Identifies keyboards as effective vehicles for long-term and in-depth music instruction. Recommends using keyboard instruction as a centerpiece for meeting the National Standards for Music Education. Describes a number of instructional activities supporting this goal. (MJP)

Describes a Chinese lesson during which the techniques for playing the yang-ch'in are taught. Discusses why Chinese teachers use rote instruction in music lessons and why they use poetry and nonmusical scenes as indicators of music's expressiveness. Compares this method of utilizing imitation with U.S. teaching techniques and relates it to…

Maintains that use of the Suzuki, Orff, and Dalcroze methods have assisted string teachers in helping music students achieve mastery from the beginning of instruction. Describes how these methods are used by five music teachers. Includes addresses of organizations that provide information about these music teaching methods. CFR)

Maintains that many music education associations sponsor chorus or band festivals at the middle and high school levels, but meeting the needs of prekindergarten and primary students is a more challenging task. Describes a one-day music festival for early elementary children. (CFR)

Asserts that a revolution has been occurring in musicology since the 1970s. Contends that music has change from being only a source of emotion to appearing more open to science and techniques based on computer technology. Describes recent research and other writings about the topic and provides an extensive bibliography. (CFR)

Summarizes a study where 668 students were given the Junior Eysenck Personality Questionnaire. The questionnaire measures four features of personality: tough-mindedness, extraversion, emotionality, and lying. The study correlated personality traits to decisions regarding instrumental music study and choice of instrument. Includes tabular data on…

A musical ear is widely accepted as an essential ingredient in the education of successful music students. Most music educators believe that without a well-developed ear, it's impossible for a musician to function on a professional level as a teacher, conductor, performer, or composer. The purpose of this article is to introduce the concept of…

To define the status of music education in the United States has been practically impossible. The utter lack of systematic courses of instruction, the widely varying standards of merit, and the absence of cooperation upon the part of those engaged in music teaching not only have made impossible any accurate computation of the results which have…

Recommends elementary school projects where children design and make their own musical instruments. Maintains that this familiarizes students with the family of instruments and how they produce sound. The built instruments can be as simple as a washtub bass or as complex as an electronic synthesizer. (MJP)

Reports on an interview with Terry E. Miller, a specialist on music of Thailand and other southeastern Asian nations. Discusses the culture, the role of music, and musical instruments of Thailand. Includes a list of resources and two lesson plans for teaching about Thai music. (CFR)

Contends that, from the earliest possible moment and even before birth, it is apparent that babies respond to sound stimuli. Presents a series of music activities designed to make music an integral part of children's lives. Includes activities involving singing, rhythm, musical instruments, and listening to guest musicians in the classroom. (CFR)

Contends that keyboard synthesizers can be used effectively in the music education classroom because they are instruments more than they are technological tools. Describes an elementary music program that uses synthesizers throughout the K-6 curriculum. Includes diagrams of classrooms arranged to use computerized keyboards incorporated with other…

Contends that there is a large and enthusiastic audience for introductory music courses at the college level. Describes a one-semester basic music course for non-music majors with three basic components: informing, listening, and performing. Concludes that this experience provides singular opportunity for many students to learn about music. (CFR)

Argues that music educators must begin to use computers in classroom management and instruction. Discusses the results of the Michigan Computer Music Survey that indicated that 50% of band and orchestra instructors were using computers in their work. Provides suggestions for purchasing and using computers in music education. (CFR)

Maintains that the ability and experience of improvisation is an essential component in young musicians' education. Discusses one teacher's trial-and-error efforts in introducing improvisational exercises into her students classical training. Includes a list of resources and representative musical examples. (MJP)