Discusses issues regarding the choice of many young musicians in England to reject their school music education as irrelevant to, and restrictive on, the music they wish to play; presents the general process of how local production works and what its cultural roots and reference points are. Cites specific references. (JD)

The article suggests ways for classroom, resource room, or music teachers to deal with the musical needs of gifted or musically talented students. A six-step planning model for teaching strategies is examined. Project descriptions are also included along with a reference list of resource materials. (Author/CL)

Suggestions are made for using the brainstorming approach in improvisational music with students. Examples of approaches used with primary students as well as with beginning instrumentalists are cited. (CL)

The list of operas contained in this article continues a series of selected works of American music--for chorus, for band, for orchestra, for the elementary school, and opera--prepared by the MENC Bicentennial Commission. (Editor/RK)

The pep band is made up of whatever minimum instrumentation is required to perform for specific events. It is to the marching band what the wind ensemble is to the symphonic band, or a combo to a full stage band. (Author)

This article describes efforts by a local education authority near Hull to provide school dropouts and adults with opportunities to meet and play their instruments. (LY)

The musical approach to teaching a number of subjects is described. (DB)

A music teacher describes how she trains a chorus composed of all the children in the fourth to eighth grades. (JW)

The activities of a small town string quartet are presented. (CK)

Music instruction for gifted and talented students is described in terms of the three levels of activities in J. Renzulli's Enrichment Triad Model: general exploratory experiences, group training activities, and individual and small group investigations of real problems. (CL)

In this article, the author shares how she taught concert etiquette to her students. The author started by having her students research concert etiquette online. She then created a music Web site bibliography, beginning with the MENC site (www.menc.org/guides/etiquette /etiquette_home.html). She relates that the teaching approach she used has…

Background: The Slovenian music education curriculum for the first years of elementary school emphasises the following musical activities in the classroom: singing, playing instruments, listening to music, movement to music and musical creativity. In the field of musical creativity, there are two activities where students can be original and…