In his book "Teaching Music in the Secondary Schools," Charles Hoffer reported a lack of consensus among music educators when considering the essential components of a middle-level general music course. Today, this condition persists. The increasingly diverse nature of students and schools makes a singular, model curriculum for middle-level general music virtually impossible. Differences in schools' grade configuration, scheduling structure, unique local requirements, and student achievement and behavior inhibit widespread adoption of any one model. Middle-level general music, then, continues to depend on sensitive teachers to use professional judgment when identifying content, methods, and materials appropriate for instruction. Despite endless possibilities, however, curriculum exemplars for middle-level general music remain noticeably absent in the nation's schools. General music courses, by definition, must explore a broad array of skills, knowledge, cultural traditions, and genres to illustrate effectively the breadth and depth of the musical art form. In addition, it must be recognized that teaching general music to adolescents often requires a unique approach that may not be necessary when working with students at other educational levels. Fortunately, music teachers can find a multitude of strategies for enhancing middle-level general music classes in decades of research and related literature. In this article, the author synthesizes the ideas of Charles Hoffer, Timothy Gerber, Thomas Regelski, and others as they relate to best practices for educating adolescents, the importance of active music learning, and the role of standards in transforming music education. (Contains 42 notes.)