from American.
Orff Schulwerk
Carl Orff was a prominent German composer. The Orff Schulwerk is considered an "approach" to music education. It begins with a student's innate abilities to engage in rudimentary forms of music, using basic rhythms and melodies. Orff considers the whole body a percussive instrument and students are led to develop their music abilities in a way that parallels the development of western music. The approach encourages improvisation and discourages adult pressures and mechanical drill, fostering student self-discovery. Carl Orff developed a special group of instruments, including modifications of the glockenspiel, xylophone, metallophone, drum, and other percussion instruments to accommodate the requirements of the Schulwerk courses.[3]
Suzuki method
The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World War II, and it uses music education to enrich the lives and moral character of its students. The movement rests on the double premise that "all children can be well educated" in music, and that learning to play music at a high level also involves learning certain character traits or virtues which make a person's soul more beautiful. The primary method for achieving this is centered around creating the same environment for learning music that a person has for learning their native language. This 'ideal' environment includes love, high-quality examples, praise, rote training and repetition, and a time-table set by the student's developmental readiness for learning a particular technique. While the Suzuki Method is quite popular internationally, within Japan its influence is less significant than the Yamaha Method, founded by Genichi Kawakami in association with the Yamaha Music Foundation.
Other notable methods
In addition to the five major international methods described above, other approaches have been influential. Lesser-known methods are described below:
Gordon Music Learning Theory
This method is based on an extensive body of research and field testing by Edwin E. Gordon and others. Music Learning Theory provides the music teacher a comprehensive method for teaching musicianship through audiation, Gordon's term for hearing music in the mind with
understanding. Teaching methods help music teachers establish sequential curricular objectives
in accord with their own teaching styles and beliefs.[4] World Music Pedagogy
The growth of cultural diversity within school-age populations prompted music educators from the 1960s onward to diversify the content of the music curriculum, and to work with ethnomusicologists and some of the world's artist-musicians in establishing instructional practices relevant to the musical traditions. 'World music pedagogy' was coined by Patricia Shehan Campbell to describe world music content and practice in elementary and secondary school music programs. Pioneers of the movement, especially Barbara Reeder Lundquist and William M. Anderson, influenced a second generation of music educators (including Bryan J. Burton, Mary Goetze, Ellen McCullough-Brabson, and Mary Shamrock) to design and deliver curricular models to teachers of music of various levels and specializations.
Conversational Solfege
Deriving influence from both Kodály methodology and Gordon's Music Learning Theory, Conversational Solfege was developed by Dr. John M. Feierabend, chair of music education at the Hartt School at the University of Hartford. The philosophy of this method is to view music as an aural art with a literature based curriculum. The sequence of this methodology involves a 12 step process to teach music literacy. Steps include rhythm and tonal patterns and decoding the patterns using syllables and notation. Unlike traditional Kodály method, this method follows
Kodály's actual instructions and uses a sequence based on American folk songs instead of using the sequence that is used in Hungary based on Hungarian folk songs.
Carabo-Cone Method
This early-childhood approach sometimes referred to as the Sensory-Motor Approach to Music was developed by the violinist Madeleine Carabo-Cone. This approach involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. The concrete environment of the specially planned classroom allows the child to learn the fundamentals of music by exploring through touch.[5]
MMCP
The Manhattanville Music Curriculum Project was developed in 1965 and is an alternative method in shaping positive attitudes toward music education. This creative approach centers around the student being the musician and involved in the discovery process. The teacher gives the student freedom to create, perform, improvise, conduct, research, and investigate different facets of music in a spiral curriculum.
