Summarizes the results from 86 research investigations of music teaching in group and individual lesson settings. Discusses the role of feedback in music instruction and describes a proposed unit of analysis for the observation and evaluation of music instruction. Includes a table of the descriptions of reviewed articles. (CMK)

Investigates the effect of grade level, gender, and musical style (Western art, jazz, rock, Cantonese popular, and Chinese Sizhu) on the preference responses of 3,715 Hong Kong students aged 6 to 15. Reveals grade level and music style had significant effects and preferences leaned toward Cantonese popular. (CMK)

Draws on six instances in which students were engaged in improvisational musical composition with peers and/or a teacher in music classroom settings. Offers an analysis of the creative process and product. Discusses the findings and the role of shared understanding in empowering independent musical thinking. (CMK)

Introduces a special issue of the "Bulletin of the Council for Research in Music Education." Presents the Dallas (Texas) papers of the MayDay Group, a loosely organized world-wide coalition of music education theorists and practitioners, that critique the book, "Music Matters" (David Elliott). (CMK)

Focuses on the book, "Music Matters" (David Elliott). Identifies the social foundations present within the volume. Explores the implications of "Music Matters" in terms of three areas of music education: (1) music teacher education; (2) music in classrooms; and (3) the relationship of school and community music. (CMK)

Focuses on the ideas presented in the book, "Music Matters (David Elliott)." Discusses Elliott's stance on praxialism, stating that his book is based on social mediation of action as its behavioral theory. Addresses Elliott's concept of expertise and topics using an interactionist perspective as a means of interpretation. (CMK)

Compares the state of music education and music in the real world from the 1960s to the 1990s. Believes that students participate in music much less in the 1990's because music education has become less participatory and music is now very passive. (CMK)

Believes that the author does not fit into the depiction of the music educator present in the book, "Music Matters" (David Elliott). Explores Elliott's definition of "musicing," arguing that a primary reason for music-making is identity affirmation. Provides examples from the author's teaching experiences. (CMK)

Argues that David Elliott's conception of the human mind presented in his book "Music Matters" is not coherent. Outlines three alternatives to Elliott's theory of mind. Suggests that the principles associated with the pragmatism of Charles Sanders Pierce would complement Elliott's ideas in his book. (CMK)

Focuses on the ideas presented in the book, "Music Matters" (David Elliott), providing a basic overview of Elliott's arguments. States that a central topic within "Music Matters" is the renunciation of an aesthetic ideology. Suggests that Elliott's arguments accept a number of ideas that have created ideas of the aesthetic. (CMK)

Argues that music education as aesthetic education has never been understood. Analyzes six general themes that are part of the first stage of development of praxial philosophy represented by "Music Matters" (David Elliott), such as performance as a condition of listening, and performance and musicianship. Include references. (CMK)

Explores the traveling cultural missions in Mexico, which were teams of educational specialists sent to prepare rural area citizens for modern public schools. Provides information on the missions, focusing on the role of the music specialist and music. Considers the legacy of the cultural missions. (CMK)

Uses a collaborative ethnography to explore how novice music teachers learn to teach elementary general music. Discusses the interaction of theory and practice. Presents an emergent set of assertions illustrating students' initial images and beliefs of teaching and a student profile illustrating the process of learning to teach music. (CMK)

Investigates the perceptions of selected college music faculty on multicultural music education, focusing on such issues as a definition of multicultural music education, whether or not it would benefit from hiring minority faculty, and its benefits and problems. (CMK)

Investigates whether or not students would be effective coevaluators of musical compositions, hypothesizing that participating in the evaluative process could be a valuable learning technique. Explains that third grade students created musical compositions in cooperative groups and describes the data collection methods, analysis, and results. (CMK)