This teacher's guide presents a course for training hearing-impaired students to listen to, create, and perform music. It emphasizes development of individual skills and group participation, encouraging students to contribute a wide variety of auditory and musical abilities and experiences while developing auditory acuity and attention. A variety…

Urges music educators to use activity-based instruction as opposed to more traditional methods. Provides two lesson plans for middle school students where they learn about musical instruments in an integrated science and music environment that promotes concept formation and the exploration of the role of culture in music-making. (CMK)

Frank Leto, a professional musician and a Montessori teacher, discusses his professional music career, family, the arts in Montessori education, the lifestyle of a professional musician, writing children's songs, and percussion instruments. Provides advice for teachers of music. (SD)

The primary objective of this project was to design a responsive environment using a computer-controlled organ for children to learn music principles. Three secondary objectives set in the development of this environment were to create the means for: 1) entering, storing, and replaying complex music; 2) viewing the time-space relationships…

A course in introduction to music emphasizing modes and forms is presented. The approach used is a laboratory one in which pupils will develop skill in playing string instruments, sing, listen to, read and compose music with emphasis on identification of elementary concepts of mode and form. Course objectives include: (1) The pupil will select the…

The primary purpose of this study was to examine composition practices in public schools across the state of Indiana, to investigate who incorporates composition and why they chose to use or not use composing tasks. A second purpose was to learn if teachers had an operational definition for composition. Three hundred thirty-nine teachers…

To enhance school children's understanding of and appreciation for the performing arts, an ESEA Title III project presented live performances by professional brass, woodwind, and string ensembles to children of the 275 public and parochial elementary schools of Bergen County, New Jersey. As part of the program, children read a book especially…

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)

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)

Provides some tips on jazz instruction for the beginning music educator who may not have had much experience in that field. Specifically recommends teaching guide tones, the root, third, and seventh chords, as an invaluable aid to jazz improvisation. Includes musical notation showing guide tones for two jazz standards. (MJP)

Designed for instruction of emotionally handicapped children and youth, these seven articles offer activities and concepts relative to music and outdoor education. The first article presents 12 specific objectives and 40 specific activities (e.g., action singing using motions to describe words). The second article presents three basic concepts…

Divides musical composition selection for student orchestras into two categories, teaching repertoire and concert repertoire. Provides a number of helpful hints and criteria for selecting both. Includes "Ten Terrific Titles,""Super String Selections," a list of premiere selections for grades two through six, and a list of selected resources. (MJP)

We focus on the music students at a conservatoire (A) that only trains performers and composers (performers/composers); a conservatoire (B) that also trains classroom teachers (education students); and a university (C) with only education students. We used a questionnaire to compare the experience and beliefs as instrumental teachers of the…

The introduction for this Alberta (Canada) music education guide offers reasons for students to study the fine arts at the secondary school level. A philosophy of music education is presented along with 5 key outcomes and 11 music appreciation expectations for secondary students to attain. The volume features wind and percussion instruments. The…

This article considers the effectiveness and implications of the "Powerplus" composing project, in which teenage students were asked to write for a chamber ensemble in preparation for a public concert of their work. The perspectives of all participants are considered, with a view to understanding i) the developing identities of young…