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)

Examined are five of the current reform reports to see what their writers consider to be the fundamental aims of education for society as a whole and for the individual. The role that education in music plays in achieving these aims is then discussed. (RM)

The year 1986 marks the one hundredth birthday of the Statue of Liberty. The centennial provides an appropriate occasion for musical celebration. A list of musical compositions that teachers can use are provided. Difficulty level is indicated. (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)

Music is not a "frill" to be done away with in the call for a return to the basics. It is a means of cultural expression and universal communication. Music permits students to express themselves and to learn the values of self-discipline and pride of accomplishment. (CS)

In his testimony before the Congressional Subcommittee on Elementary, Secondary, and Vocational Education, the president-elect of the Music Educators National Conference stresses the importance of including the arts in all levels of education. Suggestions of things that Congress can do on behalf of arts education are presented. (RM)

While high school choirs used to perform extended choral works, in recent years the emphasis has been on shorter works and unaccompanied chorus. Describes "A German Requiem" by Brahms and recommends performance of its fourth movement to develop the musical growth of a chorus. (CS)

Discusses five maladies, in addition to current educational budget cuts, from which K-12 music education is suffering and offers strategies to help music departments establish priorities regarding changes and cuts to make. (AM)

It is sound per se that must be the starting point for music education. Having absorbed the sounds, children can then be helped in trying to understand styles of music itself. What students can gain by learning about the music of other cultures and ethnic groups is discussed. (RM)

Peripheral components for music instruction include a music keyboard, a digital music synthesizer, and music listening devices. Computers can teach sight-singing, playing an instrument, dictation, and composition. Computer programs should be interactive with students. (KC)

The GUIDO system offers programing in ear training and theory for kindergarten through college levels, using high-resolution graphics, touch input, and a sound synthesizer. Ear training includes intervals, melodies, chord qualities, harmonies, and rhythm. Theory covers octave designation, beat units, scales, intervals, diatonic chords,…

Slide/tape and videotape presentations can be used in music education to project music scores, document music tours and special programs, and present self-contained units for student mastery of specific skills. Materials needed, cost, and procedures for teacher-developed materials are outlined. (KC)

Presents a directory of 46 organizations, agencies, and individuals with expertise in the educational applications of computers. Names, addresses, and brief descriptions are provided. (KC)

Presents a glossary of 146 terms related to computers and their application in education. (KC)

Music education should be conceived as aesthetic education which is devoted to the systematic development of musicality. Music education curricula should incorporate contemporary psychological methods which encourage creativity while focusing on the nature of music meaning and expression and the development of the capacity for musical response.…