The author presents a rationale for using handbells in music education and performance activities with a wide range of age and ability groups. (SJL)

Presents a rationale for using handbells and discusses their application to elementary, junior high, high school, special education, and college music programs. (SJL)

Describes ways to get children to be the music they love, and to recognize, sing and play, on available instruments, the tones of the scale.

The Appalachian Folk Music Project developed methods to teach folk music in the schools. Authentic material was identified and teaching methods appropriate to rural Appalachia were selected. Departures from the norm included teaching of instruments like the dulcimer, harmonica, and fiddle and the use of folk models whenever possible. (CS)

A continuing pedagogical problem with preadolescent string students is the introduction and development of finger-pattern concepts. The procedures outlined in this article not only introduce and reinforce a needed kinesthetic skill but also allow the child to be creative while making music in an American idiom--the blues. (Author/SJL)

The author suggests that the greatest barrier confronting a beginning improvisational jazz instrumentalist is fear. He suggests ways of eliminating this fear, beginning with specific suggestions for training the ear with vocal exercises, followed by specific suggestions for learning on instruments. (KC)

Noting that developing skill with a musical instrument requires much dedicated practice, the author gives advice to students and teachers about maximizing the productivity and efficiency of a practice session. (SJL)

Suggests ways to solve problems resulting from imbalanced instrumentation in school concert bands. Identifies sources of imbalance. Encourages band directors to plan for correct instrumentation, to match students' characteristics and abilities to instruments, and to recruit students to play needed instruments. Discusses the benefits of balanced…

This curriculum and instructional plan for Canadian schools is based on a study of the tradition of steelbands of Trinidad. The primary aim of the study was to move toward understanding how Trinidadian people view, experience, explain, and order specific elements of their musical world. The study proposed a curriculum and instructional plan for…

Compares the experience of playing an acoustic instrument to an electronic instrument by analyzing the constant structures and relationships between the experiences. Concludes that students' understanding of the physical experience of making music increases when experiences with acoustic instruments precede their exposure to electronic…

Conducted during the Institute for Steelband Playing held in 1988, this study's aim was to understand how Trinidadian people view, experience, explain, and order specific elements of their musical world, with the goal of providing an information base for establishing steelband programs in Canadian schools. The study focused on (1) How did the…

The investigation concerned the construction of a test of musical creativity that would assess the hypothesized divergent production abilities of music fluency, flexibility, originality, elaboration, and quality in school instrumental music students. The developed test, measures of musical divergent production (MMDP), was based on models of…

Investigated the effect of using tape-recorded aural models for home practice on selected sight-reading and performance skills of sixth-grade clarinet students. The tape recordings had no observed effects on the selected music skills, nor did the students using them complete more music exercises, as had been hypothesized. (Author/SJL)

Describes a high school music program in which students form strolling performance groups. Explains that violinists, violists, and even cellists play as they stroll through audiences. Suggests that strolling strings programs benefit both students and teachers by providing opportunities for creativity and enhancing musical skills. Provides a list…