Identifies qualities found in master music teachers by observing one teacher's performance when conducting a fifth grade class. Praises these teachers' devotion; musical skill; inspiring classroom practices; and diligence. Highlights theatrical skills used in music classes. Suggests that these teachers derive enormous satisfaction from their work.…

Contends that one of the most important concerns of preservice teachers centers around the potential of teacher burnout. Discusses issues related to recognizing and remedying teacher burnout. Provides a 12-item bibliography of selected readings on the subject. (CFR)

Discusses positive verbal feedback, or praise, from teachers to students. Presents four purposes for praising students: (1) recognition; (2) encouragement; (3) description; and (4) evaluation. Provides a chart listing criteria for assessing verbal evaluations and a six-item list of suggested readings. (CFR)

Asserts that beginning teachers frequently have difficulties working with students, colleagues, and in the school environment. Provides a list of "Do's" and "Don't's" for a successful introduction of their instructional techniques, policies, and expectations. Argues that a positive attitude and total involvement in their work are essential. (CFR)

Argues that case studies can be used for cooperative learning activities to nurture reflective practice in preservice music teachers. The case studies are fictional narratives illustrating various teaching styles and representative situations. Includes examples of case studies, students' responses, and follow-up activities. (MJP)

The goals of education are literacy, intellectual development, aesthetic perception and creativity, cultural and cross-cultural understanding, and self-realization. How the arts can foster each of these goals is discussed. (RM)

A comprehensive arts in education program is made up of four segments: specialized arts instruction, arts in general education, community arts resources, and arts for special populations. Each of these segments is discussed. A selective bibliography to help fine arts educators involved in curriculum development is provided. (RM)

Argues that if discipline-based music education is to be successful, change initiatives must take place at all levels of instruction. Discusses the collaborative efforts necessary to accomplish this. These include coordinated efforts among state departments of education, higher education and K-12, performing arts centers, teacher and professional…

Describes ways in which choral directors may help performers understand and interpret the affective aspects of music. Offers suggestions for analyzing music scores and for teaching students about a composition's background and emotional message. (LS)

Asserts that since the middle of the 20th century the inclusion of world musics in music education programs has become increasingly important. Presents three rationales for teaching world music in the United States. Discusses two assumptions and implications for music educators regarding world music. (CFR)

Asserts that thoughtful assessment of student achievement can illustrate student growth to parents, administrators, and non-music teacher colleagues. Recommends incorporating student assessment into instruction by adapting common music activities so that teachers can observe and record student performance during normal instructional time. (CFR)

Considers the implications of discipline-based art education (DBAE) for music education. Recounts the historical shift in art education that produced DBAE. Identifies DBAE's characteristics. Explores the influence of the Getty Center for Education in the Arts upon DBAE. Urges further discussion of incorporating DBAE ideas into music education. (CH)

Suggests effective music instruction helps children use extramusical analogies to describe what they hear. Introduces music vocabulary, and asks questions that guide students to complete musical descriptions. Claims meaningful description is the result of training that is focused on developing listening skills. (NL)

Asserts that music educators have special challenges and opportunities when considering an integrated or interdisciplinary curriculum. Discusses examples of interdisciplinary teams comprised of fine arts teachers working with teachers of social studies, literature, and other subjects. Includes illustrations of a thematic curriculum web and…

Stresses the need for music educators to ask questions that promote higher-level thinking in their students. Provides a flowchart to help teachers organize their lessons and present graphically the ways to construct effective questions. Explains each of the six sections of the flowchart in detail. (CMK)