One way to build a comprehensive, inclusive, and equitable music education is through the inclusion of popular music in curricula. However, it can be challenging for teachers to bring popular music into the classroom for many reasons. We suggest that since many teachers are educated in the Orff Schulwerk approach, this can be one way to teach…

If music education is going to meet its full potential in the twenty-first century, then people may need to rethink their assumptions about the central values of school music. The author fully supports all effective, educative, and ethical ways of teaching and learning music, as well as students' critically reflective and democratic engagement…

A conversation between the Director of the University of Manchester's Science & Engineering Education Research and Innovation Hub and the Education Director of England's Halle Orchestra explores the relationship unfolding between science and music. The interview focuses on synergies between music and science and how the two subjects can…

The author states that among the various approaches to music education, her dialectical and epistemological view offers a way of thinking about music and education and deciding how to go forward in teaching and learning music. In this article, she shows how this particular philosophical perspective can play out in teaching for the development of…

In this paper, the author had noticed that classroom teachers often use learning centers successfully. She doesn't know many music teachers who have implemented them, but many seem to have an interest. Perhaps music educators have overlooked learning centers because of whole-group curricular requirements, or perhaps centers are not often used…

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)

For philosopher Gilles Deleuze, the work of philosophy consists of affirmatively and artistically creating and reworking concepts in response to real-life problems in an ongoing process that invites new perspectives and ways of thinking. Carol Matthews's music composition pedagogical practices reflect these processes, arguing that they demonstrate…

Paulo Freire developed critical pedagogy in Brazil in the 1960s to teach illiterate adults (or, as Freire calls them, "the oppressed") to read. Freire believed that teaching was a conversational exchange of information between the teacher and the student. He posed questions and problems to his students that caused them to take what they already…

The author attempts to briefly review the current state of music education; relate this situation to theoretical elements of the musical experience; describe the educational strategies required to deal with the complexity of musical experience; and suggest a possible pedagogical and theoretical orientation to the problems of professional music…

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)

Music composition is a rewarding activity for students. Through composition, teachers not only address National Standard 4 (composing and arranging music within specified guidelines), but also cover other areas of the music curriculum such as singing, notation, improvisation, form, style, tempo, dynamics, music vocabulary, and assessment. During…

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)

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.…

There are two issues that struck the author, Jason Helfer, as essential from his consideration of Miralis' paper and the ideas of Manos Hadjidakis: Eros as a pedagogical idea and learner interactions in the music classroom. These ideas developed from his interpretation of Miralis' paper, from his experiences in teacher training, and teaching in…