Discusses the lack of awareness students have in considering classical music and presents methods for kindling their interests in a music form relatively unknown to them. (RK)

Presents a music curriculum which provides a music program for preschool through high school students that emphasizes comprehensive musicianship in all learning experiences. (Author/RK)

Author complains that many students with four years of high school band will still be musical illiterates, ignorant of Western civilization's musical heritage. (JB)

Raises a central issue in music education: whether performance is an end in itself or whether it is ancillary to something else. Discusses the traditional aesthetic education notion of musical performance and develops a new concept of the nature and values of music performance in music education. (KM)

Maintains that choral music conductors strive to choose a variety of musical styles, genres, and historical periods. Discusses three types of programming approaches: (1) chronological; (2) thematic; and (3) concept. Includes four tables illustrating selection and pacing of choral music during a concert. (CFR)

Asserts that music teachers must encourage discussion of musical interpretation and interpretive choices as opposed to only focusing on fingerings and tunings in the performance aspect of music education. Provides various strategies for building student creativity in musical performance, such as encouraging divergent thinking or the interpretation…

Music teachers who strive to provide a broad range of experiences for their students are usually careful to include music listening among them. Although students have many opportunities to hear music in their everyday lives, most teachers agree that music listening involves skills that must be taught to children. Some might even argue that…

This report identifies important questions in music curriculum content in undergraduate study. Generally, the music curriculum must deal with: (1) training in the making of music; (2) musical "objects"; and (3) the study of music in the larger context. Part 1 reviews the: (1) current undergraduate music curriculum; (2) undergraduate music…

The major premise of this discussion is that the elementary school teacher should be responsible for teaching only a core of basic subjects, and that specialists should be utilized for music, sciences and other specialized subjects. (Author/RK)

Inclusion of music in public school programs was originally justified on the utilitarian grounds that it fostered social and academic skills. Later an aesthetic rationale emphasized an intrinsic value of music in childrens' development. The position of music education will be precarious until educators provide strong evidence for their positions.…

Reports on a study of inexperienced and experienced music teachers to determine the dominant perceptual dimensions used to classify classical musical excerpts. Finds that listeners generate an internal hierarchy that reflects their individual background and knowledge. Concludes that instructional methods are as important as the music selected for…

Presents an interview with Alan Menken that addresses his role as a composer, different influences and paths in his career, and the importance of music education in his life. Asserts that music should permeate all aspects of education because it is a vital aspect of a student's emotional and intellectual life. (CMK)

Discusses the importance of the creative musical experience for students as a means to maintaining their music appreciation. Argues that music teachers must be leaders for music education to thrive. Focuses on the promotion of music education and lists qualities of successful music teachers. (CMK)

The "pontes" (bridges) approach may be viewed as a teaching guide for action in music education. It may help music teachers to articulate the different aspects that surround the teaching-learning process, especially those related to cultural interfaces, such as: the student's personal characteristics, the elements and essence of the…

Presents an interview with Bell Yung, a scholar of Chinese music and ethnomusicology. Maintains that world music (music from many nations and cultures) should be taught as early as possible in the schools and at home. Includes two lesson plans for teaching about Chinese music. (CFR)