In 1989, Bennett Reimer wrote that there are three ways through which people can experience music: performing, listening, and composing. Similarly, in the current National Standards document, MENC [now the National Association for Music Education (NAfME)] identifies performing, creating, and responding to music as the "fundamental music…

Discusses the Manhattanville Music Curriculum Project's concentration on the purpose, substance, and means of music instruction. Describes improvisation as the dominant means for teaching concepts, knowing how music works, and knowing how to make musical sense. Urges that the same goals of aural acuity, creative thought, and musical facility are…

Examines a dissertation that provides a classification and analysis of 197 "bebop" themes. Explains a major drawback of the study is the author's unwillingness to interpret his data and answer questions the study raises. Concludes with a rebuttal which defends the study and explains the research rationale. (BSR)

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)

In this article, the author asks music educators to imagine their band students being able to identify the melody of a piece as it jumps among sections after playing it just a few times. How about recognizing harmonic modulation, or applying dynamic contrast through understanding of compositional form? While these elements may seem obvious to…

The author discusses the importance of the study of the contour of form and of a review of how music elements affect contour when studying jazz composition. When this has been mastered, students can begin the study of style. (Author/KC)

Learning to read and write music should be as natural as learning to read and write the English language. Similar instructional models can be used for both. This was the premise for the investigation of 5-year-old Joel's musical development. Joel was the youngest of a four-member musical family. He was surrounded by musical literature and role…

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)

Although the success of black jazz has been limited by its lack of recognition in the white-controlled music industry, its rhetorical development as an expression of black consciousness can be traced from the bebop of the 1940s and early 1950s, through the hard bop and free jazz of the 1960s, to the jazz orientation of the disco circuit in the…

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)

Although they abandon traditional techniques and materials, today's radical composers may still be considered the logical continuation of Western classical tradition, for they retain the one thing most characteristic of Western music: self-conscious, intellectual, individualized craftsmanship. (Part of a theme issue on aspects of contemporary…

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…

Total conducting ability involves technique, mechanics, insight into elements of expression, and musical sensitivity. Presented are eight basic principles which combine musicianship and conducting. (KC)

Discusses the condition in which people are confused about the nature and use of intellect in the arts. Focuses on associated dilemmas, the root cause, and how to address them. Explore topics such as musical/artistic mindedness and the benefits of a comprehensive music education. Includes suggestions. (CMK)

Discusses how the outgrowth of the praxial philosophy in music education is misunderstood and has led to a lack of informed dialogue on the differences between praxis and philosophical bases for music education. Presents an interpretation of Aristotle's idea of praxis and considers praxis in terms of implications for music education. (CMK)