Believes that improvisational ability can be performed vocally as easily as instrumentally and suggests methods for initiating improvisation, for transfering creative insights to pitched activities and how to organize chordal accompaniments for melodic improvisation. (RB)

How to use current records to encourage children to listen to and become involved with music. Methods for using instruments and voice to create new rhythms and styles. (RB)

Reviews themes of a 1979 conference held at the University of Michigan. Papers presented dealt with mental structures involved in the comprehension and production of music, and covered individual differences, development in children, and cultural variations. (Author/GC)

The author describes the evolution of the American musical since 1750 and emphasizes the often overlooked importance of the orchestrator. She discusses the talents of several extraordinarily gifted musicians. (KC)

Three teaching units are presented as models for integrating the guitar in a comprehensive musicianship program. Designed for high school or college level, each emphasizes composition and improvisation. The units deal with the use of tremolo, quartal harmonic structure, and variation technique. Selected readings, music, and recordings are listed.…

The author reviews several perspectives on the relationship between the composer and the performer of a musical work. Specifically, he examines the boundaries of that relationship, seeking to define the extent to which the performer may creatively interpret a work without violating the composer's intentions or established musical tradition. (SJL)

The past, present and future of music improvisation is discussed. Resources for piano, guitar, elementary general music materials, and electronic music materials are included, along with addresses of publishers. The emphasis is on jazz. (KC)

This article presents an overview on women composers in the United States from the eighteenth century to the present. It also lists women's musical organizations, selected references on women in music, and available recordings of works by American women composers. (SJL)

The Tsonga are a Bantu-speaking people numbering about 1,200,000 in Mozmbique and 500,000 in the Northern Transvaal. Here are instructions for making a nine-slat xylophone like those used by the Tsonga as well as some Tsonga xylophone melodies. (Author/RK)

Explains how the author's experiences with Native people's ways and music had a powerful linkage to his own musical composition in that these cultural experiences acted as a catalyst to action and subsequent self-knowledge. Compares this learning process to that found in higher education. (SV)

Describes children's software programs that allow for a great deal of choice and control by children. Programs were selected on the basis of their design, child orientation, and ability to amuse. (RJC)

Discusses the use of computers in music and music education. Topics discussed include the use of computers to assist in music composition and performance; changing employment opportunities for studio musicians; multimedia applications, including high resolution graphics; editing and publishing music; and database projects. (14 references) (LRW)

Discusses the importance of teaching improvisation. Defines improvisation as the spontaneous generation of melody and rhythm without specific preparation or premeditation. Answers reasons for not teaching improvisation. Suggests training the ear, providing models, allowing for imitation, developing performance facility, guaranteeing success, and…