A group called Parents Music Resource Center (PMRC) has captured the media spotlight with a proposal to have warning labels placed on music albums containing sexually explicit or violent lyrics. Major record companies have agreed to a version of the PMRC's demands for a one-year trial period, beginning in 1986. (RM)

Presents approaches to recruiting which can help achieve a successful school band program. Key elements discussed include identifying students with musical ability, providing personal contact with prospective students and their parents, promoting a positive image of the band, and planning and organizing carefully. (AM)

Investigates the effect on music educators that having classroom teachers involved in music may have and whether the AGE program will detract from the music curriculum. (RK)

Emphasizes the need for music teachers to defend school music programs. Suggests developing advocacy objectives in the areas of communication, visibility, and classroom follow-through. Argues that children's cultural heritage and musical future are at risk if further cutbacks in music education programs are not avoided. (SG)

Describes how to develop a choral festival, explaining the importance for the music teacher to plan and set priorities. Discusses what to look for in a conductor and accompanist, how to select the repertoire and facilities, and create the schedule. (CMK)

Recommends that teachers write grants to obtain funds for using technology in music education. Explains that teachers should ask themselves two questions: "Who has funds to give and what do they require the recipient to do?" Provides a list of guidelines, a sample grant proposal, and information about the panel review. (CMK)

Stuart Ling reports from his tour of exemplary music programs that many teachers are overcoming the common logistical and economic problems of this time of retrenchment. Donald Nitz is more pessimistic, asserting that music education is clinging to a tenuous status quo after the bright promise of the 1960s. (SJL)

Explains how to plan a choir rehearsal schedule. Offers two examples of how to plan single rehearsals after the schedule is finished, such as for rehearsals involving only two compositions and rehearsals involving four or more works. Provides a discussion of additional planning guidelines. (CMK)

Addresses the training necessary for students who will be teaching music performance in high schools. Discusses the challenges presented by increasing cultural diversity in the classroom and its influence on what music will be taught. Suggests that the expanded curriculum necessarily will be the responsibility of the performance teachers. (DK)

Discusses guidelines for music educators when scheduling conflicts occur involving curricular music performances, both during and after school, by musical groups that practice during school hours. Provides justification for regular attendance and addresses why directors should be flexible in certain cases. Offers the Scheduling-Conflict Resolution…

Describes an arts in general education program in the Minneapolis school system, its objectives and effects. Discusses the role of the teacher in implementing an AGE program. (RK)

What music research can tell teachers about strategies to use to help students learn to like classical music is discussed. For example, research has shown that music teacher's verbal approval significantly increases students' listening to classical music. Also, choices of musical examples is critical. (RM)

Believes that everyone can sing, but that many people think that they do not have the ability. States that music teachers can recruit students for choir by concentrating on the skill and effort of students. Explains how teachers can use attribution theory to recruit nonsingers. (CMK)

States that choral directors should put more time into planning music rehearsals. Discusses activities that can be included in a rehearsal practice and describes extension activities that could be used. Includes a lesson plan that can be used with a concert choir. (CMK)

Discusses the use of playing tests in music education, stating that the tests can be useful beyond assessment measurement. Describes how to create performance tests based upon the idea of an accomplished learner. Addresses how to give the tests and presents implications gleaned from field test results. (CMK)