Article described a project in the electronic music idiom for use in the intermediate grades that was different, that involved no complicated or expensive apparatus, and that showed an interesting relationship between measurement and rhythm. (Author/RK)

Discusses Stravinsky's Poetics, a book that adds an aesthetic theory to the revolutionary composer's legacy of masterworks, thus fusing theory with practice. (Author/RK)

Considers the history of art, analyzes its specific features, and expresses some thoughts about its future. (RK)

Composers of new music want musicians to create their own music and to realize their own creative powers. Author describes new music and lists examples for reference. (Author/RK)

Discusses the background and the teaching procedures of Henryk Szeryng, master violinist and music Ambassador At Large. (RK)

Outlines the history of ragtime, its early creators and development into a popular music form. (RK)

Compares the singing of popular music, as performed by Frank Sinatra and other current singers, with Baroque vocal practices. (Author/RK)

Citing schools' neglect of avant-garde composers like John Cage and others, author notes satisfaction pupils can get from music which allows performers to be creative too. Among methods suggested are composing from pictorial notation, open-end compositions, improvising with suggested elements," such as high loud chord with five tones." (PD)

The author offers an analysis of musical techniques found in the major rock trends of the 1960s. An annotated list of selected readings and a subject-indexed list of selected recordings are appended. This article is part of a theme issue on popular music. (Editor/SJL)

The author states that in a melody/harmony/rhythm sense, improvising on a synthesizer is no different from improvising on any other instrument. The capabilities of synthesizers are described, and exercises and methods to be used with synthesizers are outlined. (KC)

Seven music teachers state their needs to those who write music for the elementary grades. (SJL)

As the doors have opened in all areas of the music business, women have not hesitated to walk in, becoming disc jockeys, recording engineers, and producers, but it's still a struggle. (Author)

Provides a brief commentary on the values of music education. (Editor)

Students can learn to listen by relating music to everyday experiences. Through their own sense of imagery and through language development, they can focus on basic concepts of music. (Editor)

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)