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This songbook contains some 77 songs, with words and music, reflecting the daily life and culture of the people of Czechoslovakia. The text is designed for use, as supplementary material, in the Defense Language Institute's "Czech: Basic Course." (RL)

A course in introduction to the conducting of music groups of voices or instruments is presented. The approach used is a laboratory approach in which pupils will develop skills in score reading, physical gestures, rehearsal techniques, transpositions, voice and instrument ranges. Course objectives include: (1) The pupil will identify all instruments of the band and orchestra by sight and sound; (2) The student will identify various music forms; (3) The student will indicate familiarity with transposition as well as instrumental and vocal tessitura; (4) The student will demonstrate the baton motions for all standard meters; and (5) The student will indicate music interpretation in his conducting. Course content covers the development of performance skills, the expansion of the student's musical repertoire, and the study of transpositions, form, harmony, and theory. (Author/CK)

Since earlier research revealed a general scarcity of song materials, this annotated bibliography of vocal music composed for elementary children's voices by a number of distinguished 19th and 20th century composers was compiled. Correspondence with contemporary composers served as a main source of data but composers' biographies, music dictionaries and periodicals, publishers' catalogs, and lists of published music were also used. Over 500 titles of songs are arranged alphabetically, first by composer and then alphabetically under each composer by title. The original compositions vary from four measures of very easy melodies to long musical forms of considerable difficulty written for professionally trained choirs, and from functional, diatonic styles to avant garde and expressionistic styles. In order to assist users in determining appropriate compositions for their groups, analytical annotations include information on musical and textual characteristics, and each composition has been assigned a ranking of difficulty using a scale of five degrees. Information on textual source, language, content, and publication is provided. (SJM)

This curriculum guide is addressed to the teacher, administrator, and lay public concerned with the musical education of their children. Section 1 is titled Fundamental Beliefs and Directions. Included also in this section are two extended discussions on the respective roles of performance and listening. The materials in Sections 2 and 3 constitute curricular extensions of the basic beliefs and expected outcomes of Section 1. Section 2 on The Scope of the Music Program presents a comprehensive and balanced view of all phases of the program as they operate in the elementary, junior high and senior high schools. Section 3 presents two major lines of elective offerings in musical performance, the vocal and the instrumental, as they operate throughout the grades, starting in the upper elementary school. Section 4, titled The Administration of the Music Education Program, is an attempt to provide recommendations on time allotments and scheduling of the various classes and activities throughout all grades. Also considered are school-community relations, rooms and equipment, and desirable characteristics of a qualified music teacher. The summary will be of particular interest to school principals and superintendents. A short appendix contains a bibliography of recommended readings. (Author/DB)

The catalog lists compositions written by thirty-nine composers during the five-year first phase of the Young Composers Project, the primary objective of which was to afford composers the opportunity to master their craft by writing works suitable for performance in secondary public school systems to which they were assigned. A total of 575 choral, band, orchestral, and ensemble works are given, thirty-two percent of which were published. The catalog is arranged by types of work with author listings, and includes information on the duration of the piece, medium, level (if other than high school), and publisher. Short resumes are given on each composer followed by listings of participating school systems, project committee members, and publishers addresses. A memorandum to composers and music supervisors provides a background explanation of the project and explains the supervisor and composer functions in the project. A related document is ED 017 107. (SJM)

Organized flexibly, these 17 unit outlines are arranged to provide articulation with lower levels, utilization of student-preferred material, and coverage of the most essential instructional aspects of music appreciation in an increasing order of complexity. Each unit outline contains (1) aims and objectives, (2) vocabulary, (3) suggested and alternate lesson topics, (4) procedures, (5) summary concepts, (6) references, (7) audiovisual material lists, (8) sample lesson plans, and (9) sample worksheets. The introduction includes a sample pupil inventory form, an auditory discrimination test (of both performers and symphonic works), and a basic song list, while supplementary materials conclude the syllabus with lists of popular songs, audiovisual aids, and recordings; an outline of musical rudiments; a sample lesson plan for appreciation and understanding of program music; and a bibliography. (JMC)

