Describes music as a mnemonic that adds variety and interest to the curriculum and is an important component of multisensory learning. Offers suggestions for creating/using story songs with young children, including the use of one musical phrase in an existing story and creating a melody for an entire story. Gives practical advice for using and…

A study examined the response of two adults who attended a music activity therapy program in which music activities encouraged peer interaction. Music activity therapy was compared with a control condition (i.e., ball and target games). Both conditions increased the level of positive interaction, however, music therapy was least effective.…

Encourages music teachers to take advantage of children's love for movement by channeling it into musical activities. Offers suggestions on integrating movement into the music curriculum. (GG)

Reviews the history and state of general music education for K-12 students. Points out that the goals of the Music Educators National Conference were to have music education available to all students and to have all schools and universities require music by 1990. Examines the present situation to determine whether these goals have been attained.…

Examines the use of recorded music to teach about the civil rights movement of 1955-68. Barnes uses a combination of spirituals, popular and protest songs that were adapted to civil rights needs to introduce, review, or heighten students' interest in the 1950s and 1960s. Includes song list, learning activities, and questions to stimulate critical…

Explores preschool children's movement responses to music. Using naturalistic procedures Metz generates three substantive core categories regarding the nature of movement response: conditions, interactions, and outcomes. Provides seven propositions for early childhood music education. (LS)

Encourages the use of percussion ensembles in upper elementary and secondary general music classes because of their high motivational value, the ease of achieving performance, and the minimal need for music reading skills. Offers guidelines for introducing percussion ensemble music, including an annotated discography listing selections to…

Discusses how listening, in conjunction with questioning and classroom dialogues, promotes critical thinking about music. Suggests that classroom interaction encourages analysis, synthesis, and evaluation of content. Lists ways music teachers can stimulate critical thinking, including an activity called structural dictation, and the development of…

Provides a systematic analysis of the music program of a private elementary school in Brazil to demonstrate the comprehensiveness of the systematic approach as applied to educational organizations. Discusses implications for both the planning of the structure of music education and for the teacher's individual planning. (CFR)

Examines which types of music and musical activities capture the interests of young children and involve them in music making. Presents general guidelines from five music educators for finding appropriate music materials. Includes a list of recommended recordings and music/activity books. (CFR)

Asserts that the performance of music involves not only playing the notes on the written page, but also accurately counting the printed rests. Maintains that band students frequently miscount lengthy rests. Presents an illustrated technique for helping students overcome this problem. (CFR)

Objects to traditional scheduling practices in which band rehearsals are not started until well into the academic year. Argues that starting at the beginning of the year offers numerous advantages. Presents a number of lessons that can be employed in early band rehearsals, even before students are familiar with their instruments. (DSK)

Offers ideas for 15 active learning experiences that use the concept of "10" for 3- to 5-year olds. Included are mathematics activities, language activities, and music and movement activities. Each activity description includes the objective, a list of materials needed, and steps for completing the activity. (KB)

Proposes that music teachers should have their students practice during those spare moments during the school day by using a pencil instead of their actual instrument. Explains that students can practice chromatic fingerings, memorize short pieces of music, or review scales. Gives instructions on how to "pencil practice." (CMK)

Presents lessons from," Strategies for Teaching High School General Music." The lessons are designed to incorporate requirements from Standard Three, Improvising, of the National Standards for Music Education. The lessons include objectives, materials procedures, indicators of success, and follow-up procedures. (MJP)