Maintains that commissioning musical works is almost as old as music itself and that it is a privilege to premiere a work that has been composed specifically for you and your chorus. Describes the approaches that classroom music teachers used to commission musical works. Includes seven guidelines. (CFR)

Music motivator projects that enable the elementary teacher to use social science methods (known as ethnomethodology) to observe and learn about students without testing are described. Working in groups and guiding each other, students compose a musical composition and then notate it. Discovery learning is encouraged. (RM)

ReWrite is a teaching strategy designed to help students explore content area topics using music. Starting with limited knowledge about a topic, students read, watch videos, visit museums, listen to guest speakers, and collect new ideas about a topic that they can write about in music form. ReWrite offers a means of exploring common misconceptions…

Maintains that many educators are using sequences to create accompaniments and practice tapes geared to student abilities. Describes musical instruction using Musical Instrument Digital Interface (MIDI). Discusses eight suggestions designed to make the process of sequencing more efficient. (CFR)

Identifies several sets of criteria starting band directors can use to overcome common pitfalls. These include helpful hints on repertoire selection, rehearsal procedures, and setting realistic expectations. Concludes with a look at "the big picture," a list of suggested themes for concerts. (MJP)

Defines musical improvisation as taking place when a musician's aural and technical facilities combine to create a spontaneous form of musical expression. Discusses the use of improvisation as a means of enhancing student interest and performance. Includes a six-step approach for teaching musical improvisation. (CFR)

Encapsulates a series of verbatim statements made by young musicians about the joy music has brought to their lives. The musicians, all students at Black Mountain Middle School in San Diego, California, exhibit a wide range of responses discussing their commitment, hard work, and sense of accomplishment. (MJP)

Reiterates the common wisdom of teaching the musical sounds before the corresponding signs in early music education. Stresses the phenomenological importance of teaching the relationships among the sounds as part of a tonal unit. Advocates beginning music education with the students' specific musical culture. (MJP)

Considers the dilemma of the instrumental specialist suddenly forced to take over general music class instruction. Advises keeping an open and flexible attitude while realistically appraising the situation. Provides a list of helpful tips and the comments of instrumentalists who found the experience to be a positive one. (MJP)

Describes the development and first-year implementation of a high school madrigal program. The effort has been a resounding success enjoying popular support from the community and providing a creative showcase for the students. Relates those works most popular with audiences and students and includes a list of madrigal resources. (MJP)

Profiles four middle school teachers maintaining early chamber music programs. The teachers advise varying degrees of musical competency before students begin the program, but all of them caution against starting too soon. They also stress the importance of purchasing early music scores and establishing rehearsal times. (MJP)

Profiles Wynton Marsalis and discusses his work with children and music. Describes the motivation behind, and development of, the Public Broadcasting System's four-part special "Marsalis on Music." Marsalis discusses his early exposure to music and the influence of his parents. (MJP)