Reports that the developmental process for national standards for K-12 instruction in the arts is nearing completion. Discusses issues and criticisms relevant to the national standards movement and to music education. (CFR)

Asserts that the difference between average marching band performance and the truly memorable performances is a result of creative charting. Discusses four stages of creative thought that can be applied to marching band strategy: (1) preparation; (2) incubation; (3) illumination; and (4) verification. (CFR)

Contends that one of the most important concerns of preservice teachers centers around the potential of teacher burnout. Discusses issues related to recognizing and remedying teacher burnout. Provides a 12-item bibliography of selected readings on the subject. (CFR)

Discusses positive verbal feedback, or praise, from teachers to students. Presents four purposes for praising students: (1) recognition; (2) encouragement; (3) description; and (4) evaluation. Provides a chart listing criteria for assessing verbal evaluations and a six-item list of suggested readings. (CFR)

Describes the origins and operations of the Iowa Communications Network, an interactive distance learning program. Presents several examples of how the network can benefit music educators in college and K-12 institutions. Maintains that the system can be a model for similar distance music education networks. (CFR)

Asserts that linking music ensemble programs and cooperative learning strategies often has been overlooked. Describes the benefits of cooperative learning techniques for music performance preparation. Concludes that the small-group approach can enhance traditional music programs by offering students the chance to make their own decisions. (CFR)

Maintains that graduates often describe student teaching as the most important part of their college education. Outlines the use of portfolios to improve student teacher performance and evaluation. Argues that it is wise to maintain a teaching portfolio throughout a teaching career. (CFR)

Defines musical improvisation as taking place when a musician's aural and technical facilities combine to create a spontaneous form of musical expression. Discusses the use of improvisation as a means of enhancing student interest and performance. Includes a six-step approach for teaching musical improvisation. (CFR)

Asserts that elementary music education has been influenced by three approaches to learning: (1) the conceptual approach; (2) the child development approach; and (3) the activities approach. Presents six steps to designing an interdisciplinary project in music education. (CFR)

Details various ways music teachers can provide children with the emotional resources to rescue and heal themselves. Primary among these is the establishment of trust. Recommends modeling stability, consistency, benevolence, flexibility, and a healthy perspective. Discusses the challenges and problems of being a surrogate parent. (MJP)

Suggests expanding the eclectic nature of a band program by creating a steel band, a Caribbean-based percussion ensemble. The steel band complements multicultural education and attracts students to the music program. Discusses maintenance, repertoire, and performance. Includes classification of pans and a list of schools with established programs.…

Explains and characterizes some of the basic concepts of East African music. Fundamentally an enhanced way of storytelling, East African music techniques are rooted in the play and rhythm of spoken language. Compares and contrasts East African and Western musical conventions. Includes a list of East African music resources. (MJP)

Advocates using portfolio assessment in music education, more as a teaching tool than a final evaluative instrument. Explains those advantages and disadvantages of portfolio assessment that are peculiar to music education. Discusses materials for inclusion. (MJP)