States that the music educator should help guide students toward heightened self-awareness, a sense of personal value, and an appreciation of others. Describes four elements necessary to create a value-oriented environment: (1) the life-oriented classroom, (2) the expressive teacher, (3) the expressive student, and (4) self-enrichment. (GEA)

Discusses how music educators can work to convince others of the importance of music in the curriculum. Includes suggestions for using objective data in stating a case to fellow teachers, administrators, parents, and others. (GEA)

Discusses the problems afflicting school music programs which contain too many performances and after-school rehearsals. Provides recommendations for determining the number and nature of school music performances based on excerpts taken from GUIDELINES FOR PERFORMANCES OF SCHOOL MUSIC GROUPS, a 1986 publication of the Music Educators National…

States that future music teachers cannot always apply the theories they learn in the college classroom to public school music education. Discusses the reasons for this deficiency and provides tips for helping college students assimilate and transfer knowledge to public school teaching situations. (GEA)

Discusses the development of an interdisciplinary "Arts Awareness" class for adults at Arizona State University, West Campus (Phoenix). Describes how events in the areas of art, dance, drama, and music were selected for class viewing and details course objectives and evaluation procedures. (GEA)

Examines the use of avant-garde works to expand the musical horizons of elementary, junior high, and high school choirs. Lists the criteria which determine avant-garde music, suggests sources of appropriate works, and presents examples of available music in this field. (GEA)

Discusses the importance of being able to describe the subjective properties of music. States that educators must develop an aesthetic vocabulary to allow articulation of musical properties. Provides examples of descriptive vocabulary taken from representative music selections. (GEA)

Evaluates MUSICSHAPES, a graphic music construction software program which manipulates sound in terms of pitch, rhythm, timbre, and sequence to help students create complex synthesizer compositions. Intended for ages eight to adult, the program utilizes Apple II computers and additional hardware. Discusses how MUSICSHAPES can be used effectively…

Summarizes five articles from the JOURNAL OF RESEARCH IN MUSIC EDUCATION which deal with various aspects of the history of American music education. Articles include "Revisionist Historians: Writers Reflected in Their Writings"; "A Comparison of Syllabic Methods for Improving Rhythm Literacy;" and "Edgar B. Gordon: A Pioneer in Media Music…

Examines William J. Bennett's recommendation in "James Madison High School: A Curriculum for American Students," that the ideal high school core curriculum should include one half year of music history. States that while the recommendation supports music education, it may not be met in many systems due to lack of funding and scheduling difficulty.…

States that teachers' fear of using computers and electronic technology in music education may prevent students from reaching their full potential. Includes suggestions for diagnosis and cure of "technophobia." Suggests that using electronic media to teach music will strengthen teaching and stimulate students' love of music. (LS)

Discusses the cultural pluralism prevalent in the United States and explores reasons why music educators must tailor their programs to reflect ethnic backgrounds of their students. States that musical diversity is vital to well-rounded music program. Recommends eight instructional strategies to increase multicultural awareness of students. (LS)

Suggests the use of time-proven marketing methods to attract high school students to college music programs and keep them interested in the music program. Explores facets of the college and the program that draw students, including reputation, location, costs, and program content. (LS)

Encourages music teachers to make allies of classroom teachers in order to use their influence to build positive student attitude toward music. Provides concrete suggestions for establishing rapport with classroom teachers and gaining their support for the music program. (LS)

Examining the avant garde trend in twentieth century music, the author criticizes those he calls the "radical fringe" for leading music into bankruptcy through a total rejection of tradition. He speculates on the future of music. (SJL)