Improvisation-based exercises may be the key to unlocking students' innate musical creativities. This article focuses on two exercises--drone improvisation and circle stringing--that can be easily integrated into the orchestra curriculum and adapted to the learning needs of the individual student, small-ensemble, and large-ensemble settings. Of…

This article describes a sequential approach to improvisation teaching that can be used with students at various age and ability levels by any educator, regardless of improvisation experience. The 2014 National Core Music Standards include improvisation as a central component in musical learning and promote instructional approaches that are…

Before our current notation system was widely adopted by musicians, improvisation was a key component of music throughout the Western world. One of the fundamental elements of the baroque style, namely, using improvised embellishment, offered musicians great artist liberty. During the baroque period, improvisation spread across Europe and beyond.…

In the "Divertimento" section of "Teaching Music," teachers share stories, strategies, and quesitons with their colleagues. This "Divertimento" covers the following topics: (1) one teacher's surprise at a student's novel take on the tambourine; (2) a question about teaching bowing symbols to beginning students; and (3) a question about breaking…

Describes how to use ensembles of recorders and other folk instruments in elementary school music classes. The importance of improvisation and aural training in mixed ensembles is stressed. (AM)

The basic skills and techniques of playing the horn, trumpet, tuba, and other brass instruments are quite similar, but the methods and concepts used to teach these skills vary considerably. Differences in both philosophy and methodology are described. (Editor/KC)

An experiment intended to familiarize a student with the musical scale and the technique of tuning an instrument by listening for beats is described. From the dial reading of the oscillator frequency and the counted beats frequency, the student then computes the frequency of each musical note over one full octave. (Author)

The author states that in a melody/harmony/rhythm sense, improvising on a synthesizer is no different from improvising on any other instrument. The capabilities of synthesizers are described, and exercises and methods to be used with synthesizers are outlined. (KC)

Describes the Suzuki method of teaching which introduces young children to music and the violin so they can progress, after years of study, into standard violin literature. States that this method provides a base upon which the young violinist can develop musical maturity. (GEA)

A series of activities are described to introduce students to musical instruments. Children learn about woodwind, string, percussion, and brass instruments through observation of musicians, hands-on experiences, and recordings. Sample recordings and a bibliography are listed. (DF)

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)

Described are improvisational activities based on the Orff-Schulwerk teaching technique which include: sound and movement; sound and movement plus visuals; interpretation of designs from nature, architecture, paintings, rotating rondo, singing hands, and moving from words to song. Pictures of children participating in these activities are…

Arranged into eight parts, the booklet assists instrumental music teachers in facilitating musicianship in the beginning instrumental class. Part 1 presents a description and rationale for teaching comprehensive musicianship in instrumental programs. Part 2 presents a list of student objectives and teaching strategies for beginning level classes.…

Discusses methods for teaching instrumental music skills to educable mentally handicapped children. The author advocates consistent rules for equipment handling and playing position, frequent positive feedback from teachers, private lessons, rote-learning of music, and group playing experiences. Appropriate music training significantly improved…

This book provides both new and experienced music educators with much-needed advice drawn from credible research and established approaches, but also includes practical application for the incredible variety of music classrooms that teachers face today. Kevin Mixon adapts research-based theories to fit typical situations that are not always ideal.…