Greater diversity and inclusivity in music curricula are goals that permeate discussions in education. Achieving these goals, however, is complex and presents inherent difficulties as music not only values tradition but also promotes the past. Many music traditions were exclusionary and unintentionally cultivated a culture in which many people…

This article describes a collaborative clinical field experience initiative conceived to provide meaningful fieldwork for preservice music educators, musically engage underserved students in a high-poverty school, and include instruction on composition and improvisation. The author chronicles the planning, implementation, and subsequent revisions…

In 1959 the Ford Foundation made its first grant to support young composers teaching in high schools. Despite setbacks, this resulted in advances in thinking and attitudes in the music education world. Since then, the Music Educators National Conference has taken an active role in the expansion of this project. (CS)

Three teaching units are presented as models for integrating the guitar in a comprehensive musicianship program. Designed for high school or college level, each emphasizes composition and improvisation. The units deal with the use of tremolo, quartal harmonic structure, and variation technique. Selected readings, music, and recordings are listed.…

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…

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)

Describes a strategy for teaching blues improvisation to beginning and intermediate level improvisation students. Focuses on three aspects of the method: (1) phrase structure; (2) dramatic shape; and (3) thematic development. Includes a bibliography of resources and a list of terminology. (CMK)

Electronic music can be used to give nonmusic majors an appreciation of musical culture. As final projects, students complete compositions and make the same musical decisions that composers make. Emphasis is on understanding of the electronic medium and on aural analysis. (CS)

The MusicSystem is a sixteen-voice digital synthesizer consisting of a music editor, music player, music merger, and instrument definer. The system is appropriate for upper grade elementary school students and disabled students and is also sophisticated enough to accommodate advanced research and composition by professionals. (KC)

The author highlights some of the progressive trends in jazz band arrangements--woodwind doubling, synthesizers, strings, multipercussion, and other nontraditional instruments--and suggests sources for such scores to school jazz band directors. This article is part of a theme issue on popular music. (Author/SJL)

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…

Discusses the use of technology in music and music education for teachers. Describes resources that are available presently and how they may be used for performing, composing, research, and administration. Addresses areas where a gap exists between what is or should be available and the technology actually being used in classrooms. (DK)

Contends that teaching contemporary music pieces that are largely improvised provides an ideal learning opportunity for students. Focuses on the piece "Improvisations I," stating that the version presented is intended for college students. Describes the performance of each section of the piece and provides suggestions for rehearsal. (CMK)

Discusses the life and career of William Schuman, addressing his career in music with a focus on his work as a composer. Explores his work as the president of the Juilliard School of Music and of the Lincoln Center for the Performing Arts (New York City, New York). Focuses on his philosophy of music education. (CMK)

Focuses on how important it is for teachers to understand music editorial practices. Explains that the knowledge can help them select appropriate performing editions of music for their classes. Provides background information on editorial practices and the philosophy and methodology behind them. Discusses the nature of primary sources. (CMK)