The author explores some of the possibilities and problems involved in teaching musical composition, describes three approaches to songwriting, and offers suggestions for ways teachers can reinforce efforts of student songwriters. (KC)

Discusses how computer-generated music can be used as a starting point to explore the science of sound. Listings for programs which focus on pitch (including a pitch matching game), beat, and frequency are included. (JN)

Recent developments affecting educational institutions provide guidelines: first, for the videotaping and use of television programs by nonprofit educational institutions and, second, for the copying of music. (Author/MLF)

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)

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…

Designed for use by librarians, teachers, and students, this booklet provides information on permissable levels of and limitations on the photocopying of copyrighted material for educational purposes, as outlined by the Copyright Law of 1976 (PL 94-553), its subsequent amendments, and guidelines, effective January 1, 1978. Following introductory…

This discussion of copyright law on music focuses on the special problems of the band director who wishes to make a special arrangement or alteration of a copyrighted work. Guidelines and a sample form are provided for securing the publisher's permission to arrange a musical work. (SJL)

Maintains that commissioning musical works is almost as old as music itself and that it is a privilege to premiere a work that has been composed specifically for you and your chorus. Describes the approaches that classroom music teachers used to commission musical works. Includes seven guidelines. (CFR)

A learning sequence is sketched that enables children to have valid experiences in music, language, mathematics, and movement, more or less simultaneously. The activity starts with a short tune and works toward a song as the solution to the problem. The creation of a dance follows the writing of the song. (RH)

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…

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…

Describes musical instrument digital interface (MIDI), a communication system that uses digital data to enable MIDI-equipped instruments to communicate with each other. Includes discussion of music editors, sequencers, compositional software, and commonly used computers. Suggests uses for the technology for students and teachers. Urges further…

This paper describes how the musical dice game can be used with beginning, intermediate, or advanced students. In the musical dice game, the student composes six separate musical compositions of five measures each. Each measure of the musical compositions is written on a separate, numbered card. The performance of each measure is determined by…

Presents a collection of teachers' ideas on instruction for musical improvisation. Includes suggestions for ascending grade levels, spontaneous composition, and creation of sound maps. Recommends making technique training fun and creative through improvisation. Suggests that children be taught to think in sounds and to experiment with variations.…

Discusses improvisation as a phenomenon. Offers suggestions for a learning sequence. Warns against allowing students to skip levels. Identifies developmental levels of improvisation as exploration, process-oriented, product-oriented, fluid, structural, stylistic, and personal improvisation. Urges that improvisation can and should be a meaningful…