Presents a study in which high school choral directors (n=104) participated. Focuses on examining the directors' repertoire selection practices. Explains that the directors were separated into two categories: (1) outstanding directors; and (2) directors in the remaining population. Reports that the directors' selection practices were not…

Presents a study that surveyed high school choral directors (n=163) to explore the literature performed by beginning high school choirs. Analyzes five categories: (1) demographics; (2) selection criteria; (3) literature sources; (4) types of literature; and (5) recommended repertoire. Includes references. (CMK)

Discusses how to improve the listening skills of music students and addresses the importance of enabling students to listen. Explores the various issues that can be addressed when helping students focus on their skills. Provides a list of tips for helping ensemble students become more focused listeners. (CMK)

Describes how to teach elementary students about vocal improvisation using the Kodaly-based approach. Discusses the three steps involved in this technique: (1) develop familiar singing patterns; (2) use a question and answer format; and (3) begin improvisation. Includes examples of solfege patterns and a vocal question and answer. (CMK)

Discusses how choral directors and choirs can collaborate with a percussionist when a drum or other instrument is needed for a performance. Explores details, such as instrument availability and storage as well as working with a percussionist. Focuses on specific types of music. (CMK)

Explains how to plan a choir rehearsal schedule. Offers two examples of how to plan single rehearsals after the schedule is finished, such as for rehearsals involving only two compositions and rehearsals involving four or more works. Provides a discussion of additional planning guidelines. (CMK)

Describes how to introduce opera to students through the use of prompting strategies. Explains that these strategies encourage active participation by students and help to improve listening skills. Focuses on prompting strategies, such as matching characters to songs, identifying, and sequencing songs. (CMK)

Focuses on the importance of the first lessons of the year in the music classroom for establishing the environment for the entire school year. Includes suggestions for beginning the school year successfully and a lesson plan for elementary school students called "Word-Webs/Core Connections." (CMK)

Discusses how to increase student skills in ear training. Offers suggestions used with fifth through eighth grade band students, such as sing with your bands or teach the band solfege syllables. Includes a list of songs, research resources, and tonal patterns. (CMK)

Argues that developing the stylistic abilities of school jazz bands and choruses can be done by listening to jazz and scat-singing techniques. Presents basic scat techniques to be used by both bands and choruses. Includes list of representative jazz performers who illustrate these techniques. (DB)

Offers suggestions from directors, music teachers, and other specialists, for performance pieces especially enjoyed by students. Music covers a wide range of difficulties, and suggestions are provided for elementary, secondary, and college age performers. Arrangements are for full and string orchestras, choral groups, symphonic and concert bands,…

Evaluates a doctoral dissertation that studied the relationship between song ranges and kindergarten children's singing ability. Rutkowski individually tested the singing ability of 162 kindergarten children. Concluded that the music curricula for kindergarten should be modified to enhance singing voice development. (LS)

The history of African-American sacred music is traced from the time of slavery to the present interest in gospel music. The religious music of African Americans is geared toward liberation themes. It is important that this music does not dilute its power through cross-over with other music forms. (SLD)

In each era in which white jazz musicians have received acclaim, black musicians have been the true innovators. Black jazz musicians of the past and contemporary artists are discussed. Although they may not receive the publicity they deserve, black musicians will continue in the forefront of jazz. (SLD)

Describes Improvised Musical Play (IMP), a teaching strategy that uses simple rhythms, chanting, and singing to make participation in social play with nondelayed peers easier for developmentally delayed children. (BB)