Asserts that music programs in secondary schools should serve all students and not only members of the band or choir. Suggests workshops, concerts, music appreciation and piano courses. (DS)

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)

Describes the collaboration between the school districts in western New York and the Buffalo Philharmonic Orchestra (BPO). Explains that when the Orchestra was forced to close, the schools bonded with the BPO and had "community nights" in which students performed before the concerts, involving parents and the community, to help raise…

Describes an activity designed to develop middle school choral students' writing skills: students wrote letters to the composers or arrangers of pieces they had performed at concerts; the students could address topics such as their reaction to the piece, general questions about composing, or discussing the performance of the piece. (CMK)

Presents an interview with Julie Gold that addresses the importance of music in her education, her career as a songwriter, and her work as a professional singer. States that music and the arts is a crucial aspect of a child's education and that our society should recognize the triumphs of artists/musicians. (CMK)

Describes the development and first-year implementation of a high school madrigal program. The effort has been a resounding success enjoying popular support from the community and providing a creative showcase for the students. Relates those works most popular with audiences and students and includes a list of madrigal resources. (MJP)