This article describes an approach to general music where assignments in music improvisation and composition are embedded into the curriculum, that is, creative assignments are given as an outgrowth of curriculum content and directly related to instruction and activities in conceptual learning and skill development in the classroom. Such an…

The purpose of this study was to evaluate the effects of a composition program, Composers in Public Schools (CiPS), on cognitive skills essential for academic success. The underlying hypothesis is that composition instruction will promote creative expression and increase performance on music-specific skills such as music reading, as well as foster…

Classroom composing is a lot of work, but it is tremendously rewarding for students and for teachers. The learning and skill development that attends composing efforts can make the addition of composing activities to a music classroom both useful and enjoyable. In this article, the author provides five steps for leading students in classroom…

An innovative ICT project called "Compose" has been implemented in some New Zealand primary schools in an effort to counteract the lack of classroom composition opportunities. "Compose" combines the use of music software and online learning with attempts to address barriers to primary classroom composition. This article…

Students learned to play the ukelele and consequently had the simultaneous experience of learning chord structure, reading music charts, and how to sing. (RK)

Discusses the importance of developing second grade student listening, singing, and composing skills. Explores the second-grade singing apprenticeship where students can sing alone, as a group, or listen to other groups. Focuses on teaching singing skills and allowing students to experiment with music. (CMK)

Teachers of children with visual impairments are encouraged to create their own useful and age-appropriate songs to help teach orientation and mobility skills to children in preschool to grade three. The songs can be created by writing new lyrics to well-known tunes or by writing new lyrics and melodies. (DB)

Focuses on the connections among the concepts of virtuosity, performance, and knowledge. Defines a virtuoso performance and the two different types of virtuoso performers. Considers to whom the label "virtuoso" should or should not apply and limits its literal application to performers who participate in the interpretive realization of art works.…

States that finding works to challenge the technique and stimulate the musicianship of young performers can be a difficult and yet rewarding task for music teachers, directors, and composers. Provides a list of annotated suggestions of works from the standard orchestral repertoire that may work well with young orchestras. (CMK)

Many orchestra teachers have experienced feelings of panic when they first read the National Standards and realize that the coalition standard is for performance ensembles as well as general music classes. Teachers who are responsible for starting beginners or who teach intermediate players may wonder about the feasibility of teaching composition…

This document is a supplement to TE 499 767, presented in this issue. The contents are similar to the original document, but the supplement expands on the subject of "Course Procedures, Strategies, and Suggested Learning Activities." Resources for the Pupil and Teacher are listed. A Choral Written Test and a True and False Test conclude…

Considers the impact of learning to program upon the intellectual and personal development of children. The excitement of computer mastery, the usefulness of programing as an introduction to "real world" problem solving, and computer programing as an aid to increased understanding of subject matter are discussed. (JL)

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Contends that teaching contemporary music pieces that are largely improvised provides an ideal learning opportunity for students. Focuses on the piece "Improvisations I," stating that the version presented is intended for college students. Describes the performance of each section of the piece and provides suggestions for rehearsal. (CMK)

A music course of instruction in junior chorus, to develop students' performance skills individually and in ensemble, is described. A prerequisite for pupils is the ability to read music. Outlined are: the course description; enrollment guidelines; study objectives; course content; procedures; resources for pupils and teachers; and the assessment.…