This article describes how I, an American music teacher educator, visited the classrooms of eight Musical Futures Champion Teachers in the United Kingdom and observed their teaching with a focus on informal music learning and nonformal teaching. Musical Futures, a professional development organization in the UK, is the original organization that…

This article describes a culturally responsive music curriculum through which students and teachers affirmed diverse stories of individuals present in our public school community. An arts-integrated curriculum project helped make learning more meaningful while concurrently creating a safe learning space for students. This grant-funded project…

Contends that children in the early childhood years do not compartmentalize knowledge and that the typical school curriculum presents artificial barriers to learning. Discusses the link between music and language acquisition and the significance of the home environment on music skill development. (CFR)

The author, who took a performing arts tour of Japan with 35 junior high students and seven adults, provides some tips to other music educators intending such a venture. Discussed are goals and objectives, getting things started, maintaining the pace, logistics, and final organization. (RM)

Addresses the creation of national standards for music education in Lithuania. Provides background information on the role of music in Lithuania. Explains that in 1997 a group of music educators helped develop the standards. Demonstrates that the proposed standards will be easily implemented since they were being practiced in the classroom…

Describes Kodaly-based music programs. Focuses on three problems with this instruction method: (1) when one or more beliefs are focused upon to the detriment of the program as a whole; (2) the Kodaly program was created in a different culture and time; and (3) the program's emphasis on specific musical skills is limiting. (CMK)

Describes the role of arts education and, specifically, music education in Japanese schools. Outlines the music curriculum and teaching methods in elementary and secondary schools. Describes the role of western music and compares music education in Japan and the United States. (CFR)

Contends that teaching music history has traditionally focused on five eras of Western music. Relates these periods to concepts of form, space, and understanding. Acknowledges that music education has been ethnocentric and recommends a more universal music education. (CFR)

Asserts that since the middle of the 20th century the inclusion of world musics in music education programs has become increasingly important. Presents three rationales for teaching world music in the United States. Discusses two assumptions and implications for music educators regarding world music. (CFR)

Compares music education programs in England and the United States. Outlines differences in curriculum development, preservice and inservice teacher education, and the impact of the English National Curriculum. Discusses implication for U.S. music education. (CFR)