Author examined some of the ways that the art of composition is applied in jazz through concentrating on three figures - Jelly Roll Morton, Duke Ellington, and Thelonious Monk. (Editor/RK)

The article discusses the lack of recognition given to jazz in music education in England. (Author/RM)

Outlines the history of ragtime, its early creators and development into a popular music form. (RK)

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)

Will the computer or instruments powered by electrical energy become the most efficient means by which to produce Western music, replacing the live performer? If so, what will be the effects of electronic, mechanical music on society? (Author/RJ)

The perseverance of African musical characteristics among American Blacks is an historic reality. African retentions have been recorded in Black music of the antebellum period. Various African scales and rhythms permeate Black American music today as evidenced in the retentions found in blues and jazz. (RLV)

In a down-to-earth, practical article, the author tells how to guide the beginning jazz band drummer so that he can lay the foundation for a swinging ensemble. (Editor/RK)

The author highlights some of the progressive trends in jazz band arrangements--woodwind doubling, synthesizers, strings, multipercussion, and other nontraditional instruments--and suggests sources for such scores to school jazz band directors. This article is part of a theme issue on popular music. (Author/SJL)

Suggests that watching for certain signs can help music teachers to improve students' performance in jazz solos. Recommends dealing with problems one at a time beginning with the most blatant and focusing on good communication skills as the basis of improvisation. Discusses lack of spacing, repetition, planning, form, and finality. (DK)

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)

Discusses popular music, the role of the musical performer as a creator, and the styles of jazz and popular music. Describes the pop ensemble at the college level, focusing on improvisation, rehearsals, recording, and performance. Argues that pop ensembles be used in junior and senior high school. (CMK)

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)

Three hundred sixty-nine dissertations are listed in this international directory. They are divided into categories (e.g., biographical studies, choral-vocal music, historical studies, string music, etc.), and three indexes are provided: students' names; institutions represented; and subject category. (JB)

This field-tested guide is intended to help 4th, 5th, and 6th grade teachers introduce students to different musical concepts through a series of ten 30 minute television programs. Produced by WETA-TV, Washington D.C., the fast paced, humorous programs expose students to many musical styles including vocal and instrumental jazz, bluegrass and pop,…