Article discussed a teacher's experiences with bitonality using rock music to teach chord identification. (Editor/RK)

Citing schools' neglect of avant-garde composers like John Cage and others, author notes satisfaction pupils can get from music which allows performers to be creative too. Among methods suggested are composing from pictorial notation, open-end compositions, improvising with suggested elements," such as high loud chord with five tones." (PD)

Primary grade children composed their own chants using the sounds of words and putting their own poems to music. (AF)

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)

Author described his own strategy for helping people learn to compose music, which he called the improvisational approach. (Author/RK)

Students can learn to listen by relating music to everyday experiences. Through their own sense of imagery and through language development, they can focus on basic concepts of music. (Editor)

Presents programming ideas using LOGO, activity for converting flowchart into a computer program, and a Pascal program for generating music using paddles. Includes the article "Helping Computers Adapt to Kids" by Philip Nothnagle; a program for estimating length of lines is included. (JN)

Black music of African and Afro-American peoples is particularly attuned to sounds, has a metronome sense, and is analyzed through use of a density referent by which students become involved in musical compositon. (RK)

Article presents a list of musical activities as a guide for students to explore musical concepts. (RK)

Learning music composition through use of innovative music symbols can be effective in stimulating student motivation and in developing learning comprehension. (RK)

One method of teaching music to children is discussed. (CK)

Case studies are presented of musicians with dyslexia who experienced difficulties in the study of musical notation. The studies focus on their educational histories, musical weaknesses and strengths, and successful compensatory strategies. Suggestions are offered on using multisensory approaches to teach musical notation. (Author/JDD)

Attempts to begin a process of pedagogical self-evaluation by considering how David Hume's Is-Ought fallacy can serve as an instrument with which to evaluate the content presented in a given teaching situation. Investigates the Is-Ought fallacy through an in-depth examination, and relates it to specific pedagogical issues in music education. (CMK)

In many ways, the nature of the community where the learning takes place determines student success in creative endeavors. It is important to recognize that the teacher is not the only one in the room who may have interesting ideas about how to revise or extend students' ideas. Peers share ideas freely with one another, and students are often more…

Middle school choral students and their teachers can benefit from studying and performing a musical. The students can apply their vocal skills to the exploration of this important genre of American music. Outstanding chores members will have opportunities to perform as soloists and to master dramatic roles. The teachers can express themselves…