Disciplined Inquiry in
the High School: An
Introduction to Arts
Any long-term participant in arts education in the United States should take some pleasure in the recently acquired notoriety of this field. Within a decade of the demise of CEMREL (the largest federally funded effort in arts education), the virtual cessation of national efforts by the Department of Education, and the muted reception to Coming to our senses (Arts, Education, and Americans, 1977), there has been a renaissance of interest in education in the arts.Sparked primarily by the Getty Center for Education in the Arts, buoyed as well by support from other federal and private philanthropies, and symbolized by Towards civilization, the lavish publication on arts education issued by the National Endowment for the Arts ( 1988), arts education is now an unmistakable participant in national conversations about educational reform.Such an opportunity is unlikely to arise more than once in a generation, and thus one is well advised to seize it. At the rhetorical level, it is easy to find areas of consensus among the various participants in the rebirth of a national arts education movement. Nearly all individuals would call for more class time spent on the arts, better-trained teachers, and some kind of graduation requirement. Yet lurking beneath the surface agreement, there are vexed issues that engender sharp controversy (Burton, Lederman, & London, 1988; Dobbs, 1988; Eisner, 1987; Ewens, 1988; Getty, 1986; Jackson, 1987; Zessoules, Wolf, & Gardner, 1988).
Some of the questions seem practical in nature. Should we call for