A variety of excellent method books aim to help student musicians develop skills in music reading and instrumental technique, but sometimes the best approach is not simply to move ahead line by line through the book. Rather, teachers will find it beneficial to consider apposite strategies to be used before, during, and after rehearsing a line so…

This article presents activities in rhythm and motor development to precede music reading instruction, then outlines a six-stage sequence for teaching the principles of music notation to beginning instrumentalists. (Author/SJL)

Discusses the need for a clearly articulated, continuous music curriculum in elementary and secondary education. The author stresses the importance of teachers and administrators being willing to share information on teaching techniques as an essential part of a coordinated approach to music curricula. (AM)

The Suzuki talent education method, which combines sequential learning with continual review, is described. The method can be used in developing high levels of musical awareness, technical skill, and artistry in extremely young performers from very different backgrounds. How teachers of choral music might use it is discussed. (RM)

Walk into any primary grade music class in the U.S., and you will likely hear teacher and students singing a musical greeting, such as "Good morning boys and girls" (sol-mi-mi-sol-sol-mi) and the response "Good morning Miss Purdy" (sol-mi-mi-sol-mi-mi). Since about the 1970s, teachers have been beginning and ending music class for young children…

Discusses improvisation as a phenomenon. Offers suggestions for a learning sequence. Warns against allowing students to skip levels. Identifies developmental levels of improvisation as exploration, process-oriented, product-oriented, fluid, structural, stylistic, and personal improvisation. Urges that improvisation can and should be a meaningful…

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)