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This article examines how contemporary bands are increasingly shaped by music industry practices, and how these realities often remain disconnected from prevailing approaches in school-based music education. Using the Canadian metal band Northern Static as a case study, the article explores how early experiences in formal music programs discouraged sustained musical participation, while engagement through social and streaming media reignited motivation, leaming, and creative identity. After leaving school music programs, the band developed musical skills through informal, collaborative, and platform-based practices, including live-streamed performances and audience interaction. These findings raise important questions for music educators about how traditional teaching structures may unintentionally alienate students whose musical lives are shaped by contemporary, industry -adjacent practices. This article concludes by proposing a practical model that integrates performance, production, and social media musicianship in ways that better reflect how young people engage With music today.

Many singers play wind instruments. Wind instrumentalists use pharyngeal and laryngeal muscles extensively. If wind instrument playing and singing are done correctly, the activities should be complimentary. If either is accomplished with poor technique, that can cause adverse effects for both playing and singing. Singing teachers should be familiar with wind instrument techniques, and common problems associated especially with wind instrument instruction in secondary schools.

This article examines how three educators at the elementary, secondary, and post-secondary levels are transforming traditional music programs to integrate popular music approaches that better connect with today's students. While traditional music education often centers on instrumental mastery within band, choir, and orchestra, popular music introduces additional layers such as technology, production, and contemporary music styles. The educators share strategies for engaging dents accessible instruments, like ukuleles, hand drums, and digital tools, and involving them in creative projects. While some advocate for replacing traditional ensembles, others blend conventional and contemporary methods to encourage creativity. By aligning music education with students\" interests, these teachers are creating programs that are more relevant, inclusive, and impactful.

[...]that we're starting to resume more consistent and typical practices in our schools, studios, universities, colleges, and other places that music educators work, I think it's important for us to not only heave a sigh of relief that the worst may be over, but also to deeply reflect on how we wish to move forward as individual educators and within the broader context of our workplace, region, and country. [...]Jeffrey Brinson examines traditional grading practices in music education, presents alternative approaches, and encourages teachers to truly consider the why and how of their own grading processes. Steve Giddings considers the missing students in our school music programs, as he shares his experience in growing school music programs with new ensembles and popular music programming. Helene Boucher takes a close look at the tried-and-true practices inherent in the Kodaly approach to rhythmic learning, considers the challenges involved in cross-cultural adaptations, and offers recommendations for its application in French. Looking at palliative and end-of-life care, Sophie Bell and Amy Clements-Cortes share insights into the importance and impact of musical experiences. [...]one of our most enduring community-to-school musical selections - the national anthem - is the focus of Heather Birch's article, in which she tucks into its origin, meaning, uses, and controversies - and urges educators to bring the analysis and discussion back to their classrooms.

Decades later, Barbara demonstrated the Berkley organ during the OHS 2005 Southeastern Massachusetts Convention, when it was awarded OHS Historic Organ Citation No. 333. [...]late in 1960, I enrolled at Boston University for a graduate degree in musicology. 3 In June of that year, the Tabernacle and its organ were used for the opening concert of the OHS 1966 Cape Cod Convention in \"A Program of Victorian Anthems\" sung by the Dudley Buck Quartett (see program). Matthew M. Bellocchio first met Barbara Owen on a bus ride during the 1973 OHS Convention.

This article explores the transformative impact of integrating computer music technology into education, synthesizing evidence from diverse studies. The results underscore the positive influence on student engagement, skill development, and classroom dynamics. Innovative pedagogical approaches, incorporating interactive software, gamified learning experiences, and collaborative projects, empower students to actively participate in the learning process, fostering a dynamic and inclusive environment. Teachers play a pivotal role as facilitators in this paradigm shift, adapting their roles to guide students through technology-driven, personalized learning journeys. Despite the evident benefits, challenges such as limited access to technology and varying levels of technical proficiency present ongoing considerations for educators. Long-term impact assessments reveal the continuity of learning outcomes, trajectories of skill development, and the enduring influence on students’ lifelong learning habits. The synthesis of these findings contributes to a comprehensive understanding of the multifaceted effects of computer music technology in education. Future research directions should focus on refining strategies to address challenges, exploring sustained impacts on lifelong learning, and informing robust educational policies to harness the full potential of technology in shaping the future of music education.

This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes (N = 827). Participants represented secondary school music students (n = 369), students who only participate in music outside of school (n = 254), and nonparticipants in music (n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as interest in six different secondary music courses. Findings showed out-of-school music participants and nonparticipants had a stronger preference for small group learning environments and repertoire choice when compared to school music participants. In-school and out-of-school music participants expressed similar levels of interest in four music course offerings and ranked them as follows: (1) piano/guitar class, (2) music composition with technology class, (3) popular music groups, and (4) music history/theory class. In-school and out-of-school music participants differed on only two course offerings: large ensembles and world music groups. In-school music participants expressed high interest in large ensembles, whereas out-of-school music participants conveyed a lower interest in large ensembles.

Collective music making has been associated with the emergence of prosocial behaviors in children and adults. Yet, the associations between participation in early childhood music education programs and prosocial skills in young children remain elusive. The purpose of this exploratory study was to examine how children with varied amounts of music participation—in a formal program and in the home—performed in two prosocial tasks (i.e., instrumental helping and sharing) and how their parents rated their prosocial tendencies and interests for music. Thirty-six children (ages between 3 and 4 years) with varied amounts of participation in an early childhood music program completed prosocial tasks of instrumental helping and sharing. Results indicated that there were no significant age or sex differences in children’s prosocial responses. Instrumental sharing was positively correlated with time spent in the music program. Sharing scores, in turn, correlated with children’s active musical participation and parental prosocial ratings. These findings are discussed in light of theories of musical and prosocial development in childhood.

At the conclusion of the Introductory Field Experience in the fall term of the 2023-2024 academic year and at the mid-point of the Advanced Field Experience in the winter term, the senior secondary music education class met to debrief and share their experiences. The students\" remarks fell into the broad topic areas of Instruction, Relationship, Management, and Work-Life Balance. The most frequent comments generated by the student teachers referred to effective instructional practices they observed and the second most frequently mentioned learning was the importance of building rapport with student musicians. The student teachers were eager to share classroom management techniques to promote engaged learning for all class members. The challenge of maintaining a healthy work-life balance generated much discussion. Overall, the student teachers were excited to apply their learning once they had their \"own\" school music programs.