This article describes music educators' conceptions of diversity, equity, and inclusion (DEI). We collaborated with six music teachers to consider ways in which DEI is conceptualized and practiced in their own teaching settings. The teachers were carefully selected to encompass a multitude of identities, including race, ethnicity, gender,…

Repertoire selection is one of the most impactful responsibilities music educators undertake, and the music an educator chooses for students to experience reveals implicit and explicit philosophical values. When ensemble instructors select repertoire, their decisions are often informed by an eclectic mixture of competing practical and aspirational…

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…

This article explores realistic ways with which ensemble conductors can facilitate the conceptual acquisition of their students via creative activities. Creativity, as included in the National Standards, is presented through the "eyes" of comprehensive musicianship. (Contains 2 figures, 2 tables, and 9 notes.)

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…

In this article, the author explains that before beginning to create concert programs, it is important that ensemble conductors first develop a long-term curricular plan to which each individual program will contribute. He continues that if an ensemble curriculum is devised so that students make progress over the long term, dynamic growth can take…

Describes the author's visit to the top music institution in Latvia, S.S.R., and provides some details about the school. (AN)

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)

Argues that while national standards provide a valuable resource to guide curriculum development, there is no clear procedure for turning them into a grade-by-grade curriculum. Outlines and discusses the process that one school district used to create a standards-based curriculum. Provides numerous charts and examples. (DSK)

Author described how a music program actually functions in one of the various year-round plans. (Editor/RK)