O'Connor Method
On November 16, 2009, Mark O'Connor released books 1 and 2 of his 10-book O'Connor
Method - A New American School of String Playing[6] for string teachers and students of the violin designed to "guide students gradually through the development of pedagogical and musical techniques necessary to become a proficient, well-rounded musician through a carefully planned succession of pieces." Pieces cover a wide range of genres, and include: folk melodies such as "Amazing Grace," "Cielito Lindo" and "Buffalo Gals," American Classical tunes such as Copland's "Hoedown," two themes from Dvorak's New World Symphony, and O'Connor's "Appalachia Waltz."[7] The series also contains short essays about topics including famous American fiddlers such as Thomas Jefferson and Davy Crockett, the history of Gypsies and Mariachi, and various dances. Teacher training sessions based on the method take place around the country.
History of music education in the United States 18th century
After the preaching of Reverend Thomas Symmes, the first singing school was created in 1717 in Boston, Massachusetts for the purposes of improving singing and music reading in the church. These singing schools gradually spread throughout the colonies. Reverend John Tufts published
An Introduction to the Singing of Psalm Tunes Using Non-Traditional Notation which is
regarded as the first music textbook in the colonies. Between 1700 to 1820, more than 375 tune books would be published by such authors as Samuel Holyoke, Francis Hopkinson, William Billings, and Oliver Holden.[8]
In 1832, Lowell Mason and George Webb formed the Boston Academy of Music with the purposes of teaching singing and theory as well as methods of teaching music. Mason published his Manuel of Instruction in 1834 which were based upon the music education works of Pestalozzian System of Education founded by Swiss educator Johann Heinrich Pestalozzi. This handbook gradually became used by many singing school teachers. From 1837-1838, the Boston School Committee allowed Lowell Mason to teach music in the Hawes School as a demonstration. This is regarded as the first time music education was introduced to public schools in the United States. In 1838 the Boston School Committee approved the inclusion of music in the curriculum and Lowell Mason became the first recognized supervisor of elementary music. In later years Luther Whiting Mason became the Supervisor of Music in Boston and spread music education into all levels of public education (grammar, primary, and high school). During the middle of the 19th century, Boston became the model to which many other cities across the United States included and shaped their public school music education programs.[9] Music methodology for teachers as a course was first introduced in the Normal School. The concept of classroom teachers in a school that taught music under the direction of a music supervisor was the standard model for public school music education during this century. (See also: Music education in the United States)
Early 20th century
In the United States, teaching colleges with four year degree programs developed from the Normal Schools and included music. Oberlin Conservatory first offered the Bachelor of Music Education degree. Osbourne G. McCarthy, and American music educator introduced details for studying music for credit in Chelsea High School. Notable events in the history of music education in the early 20th century also include:
Founding of the Music Supervisor's National Conference (changed to Music Educators National Conference in 1934, later MENC: The National Association for Music Education in 1998, and currently The National Association for Music Education - NAfME) in Keokuk, Iowa in 1907.
Rise of the school band and orchestra movement leading to performance oriented school music programs.
Growth in music methods publications.
Frances Elliot Clark develops and promotes phonograph record libraries for school use.
Carl Seashore and his Measures of Musical Talent music aptitude test starts testing people in music.
Middle 20th century to 21st century
The following table illustrates some notable developments from this period: Date Major Event Historical Importance for Music Education 1950 The Child's Bill of
Rights in Music[10] A student-centered philosophy was formally espoused by MENC. 1953
The American
School Band
Directors
Association formed
1957 Launch of Sputnik Increased curricular focus on science, math, technology with less emphasis on music education.
1959 Contemporary Music Project
The purpose of the project was to make contemporary music relevant in children by placing quality composers and performers in the learning environment. Leads to the Comprehensive Musicianship movement.
1961
American Choral Directors
Association formed
The choral movement becomes organized.
1963 Yale Seminar
Federally supported development of arts education focusing on quality music classroom literature. Juilliard Project leads to the compilation and publication of musical works from major historical eras for elementary and secondary schools.
1965 National Endowment for the Arts
Federal financial support and recognition of the value music has in society.
1967 Tanglewood symposium
Establishment of a unified and ecletic philosophy of music education. Specific emphasis on youth music, special education music, urban music, and electronic music.
