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…

How secondary students can be taught to think critically about the music they are performing is described. Classes must be structured to involve the student in analysis of performance options, experimentation, and conducting, as well as critical analysis of the teacher's interpretative decisions. (RM)

Tips to help conductors improve school music rehearsals are provided. For example, students should learn that the minute the conductor steps on the podium, they should stop playing and talking and direct their attention to the podium. (RM)

The author describes a performance-oriented music program, and suggests that performance-oriented skills should play a major part in the general music curriculum; when teachers demonstrate the value of performance-oriented objectives to administrators and the community, general music programs are less likely to be cut. (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)

Provides specific suggestions to music teachers on preparing their students to view an opera broadcast on television, including use of other teachers or community personnel to provide background information. Approaches are outlined for introducing students to an opera's plot, music, design, costumes, makeup, lighting, and staging. (SJL)

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 abilities a conductor must invoke in order to develop a successful choral ensemble. Recommends recruitment strategies, lists characteristics of successful teaching styles, offers suggestions for programing and literature selection, for score analysis, and for rehearsal structure and techniques. (LS)

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)

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)

Outlines principles and guidelines for creating productive choral rehearsals and provides examples of each. These include pre-planning and organizing the rehearsal, following a synthesis-analysis-synthesis model, stressing "doing," keeping the rehearsal challenging and unpredictable, and focusing on positive improvement. (MJP)

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)