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 criticizes the institutons of opera education by delineating the inadequate performance skills often found in their graduates. He makes suggestions for change in opera training systems and professional standards. Part of a theme issue on opera. (SJL)

Describes how the young children of the Early Learning Center in the Chelsea (Massachusetts) school district learned about Igor Stravinsky's ballet suite, "The Firebird." Explains that children in three kindergarten classes depicted the ballet's characters in a participatory performance. Highlights some qualitative observations. (CMK)

A personal account by the music and drama teacher of the conflict surrounding a student production of Fiddler on the Roof" in a Brooklyn junior high school. (MC)

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)

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…

Discusses the production of the opera, "The Mikado," a joint venture between a junior high school vocal department and a professional opera company. Explains funding, student casting, rehearsals, and other details of production. Concludes with the results of the performance, including the community response and student improvements in musical…

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)

The Hebrew Arts School in New York City teaches music, dance, art, and theater to children four through eighteen. Founded in 1952, its emphasis is on choosing instruments and programs suited to the individual, and on preserving the instinctive joy of music making. (CS)

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)

Considers the National Assessment of Educational Progress (NAEP) 1997 Arts Report Card. The NAEP assessment provides data on what eighth-graders know and can do in music, visual arts, and theater. Evaluates the assessment, discusses the results, and addresses a call for action. (CMK)

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)

Presents the results of a survey in which high school choral music students identified teacher behaviors that motivate students in choral rehearsal. Lists and discusses the most effective motivational behaviors: (1) creating a nurturing environment; (2) providing feedback; (3) assigning interesting repertoire; and (4) presenting achievable…

Maintains that efforts to link the arts for educational purposes have been made since the 1960s. Proposes three approaches to link visual art, dance, music and other aesthetic endeavors into one course. Concludes that, although integrating the arts is more work, the motivation for doing so rests on improved student learning. (CFR)