1969 GO Project
35 Objectives listed by MENC for quality music education programs in public schools. Published and recommended for music educators to follow.
1978 The Ann Arbor Symposium
Emphasized the impact of learning theory in music education in the areas of: auditory perception, motor learning, child development, cognitive skills, memory processing, affect, and motivation.
1984
Becoming Human Through Music symposium
"The Wesleyan Symposium on the Perspectives of Social Anthropology in the Teaching and Learning of Music" (Middletown, Connecticut, August 6–10, 1984). Emphasized the importance of cultural context in music education and the cultural implications of rapidly changing demographics in the United States.
1990
Multicultural
Symposium in Music Education
Growing out of the awareness of the increasing diversity of the American School population, the three-day Symposium for music teachers was co-sponsored by MENC, the Society for Ethnomusicology, and the Smithsonian Institution, in order to provide models, materials, and methods for teaching music of the world's cultures to school children and youth.
1994 National Standards for Music Education
For much of the 1980s, there was a call for educational reform and accountability in all curricular subjects. This led to the National Standards for Music Education[11] introduced by MENC. The MENC standards were adopted by some states, while other states have produced their own standards or largely eschewed the standards movement.
1999 The Housewright Symposium / Vision
Examined changing philosophies and practices and predicted how American music education will (or should) look in the year 2020.
2020 2007
Tanglewood II:
Charting the
Future[12]
Reflected on the 40 years of change in music education since the first Tanglewood Symposium of 1967, developing a declaration regarding priorities for the next forty years.
Music course offerings and even entire degree programs in online music education developed in the first decade of the 21st century at various institutions, and the fields of world music pedagogy and popular music pedagogy have also seen notable expansion.
Standards and assessment
Standards are curricular statements used to guide educators in determining objectives for their teaching. Use of standards became a common practice in many nations during the 20th century. For much of its existence, the curriculum for music education in the United States was determined locally or by individual teachers. In recent decades there has been a significant move toward adoption of regional and/or national standards. MENC: The National Association for Music Education, created nine voluntary content standards, called the National Standards for
Music Education.[1] These standards call for:
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines. 5. Reading and notating music.
6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside the arts.
9. Understanding music in relation to history and culture.
Many states and school districts have adopted their own standards for music education.
Washington State has piloted a classroom based performance assessment which requires 5th and higher grade students to compose music on a staff and sight sing from sheet music without the aid of instruments. It is designed to assess standards expected to be attained by all students.[13] Sight singing is a learning requirement in the state at the 8th grade level. Other states are evaluating possible performance assessments as well.
Integration with other subjects
Some schools and organizations promote integration of arts classes, such as music, with other subjects, such as math, science, or English. It is thought that by integrating the different curricula will help each subject to build off of one another, enhancing the overall quality of education. Music education can play a vital role in the development of the whole child and their scholastic journey.
One example is the Kennedy Center's "Changing Education Through the Arts" program. CETA defines arts integration as finding a natural connection(s) between one or more art forms (dance, drama/theater, music, visual arts, storytelling, puppetry, and/or creative writing) and one or more other curricular areas (science, social studies, English language arts, mathematics, and others) in order to teach and assess objectives in both the art form and the other subject area. This allows a simultaneous focus on creating, performing, and/or responding to the arts while still addressing content in other subject areas.[14]
The Learning Maestros is a company whose goal is to create new interdisciplinary musical works and educational materials that explore connections between music and science, literature, visual arts, natural history, and issues of social conscience. It was founded by Julian Fifer and composer Bruce Adolphe. Notable interdisciplinary educational works they have created in collaboration with writers and scientists include "Tyrannosaurus Sue: A Cretaceous Concerto" (for the Field Museum of Natural History, Chicago), "Red Dogs and Pink Skies: A Musical Celebration of Paul Gauguin" (in conjunction with an exhibition at the Metropolitan Museum of Art, New York), "Self Comes to Mind" (created with neuroscientist Antonio Damasio, premiered by Yo-Yo Ma at the American Museum of Natural History, New York), "Let Freedom Sing: the story of Marian Anderson" (with writer Carolivia Herron, premiered by the Washington National Opera), "Zephyronia" (with writer Louise Gikow, for the Imani Winds), and "Witches, Wizards, Spells, and Elves: The Magic of Shakespeare" (for the Chicago Chamber Musicians and the Chicago Shakespeare Theater).
