Students participated in making music with very little verbal communication and the teacher found a way to eliminate fruitless lecturing and nonmusicmaking. (Author/RK)

American music educators are a major part of the continuing change in music curriculum that has been planned for public school music of presentday America. (Author/RK)

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)

Discusses how choral directors and choirs can collaborate with a percussionist when a drum or other instrument is needed for a performance. Explores details, such as instrument availability and storage as well as working with a percussionist. Focuses on specific types of music. (CMK)

Reports on a study designed to investigate loudness judgments of 30 musician and 30 nonmusician listeners in response to performed dynamic changes within a musical context. Finds that musician subjects indicated a significantly smaller magnitude of dynamic change than did nonmusician subjects. (CFR)

Offers ideas for teaching musicians to be improvisors. Suggests that structure, organization, and continuity are problems that can be solved by learning to improvise. Recommends exercises in building phrases to help students acquire a sense of the developing whole. Concludes that improvisation can be taught by showing students how to teach…

Presents results of a study that explored the effect of overt categorization on musical preference. Found no difference in choices of nonmusic majors when choices were structured as stipulated, unstipulated, or free form categories. Finds musical experience and gender affected preferences for pop and jazz, but not for rock music. (DK)

The history of African-American sacred music is traced from the time of slavery to the present interest in gospel music. The religious music of African Americans is geared toward liberation themes. It is important that this music does not dilute its power through cross-over with other music forms. (SLD)

In each era in which white jazz musicians have received acclaim, black musicians have been the true innovators. Black jazz musicians of the past and contemporary artists are discussed. Although they may not receive the publicity they deserve, black musicians will continue in the forefront of jazz. (SLD)

Black popular music has its roots in African music that was a way of preserving history. A brief social and cultural history traces black popular music in the United States, focusing on the music blacks listened to, rather than just the music blacks played. (SLD)

Addresses the training necessary for students who will be teaching music performance in high schools. Discusses the challenges presented by increasing cultural diversity in the classroom and its influence on what music will be taught. Suggests that the expanded curriculum necessarily will be the responsibility of the performance teachers. (DK)

Explores the importance of emotional expression in music performance. Performers played music to express different emotions and then listening tests were conducted in order to determine whether the intended expressions were perceived. Presents and discusses the results. (CMK)

Explores the interaction among self-regulatory (cognitive strategy use, self-regulation) and motivational (intrinsic value, anxiety/confidence) components of learning with the quantity/content of a musician's instrumental practice. The sample consisted of 190 pianists. Indicates that the level of cognitive engagement during practice may provide…

Provides information on the life of Grace Nash, an influential educator and pioneer of Orff Schulwerk in the United States, focusing on issues such as her young life, experience as a prisoner-of-war, development of her interest in the Orff, Kodaly, and Laban methods, and her own work. Offers selected resources. (CMK)