As music educators embrace the possibilities for a more inclusive education that is culturally connected to the wider world, there are productive avenues for reshaping curricular content and method. In this article, we propose world music pedagogy (WMP) as a means of growing intercultural understanding alongside musical skills and knowledge, and…

School curricula in the United States tend to focus on students' visual sense, making the teaching and learning of aural art a unique and challenging endeavor. In this philosophical inquiry with practical applications, I propose that the music curriculum be reevaluated with an ear toward the quality of sounds students hear daily as a foundation…

Music teachers seek imaginative openings to expand the reach and scope of the music curriculum, particularly by engaging more students in creative production and culturally relevant offerings. This article describes the work of a high school choral music educator who implemented new courses in Hip Hop Production by strategically navigating the…

Songwriting is a form of composition that relates directly to adolescents' personal experience of music. This article provides a rationale for establishing courses in songwriting at the middle school and high school levels. Other topics in the article include curriculum development, instructional procedures, and assessment. The article ends with…

Karen, a veteran elementary general music teacher, was bewildered when she learned that none of her students remembered "Peter and the Wolf," a music lesson they have encountered in the past. Conscientious beginning elementary general music teachers like Karen may work diligently to plan instruction that will ensure that national, state, and local…

Discusses the lack of attention paid to women composers in music education and the need to correct the situation. Suggests an integrative approach to teaching elementary school students about women composers. Offers sample teaching strategies and other learning activities and sources for teaching students that women, too, can be composers. (SG)

Article proposed a curriculum with its base in humanities education through the symbolic arts, a curriculum that allows for and encourages encounters with various levels of meaning. (Author/RK)

Music teachers, like their colleagues in other fields, are living through a paradoxical time in schools. Currents of change in education and society seem to pull teachers in contradictory directions. Nowhere is this flux more apparent than in curriculum. While teachers are called upon to differentiate teaching approaches to meet the diverse needs…

Article focused on two divergent emphases in the history of music education in the United States: music education as product and music education as process. (Author/RK)

Style analysis is suggested as a method for enriching listening experience and as a course for secondary school students. (RK)

Recommends a holistic approach to teaching that emphasizes learning as a generative amalgamation of actions, cognitions, and emotions. Discusses the implications for change that such an approach would have for the teacher education curriculum. Argues that individuals do make a difference that can be positive if teachers embrace a principal of…

Discusses resources for curriculum design and choosing technology to fit with the curriculum developed. Lists questions about curriculum development raised by the Manhattan Music Curriculum Project. Describes software and hardware that place students in the many roles undertaken by musicians. Emphasizes the development of cognitive as well as…

Contends the history and values that lie behind Jewish music offer music educators more than the holiday songs normally utilized. Discusses a variety of ways that Jewish music can enrich students' understanding of and appreciation for music history. Lists important composers of Jewish and non-Jewish background who have produced Jewish music. (DB)

This report on the Contemporary Music Project focuses on the principles of comprehensive musicianship. (Author)

The author discusses how the ninth grader's vocal development, personality development and musical preferences create unique problems in selecting music for ninth grade choirs. Suggestions are made for adapting published choral music. A list of sacred, secular and Christmas music is included. (KC)