Many music educators incorporate chamber music in their ensemble programs--an excellent way to promote musical independence. However, they rarely think of the large ensemble as myriad chamber interactions. Rehearsals become more productive when greater responsibility for music-making is placed on the individual student. This article presents some…

In recent years, popular music has become a growing area of music study and is increasingly accepted in schools and universities around the world. Despite this general enthusiasm, classically trained music teachers bring a certain hesitation to this art form, perhaps because too few have had formal hands-on experience with it. This article…

To practice effectively, one must first know how to practice. The practice process is affected by one's ability to set goals, design strategies, self-assess, and to have an aural image of the music being learned. The author proposes a model reflecting the factors involved in practice and proposes a number of strategies that can be used to…

In this article, the author connects art and music to help others understand and value the relationship of these two disciplines. When working on a painting, or with other visual media, it is important to apply artistic elements and incorporate carefully considered design principles. This also applies in music and is especially apparent when a…

University programs often require preservice music educators to complete some small- or large-group instruction before beginning student teaching. One of the tools used to deepen these preservice teaching experiences and consequently the pedagogical knowledge for these teachers is to have them reflect on their teaching episodes. Video reflection…

This article presents an interview with Willie L. Hill Jr., founder and director of the Society for Jazz Education. Currently a professor of music education at the University of Massachusetts-Amherst and the director of the UMass Fine Arts Center, Hill has served as director of education for the Thelonious Monk Institute of Jazz. He is a past…

The creative music strategy is a dynamic and flexible seven-step model for guiding general music students through the music concepts of improvisation and composition, followed by critical reflection. These are musical behaviors that cultivate the development of our students' deeper conceptual understandings and music independence by helping them…

One challenge for music educators is to find techniques to help students "listen across time" to the examples they are assigned to study and to stay focused on a piece as they listen. Measurement tools to assess music listening have a long history, ranging from very simple to very complex, and very dated to very recent. This article traces the…

Dalcroze solfege engages the ear and the mind in chords, functional harmony, and key relationships, in addition to scales, intervals, and melodies. This article provides an overview of Dalcroze solfege by describing its methodology and by offering sample exercises for beginners as well as advanced students. (Contains 15 figures and 5 notes.)

Teaching musical vocabulary in a middle school general music class can often be challenging to the performance-based teacher. This article provides several teaching strategies for approaching words from both a theoretical and a practical standpoint. Based on a dialectical "this-with-that" approach by Estelle Jorgensen, this article argues that…

The Aural Learning Project (ALP) was developed to incorporate jazz method components into the author's classical practice and her applied woodwind lesson curriculum. The primary objective was to place a more focused pedagogical emphasis on listening and hearing than is traditionally used in the classical applied curriculum. The components of the…

In this article, the authors review Band-in-a-Box (BIAB), 2011.5 Mac Version and Audacity, a free and open-source software. Music educators at all grade levels can appreciate having a time-saving program to help them provide students with the practice tools they need. BIAB can do that, and it is easy to use. Its primary focus and strength is in…

Teachers who conduct ensembles of any ability level know that many skills are required for students to successfully participate. Often neglected or overlooked are the skills that students must have to interact musically with their peers. This article focuses on listening as a way to help make successful ensemble collaboration a reality. The method…

Two extraordinary recent experiences that the author would call highly "spiritual" are explored against the background of ideas provided by writers such as Friedrich Schleiermacher, Rudolf Otto, Paul Tillich, and Abraham Maslow to unpack what spirituality is, with particular attention to the emotions and the insights involved in spirituality. The…

In the annals of twentieth-century music education, it is curious that two women with similar names figured prominently in the pages of "Music Educators Journal". Their professional careers overlapped, and, because both were devoted to general music education, they may, at first glance, appear to be the same person. The truth, however, is…