Outlines principles and guidelines for creating productive choral rehearsals and provides examples of each. These include pre-planning and organizing the rehearsal, following a synthesis-analysis-synthesis model, stressing "doing," keeping the rehearsal challenging and unpredictable, and focusing on positive improvement. (MJP)

Asserts that music teachers increasingly are interested in music that originates outside the Western European tradition. Presents an interview with David P. McAllester on world music, the musical culture of the Navajo people, and how it should be taught in music classrooms. (CFR)

Maintains that, although teaching methods courses prepare prospective teachers for curriculum development, lesson planning, and instructional strategies, the first-year music teacher encounters many new and difficult situations. Presents eight guidelines for surviving and enjoying the first year of teaching. (CFR)

Asks whether teachers understand why students participate in music education and activities. Discusses three types of motivation: (1) incentive motivation; (2) fear motivation; and (3) intrinsic, or growth motivation. Presents three charts listing criteria for student competency in wind instruments. (CFR)

Maintains that issues of student assessment and grading are of particular concern to music teachers. Discusses and describes performance-based and alternative assessment techniques. Recommends the use of portfolios to determine student grades. (CFR)

Discusses site-based management as a means of school reform. Emphasizes the advantages of such decentralization for music education. Compares the traditional approach with a reform alternative in terms of decisions affecting teaching, learning, school climate, and curriculum. Urges implementation of site-based management as a means of involving…

Contends that a number of music educators believe that music should be taught in the same rigorous, sequential, and comprehensive way that other subjects are taught. Asserts that critical thinking skills and interpretation are essential factors in this process. Recommends cooperative learning and portfolios as appropriate instructional strategies.…

Observes that the form and structuring of musical rehearsals should be determined by the compositional structure of the work. Explores various rehearsal formats for choral fugues, renaissance chansons, and folk songs. Maintains that this approach develops comprehensive musicianship, promotes aesthetic experience, and makes efficient use of…

Defines some of the current trends in music and society that will result in a radically altered educational landscape in the next 50 years. Foremost among these is technological innovation that has changed not only the definition of music but also the process of education. Discusses ensuing changes and implications. (MJP)

Provides a thorough introduction to the origin, ideas, and current state-of-the-art of discipline-based music education (DBME). DBME expands music education beyond performance to include aesthetics, history, and criticism. Discusses the music specialist's role in this process, gives guidelines for implementation, and includes a list of resources.…

Asserts that linking music ensemble programs and cooperative learning strategies often has been overlooked. Describes the benefits of cooperative learning techniques for music performance preparation. Concludes that the small-group approach can enhance traditional music programs by offering students the chance to make their own decisions. (CFR)

Maintains that accepting student teachers is a major professional responsibility and challenge. Reports that research indicates the cooperating teacher is the most significant influence on student teachers. Provides a set of recommendations for cooperating teachers. (CFR)

Maintains that effectively presenting another culture in the classroom is one of the most fundamental problems facing teachers using a multicultural curriculum. Discusses the role of music and the arts in Native American culture. Provides suggestions for presenting traditional Native American music in Western classrooms. (CFR)

Maintains that every public school student deserves an opportunity to study a musical instrument. Asserts that a limited command of English should not prevent a student from being accepted into instrumental music class or hinder that student's progress. Describes a music education program for students speaking limited English. (CFR)

Investigates how master music teachers maintain discipline in their classrooms. Suggests the discipline of music and the need to use time effectively encourage disciplined classroom environments. Stresses teachers' ability to balance musical goals with student needs and interests. Notes that students respect these teachers' musicianship and…