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…

After sharing research findings about grading and assessment practices in secondary music ensemble classes, we offer examples of commonly used assessment tools (ratings scale, checklist, rubric) for the performance ensemble. Then, we explore the various purposes of assessment in performance-based music courses: (1) to meet state, national, and…

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)

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)

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)

Describes how teachers can use likeness statements (analogies, metaphors, and similes) as a means for helping students understand musical concepts during rehearsals. Explains that likeness statements encourage problem solving and address the needs of different kinds of learners. Stresses the importance of using likeness statements that are…

Asserts that the quality of any musical performance is a direct result of what happens in rehearsals. Argues that the primary responsibility for planning and implementing successful rehearsal sessions falls to the conductor. Describes a six-step approach for rehearsals, which should begin at least six months prior to the performance date. (CFR)

Contends that many choral programs suffer from a continued dependence on the piano for music learning and intonation. Provides suggestions that will help students develop sight-reading and singing skills that are not centered around the piano, such as creating a sight-reading system and having students read choral music immediately. (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)

Observes that the form and structuring of musical rehearsals should be determined by the compositional structure of the work. Explores various rehearsal formats for choral fugues, renaissance chansons, and folk songs. Maintains that this approach develops comprehensive musicianship, promotes aesthetic experience, and makes efficient use of…

Provides specific and useful guidelines for utilizing learning styles to increase instructional effectiveness during choral rehearsal. Broadly identifies students as either "analytical" (inductive reasoning) or "global" (deductive reasoning). Includes a chart containing specific rehearsal activities designed to interest each group. (MJP)