The music education program for the public schools of Washington, D.C. is presented in this handbook of K-12 music programs, collateral music programs, resource information, and teacher competencies. A philosophy, calendar, and sequential skills chart precede the main body of the handbook which first outlines the elementary program (grades K-6), a general and instrumental program. Details of this program, as for all levels, describe the basic instructional program, scheduling, and supplementary activities. The junior high school program (grades 7-9) also includes general music and instrumental music, but expands into choral, band, and orchestra activities. The senior high program (grades 10-12) introduces music appreciation, black music, history of music, piano, organ, humanities, and music theory in addition to existing choral and instrumental programs. Special programs at the high school level are a comprehensive musicianship program and a related arts program. Each course is outlined in a statement of course content, terminal performance objectives, enabling objectives, and teaching suggestions. (KSM)

The objectives of this study were to identify specific performance demands of choral literature written by contemporary American composers, to relate these demands to the skills and knowledge required to learn this music, and to formulate teaching procedures that lead to successful performance. The compositions used, William Schuman's "The Last Invocation", Dello Joio's "Jubilant Song", and Barber's "Reincarnations", require special perceptual skills and present many learning problems because of their pitch, harmonic and rhythmic features. Seventy members of an A Cappella Choir were randomly divided into control and experimental groups; both of them briefly examined the scores, recorded the three numbers, and had eight rehearsals with the same conductor. The control group was limited to the score and rote drill procedures; unknown to the singers, warm-up exercises and drills were derived from problems in the music to be learned. The experimental group received the same treatment, but were also exposed to theoretical derivations of the musical problems and cross-referencing to encourage transfer of learning to reoccurrences of the same patterns. Performances were recorded again and evaluated by three choral judges who unanimously decided that the experimental group's post-rehearsal tape was superior in accuracy of pitch, rhythm, and security of singing. It was concluded that planned learning activities based upon analytically-derived problem features of choral music are highly effective in developing the musical accuracy of choral singers. (WM)

This report of the Elk Grove Training and Development Center's Orff Music Program (ESEA Title 3) describes both the Center's activities and the purpose of the Orff method--to develop in the child all of the basic musical skills. Aspects of the program covered are (1) the Center's background and history, (2) its scope, services, and various activities, (3) its purposes in relation to both students and teachers, and (4) its evaluation, focusing on the training workshops and program development. Also included are a chronological overview of the program, some workshop materials, evaluation instruments and results, accounts by Carl Orff of the system, discussions of workshops held at the Center, a directory of consultants, and a bibliography on the Orff-Schulwerk method. [Not available in hard copy due to marginal legibility of original document.] (JM)

This annotated bibliography on music resources is designed to introduce music educators to the availability of books, films, single concept loops, instruments, and other audiovisual aids for a well-rounded music program in the elementary schools. Listed are (1) books and stories for children on the history of music, the lives of artists, sound and acoustics, instruments, music literature, the elements of music, and ballet and opera, (2) song books for children, including folksongs, songs from different lands, and all types of music for singing, (3) materials for teachers, including general reference works, periodicals, books on theory, history, acoustics, educational philosophy, methods, vocal music, and books of general interest to the music teacher, (4) audiovisual materials--transparencies, 16mm films, filmstrips, and 8mm motion cartridges on biography, elements of music, music literature, instrumental music, and the related arts (Resources are listed by producer and distributor, with grade level and other pertinent information included.), and (5) sources of music services, of instrumental supplies and equipment, of music education materials, of record producers and distributors, and of audiovisual materials and services. (JB)

