Presents a study that investigates the effect of different melodic configurations on an Orff xylophone on how children compose and on the musical characteristics of their compositions. Focuses on fourth grade students (n=48) who lacked education in musical composition and who composed a song on the xylophone. (CMK)

Focuses on ways to develop student creative thinking, improvisation, and composition skills in instrumental classes. Provides suggestions, such as the importance of offering students creative opportunities, supplying examples, giving control to students, and encouraging expressive integrity. Includes a bibliography of resources for developing…

Describes musical instrument digital interface (MIDI), a communication system that uses digital data to enable MIDI-equipped instruments to communicate with each other. Includes discussion of music editors, sequencers, compositional software, and commonly used computers. Suggests uses for the technology for students and teachers. Urges further…

Describes the use of "Recorder Teacher," a computer software program that teaches elementary students to play the soprano recorder and compose their own music. Highlights include reinforcing music concepts; using written and auditory examples in the software; and testing on fingering and reading. Sample screens are included. (LRW)

Describes the technique of scordatura, and the different unusual notional principles, as a means to exploring the Baroque repertoire. Explains that scordatura pieces indicate, using either the term discordable or discordatura, that the established tuning must be altered by mistuning the instrument. Concentrates on Domenico Gabrielli's "Seven…

Analyzes 15 performances of "Bach's Suite Number 3 for Violoncello solo, Bourree Number 1" and determines what patterns of rhythmic variation (rubato) were used by soloists. Indicates that the soloists demonstrated four identifiable and similar trends in the performances. (CMK)

Identifies and describes children's in-action mental model of their own learning, which was inferred from the observation of children's behaviors when learning a song. Explains that the mental model is made up of musical organizations and learning strategies, each on two levels, large-scale and detailed. (CMK)

The purpose of this study was to characterize the behavior of 2-, 3-, 4-, and 5-year-old children engaged in improvisational musical tasks. Ten subjects from each of the four age levels participated in the 4-year investigation, which lasted until the 2-year-olds reached 5 years of age. Children met individually with the investigator for 15 minutes…

The author, an associate professor of music education at Pennsylvania State University and some undergraduate music education students explored possible uses of the synthesizer as they attempted to provide experiences in electronic music for a class of fifth grade students. Their program consisted of five lessons in the elements of music which are…

Focuses on the use of recorder ensembles in general music classes, discussing topics such as strategies for procuring soprano, alto, and bass recorders and ensemble activities for grades 3-8. Provides a bibliography of resources for recorder playing and information on transposition and arranging music. (CMK)

Explains that there are five components for achieving the ideal band tone (balance, blend, acoustics, sonority, and chord voicing). Presents information on each component. Provides seven suggestions helpful in developing band tone, such as explain and establish goals for the band's tone, practice for tone, and choose music to optimize tone. (CMK)

Explores the factors that may influence the decisions made by students aged 9-15 years old as they chose musical sounds and constructed compositions. Indicates that age, formal music training, and aesthetic response to musical sounds are the primary factors affecting specific choices made in the compositional process. (CMK)

To plan effective rehearsals and meaningful performances, band directors must engage in thorough score study and carefully construct standards-based lesson plans. While some may consider these separate steps, numerous aspects of the score-study process can help band directors create and implement standards-based lessons. When planning lessons…

Describes a unit used with sixth-grade students focusing on jazz and blues that taught improvisation. Discusses the different levels of improvisation that were used, providing the beginning activities, and describes activities that focus on the third level of improvisation called product-oriented improvisation. (CMK)

Explores whether the tsumari phenomenon appears in the performance of keyboard instruments and maintains that tsumari will be severe among subjects with little music training. Finds that tsumari was seen most conspicuously in this beginner group. Concludes that the structural arrangement of the music plays an important role in the tsumari…