The author describes the evolution of the American musical since 1750 and emphasizes the often overlooked importance of the orchestrator. She discusses the talents of several extraordinarily gifted musicians. (KC)

The author discusses the importance of the study of the contour of form and of a review of how music elements affect contour when studying jazz composition. When this has been mastered, students can begin the study of style. (Author/KC)

The author cautions against using a professional concert format for the high school ensemble concert, for they have different audiences and different goals. He suggests a number of ways for making the school ensemble concert a rewarding experience for all involved. (KC)

The author examines Maria Montessori's philosophy and methods of music education for children, with its emphasis on sensory, manipulative materials and instruments designed specifically for the young child. (KC)

The author discusses the drain on the energy of the school band director who is expected to direct the school pep band at night for athletic events and the concert band during the day. He offers a solution: small pep bands made up of volunteers and conducted by students. (KC)

Offered are solid and numerous suggestions for restructuring the student teaching experience--the roles of the student teacher, the college supervisor, the classroom teacher--in order for the new teacher to enter the field with confidence, knowledge, and skill. (KC)

Presented is a statement on the essentials of education which has been endorsed by a number of professional associations. It embodies the collective concern of the endorsing associations and expresses their call for a renewed commitment to a more complete and more fulfilling education for all. (Author/KC)

While high school choirs used to perform extended choral works, in recent years the emphasis has been on shorter works and unaccompanied chorus. Describes "A German Requiem" by Brahms and recommends performance of its fourth movement to develop the musical growth of a chorus. (CS)

The establishment of a code of discipline leads to better classroom management. Using behavior modification techniques discipline problems are minimized and both teachers and students are the winners. Lists seven rules for the music room and describes methods of positive reinforcement and appropriate punishment. (CS)

Laid-off music teachers should make sure their educational self-improvement is cost-effective. Some skills can be acquired without formal instruction. If graduate school is indicated, teachers should choose prestigious schools and should try to get scholarships or assistantships. Broader qualifications can also help employment potential. (CS)

Reading can be taught in music classes to enhance the music curriculum. Gives lesson plans and study guides for reading instruction in areas like vocabulary building, comprehension, study skills, and thinking skills, all adapted to serve musical purposes. (CS)

College admissions officers hesitate to accept arts courses as serious academic preparation. In 1981 the Springfield School sent letters to 70 colleges discussing the content of their arts classes. The responses of the colleges were highly positive about accepting arts credits, once the content of the courses was understood. (CS)

Music educators should consider music reviewing as a chance to expand their horizons. Three typical critical approaches are describing the performance, interpreting the program, and estimating the success of the occasion. Mentions the important elements to be included and discusses what should be left out of a review. (CS)

Virginia Hoge Mead, who went to China in 1982 to introduce Dalcroze eurhythmics, is interviewed. Her Chinese students were highly prepared musically but did not move easily, and the focus was on overcoming their inhibitions. Dalcroze techniques were enthusiastically welcomed. (CS)

Describes the origin and history of the American String Teachers Association (ASTA) and of the National School Orchestra Association (NSOA). While memberships overlap, the two organizations have a distinctive identity. They have shared convention sessions, lectures, and editors. (CS)