Discusses improvisation as a phenomenon. Offers suggestions for a learning sequence. Warns against allowing students to skip levels. Identifies developmental levels of improvisation as exploration, process-oriented, product-oriented, fluid, structural, stylistic, and personal improvisation. Urges that improvisation can and should be a meaningful…

Discusses how to teach improvisation to younger students by utilizing genres other than jazz, such as bluegrass, blues, ska, reggae, rap, klezmer, and rock. Describes each of these genres and gives a sequence of six steps to help music teachers organize classroom improvisation. (CMK)

Article presents the case for student musical composition in high school and suggests ways to initiate the creative process. (RK)

Discusses the abilities a conductor must invoke in order to develop a successful choral ensemble. Recommends recruitment strategies, lists characteristics of successful teaching styles, offers suggestions for programing and literature selection, for score analysis, and for rehearsal structure and techniques. (LS)

Contends that many violin students attempt difficult concertos before they are technically or musically prepared. Identifies a variety of concertos at the intermediate and advanced intermediate-level for students to study and master before attempting the advanced works by Bach and Mozart. Includes concertos by Vivaldi, Leclair, Viotti, Haydn,…

This publication is part of a series of monographs on the art of teaching. Each volume, focusing on a specific discipline, explores theory in the context of teaching strategies connected to evaluation of both teachers' and students' learning. Three techniques are offered to help teachers use the series: dialogues (as self-evaluation and in study…

Presents a series of teaching suggestions and ideas based on the National Standards for Arts Education. Focuses on musical composition for elementary and secondary students. Includes a teaching example illustrating how the National Standards can be put into practice. (CFR)

A course in introduction to music emphasizing modes and forms is presented. The approach used is a laboratory one in which pupils will develop skill in playing string instruments, sing, listen to, read and compose music with emphasis on identification of elementary concepts of mode and form. Course objectives include: (1) The pupil will select the…

A year-long music instruction unit introduces students to information about the lives of nine great composers of the classics and to their works. Each month a different composer is featured. No special training for teachers is necessary. (PP)

Maintains that, although none of the National Standards for Arts Education requires the use of computers in music education, it is assumed that computer use will expand. Discusses and reviews the use of computer software and other educational technology in the music classroom. Includes a list of three books for further reading. (CFR)

Recommends all music programs taking an active role in developing programs that promote and teach improvisation. Discusses some simple instructional strategies and models to follow when creating an improvisational program. Includes score selections and a list of selected resources. (MJP)

Suggests choral teachers use rap music to promote student interest and to teach music basics, such as rhythm, pitch, harmony, and timbre. Maintains that students can write the arrangements allowing them to gain experience in notating. Identifies selected recordings and offers an example of how to use rap music. (CMK)

The primary purpose of this study was to examine composition practices in public schools across the state of Indiana, to investigate who incorporates composition and why they chose to use or not use composing tasks. A second purpose was to learn if teachers had an operational definition for composition. Three hundred thirty-nine teachers…

The design of an Intelligent Tutoring System (ITS) in a knowledge domain where expertise is modeled as a set of uncertain and incomplete beliefs that are justifiable and expressible in the form of a critical argument is outlined. Issues concerning knowledge communication in a tutorial interaction are discussed with reference to a cognitive model…

To enhance school children's understanding of and appreciation for the performing arts, an ESEA Title III project presented live performances by professional brass, woodwind, and string ensembles to children of the 275 public and parochial elementary schools of Bergen County, New Jersey. As part of the program, children read a book especially…