Discusses mastery testing as a method for evaluating music education. (RK)

Describes an opera based on Peter Pan which was composed, produced, and performed entirely by children in grades one through six. (MB)

Considers the impact of learning to program upon the intellectual and personal development of children. The excitement of computer mastery, the usefulness of programing as an introduction to "real world" problem solving, and computer programing as an aid to increased understanding of subject matter are discussed. (JL)

The author highlights some of the progressive trends in jazz band arrangements--woodwind doubling, synthesizers, strings, multipercussion, and other nontraditional instruments--and suggests sources for such scores to school jazz band directors. This article is part of a theme issue on popular music. (Author/SJL)

Racism has been a major factor in determining the role and stature of jazz and the musicians who play it. Jazz has been denied its artistic due because it emerged from Black people who have been systematically denied their social and civil rights. (Author/GC)

At the end of the two-year term of the first licenses for performance of music copyrighted under the new copyright law, the "model" licenses are being reconsidered. Considered here is whether an institution should sign a model license, or any other license, based on reference to the law itself. (MSE)

The author believes the goal of composing and improvising music is to become involved in the creative selection and arrangement of music, and to develop skills in self-evaluation and constructive self-criticism. He describes approaches to teaching composition through improvisation with "found" instruments. Selected readings and…

Activities are suggested to teach the basic concepts of twelve tone serial technique. Students need no prior background in contemporary music. At least two sets of resonator bars are necessary. (This article is part of a theme issue on aspects of contemporary music.) (Author/SJL)

Instead of the traditional emphasis on performance by a few, music programs should also include composition and appreciation and embody experiences in aesthetic education for the entire student body. These experiences could include musicianship and music history, literature, structure, organization, and performance. (JM)

Believes that there can be a useful transfer of teaching techniques from the field of language education to music education. Her article on developing music reading readiness with young children suggests the use of note cards (similar to word cards) to develop visual as well as aural identity of notational patterns. (Editor)

Examines approaches and structures that students and teachers may use to explore connections between poetry and jazz. Suggests specific techniques for intermingling the two. Looks at the relationship between the two in terms of "mood,""program," and "allusion." Provides examples of paired pieces and marked-up poetry texts. (TB)

Focuses on how music teachers can make choral rehearsals more interesting for students by incorporating creative lessons and activities. Explores what it means to be creative and includes examples of creative lessons that can be used in the choral rehearsal. (CMK)

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Focuses on the importance of creative thinking in music education. Addresses three factors that support creativity in music: (1) the availability of resources for teachers, (2) the growth of information related to understanding creative thinking, and (3) the role of technology. Introduces this issue of the "Music Educators Journal." (CMK)