The European Union Lifelong Learning Programme 2007–2013 has funded three projects that use music to support language learning. Lullabies of Europe (for pre-school and early learners)[15], FolkDC (for primary)[16], and the recent PopuLLar (for secondary)[17]
Significance of music education
According to the Florida Music Educators Association, ―Music and the Fine Arts have been a significant portion of every culture’s educational system for more than 3,000 years. The human brain has been shown to be ―hard-wired‖ for music; there is a biological basis for music being an important part of human experience. Music and the Arts surround daily life in our present day culture. Most present day artists, architects, and musicians acquired their interests during public school Fine Arts classes... Education without the Fine Arts is fundamentally impoverished and subsequently leads to an impoverished society.‖ [18]
William Earhart, former president of the Music Educators National Conference, ―Music enhances knowledge in the areas of mathematics, science, geography, history, foreign language, physical education, and vocational training."[19] Music not only inspires creativity and performance, but academic performance over all is seriously impacted. A research study produced by the Harris Poll has shown that 9 out of 10 individuals with post graduate degrees participated in music education. The National Report of SAT test takers study indicated students with music performance experience scored higher on the SAT: 57 points higher on verbal and 41 points higher on math.[20] Schools that have high academic performance in the US are spending 20 to 30% of their budget in the arts with emphasis on music education.[21]
Music education also increases one's success in society. The Texas Commission on Drugs and Alcohol Abuse Report noted that students who participated in band or orchestra reported the lowest lifetime and current use of all substances.[22]
An education in music also increases overall brain activity. Research done at the University of Wisconsin has indicated that students with piano or keyboard experience performed 34% higher on tests that measure spatial-temporal lobe activity, which is the part of the brain that is used when doing mathematics, science, and engineering.[23]
Music also improves learning. Specifically, music aids in text recall. Wallace (1994) studied setting text to a melody. One experiment created a three verse song with a non-repetitive melody; each verse had different music. A second experiment created a three verse song with a repetitive melody; each verse had exactly the same music. Another experiment studied text recall without music. The repetitive music produced the highest amount of text recall; therefore, music serves as a mnemonic device.[24] Smith (1985) studied background music with word lists. One experiment involved memorizing a word list with background music; participants recalled the words 48 hours later. Another experiment involved memorizing a word list with no background music; participants also recalled the words 48 hours later. Participants who memorized word lists with background music recalled more words demonstrating music provides contextual cues.[25] It is important to note that "While studies show positive influences in other academic areas, music and the Fine Arts are an academic discipline that are, as the other academics, an independent way of learning and knowing." [18] Unfortunately, music in our schools are being cut at a drastic rate due to budget cuts being forced upon the schools. The Assistant Superintendent for Curriculum and Instruction with Chesapeake Public Schools in Chesapeake, Virginia,[26] Dr. Patricia Powers states, ―It is not unusual to see program cuts in the area of music and arts when economic issues surface. It is indeed unfortunate to lose support in this area especially since music and the art programs contribute to society in many positive ways.‖ What some school boards do not know is that cutting music might cause test scores to fall due to the positive effect on everything from academics to citizenship and even personal hygiene.[19]
Music advocacy
In some communities - and even entire national education systems - music is provided little support as an academic subject area, and music teachers feel that they must actively seek greater public endorsement for music education as a legitimate subject of study. This perceived need to change public opinion has resulted in the development of a variety of approaches commonly called "music advocacy". Music advocacy comes in many forms, some of which are based upon legitimate scholarly arguments and scientific findings, while other examples rely on unconvincing data and remain rather controversial.
