Although it is not their intent, conventional curricula may place some students at a disadvantage in school music classrooms. This article offers a practical planning strategy that music educators can use to confront and resist some of these curricular tendencies in subtle yet important ways. By reimagining long-standing norms related to content,…

Many music educators feel unprepared or are unsure of how to use popular music in their classrooms. This article details the author's experience designing, implementing, and revising a student-centered guitar curriculum in an urban middle school. Reflecting on this experience, the author defends the place of popular music and informal pedagogy in…

Music educators are part of a team charged with nurturing the development of the whole child. This includes instilling in students cognitive keys to essential life values that will be drawn on through adulthood. To help music educators attain this goal, this article encourages the inclusion of contexualized music units--immersive studies of…

This article describes ways that music education can be made more culturally responsive, or congruent with the orientations of culturally diverse students. Music education in the United States has historically been based on Eurocentric frameworks that may no longer be applicable in an increasingly multicultural society. For the many teachers…

For decades, music teachers have shared the dread of writing formal lesson plans, yet most know that planning yields better instruction. Why does this disconnect continue? The common argument that music teachers make is that teaching music is fundamentally different from teaching other subjects. Lesson plans are written to pacify supervisors and…

Suggests that six target areas in the teaching of theory and musicianship need more attention and emphasis: listening, analysis, music reading, creativity, music writing, and keyboard harmony. Discusses content and sequence in music theory and presents two sample applications. (SJL)

Discusses resources for curriculum design and choosing technology to fit with the curriculum developed. Lists questions about curriculum development raised by the Manhattan Music Curriculum Project. Describes software and hardware that place students in the many roles undertaken by musicians. Emphasizes the development of cognitive as well as…

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

Creativity is largely an outgrowth of attitude rather than an activity, a set of predispositions rather than a production line. Author traces the concept of creative development and the role music plays in illustrating the creative process. (Author/RK)

Discusses the integration of aural, visual, tactile, and kinesthetic modalities into teaching to help at-risk students retain lessons. Suggests combining the "Learning to Read through the Arts" approach with sequential arts instruction. Recommends musical pieces to be used while students listen, discuss, and record their analysis of the…

Describes a classroom technique in which student journals are used to teach music. Provides suggestions on topics and activities that serve as the foundation for student writing. Recommends immediate review and sharing of journal entries among students. (CFR)

Contends that music educators have not identified how the multicultural education movement will affect the music curriculum. Argues that two positions can be identified: (1) cultural pluralism; and (2) cultural particularism. Discusses the strengths and weaknesses of each position and provides examples of how each might be exemplified through…

Describes the Music Honors Program in Millburn (NJ) High School. Discusses student selection, program characteristics, and the importance of public performances. Concludes that the program helps maintain student interest in music and gives music more equitable status within the school curriculum. (CFR)

Contends that there is a large and enthusiastic audience for introductory music courses at the college level. Describes a one-semester basic music course for non-music majors with three basic components: informing, listening, and performing. Concludes that this experience provides singular opportunity for many students to learn about music. (CFR)