Current research in the neuroscience of musical creativity reveals promising implications for the value of learning to improvise. This article outlines the neuroscientific literature on musical improvisation and relates these findings to the benefits of musical creativity. We begin by describing the neural substrates of flow with respect to the…

Performing jazz offers students the opportunity to participate in a unique group activity where notated passages are blended with exciting moments of improvisation. Expectations have risen over the years as middle and high school jazz ensembles have proved that they can perform at a very high level. This expectation however, has led to the…

Discusses how to teach the expressive aspects of music more effectively. For example, teachers can use verbal imagery to communicate how music is expressive of the human condition. Students should be encouraged to experiment with the possibilities of musical expression and allowed to choose their own mode of expression. (AM)

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)

Explains that music teachers can hamper student creativity in music composition by restricting assignments. States that teachers should assign only one parameter, focusing on a broad overarching idea. Provides examples of enabling parameters. Addresses the teacher's response to student work and nurturing musical independence. (CMK)

Discusses the importance of being able to describe the subjective properties of music. States that educators must develop an aesthetic vocabulary to allow articulation of musical properties. Provides examples of descriptive vocabulary taken from representative music selections. (GEA)

Employs Hans Christian Andersen's fairy tale, "The Nightingale," and the many lessons within it to help music educators design learning experiences that foster the development of musical expression. Conveys that without musical expression students' music will be mechanical, not unique and meaningful. (CMK)

Summarizes and provides a historical introduction to the work of Emile Jacques-Dalcroze. A turn-of-the-century educator, musician, and theorist, he developed eurythmics. This was a method of teaching music through movement that is still popular. Discusses basic principles of eurythmics and other methods. (MJP)

Urges music educators and music therapists to cooperate in providing motivation for at-risk students through specially planned activities. Identifies means of meeting the risks of (1) lack of self-discipline and motivation; (2) not learning effectively; (3) alcohol and drug abuse; and (4) focus on rudimentary survival skills. (DK)