After discussing some of the drawbacks of using Skype for long distance music lessons, Angelica Prodan describes three different types of Artificial Reality (Virtual Reality, Augmented Reality and Mixed or Merged Reality). She goes on to describe the beneficial applications of technology, with results otherwise impossible to achieve in areas such…

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…

Lucy Green's (2008) "Music, Informal Learning, and the School: A New Classroom Pedagogy" gives rise to an interesting corollary. Does the manner of music's transmission inform one's understanding of a musical category? While categories of music can be difficult to define according to strict musical characteristics, a better understanding of…

In western musical contexts at global and local levels, musicians are becoming increasingly involved in what might be termed multicode music making and are expanding their musical competences. In this article I consider the practical and cognitive implications of such an expanding of competences for music education at various levels. Combining…

Wind players who become school band directors often struggle with their percussion section. They are not always sure how to deal with the technical aspects of percussion, such as double-stroke rolls or flares. They may also wonder how to get their drummers to stop talking and be ready to play. These questions reveal common concerns among…

Of all the factors used to assess trumpet players, the one that distinguishes the established professional from the student is sound quality. While a good sound may be called "full," "rich," or "dark," poor sound is often described as "constricted," "tight," "thin," or "fuzzy." Although students' concept of good sound is important, many times…

The article offers tips on introducing percussion activities in elementary music class. Percussion equipment should be treated as musical instruments and not toys, teaching correct names, playing techniques and notation for the instruments. Active listening experiences for students should be planned, including band music. Band music incorporates…

The basic skills and techniques of playing the horn, trumpet, tuba, and other brass instruments are quite similar, but the methods and concepts used to teach these skills vary considerably. Differences in both philosophy and methodology are described. (Editor/KC)

In this article, the author states that, when he teaches instrumental technique to beginners, especially in a general music class, he discovers that most students often do not coordinate their muscles effectively when they start playing a musical instrument. He specifically discusses teaching the students how to play the xylophone and techniques…

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 argues that in many ways, developing instrumental practice techniques is an experiment with a sample of one. Musicians must learn which methods work best for them as individuals. This starts in the earliest stages of learning a musical instrument. Teachers offer suggestions: students discover how others are practicing,…

The article discusses the inclusion of technology resources in early childhood music education. Successful technology inclusion in music for young children depends on the physical, mental, and social readiness of each individual child. Learning providers involved with young children should constantly review the child's capabilities and …

This article describes the method and adaptations used by the author in including students with special needs in an instrumental music program. To ensure success in the program, the author shares the method he uses to include exceptional students and enumerates some possible adaptations. There are certainly other methods and modifications that…

The author examines Maria Montessori's philosophy and methods of music education for children, with its emphasis on sensory, manipulative materials and instruments designed specifically for the young child. (KC)

Contends that many violin and viola students develop preferences based on fear of using more difficult fingering techniques. Recommends that students be exposed to advanced techniques earlier in a matter-of-fact approach. Includes a list of four books recommended for further reading. (CFR)