Describes the Viva Kids! Program, in an inner-city elementary school in Florida, in which students create and produce their own opera, engendering great enthusiasm and giving students a new sense of responsibility. (SR)

This paper reports two projects done by children in Hong Kong, adapting the Reggio experience to fit the local needs of the community and the children. As Carla Rinaldi said, children are constantly "in search of meaning, finding the sense and meaning of things we do" (Lee, 2001, p. 29). The first project documented how children of the…

Describes a two-week English project in which ninth graders read "La Boheme" in translation, studied it as a drama, listened to arias, and finally watched a videotaped performance of the opera. (JG)

This performance guide is designed for teachers to use with students before and after a performance of "Angels Voices," with libretto by Gary Race and music by Noa Ain. The guide, called a "Cuesheet," is in the form of a Director's Notebook (a scrapbook/journal of clippings, quotations, illustrations, notes, and other items) to…

Article discussed the advantages of teaching students to understand and appreciate opera. (RK)

Outlines a procedure for introducing Negro college pre-freshmen to such new cultural experiences as the opera. (JM)

The world of classical music, says the writer, has always been international, and has now become truly global. Opera is perhaps traditionally, and most conspicuously, global. At any performance of the Metropolitan Opera of New York, for example, one encounters several different nationalities on stage, back stage, and in the orchestra pit. But the…

In 1975, under the auspices of the Manhattan School of Music, an opera for children project was initiated at Public School 75 in New York City. Its aim was to acquaint the public school's faculty, parents, and students with the technical and performance aspects of opera production. (Author)

This handbook has been built around the experiences of teachers and cognitive psychologists working together in opera education to identify, design, and produce an effective approach to bring together the divergent approaches to assessment and evaluation, mandated testing, and authentic documentation of learning. The handbook is designed to…

The author describes the evolution of the American musical since 1750 and emphasizes the often overlooked importance of the orchestrator. She discusses the talents of several extraordinarily gifted musicians. (KC)

Our ordinary view of relating to works of art is based on the assumption that they are objects occurring separate from us, detached and independent. Investigates what we need to know in order to appreciate and understand works of art, to bridge the gap between ourselves and the art work. (Author/RK)

Describes class activities for incorporating and teaching about opera into the Italian language instruction classroom, focusing on the enhancement of cultural knowledge and understanding that opera offers. (CB)