Hearing-impaired children need not be excluded from the music classroom. Even the severely hearing-impaired child can receive sensory satisfaction and valuable auditory training from experiences with music. How music can enrich the lives of the hearing-impaired is discussed. (RM)

Historians of American music education have yet to recognize a Black music educator as important and worthy of observation. This article discusses a candidate--Major Nathaniel Clark Smith, a little-known Black music educator, composer of more than a hundred works, businessman, humanitarian, and teacher of numerous big-name jazz musicians. (RM)

The shell game is a metaphor for a selection and retention process that should be established to counsel students as they try to earn a teacher's degree and teaching certification. This process, which involves taking required courses, participating in field work, and self-evaluation, is described. (RM)

Because videos are self-motivating for students, they are highly successful in the classroom. The two schools of videos--Visual Music and Visual Lyrics--are described, and how videos can be used in music classes is discussed. (RM)

The goals of education are literacy, intellectual development, aesthetic perception and creativity, cultural and cross-cultural understanding, and self-realization. How the arts can foster each of these goals is discussed. (RM)

A comprehensive arts in education program is made up of four segments: specialized arts instruction, arts in general education, community arts resources, and arts for special populations. Each of these segments is discussed. A selective bibliography to help fine arts educators involved in curriculum development is provided. (RM)

Three process-oriented approaches to high school classroom music--the problem-solving approach, the aesthetic criticism approach, and the interrelated fine arts approach--are discussed. These three approaches are recommended for curriculum reform related to the national reports. (RM)

The ballad is a primary medium for the reliving of historic events. Described is a joint music and social studies project in which junior high school students research historic events and write song lyrics. A composer gives a lesson on lyric writing, verse forms, and rhyme schemes. (RM)

Many excellent music programs have been developed and maintained by teachers who must travel from room to room under the least favorable conditions. Suggestions to help traveling teachers are provided. (RM)

Three problems occurring as a result of combining separate junior and senior high school bands into a single junior-senior band are discussed. These include (1) range of ability, (2) student apathy, and (3) inhibition of younger students as a result of fear of senior high members of the band. (RM)

Specific ways to include music reading in the middle/junior high school choral curriculum are suggested. An annotated bibliography that can help music teachers start to acquire, examine, and adopt music reading materials in the choral rehearsal is also included. (RM)

Discussed are two main concerns of Zoltan Kodaly, the developer of the Kodaly method of teaching music: the caliber of musical training and how professional musicians are trained. Kodaly felt strongly that only the best musicians should be teaching in the schools. (RM)

Children's natural endeavors that enable them to attain self-realization and fulfillment were given the name "self-activity" by the German philosopher Friedrich Froebel. Discussed are components traceable to the self-activity principle that appear in early childhood song materials published around the turn of the century. (RM)

How Piaget's theory of developmental stages affects the musical ability of children at different ages is important for the music educator to understand. The following developmental stages are discussed: sensorimotor period, preoperations period, concrete operations period, formal operations period, and creative stage. (RM)

Multiplication rock music was conceived as a way to teach multiplication to children. The songs had to be deviously educational, teaching the children without their realizing they were being taught and had to complement the methods of the new math. The project that produced the music is described. (RM)