This article suggests pathways for supporting habits of creativity and the development of creative mindsets in performance-ensemble learning spaces. The Wallas model of creative thought is used to frame the concept of creative musical mindsets. The author reflects on the assumptions and principles outlined in the stages of this influential model…

Early in my teaching career, my goals were to teach students to play their instruments beautifully and to help them correctly and independently interpret music notation. However, many of my students were missing the internal musicianship skills that enable high-level music-making. As we teach instrument technique and notation, we sometimes…

In an increasingly connected world, our students are listening to and making music outside the school context. As music educators, we need to better understand the media they use and incorporate this technology in our daily teaching to enhance music literacy in our classrooms.

Soldiers deserve respect for their courageous sacrifices, and a strong military is necessary to the safety of any nation, but militarism--excessive emphasis on the military and its interests--threatens the cultural balance of society. Militarism endangers the quality of school music education due to its tendencies to (1) encourage allocation of a…

The Partnership for 21st Century Skills lists among its top priorities for students the development of "learning and innovation skills," of which the first are "creativity and innovation." The third National Standard from the National Association for Music Education is "Improvising melodies, variations, and accompaniments." These guiding…

Practically all teenagers find pleasure in music, yet the majority are not involved in traditional school music ensembles. College requirements, the quest for high grade point averages, scheduling conflicts, uncooperative counselors, block schedules, students with too many competing interests, or the need to work may limit participation in music…

Teachers who conduct ensembles of any ability level know that many skills are required for students to successfully participate. Often neglected or overlooked are the skills that students must have to interact musically with their peers. This article focuses on listening as a way to help make successful ensemble collaboration a reality. The method…

Over the last forty years, popular music in America has consistently shown great variety, originality, and evolution. While American music has clearly flourished and evolved over the last several decades, it is difficult to say the same for American music education. Although there are important reasons to preserve long-standing traditions of…

Discusses the importance of developing second grade student listening, singing, and composing skills. Explores the second-grade singing apprenticeship where students can sing alone, as a group, or listen to other groups. Focuses on teaching singing skills and allowing students to experiment with music. (CMK)

Focuses on ways to develop student creative thinking, improvisation, and composition skills in instrumental classes. Provides suggestions, such as the importance of offering students creative opportunities, supplying examples, giving control to students, and encouraging expressive integrity. Includes a bibliography of resources for developing…

Discusses two steps, focusing on improvisation, that teachers can follow in planning music lessons. Addresses how to include improvisation in the general music classroom by focusing on two different age groups: (1) kindergarten through grade three; and (3) grades four to six. (CMK)

Discusses the meaning of creativity, focusing on music education. Emphasizes the four "p's" while examining the meaning of creativity: (1) the creative person; (2) the creative process; (3) the creative product; and (4) the creative place. Addresses how creative thinking can be at the center of teaching. (CMK)

Presents a collection of teachers' ideas on instruction for musical improvisation. Includes suggestions for ascending grade levels, spontaneous composition, and creation of sound maps. Recommends making technique training fun and creative through improvisation. Suggests that children be taught to think in sounds and to experiment with variations.…