Among the more recent high-profile music advocacy projects that have become the subject of widespread controversy are the "Mozart Effect" (which is now widely believed to be based on misinterpretation and exaggeration), the National Anthem Project, and the movement referred to as Cultural Diversity in Music Education which seeks out means of equitable pedagogy across students regardless of their race, ethnicity, or socioeconomic circumstance. Even though the ―Mozart Effect‖ is a controversy it has some significance in proving that it is reliable. The test
has two, a group that has music taught and a group with no music taught. When this test was given to three-year-olds their temporal test improved by 35% over those with no music; this lasted for several days. The only flaw to this test is the different age groups, the older you are the less of the effect it will have on you.[27]
Many contemporary music scholars assert that music advocacy will only be truly effective when based on empirically sound arguments that transcend political motivations and personal agendas. This position regarding music advocacy has especially been advanced by music education philosophers (such as Bennett Reimer, Estelle Jorgensen, David J. Elliott, John Paynter and Keith Swanwick,), yet a gap remains between the discourse of music education philosophy and the actual practices of music teachers and music organization executives.
ART EDUCATION
Art education is the area of learning that is based upon the visual, tangible arts— drawing, painting, sculpture, and design in jewelry, pottery, weaving, fabrics, etc. and design applied to more practical fields such as commercial graphics and home furnishings. Contemporary topics include photography, video, film, design, computer art, etc.
Overview
Historically art was taught in Europe via the atelier Method system where artists' took on apprentices who learned their trade in much the same way as any guild such as the Masons (stonemasons or goldsmiths etc.). The first recorded art schools were established in 400 BC Greece as mentioned by Plato. During the Renaissance formal training took place in art studios. Historically, design has had some precedence over the fine arts with schools of design being established all over Europe in the 18th century. Education in art takes place across the life-span. Children, youth, and adults learn about art in community based institutions and organizations such as museums, local arts agencies, recreation centers, places of worship, social service agencies, and prisons among many other possible venues.
Within art school's "visual arts education" encompasses all the visual and performing arts delivered in a standards-based, sequential approach by a qualified instructor as part of the core curriculum. Its core is the study of inseparable artistic and aesthetic experience and learning.
Approaches
There are thousands of arts education curricular models or models for arts or arts-based professional development for teachers that schools and community organizations use. Some assert that the core discipline of Western art education is the practice of drawing, a model which has existed since the Renaissance. This is an empirical activity which involves seeing, interpreting and discovering appropriate marks to reproduce an observed phenomena. It can be asserted that other art activities involve imaginative interpretation.[citation needed] Others would assert though, that issue based approaches, such as a visual culture approach to art education, define K-12 art learning today.
Prominent models include:
A sixfold model divided into "Creative-Productive, Cultural-Historical and Critical-Responsive‖ components in Canada
Discipline Based Art Education (DBAE) came to favor in the United States during the 1980s and 1990s, and it focused on specific skills including techniques, art criticism and art history.
Current literature in the United states has shifted away from DBAE but many classrooms still use this model. Others have shifted to visual culture and diversity models.
Teaching for Artistic Behavior (TAB) is a theory that began in the 1970s in the United States. TAB suggests that students should be the artists and so guided on their own individual artistic interests through technique lessons and critiques, while being exposed to art history as it relates to their own work.
In the UK the art curriculum is prescribed by the government's National Curriculum except in public or fee paying schools.
In most systems, ―criticism‖ is understood to be criteria-based analysis established on acknowledged elements of composition and principles of design which often vary in their verbal articulation, between the different art discipline forms (applied, fine, performing, & etc.) and their many schools. Other art educational systems include the study of Aesthetics, ontology, semantics, studio praxis (empirical investigation) and phenomenology. There is no set art education curriculum content – it is a process of continual often acrimonious cultural negotiation. Some studies show that strong art education programs have demonstrated increased student performance in other academic areas, due to art activities' exercising their brains' right hemispheres and delateralizing their thinking.[1] Also see Betty Edwards' Drawing on the Right
Side of the Brain. Support for art education, however, varies greatly between communities and
between schools in various cultures.
