The purpose of this collective case study was to explore the best practices in beginning group-piano instruction. Four beginning and intermediate groups of piano students (N =20) were observed. Data were triangulated through in-class observation of students and teachers, teacher interviews and student questionnaires. The master teachers…

A variety of excellent method books aim to help student musicians develop skills in music reading and instrumental technique, but sometimes the best approach is not simply to move ahead line by line through the book. Rather, teachers will find it beneficial to consider apposite strategies to be used before, during, and after rehearsing a line so…

This article presents activities in rhythm and motor development to precede music reading instruction, then outlines a six-stage sequence for teaching the principles of music notation to beginning instrumentalists. (Author/SJL)

The Suzuki talent education method, which combines sequential learning with continual review, is described. The method can be used in developing high levels of musical awareness, technical skill, and artistry in extremely young performers from very different backgrounds. How teachers of choral music might use it is discussed. (RM)

Walk into any primary grade music class in the U.S., and you will likely hear teacher and students singing a musical greeting, such as "Good morning boys and girls" (sol-mi-mi-sol-sol-mi) and the response "Good morning Miss Purdy" (sol-mi-mi-sol-mi-mi). Since about the 1970s, teachers have been beginning and ending music class for young children…

Discusses improvisation as a phenomenon. Offers suggestions for a learning sequence. Warns against allowing students to skip levels. Identifies developmental levels of improvisation as exploration, process-oriented, product-oriented, fluid, structural, stylistic, and personal improvisation. Urges that improvisation can and should be a meaningful…

Edwin Gordon took the sequential levels of learning outlined by Gagne and adapted them to audiation (the ability to hear music for which the sound is not physically present) and musical learning. His method of teaching music is discussed. (RM)

Presents experiments on effects of music instruction, teaching practica, feedback from the instructor, and videotaped self-observation on undergraduates' use of complete sequential patterns and components. Focuses on two levels: examination of effects of systematic instructional structures on acquisition of skills and refinement of constructs for…

Reviews theoretical frameworks and psychological processes underlying the perception and cognition of musical understanding. Suggests unifying ideas and processes based on a developmental learning framework applied to teaching methods and curriculum. Supplies six guidelines for music education practitioners who are sequencing learning activities…

Many classical pianists want to develop jazz piano skills because they have acquired: (1) an awareness of the importance of jazz as an art form; (2) an attraction to the sophistication and complexity of jazz music; (3) an interest in exploring contemporary music styles; and (4) a desire to become involved with a type of music which is viewed as…

This bulletin lists materials available in the fall of 1963 to assist educators in their selections of programmed instruction materials, and updates the inaugural issue, "Programs '62." Since the 1962 edition provided a number of first analyses of programmed material available, some of the present statistical data have been related to last year's…