In this article, I explain how percussion and groove are at the core of many musics created and enjoyed today, yet they can be overlooked in music teaching and learning. A pervasive culture of pitched-instrument prejudice makes it difficult to take rhythm and groove seriously, although these can be at the core of meaningful music-making…

This article provides a historical context for Placido de Montoliu's Eurhythmics instruction at Bryn Mawr College, Pennsylvania, between 1913-1922 and 1930-1931, and it highlights pedagogical and philosophical principles that shaped his approach. The research is based on noncirculating, historical documents at the Bryn Mawr College Library…

The Aural Learning Project (ALP) was developed to incorporate jazz method components into the author's classical practice and her applied woodwind lesson curriculum. The primary objective was to place a more focused pedagogical emphasis on listening and hearing than is traditionally used in the classical applied curriculum. The components of the…

To practice effectively, one must first know how to practice. The practice process is affected by one's ability to set goals, design strategies, self-assess, and to have an aural image of the music being learned. The author proposes a model reflecting the factors involved in practice and proposes a number of strategies that can be used to…

Facing the ambiguous status of in-school music literacy, this follow-up eight-year study aims to touch on the effects of traditional staff notation (SN) learning on student's intuitive symbolizing behavior and musical perception. Subjects were 47 second-graders attending a religious Jewish school in Israel. One "pre-literate" meeting, in…

Asserts that good band members play in tune because they listen during tuning routines and playing exercises. Maintains that the usual method of tuning bands, adapted from the orchestra, does not work. Presents recommendations for band tuning routines and methods for band members to develop listening skills. (CFR)

Contends that many choral programs suffer from a continued dependence on the piano for music learning and intonation. Provides suggestions that will help students develop sight-reading and singing skills that are not centered around the piano, such as creating a sight-reading system and having students read choral music immediately. (CMK)