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Developing Musicianship by Al Payson 
. . . with a little help from Alfred North Whitehead
Studying The Full Score - Part I by Dr. James Neilson and Dr. Karl M. Holvik
The authors presume that the conductor has been given adequate formal training and now is ready to begin a searching, probing study of the full score, which task is far removed from the ephemeral joy of making music.
Reaching with Music Across Interdisciplinary Boundaries of Learning By Peter F. Ayer
Relating what the student already knows to what he or she needs to learn can be an effective motivational technique.
Practically Perfect Practicing by Robert Jesselson
Practicing is the process of acquiring new skills and making them into good habits. It is really just a set of learned behavior patterns and responses. Good practicing requires thoughtful self-analysis and self-criticism in the process of improving one's ability.
Our Perceptions of Hearing by Charles Martyn
Our perceptions of hearing do indeed differ. It always fascinates me to gather the impressions of what people have heard following a truly outstanding performance. Some can be critical while others are absolutely uncritical of what has transpired. Many are only loaded with superlatives. But how often do we hear perceptive insights regarding the pedagogy involved in making an outstanding ensemble?
Tone Development Through Interpretation By Bernard Goldberg
How does one go about developing this variety of expression, this armory of instrumental and physical capability? Why, form music itself! We all practice scales and arpeggios, scales in thirds, sixths, broken chords, and trills, etc., for technical ability, capped off by mountains of beautiful etudes by so many flutist-composers.
Your Voice as a Musician by Keith M. Zimmerman
Today our culture gives the message that we should all be clones. The media and recording industries have sold the public on this and insist that everything and everybody must fit a neat little category.
Young Instrumentalists Should Learn To Sing So They Can Learn To Hear by Robert Rawlins, Ph.D.
Like many endeavors, becoming a fine instrumentalist requires a broad range of skills. Accurate hearing is among the most important. Unfortunately, many young instrumentalists feel self-conscious about singing and thus neglect a crucial aspect of their training.
Thoughts on Musical Composition by Lucien Cailliet
By virtue of the definition of the ART itself, a work of ART must have before all: an educational value, as it must contribute to the exaltation of the inner esthetic sentiments of others by the communication of the impressions of the artist, THE ROLE OF THE ART BEING TO MAKE HUMANITY PROGRESS.
Use Of Rhythmic Space by Frank Caruso
In this article I would like to explore some of the rhythmic devices I have found to be very helpful in creating more interesting rhythmic ideas and contrasts. As with all aspects of improv, the simplest approaches are usually the most effective.
