The positive aspects of improvisation (careful listening, response to words, notes and sounds) are presented, as are obstacles to improvisation (fear of ridicule, and the "comedian syndrome"). Nevertheless, it can help the rule-bound see the need for freedom or the undisciplined see the need for more understanding. (Author/KC)

Briefly described are ways of teaching the concept of harmony to young children through the use of keyboard instruments, resonator bells, diatonic and chromatic bells, and Orff melody instruments. (KC)

Asserts that music teachers should use the Dalcroze Method of instruction, which postulates that music students must acquire six skills as a foundation for their music education. Contends that these skills are observable behaviors and can all be taught through physical movement. Suggests teaching methods for effective implementation. (CFR)

Suggests that six target areas in the teaching of theory and musicianship need more attention and emphasis: listening, analysis, music reading, creativity, music writing, and keyboard harmony. Discusses content and sequence in music theory and presents two sample applications. (SJL)

The author states that in a melody/harmony/rhythm sense, improvising on a synthesizer is no different from improvising on any other instrument. The capabilities of synthesizers are described, and exercises and methods to be used with synthesizers are outlined. (KC)

Described is the Pillsbury Foundation School, designed to discover how creative music activity was provoked and generated in children, ages three to six, and how natural musicality could be developed in these young children. The author warns against repressing the deeply rooted natural musicality that young children inherit. (KC)

High school choral directors should not emphasize public performances to the exclusion of musical knowledge. A variety of techniques can be used to develop technical skills and habits. (Author/AM)

Described is the Emile Jaques-Dalcroze method of improvisation, which he believed was the study of the direct relations between cerebral commands and muscular interpretations in order to express one's own musical feelings. Performance is propelled by developing the students' powers of sensation, imagination, and memory. (Author/KC)

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)

The author examines several specific exercises that will increase polyphonic improvisation skill: dynamics improvisation, rhythmic improvisation, directional improvisation, harmonic expansion, repertoire exploration, and scalar improvisation. (KC)

The author suggests that instruction in musical improvisation can serve any student interested in music. Improvisation is defined, teaching suggestions are presented, and selected resources for teaching with improvisation are included. The emphasis is on jazz, though most information is applicable to other kinds of improvisation. (KC)

Offers suggestions for students and teachers for learning jazz improvisation. Discusses listening, practicing scales, chords, phrasing, developing a sense of swing, and shaping creative ideas through structural features. Emphasizes the relationship between chords and scales as a critical key to improvisation. Recommends educational materials to…

Discusses that Gestalt principles are especially well suited to teaching music. Identifies the laws of proximity, similarity, common direction, and simplicity in the notation system. Suggests that music teachers use these principles by following a logical progression to teach students to improve musical skills, solve problems, and think in…

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…

Listed are six elements of improvisation which are basic to all jazz performance, but especially applicable to vocalists. Then presented is a step-by-step method of introducing vocal jazz improvisation. Selected readings and recordings are included. (KC)