The idea of audience etiquette brings with it specific expectations influenced by both the social context and the performance genre. While audience response has traditionally been viewed as passive, performers are finding new and innovative ways of actively engaging young audiences, seeking immediate response, inviting exploration, and encouraging…

The discoveries of score analysis (e.g., minor seventh chord, ostinato, phrase elision, melodic fragment, half cadence) are more than just compositional techniques or music vocabulary. They are sounds--fascinating, storytelling, dynamic modes of expression--that when approached as such enrich the rehearsal experience. This article presents a…

This article looks at the iPad's role as a musical instrument through the lens of a live performance ensemble that performs primarily on iPads. It also offers an overview of a pedagogical model used by this ensemble, which emphasizes musician autonomy in small groups, where music is learned primarily through aural means and concerts are…

While music is as old as humanity, conducting as a profession is relatively new. Although a nineteenth-century model has served as the template for the training of conductors, many undergraduate conducting students will spend their teaching careers working with inexperienced and/or amateur musicians. Additionally, the size of many ensembles in…

Musical theater should be an important part of a school's music program. The author describes the success of such a project and the enjoyment experienced by all concerned. (MF)

Discussed the efforts of a university to undertake the production of a theatre piece created by Leonard Bernstein. (RK)

This article provided some basic suggestions on how to get the most out of rehearsal time. (Editor/RK)

Discusses the roles that physically handicapped children play in a music theatre designed by a music teacher who realized that boys and girls, regardless of their physical conditions, are all potential theatrical hams. (Author/RK)

Closure is that element of the learning experience wherein the important points of the class period are reviewed and short-term goals are evaluated and related to long-term goals. The need for closure in musical rehearsals is discussed, and examples of closure are provided. (RM)

The author cautions against using a professional concert format for the high school ensemble concert, for they have different audiences and different goals. He suggests a number of ways for making the school ensemble concert a rewarding experience for all involved. (KC)

Discusses the production of the opera, "The Mikado," a joint venture between a junior high school vocal department and a professional opera company. Explains funding, student casting, rehearsals, and other details of production. Concludes with the results of the performance, including the community response and student improvements in musical…

The Hebrew Arts School in New York City teaches music, dance, art, and theater to children four through eighteen. Founded in 1952, its emphasis is on choosing instruments and programs suited to the individual, and on preserving the instinctive joy of music making. (CS)

Presents an interview with Dr. Harold P. Geerdes, world-renowned music facility planner, acoustician, and music professor. Dr. Geerdes discusses the different characteristics of rehearsal spaces and concert halls as well as the importance of interior materials and design. He also provides some easy and inexpensive tips for schools. (MJP)

States that elementary choral teachers should consider the administrative details and rehearsal planning necessary to manage a choir and provide an artistic musical experience for children. Focuses on rehearsal organization by discussing the methods for helping students develop good behavior habits for rehearsals and performances. (CMK)

Recommends strategies for building and retaining audience interest in musical concerts. Discusses the design of a concert program and the placement of types of musical pieces. Concludes that student ensembles are directly affected by the way conductors present and rehearse the music. (CFR)