This article presents a three-pronged strategy for teaching collective improvisation in the general music classroom through structured surround soundscapes. This strategy consists of developing socio-interactive skills, shared understanding, and personal music vocabulary in collective improvisation. In the music classroom, these concepts should be…

Music teacher evaluations traditionally examine how teachers develop student music-learning objectives, assess cognitive and performance skills, and direct classroom learning experiences and behavior. A convergence of past and current educational ideas and directives is changing how teachers are evaluated on their use of student-centered…

In music education, current assessment trends emphasize student reflection, tracking progress over time, and formative as well as summative measures. This view of assessment requires instrumental music educators to modernize their approaches without interfering with methods that have proven to be successful. To this end, the Longitudinal Scales…

This general overview on the gifted discusses student identification, teaching methods, and model programs for the musically gifted. (SJL)

Discusses areas of concern in the general music classroom and topics to be covered by a variety of research sessions at the Eastern Division Conference of the Music Educators National Conference in February, 1977. (Editor/RK)

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)

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)

General music teachers who use the guitar in their classrooms will find some practical instructional ideas in this article. (Editor/RK)

The author, a composer and the director of an electronic music lab, is concerned with developing an "aesthetic" in listening to electronic music. Describes an approach he has found to be successful with his students--one that provides "a mode of understanding, a vehicle for making aesthetic decisions". (Editor/RK)

Provides some possible ideas for music learning centers focusing on listening activities, music-making, and "potpurri". (Author/RK)

How a University's Extern Program gives sophomore music education majors a head start in music teaching. (Editor)

Advocates oral history as an instructional method for students at all grade levels. Describes existing oral history projects and presents guidelines for interviewing, including use of tape recorders and cameras. Ends with a brief discussion of the use of oral history methods to collect local music. (SJL)

The Winston-Salem/Forsyth County Schools have developed a program called Arts in the Basic Curriculum. Together with five other cities they formed a league committed to developing an arts in general education program. The mission of the schools was to assure students the right to develop their potential through an interdisciplinary approach to…

Article discusses music education programs for deaf children to learn to recognize vibrations of tones in different parts of the body and how music is used as an aid in teaching rather than teaching music as an end in itself. (Author/MM)

This article suggests that teachers make use of the special student performances offered by many city opera companies. It discusses advantages and disadvantages of these programs and what the teacher might expect of them. The educational programs of 22 American opera companies are described. Part of a theme issue on opera. (SJL)