How secondary students can be taught to think critically about the music they are performing is described. Classes must be structured to involve the student in analysis of performance options, experimentation, and conducting, as well as critical analysis of the teacher's interpretative decisions. (RM)

Discusses the role of popular music choirs in secondary schools and colleges. Their extensive repertoires, including folk music, jazz and show-tune medleys, and variety music, make pop choirs an excellent method for teaching singing skills and music theory. Information on starting a pop choir is included. (AM)

Focuses on creating warm-up exercises for use with choral groups, offering tips for developing the exercises. Explains that a warm-up is useful for teaching students to sing, listen, and learn specific music concepts and activities. Provides a list of additional resources and example activities. (CMK)

The responsibility for helping students attain competence in music-reading skills must fall on choral directors and choral music teachers from middle schools on up. Teachers must teach rhythmic and tonal vocabularies and pitch accuracies. Methods are described. (RM)

Proposes instructional strategies for directors of jazz groups, including guidelines for developing of skills necessary for good performance. Includes effective methods for positive changes in ensemble style. Addresses jazz group problems such as beat, tempo, staying in tune, wind power, and solo/ensemble lines. Discusses percussionists, bassists,…

Considered the need for educationally sound curriculums that deal effectively with real learning about music. (Author/RK)

Discusses how Orff-Schulwerk methods are used to teach music ensemble skills to mentally retarded adolescents. The author describes how the analysis of basic musical tasks reveals the essential subskills of motor coordination, timing, and attentiveness necessary to music-making. Specific teaching methods for skill development and Orff…

Approaches the training of an inexperienced choir by using the concepts of melody and scale to promote confidence and skill in choral singing. Laying this groundwork allows students to develop their aural skills, as well as their confidence and enjoyment of performance. (LS)

Discusses why students who play musical instruments should participate in a chamber music ensemble. Provides rationale for using small ensembles in the high school band curriculum. Focuses on the topic of scheduling, illustrating how to insert small ensembles into the lesson schedule, and how to set up a new schedule. (CMK)

Explains how to plan a choir rehearsal schedule. Offers two examples of how to plan single rehearsals after the schedule is finished, such as for rehearsals involving only two compositions and rehearsals involving four or more works. Provides a discussion of additional planning guidelines. (CMK)

Describes how to introduce opera to students through the use of prompting strategies. Explains that these strategies encourage active participation by students and help to improve listening skills. Focuses on prompting strategies, such as matching characters to songs, identifying, and sequencing songs. (CMK)

Discusses the selection of material for vocal performances by high school students. Describes adolescent voices as young with little vocal technique and only partially developed or unused register. Includes considerations of breath management, tessitura, energy, subject matter, and language. Provides a list of songs meeting appropriate…

Provides suggestions for teachers new to Edwin Gordon's music learning theory, describing an incremental approach to audiation-based instrumental music instruction. Discusses teaching methods to introduce audiation, improving students' audiation skills, using tonal patterns to improve intonation, and Gordon's rhythm syllable system. Includes a…

Discusses the benefits of developing an international music tour as well as research that supports these benefits. Explains how to plan the international tour, addressing topics like selecting a host, programming and logistics, and special details such as creating the itinerary. Includes a "Tour Planning List." (CMK)

Suggests that the bias linking guitars to popular culture has needlessly limited approaches to teaching guitar. Examines how each of five current programs develops different music skills. Advocates a comprehensive, multifaceted program capable of emphasizing student skills in melody, harmony, perception, creativity, and performance over six years…