Shifting school schedules, small class sizes, and unpredictable instrumentation resulting from the global pandemic necessitated a creative approach to teaching ensemble music classes this year. In response to that challenge, I constructed a curriculum for developing independent musicianship through chamber music. Part independence,…

What if the core curriculum for graduate students in music performance were designed to prepare students to succeed in the world of the Fourth Industrial Revolution? This dissertation offers a hypothetical answer: a structured and systematic academic curricular framework for music graduate students of performance of concert music (especially those…

Music conservatoires have generally neglected focusing on a key issue: that of audiences--their needs and wants, why they value particular music, and how music actually functions in any particular community. Yet audience is typically a musician's first contact with the "real world"; understanding audience (one's market or customers) is…

This study aimed to gain an in-depth perspective through examining how the conducting pedagogy of three selected exemplary high school and college instrumental music conductors function within the context of an actual rehearsal. A typical rehearsal was video recorded, followed by a "think-aloud" session in which the conductor viewed the…

Informal learning practices, based on Lucy Green's research into how popular musicians learn, offer students in the music classroom the opportunity to explore collaborative, aural-based learning that is guided, rather than directed, by the teacher. Over a period of five years, informal learning projects were included in the music curricula of two…

Despite an increase in participation at all levels of the music profession, women continue to experience fewer opportunities to forge careers in music and are less likely than men to apply for leadership positions. This article presents results from a study in which 152 instrumental musicians reflected upon their professional practice and career…

American music educators are a major part of the continuing change in music curriculum that has been planned for public school music of presentday America. (Author/RK)

The author outlines music education and instruction in the Soviet Union. He points out the accent on group rather than individual performance. (RK)

Asserts the necessity of developing a U.S. audience educated to appreciate classical music. Discusses a number of innovative programs across the country designed to increase audience participation and appreciation. Proposes implementing outreach and education courses in professional music schools. (MJP)

Profiles music scholar Charles L. Seeger and his contribution to U.S. musical life. Seeger played a significant role in introducing vernacular music to schools, extending the definition of U.S. music in the curriculum, presenting music as a cultural subject, and promoting musical diversity in the classroom. (MJP)