A significant amount of literature exists about how to design and implement an effective assessment process for students in a music program, specifically in the classroom setting. This article suggests a framework for incorporating individualized assessment in the private-lesson setting based on effective classroom assessment practices. Many…

Educators are professionals. One important attribute of professionals is their constant quest for personal growth. Great music educators are lifelong learners who draw on a variety of sources to improve their expertise and effectiveness. In the first part of this topic, the author listed the primary purposes of student assessment, and focused on…

A fundamental aim of the Race to the Top agenda is to assess the effectiveness of teachers based on value-added growth measurement models of student achievement. However, in nontested grades and subject areas, such as music, alternative assessment types are being considered, including district-, school-, or teacher-developed measures. This article…

After sharing research findings about grading and assessment practices in secondary music ensemble classes, we offer examples of commonly used assessment tools (ratings scale, checklist, rubric) for the performance ensemble. Then, we explore the various purposes of assessment in performance-based music courses: (1) to meet state, national, and…

Assessment is both essential and a potentially powerful positive force. Music teachers need to provide assessment evidence to survive in today's data-driven school environment. However, the more important reasons they must assess are to improve their professional effectiveness as teachers, to improve student learning, and to help them advocate for…

At the 1979 Ann Arbor Symposium on the Applications of Psychology to the Teaching and Learning of Music, several psychologists presented their views on the internal realization of music. The author presents these views and discusses their implications for music education. (SJL)

Discusses a variety of ways in which the small ensemble may be developed into a highly successful organization within the school. Highlights the importance of student input into performances and advocates the planning of concerts in conjunction with professional performers. Describes several of the author's experiences with small ensembles. (GEA)

Examines the use of avant-garde works to expand the musical horizons of elementary, junior high, and high school choirs. Lists the criteria which determine avant-garde music, suggests sources of appropriate works, and presents examples of available music in this field. (GEA)

Provides an overview of the evolution and instructional use of pianos, from their first development and use in homes to their nearly universal presence in the music classroom. Notes the strengths and weaknesses of the piano as an instrument for music instruction and concludes with recommendations for improved use. (JDH)

The experiences of substitute teachers are affected by relations between students and their regular teachers. Students often feel disloyal to their teachers or threatened by the possibility that the substitute will become permanent. Suggests ways in which teachers can help the substitute to make the "guest" experience fruitful. (CS)

States that future music teachers cannot always apply the theories they learn in the college classroom to public school music education. Discusses the reasons for this deficiency and provides tips for helping college students assimilate and transfer knowledge to public school teaching situations. (GEA)

Notes that the well-being of the music industry is related to the number of people who are taught to make music. Compares the greater amount of music education in Germany and Japan with the decreasing levels of music education in the United States. Suggests changes required to better promote music education. (JDH)

A position paper prepared by the Music Educators National Conference National Commission on Instruction. (Editor)

Suggestions are made to help music teachers with limited resources, such as a low budget, poor quality instruments, and small amounts of rehearsal time, develop a band that provides quality performance. Suggestions include properly maintaining student-model instruments and designing a lesson format for a private lesson and using it in group…

Tips to help conductors improve school music rehearsals are provided. For example, students should learn that the minute the conductor steps on the podium, they should stop playing and talking and direct their attention to the podium. (RM)