The "Three Artistic Processes" provide a powerful model for organizing standards-based music teaching and assessment as well as a vision of the musically educated student. They also clarify how student-centered music education helps children master 21st-century skills necessary for future success. This article outlines why and how music teachers…

Teachers who conduct ensembles of any ability level know that many skills are required for students to successfully participate. Often neglected or overlooked are the skills that students must have to interact musically with their peers. This article focuses on listening as a way to help make successful ensemble collaboration a reality. The method…

Defines creativity by exploring the four components of creativity: person, product, process, and persistence. Illustrates the characteristics of the creative person and examines blocks to creativity. Applies the creativity concepts to music education. (RW)

Composers of new music want musicians to create their own music and to realize their own creative powers. Author describes new music and lists examples for reference. (Author/RK)

Described is the Pillsbury Foundation School, designed to discover how creative music activity was provoked and generated in children, ages three to six, and how natural musicality could be developed in these young children. The author warns against repressing the deeply rooted natural musicality that young children inherit. (KC)

Offers a systematic approach to creative learning in music through an analysis of the components of complex learning and creative activity. Outlines goals for fostering creative learning in music education, and delineates person, process, and product objectives. Suggests methods of evaluating creativity. (RW)

Music education should be conceived as aesthetic education which is devoted to the systematic development of musicality. Music education curricula should incorporate contemporary psychological methods which encourage creativity while focusing on the nature of music meaning and expression and the development of the capacity for musical response.…

To develop listening skills for all types of music, teachers may want to try some of these imaginative teaching techniques. Describes some unconventional ear-training exercises, vocal exercises to encourage students to "paint with their voices", and "rebound" exercises to explore spontaneous relationships between sound and movement. (Editor/RK)

Noting widespread student discontent, author advocates new approaches to teaching of the humanities, particularly the fine arts and especially in college. More emphasis on creativity and participation for all students, not just the talented, he believes will bring present relevance and preparation for meaningful leisure experience in future. (PD)

Discusses an inservice program designed to help teachers make friends with their creative selves. (Editor/RK)

Author discusses the importance and challenges of aesthetic education. (MB)

Man does several things with the arts: He observes them, he executes what someone else has created, and he philosophizes about them. (JB)

Identifies four characteristics of the creative endeavor: (1) musical imagination; (2) model of the creative process; (3) measures of creative aptitude; and (4) the observation of creative behavior. Examines the role of technology in creativity, and contends that creative thinking can be measured. Includes suggested readings. (RW)

Creativity is largely an outgrowth of attitude rather than an activity, a set of predispositions rather than a production line. Author traces the concept of creative development and the role music plays in illustrating the creative process. (Author/RK)

Traces the longitudinal development of creative thinking in music education. Contends that creativity in students is enhanced by building on the natural process of sound exploration. Suggests strategies for teaching music to very young children, and presents ways to foster creativity in students. (RW)