How the Wichita (Kansas) Public Schools and the Wichita Symphony developed a young people's concert format that is educationally, musically, and logistically sound is described. A spirit of cooperation and interdependence between private and public art organizations is necessary to foster student interest in the arts. (RM)

Tips to help musicians relax and be more confident as they perform are presented. For example, when complete attention is focused on the music, the mind does not worry about the audience. (RM)

Guidelines to help music teachers evaluate computer software for classroom use are presented. An annotated listing of critical reviews of music education computer software is also included. (RM)

Music teachers talk about the marching band--its educational objectives and value, positive and negative factors, and needs in this area of instruction. (RM)

What music teachers can do to prevent students from dropping out of band is discussed. Suggestions include talking with the child, working with other teachers, getting support from parents, and taking a good look at the music program itself. (RM)

Recommendations for student percussion auditions resulting from the Model All-State Percussion Audition Project are presented. It is hoped that state contest directors will consider their implementation. (RM)

A strong case can be made for inclusion of music in any general curriculum because of some special features of the human brain and the muscular system to which it is bonded. Music can help us fulfill our biological heritage. (RM)

The Suzuki talent education method, which combines sequential learning with continual review, is described. The method can be used in developing high levels of musical awareness, technical skill, and artistry in extremely young performers from very different backgrounds. How teachers of choral music might use it is discussed. (RM)

The elements of jazz improvisation are discussed and criteria for their evaluation are suggested. The criteria can be used as guidelines for the objective and thorough analysis of individual student performance. (RM)

The Music Performance Trust Funds (MPTF) is a national agency that sponsors live musical performances in schools, hospitals, clinics, senior citizen centers, penal institutions, and the like. In this interview a trustee for MPTF talks about the group's history and its commitment to quality performances in the schools. (RM)

The Paula Program in music for gifted girls in middle schools, developed by St. Mary's College, Notre Dame, Indiana, is described. How the program was designed is discussed and activities and materials selected for classroom use are briefly described. (RM)

A voice and music education teacher at the University of Lagos, Nigeria, talks about African music in this interview. Topics discussed include differences between African and Western music, African melody, rules for composing African music, the theory of counterpoint, and the popularity of classical composers in Nigeria. (RM)

Three examples of evaluation forms that music teachers can use to have students evaluate them and their music programs are provided. Teachers should use the evaluation results to make changes for self- and program-improvement. Teachers should let students know what changes are being made. (RM)

Suggests steps for facilitating the integration of students with emotional or behavioral disorders into the regular music classroom. Recommends easing mainstreaming by: (1) setting up systematic placement procedures; (2) providing adequate classroom structure; (3) "generalizing" programs used in special education; and (4) attending to the…

Recommends that an administrative syllabus, a course calendar, and a detailed set of student objectives are necessary ingredients of the well-organized college music course. Suggests use of a word processor to develop these documents, allowing for easy revision. Includes guidelines for creating these materials. (LS)