Art education is not limited to formal educational institutions. Some professional artists specialize in private or semi-private instruction in their own studios. One form of this teaching style is the Atelier Method as exemplified by Gustave Moreau who taught Picasso, Braque and many other artists. Another is an artist apprenticeship in which the student learns from a professional artist while assisting the artist with their work.
United Kingdom
Prince Albert was particularly influential in the creation of schools of Art in the UK. Prince Charles has created The Prince's Drawing School in Hoxton to preserve the teaching of academic drawing. Current UK's curriculum is focus on interdisciplinary approach.
The Netherlands
Art education in schools is in The Netherlands strongly improved by the founding of the Dutch Art Teachers Association in 1880 and their Magazine (in 1881). In the seventies of last century were national examinations common in almost all secondary schools. Over the years struggles and problems, discussions about the right way and fights for equal qualification supposedly
coloured the history of art education in the Netherlands as in other countries. The details however are of great interest for who will compare these developments with those in his own country. The painter Maarten Krabbé (1908–2005) changed the whole approach towards children drawing and painting. With his books on how to educate children in their free expression (Hidden possibilities | Verborgen Mogelijkheden (8 volumes | delen), uitbeeldingsmogelijkheden voor jonge handen (Sijthoff, Leiden 1961)) he changed the entire educational landscape. He showed how to handle the very delicate talents of children and how to treasure these.
United States
The study of art appreciation in America began with the Picture Study Movement in the late 19th century and began to fade at the end of the 1920s. Picture study was an important part of the art education curriculum. Attention to the aesthetics in classrooms led to public interest in beautifying the school, home, and community, which was known as ―Art in Daily Living‖. The idea was to bring culture to the child to change the parents.[2] The picture study movement died out at the end of the 1920s as a result of new ideas regarding learning art appreciation through studio work became more popular in the United States.[citation needed]
American educational philosopher and school reformer John Dewey was influential in broadening access to art education in the United States in the late 19th and early 20th century. Since World War II, artist training has moved to colleges and universities, and contemporary art has become an increasingly academic and intellectual field. Prior to World War II an artist did not usually need a college degree. Since that time the Bachelor of Fine Arts and then the Master of Fine Arts became recommended degrees to be a professional artist, facilitated by "the passage of the G.I. Bill in 1944, which sent a wave of World War II veterans off to school, art school included. University art departments quickly expanded. American artists who might once have studied at bohemian, craft-intensive schools like the Art Students League, Black Mountain College, or the Hans Hofmann School of Art in Greenwich Village; began enrolling at universities instead. By the 60s, The School of Visual Arts, Pratt Institute, and Cooper Union in New York City and other art schools across the country like the Kansas City Art Institute, the San Francisco Art Institute, the School of the Art Institute of Chicago, the School of the Museum of Fine Arts, Boston, Princeton and Yale had emerged as the leading American art academies.[3] This trend spread from the United States around the world.[citation needed]
Enrollment in art classes at the high school level peaked in the late 1960s—early 1970s.[citation
needed]
With No Child Left Behind (NCLB)[when?] (which retains the arts as part of the "core curriculum", but does not require reporting or assessment data on this area) there has been additional decline of arts education in American public schools.[citation needed] The United States Department of Education now awards Arts in Education Model Development and Dissemination grants to support organizations with art expertise in their development of artistic curricula. After 2010, an estimate of 25% of the nation's public high schools will end all art programs.[citation needed] National organizations promoting arts education include Americans for the Arts[4] including Art.
Ask For More.,[5] its national arts education public awareness campaign; Association for the Advancement of Arts Education; Arts Education Partnership.;[6]