This project was based on the belief that the primary aim of the high school choral class, as well as all music classes, should be to develop musicianship (musicality)--an ability to respond to the expressively organized tonal-rhythmic patterns of music. The main purpose of the project was to build a structured program for high school students which would focus on building musicianship and which could be integrated with the study, rehearsal, and performance of the choral score. The principal product was a 2-year, two-volume instructional program entitled "Choral Musicianship," dealing with both the development of concepts and skills related to pitch, rhythm, texture, and form and the characteristic uses of the structural elements in choral music of major historical periods. A pilot program, with 361 experimental subjects in five high school classes, will be completed and evaluated after the date of this report. (The appendices include sample lessons and an outline of the content of the instructional program.) (Author/JS)

The child who is unable to reproduce a melody at a given pitch range can begin to "carry a tune" by learning to hear and control his singing voice and to match his voice with voices of other singers or with instruments. The "too low problem singer," the child with the most common difficulty, must learn to make successful song responses in his normal speaking voice and then to find his true singing voice. Consistent control of his singing voice depends on the development of singing skills--habits of manipulating tonal images and habits of employing the motor skills required in correlating the singing voice with tonal images. Most important to the solution of all singing problems is a positive attitude on the part of both teacher and pupil. (This manual, a product of the research reported in TE 499 967, contains examples of specific corrective techniques and materials.) (JS)

The objectives of this research into ways of helping children who have difficulty finding and using their singing voices were (1) to make an intensive study of singing difficulties of elementary-school children, (2) to discover, observe, and analyze successful techniques and materials for use with children who have not learned to "carry a tune," (3) to develop a sequential remedial program for problem singers, and (4) to test the program in classrooms. Methods included a nationwide survey of singing problems among elementary-school children and the testing of corrective techniques and materials in the Western Illinois University Laboratory School and in selected public schools. Results established the importance of kinesthetic factors in discovering and developing the singing voice: the child must identify his singing voice as opposed to his speaking voice, and he must learn the sound and feeling of his voice as it matches pitches that he hears. (The appendices include copies of the survey questions, of a test of singing ability, and of specific corrective materials used in the study.) (JS)

A COMMITTEE OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION HAS PREPARED A SUGGESTED PROGRAM DESIGNED TO REFLECT THE HETEROGENEOUS INTERESTS OF JUNIOR COLLEGE STUDENTS AND TO SERVE ALL APPLICANTS, WHETHER THEY BE TRANSFER, TERMINAL, OR ADULT STUDENTS. THE ASSOCIATION GOALS ARE (1) TO OFFER A GRADED MUSIC CURRICULUM, (2) TO INSURE ADEQUATE FACULTY OF MUSIC EDUCATORS, (3) TO DEVELOP DISCRIMINATION IN THE CHOICE OF CHORAL LITERATURE, (4) TO PROVIDE AN ADEQUATE FESTIVAL PROGRAM, (5) TO RELATE THE CHORAL PROGRAM TO THE TOTAL MUSIC CURRICULUM AND TO THE COMMUNITY, AND (6) TO ARRANGE A VARYING CONCERT SCHEDULE. THE AREAS COVERED IN THE PROGRAM ARE (1) CHORAL ORGANIZATIONS, (2) RELATED CURRICULUM OFFERINGS, (3) TYPES OF CONCERTS BY AND FOR THE CHORAL CLASSES, (4) CHORAL MATERIALS, AND (5) THE FESTIVAL PROGRAM, (6) COMMUNITY SERVICES, (7) CHALLENGES AND OPPORTUNITIES WITHIN THE JUNIOR COLLEGE, AND (8) A DESCRIPTION OF AREAS FOR FURTHER STUDY. THE DOCUMENT ALSO INCLUDES A DESCRIPTION OF ONE COLLEGE'S "SCHOLA CANTORUM", OR SYMPHONIC CHOIR, A PARTIAL LIST OF REPERTORY MATERIALS FOR A JUNIOR COLLEGE CHORUS, AND SOME TYPICAL MATERIALS FOR PLANNING A CHOIR FESTIVAL. THIS PAPER WAS PRESENTED AT THE NATIONAL CONVENTION OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION (SEATTLE, MARCH 13-14, 1968). (WO)