Music students, their teachers, composers, and school communities experience deep, long-lasting growth in music-making and artistic perspective when provided with opportunities to engage in the commissioning of new musical works in conjunction with composer residencies. Through consideration of relevant literature and case-study examination, the…

It is vitally important for students to be creating music from the youngest age, and in all general music class settings. Now that the National Standards have been revised (renamed the National Core Arts Standards) and creating has been elevated to one of three artistic processes, the creative activities of composing, arranging, and improvising…

This book provides both new and experienced music educators with much-needed advice drawn from credible research and established approaches, but also includes practical application for the incredible variety of music classrooms that teachers face today. Kevin Mixon adapts research-based theories to fit typical situations that are not always ideal.…

This discussion of copyright law on music focuses on the special problems of the band director who wishes to make a special arrangement or alteration of a copyrighted work. Guidelines and a sample form are provided for securing the publisher's permission to arrange a musical work. (SJL)

Describes a strategy for teaching blues improvisation to beginning and intermediate level improvisation students. Focuses on three aspects of the method: (1) phrase structure; (2) dramatic shape; and (3) thematic development. Includes a bibliography of resources and a list of terminology. (CMK)

Provides tips for choral directors to use in selecting repertoire for school ensembles. Explains that the first step in choosing repertoire must be a systematic assessment of the singers, the director, and the program's objectives. Suggests that each composition must be appraised for musical content, teaching value, and aesthetic appeal. (DK)

States that music teachers have a responsibility to introduce their students to music outside of the standard violin repertoire in order to assist them in their careers as musicians. Offers two recital series of sonatas that have been disregarded by performing artists and describes the musical compositions in each of the two series. (CMK)

States that finding works to challenge the technique and stimulate the musicianship of young performers can be a difficult and yet rewarding task for music teachers, directors, and composers. Provides a list of annotated suggestions of works from the standard orchestral repertoire that may work well with young orchestras. (CMK)

States that music teachers should write their own string orchestra music to create more music choices. Discusses how to write and publish the music. Includes a list of guidelines for writing and publishing music, as well as chart of factors that teachers should consider. (CMK)

Discusses how music teachers can begin a gospel choir at the middle school through university levels. Provides a historical background on gospel choirs and presents the benefits of having a gospel choir. Focuses on issues teachers should address, how to teach this type of choir, and common misconceptions. (CMK)

Discusses the abilities a conductor must invoke in order to develop a successful choral ensemble. Recommends recruitment strategies, lists characteristics of successful teaching styles, offers suggestions for programing and literature selection, for score analysis, and for rehearsal structure and techniques. (LS)

This syllabus/handbook is designed to aid teachers and administrators in developing a music course to meet the New York State Commission of Education's requirements for a one year high school Music In Our Lives (MIOL) class. This class encompasses the areas of listening, performing, composing, using basic tool skills, and developing special…

Identifies several sets of criteria starting band directors can use to overcome common pitfalls. These include helpful hints on repertoire selection, rehearsal procedures, and setting realistic expectations. Concludes with a look at "the big picture," a list of suggested themes for concerts. (MJP)

Contends that band students who are taught composition techniques improve listening skills, make aesthetic decisions, and become more imaginative and creative. Presents ideas from five music teachers for incorporating composition into the music curriculum. Discusses the use of computer software in musical composition. (CFR)

Considers the dilemma of the instrumental specialist suddenly forced to take over general music class instruction. Advises keeping an open and flexible attitude while realistically appraising the situation. Provides a list of helpful tips and the comments of instrumentalists who found the experience to be a positive one. (MJP)