Abstract
A prominent sociologist applies his penetrating perspective to broad questions concerning the arts and the individual in contemporary American society. Why should music education give serious attention to the composer's problems? How much individual freedom should the composer have? What is the role of the teacher in enriching the perception of a work of art? What position does the music educator occupy in the hierarchy of professional music groups? Should the music educator give the child only the best possible music, tested for survival potential according to the standards of the society of which he will be a member, or should the teacher expose the child to the experimental front?
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