Playful practices have been linked to increased motivation, engagement, learning and skill development. However, limited research has explored what playful music learning might look like for primary schools, and how teachers might incorporate a range of playful music practices within their classrooms. Our conceptual model for playful music…

This paper focuses on immersive learning in a composition-centered curriculum in K-5 general music education. It is one aspect of a 4-year longitudinal study of children's musical development through composition. I collected data over 4 years on the work of students (N=300) who attended music classes as part of their general education. Data…

This study aims to explore the long-term impacts of primary music education in a progressive school in Tokyo where cooperative learning, democratic decision making, and mutual sharing of interests and purposes by students form the pedagogical basis. Establishing a causal relationship between music learning and its impact in later life is a…

German-born composer Ernst Mahle (b. 1929) holds a respected position in the music field in Brazil, his adopted country since 1951. Mahle is the artistic director and co-founder of the "Escola de Musica de Piracicaba," one of the most important musical institutions in Brazil. His work has focused on conducting, composition, and…

Sixth-grade band, orchestra, and choir directors face a complex challenge when starting their new ensembles in the fall. Sixth-grade students are diverse; some come from strong music programs with adequate resources and others from weaker music programs with fewer resources. In addition, student populations are often ethnically and…

The purpose of this longitudinal study was to examine preservice and first-year music educators' perspectives on fieldwork activities embedded within a music teacher preparation program. One cohort of students was tracked for 2.5 years as they participated in an elementary teaching practicum, fulfilled the student teaching internship, and…

Presents samples from music curriculum guidelines developed for moderately mentally retarded adolescents. A scope-and-sequence chart shows how sequential musical skill acquisition is adapted to individual needs and skill levels. A sample of guideline content illustrates behavioral objectives, evaluation methods, activities, and methods for…

Establishing music as an integral part of the elementary curriculum is one of the most pressing challenges facing music educators. The tremendous motivational power of music should be utilized in education. Four music activities which can be used with elementary students to reinforce reading activities are described. (RM)

Describes the Orff-Schulwerk approach for teaching music to children. The objective is to awaken aesthetic responsiveness. Learning activities are designed to highten sensory awareness, provide genuine aesthetic experiences, promote musical skill development, and stimulate conceptual learning and improvisation. (AM)

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)

Maintains that elementary music programs are an asset to the instrumental teacher. Discusses how the pedagogical techniques used in elementary music programs can be applied to instrumental classes. Analyzes aural learning, movement, hand signs, familiar songs, and phasing and form. Suggests how these can be incorporated into instrumental classes.…

Reviews research literature on inaccurate singers to assist teachers and parents in helping children find and maintain their singing voices. Presents the studies within three categories: (1) hearing music; (2) remembering music; and (3) reproducing music. Contends that teachers must know about the research in order to experiment with the suggested…

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Discusses the contribution of Zoltan Kodaly to music lesson planning. Emphasizes preparation, presentation, and practice as the three important strategies in teaching concepts and skills to be included in a lesson plan. Includes a sample lesson plan covering a semester and advice on choosing song material. (DK)

Focuses on the issue of whether music teachers should be improving student reading skills. Describes a program called Opening Minds to the Arts (OMA) that is used in the Unified School District in Tucson (Arizona) to develop student literacy. Discusses the benefits and outcomes of OMA. (CMK)