Edwin Gordon took the sequential levels of learning outlined by Gagne and adapted them to audiation (the ability to hear music for which the sound is not physically present) and musical learning. His method of teaching music is discussed. (RM)

Since the early 1900s, the influence of Emile Jaques-Dalcroze has been felt worldwide in the field of music, as well as dance, theater, therapy, and education. To understand this influence, one needs to know something of his lifelong endeavors and dedication to improving the teaching of music. (RM)

This article is an update and expansion of "Can We Still Sing Christmas Carols in Public Schools?" published in MEJ in November 1976. It is a report of a survey to determine whether any significant new guidelines were being developed on the issue of using sacred music in schools. (Editor/KC)

Maintains that music teachers can develop interdisciplinary curricula without sacrificing the integrity of their own discipline by focusing on conceptual (rather than content) connections. Recommends focusing on instructional priorities, curricular appropriateness, and conceptual understanding when planning an interdisciplinary curriculum. Briefly…

Finds a number of Beethoven's military marches in contemporary arrangements. Although greatly revered for his classical music, Beethoven composed a variety of excellent marches. Usually penned for a specific historic occasion, they fit well into interdisciplinary study units and add variety and color to local music programs. (MJP)

Maintains that the prevalence of dance in all cultures renders it particularly effective as a means to introduce multicultural education in the curriculum. Provides examples utilizing dance to illustrate multicultural concepts, as well as, integrating it into interdisciplinary instruction. Discusses reasons for the negligible status of dance. (MJP)

Asserts that study of the arts fosters the type of divergent and creative thinking needed in both the business world and society. Argues that educators should work together to develop schedules of eight instructional periods allowing for more arts instruction. Considers requiring arts courses for graduation from high school. (MJP)

Suggests an evaluative model for assessing the quality of a music program that asks questions concerning goals and objectives, leadership of the program, staffing, curriculum and scheduling, instructional materials, and learning outcomes. Advocates the guidelines proposed by the Music Educators National Conference (MENC) in assessing what…

Identifies the underlying concepts of student evaluation. Offers suggestions for evaluating musical achievement. Maintains that all evaluations are subjective, and suggests techniques for minimizing subjectivity. Considers various test formats, and discusses objectives for both classroom and performance achievement. (RW)

Urges music educators' involvement in placement decisions for exceptional students in order to avoid poor placements and to enable all learners to experience musical success. Explains that educators need to understand applications of current law to teaching situations. Describes instructional strategies and aids and services that will ensure music…

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)

Reviews the renewed alliance between music educators and medical researchers in researching the learning process. Focuses on how music is used as therapy for disabled children and the research that enables teachers to provide effective instruction to special education students. Emphasizes the interdisciplinary courses that relate music and…

Suggests that music education by its nature is well suited to meeting the special needs of at-risk students. Discusses the role of music in motivating and enabling students to succeed. Defines the causes of failure as inability and lack of desire to learn when at-risk students receive the wrong kind of instruction. (DK)

Describes the role of arts education and, specifically, music education in Japanese schools. Outlines the music curriculum and teaching methods in elementary and secondary schools. Describes the role of western music and compares music education in Japan and the United States. (CFR)

Explains how the ear and the brain work together to make music listening possible. Argues good hearing does not ensure skilled listening, stressing that listening is a mental process. Examines the aural process and properties of sound, and describes listening behaviors within the basic levels of auditory processing. Provides a guide for teaching…