Presents a study that investigates the effect of different melodic configurations on an Orff xylophone on how children compose and on the musical characteristics of their compositions. Focuses on fourth grade students (n=48) who lacked education in musical composition and who composed a song on the xylophone. (CMK)

Examines the effects that modeling, self-evaluation, and self-listening have on the music performance and attitudes about practice of junior high school students in the seventh (n=36), eighth (n=31), or ninth (n=15) grades who play woodwind, brass, and percussion instruments. Includes references. (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)

Describes the technique of scordatura, and the different unusual notional principles, as a means to exploring the Baroque repertoire. Explains that scordatura pieces indicate, using either the term discordable or discordatura, that the established tuning must be altered by mistuning the instrument. Concentrates on Domenico Gabrielli's "Seven…

Offers performance technique tips for the recorder, some instructional strategies for generating student interest, and guidelines for the maintenance of recorders. Provides a list of publications, websites, and organizations in order to assist teachers in locating more information about how the recorder can become part of music education programs.…

Analyzes 15 performances of "Bach's Suite Number 3 for Violoncello solo, Bourree Number 1" and determines what patterns of rhythmic variation (rubato) were used by soloists. Indicates that the soloists demonstrated four identifiable and similar trends in the performances. (CMK)

Identifies and describes children's in-action mental model of their own learning, which was inferred from the observation of children's behaviors when learning a song. Explains that the mental model is made up of musical organizations and learning strategies, each on two levels, large-scale and detailed. (CMK)

Focuses on the research done on children learning the tabla, a northern India drum, and the role of the bols system, or mnemonics, that provides a means for memorizing musical material, generating improvisation, and developing rhythmic skills. Discusses the structure of the tabla lessons and the type of materials taught. (CMK)

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 the experience a collegiate Music Educators National Conference (MENC) chapter had when running a musical petting zoo, which is an exhibit of musical instruments that passersby, under the guidance of "zookeepers" (the MENC students), are allowed to touch, handle, and attempt to play. Considers the success of the musical petting…

Suggests using musical instruments to demonstrate physics concepts. Topics include: pitch and frequency; string vibrations; string-resonator system; wind instruments; harmonic content; transients; scales and temperament; psycho-acoustical affects; and electronic music. (SK)

Reports on a study of student preference for musical instruments over 3 decades in 600 elementary, secondary, and colleges. Finds that gender-based segregation has increased at the high school and college level, but findings at the elementary level are inconclusive. (CFR)

Investigates the effects of race and gender on evaluations of musical performances by musician educators. Also addresses the impact of the gender stereotype of particular instruments on evaluations. Finds that instrument stereotypes influence evaluations, particularly for female students playing "male" instruments, and that blacks were…

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)

Investigates the performance-quality ratings among college-age instrumentalists grouped in three solo preparation conditions using no accompaniment, live accompaniment, or intelligent digital accompaniment. Finds that the highest quality ratings across all groups were achieved in rhythm, technique, and articulation; the second performance ratings…