Asserts that a revolution has been occurring in musicology since the 1970s. Contends that music has change from being only a source of emotion to appearing more open to science and techniques based on computer technology. Describes recent research and other writings about the topic and provides an extensive bibliography. (CFR)

Discusses the skills, attitudes, and work habits necessary for conducting research in music education. Describes the process used in a historical research study about the impact of Lowell Mason on music in U.S. history. Concludes with six practical suggestions on historical research. (CFR)

Explains how the ear and the brain work together to make music listening possible. Argues good hearing does not ensure skilled listening, stressing that listening is a mental process. Examines the aural process and properties of sound, and describes listening behaviors within the basic levels of auditory processing. Provides a guide for teaching…

Compares the performance of music teachers with teachers of other subjects on the 10 competencies selected by the Alabama Career Incentive Program. Reports that music teachers' competency scores were below the mean for all teachers on 7 of the 10 competencies, but that music teachers outperformed other teachers in using materials and eliciting…

Contends that Comprehensive Musicianship of the Contemporary Music Project has been all but ignored by music educators. Argues that Comprehensive Musicianship is the answer to a lack of measurable goals and assessment criteria in instrumental music. Concludes that secondary music instructors who fail to incorporate these techniques risk losing…

Asserts that U.S. education has entered a new era of advocacy for arts education. Describes publications and other efforts of the National Coalition for Music Education. Compares effective and ineffective advocacy methods and includes a table of contents of an "Action Kit for Music Education." (CFR)

Presents an interview with Julie Gold that addresses the importance of music in her education, her career as a songwriter, and her work as a professional singer. States that music and the arts is a crucial aspect of a child's education and that our society should recognize the triumphs of artists/musicians. (CMK)

Offers a list of effective practice techniques for string teachers who want either to renew their own teaching techniques or refresh the techniques they have been implementing with new ideas. Believes teachers should remember that practice is unique for each student and should cater their techniques to this notion. (CMK)

Presents a dialogue among six future music educators that began with the question "What do you think music education will be like in 2015?" Offers a condensed version of the conversation from more than two hours of videotaped peer discussion. (CMK)

In this paper the author makes a short presentation of an ongoing longitudinal research project in Sweden. However, he wants to focus on the theoretical perspective he has found fruitful for his understanding of music teachers' professional socialisation, and on the question whether the music teacher must also be a musician in order to possess…

Musicality is a loosely used term with many meanings. It can be applied to a small child who chants a nursery rhyme, or to a harmonica player who plays by ear, or to a conductor like Toscanini. Some educators and philosophers believe that musicality is manifested in the technical achievements of musicians. Others believe that technique is…

In this article, the authors offer insight into the challenges of helping children with disabilities succeed in music through a collaborative effort of music educators and special educators. Making the curriculum flexible and accommodating a variety of learning styles produces better results and eliminates the need to customize adaptations for…

"Music and the Racial Imagination" triggered the reminiscences from the author's teens described in the "diary presented in this article." These memories undoubtedly played a role in her decision to enter an undergraduate music education program at the age of 40. These and other memories have been called up in a variety of contexts more recently…

During Winter/Spring of 2004, Danielle Cione, a 5th grade classroom teacher at New York City's PS 199, and Tanya Witek, a Teaching Artist for the New York Philharmonic School Partnership Program, planned and implemented a series of lessons exploring the relationship of the Writer's Workshop as taught in the schools and the process used by…

Through interviews and observing day-to-day classroom practice, this study explores the beliefs of 10 music teachers in elementary schools in Vancouver and Hong Kong. The results demonstrate that the music teachers of the two localities hold similar cognitive beliefs about the essential elements of music education. However, they hold different…