Greater diversity and inclusivity in music curricula are goals that permeate discussions in education. Achieving these goals, however, is complex and presents inherent difficulties as music not only values tradition but also promotes the past. Many music traditions were exclusionary and unintentionally cultivated a culture in which many people…

This article describes a collaborative clinical field experience initiative conceived to provide meaningful fieldwork for preservice music educators, musically engage underserved students in a high-poverty school, and include instruction on composition and improvisation. The author chronicles the planning, implementation, and subsequent revisions…

Presents a rationale for using handbells and discusses their application to elementary, junior high, high school, special education, and college music programs. (SJL)

Care of musical instruments should be a part of every student's music education. What students should know about caring for pianos is discussed. The main parts of the piano--the cabinet, the mechanical part, the musical part, and the structure--are discussed. Tuning and pitch raise are also discussed. (RM)

The author suggests that the greatest barrier confronting a beginning improvisational jazz instrumentalist is fear. He suggests ways of eliminating this fear, beginning with specific suggestions for training the ear with vocal exercises, followed by specific suggestions for learning on instruments. (KC)

Three teaching units are presented as models for integrating the guitar in a comprehensive musicianship program. Designed for high school or college level, each emphasizes composition and improvisation. The units deal with the use of tremolo, quartal harmonic structure, and variation technique. Selected readings, music, and recordings are listed.…

Suggests 12 ways that band, orchestra, and chorus directors can stretch tight budgets through careful purchase and administration of instruments, music, and supplies. (SJL)

The MusicSystem is a sixteen-voice digital synthesizer consisting of a music editor, music player, music merger, and instrument definer. The system is appropriate for upper grade elementary school students and disabled students and is also sophisticated enough to accommodate advanced research and composition by professionals. (KC)

The author highlights some of the progressive trends in jazz band arrangements--woodwind doubling, synthesizers, strings, multipercussion, and other nontraditional instruments--and suggests sources for such scores to school jazz band directors. This article is part of a theme issue on popular music. (Author/SJL)

Contends that teaching contemporary music pieces that are largely improvised provides an ideal learning opportunity for students. Focuses on the piece "Improvisations I," stating that the version presented is intended for college students. Describes the performance of each section of the piece and provides suggestions for rehearsal. (CMK)

Suggests that watching for certain signs can help music teachers to improve students' performance in jazz solos. Recommends dealing with problems one at a time beginning with the most blatant and focusing on good communication skills as the basis of improvisation. Discusses lack of spacing, repetition, planning, form, and finality. (DK)

Addresses the inevitable change in the study of music in U.S. higher education through a parable that assumes the viewpoint of a historian writing toward the middle of the 21st century. Reviews the events that eventually lead to closing the school of music at the University of Granton, an imaginary school. (CMK)

Discusses popular music, the role of the musical performer as a creator, and the styles of jazz and popular music. Describes the pop ensemble at the college level, focusing on improvisation, rehearsals, recording, and performance. Argues that pop ensembles be used in junior and senior high school. (CMK)

Advocates using the singing voice and the study of folk music in instrumental instruction. Recommends instrumental teachers confer with voice teachers to coordinate ideas and terminology. Includes several excerpts of scores and musical exercises, as well as a list of selected resources. (MJP)

Contends that there is a large and enthusiastic audience for introductory music courses at the college level. Describes a one-semester basic music course for non-music majors with three basic components: informing, listening, and performing. Concludes that this experience provides singular opportunity for many students to learn about music. (CFR)