Discusses a variety of ways in which the small ensemble may be developed into a highly successful organization within the school. Highlights the importance of student input into performances and advocates the planning of concerts in conjunction with professional performers. Describes several of the author's experiences with small ensembles. (GEA)

Examines the revolution of musical technology and the resulting possibilities for music education. Discusses digital recording, electronic instruments, and computer interfaces, advocating that curriculum planners take them into account to increase students' fascination with music and improve the quality of music education. (GEA)

Discussing musical performance anxiety, Meharg examines its causes and offers some coping strategies. Explores methods of controlling body reactions as well as natural solutions and mental reactions to anxiety. Presents tips for anxious musicians and suggestions for educators to help students reduce and control feelings of anxiety. (GEA)

Presents several strategies for evaluating elementary and secondary music students. Includes an objective-based system in which students earn points for attendance, participation, and performance. Examines written evaluations, and points for progress, discussing evaluation as a teaching aid. Describes a "fair grading system" which evaluates effort…

Describes the Suzuki method of teaching which introduces young children to music and the violin so they can progress, after years of study, into standard violin literature. States that this method provides a base upon which the young violinist can develop musical maturity. (GEA)

Focuses on the following issues in music education: recognition of successful career music teachers by professional associations; increased enrollments; improved evaluation of music education programs; educating the public about the music programs; inclusion of music education in basic curriculum; mobilizing parents to support the entire music…

Points out that praise in the classroom can have undesirable side effects. Presents ways to lessen this problem such as teachers becoming more aware of the ways they use praise, becoming sensitive to the effect praise has on students, and offering specific information along with praise. (BSR)

In order to get music specialists into the elementary classroom, the classroom teachers must enlist the support of their school administrators and state officials for music programs. Discusses the role played by university music educators in convincing the teacher education department that music is a basic subject area. (SLM)

States that well-planned, efficient music rehearsals are essential in achieving educational goals. Outlines five steps for planning rehearsals; explains how to use warm-ups effectively; and discusses how to tune musical instruments more efficiently. (BSR)

Discusses THE NEW YORK TIMES music critic Harold C. Schonberg's contributions to music education. Argues that Schonberg's articles about the contemporary music scene have helped to broaden the public's appreciation of music. Offers an in-depth look at the life of a man dedicated to music. (BSR)

States that the best way to teach disabled students is to be prepared for the individual challenges they offer. Visually impaired students require more than patience to succeed in an instrumental program. Offers several ways to help these special students get the most from their musical experiences. (BSR)

Discusses the life of William Billings, an early American composer and a leader in one of the earliest forms of organized music education in the United States: singing schools and singing societies. Examines his contributions to the U.S. musical heritage and briefly surveys his publications. (GEA)

Examines the responsibilities of university teachers and states that graduate students who plan their course work in several fields are more desirable than those who concentrate in only one area. Characterizes teachers as counselors, advisers, recruiters, and mentors. Offers ideas on how to succeed as a music educator. (GEA)

Identifies problems that may arise when school music groups perform at events held on behalf of a particular cause or partisan event. Examines performance guidelines such as THE MUSIC CODE OF ETHICS, published by the Music Educators National Conference, which discourages performances at events that are not appropriate educational experiences. (GEA)

Examines the importance of the cooperating teacher in the education and field experience of the student teacher in music education. Discusses the responsibility of the college to both the student and cooperating teacher, and recommends a five-step process through which the student teacher gradually develops independence in the classroom. (GEA)