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)

Electronic music challenges our ears as well as our culture and our methods of teaching. The author, a composer and New York University professor, explains electronic music as a medium of expression, tells how it is produced, and illustrates its use in the classroom. (Editor/RK)

Describes the functions and styles of film music and includes a bibliography, discography, a list of films on film music, and a list of five ways teachers can use this article. (Editor)

In 1975, under the auspices of the Manhattan School of Music, an opera for children project was initiated at Public School 75 in New York City. Its aim was to acquaint the public school's faculty, parents, and students with the technical and performance aspects of opera production. (Author)

The author examines social forces and intrinsic organization structures as factors affecting emotional response to musical compositions and discusses the relationship of these factors as they affect the development of an appreciation for music. (MJB)

Careers in the music field for Hispanos are available for the industrious, competitive, and talented person. Among the careers are: composer, orchestrator-arranger, church musician, conductor, teacher, music librarian, tuner-technician, copyist, and instrument repairer. (NQ)

Creative musical experiences appropriate to children's cognitive and psychomotor development should begin in kindergarten. Structured creativity through the process of musical composition can be used at grade 4 and above. Lesson plans using Haiku poetry, penatonic scales, rhythmic durations, and melodic contour to create a song are provided. (VW)

Describes features of five new software programs--Songwriter, Musical Ideas, Musicalc I, Musical Construction Set, Musicland, and Music Designer II--which facilitate musical composition and musical creativity in a variety of ways. Shortcomings are briefly discussed, and sources for further information are given. (MBR)

Authors suggested ways for high school band members to gain the exposure, the experience, and the education to help them develop an aesthetic posture--critical, thoughtful interaction with music. (Author/RK)

A majority of the blues deal with situations and/or problems about which the black man feels a sense of helplessness and/or confusion: those situations in which he questions his ability to arrive at a resolution to the problem involved. (Author/RJ)

Author accents the relationship between art and the times, and, as well, that the artistic task always takes precedence over technique. (RK)

Considers the problem of taking dictation in a music class and recognizes the importance of perception for understanding musical structure. Author demonstrates his point with an analysis of a German folksong. (RK)

Article consists of a compilation of explanations of musical compositions (two records are included with the article) of many different cultures, which have been reviewed throughout the journal. (RK)

Presents an analysis of barbershop singing as a method of stimulating students to learn about music and to enjoy singing. It suggests a list of songs prepared by the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America. (Author/RK)