Amm, R. (1993) Newtown High School of the Performing Arts. Gifted, 75, 18-19. [See under Drama]

 

Bailey, S. (1985) Reflections: An interview with Jan Sedivka. TalentEd, 8, 13 16.

"Fear of elitism is an absurdity because they can be superior only in certain ways and other people are superior in other ways. So it balances." (p.15)

 

Bailey, S. (1988) Reflections: An interview with Peter Sculthorpe. TalentEd, 21, 11-15.

"If my parents had jumped up and down and said isn't he wonderful, he's been writing music under the bed clothes for a year, if they had treated that as special, then I don't think it would have helped. It was much better that I was simply allowed to maybe follow it through and drop it, or do as I will." (p.15)

 

Baum, S.M., Owen, S.V. & Oreck, B.A. (1996) Talent beyond words: Identification of potential talent in dance and music in elementary students. Gifted Child Quarterly, 40 (2), 93-101.

"We present evidence for the reliability and validity of the Talent Identification Instrument (TII), an observation process in music and dance in which multiple judges rate students throughout a multisession audition. The approach was designed to recognize previously overlooked abilities in urban elementary students, including low income, bilingual, and special education students. The TII observation process was designed to evoke artful behaviors that can be readily recognized by arts specialists and classroom teachers." (p.93)

 

Bentley, A. (1983) Musical abilities of children. International Journal of Music Education, 2, 27-31.

Argues that "we can measure certain elemental abilities that are fundamental to successful achievement in such musical activities as require more than the most rudimentary of skills .... Furthermore, we can measure these at an early age, and before any special tuition has been given." (p.27)

 

Bergman, J. & DePue, W. (1986) Musical idiot savants. Music Educators Journal, 72 (5), 37-40.

"After a brilliant performance, the audience gave the pianist, obviously a genius, a standing ovation. Critics called the performance brilliant .... The truly amazing thing was that the performer, although called a genius by the experts, was both blind and mentally retarded: unable to read a note of music, unable to read or write, even unable to feed himself properly." (p.37)

 

Colvin, A. (1986) Movement and the talented child. Readings on the Education of the Talented Child, 11, 1-37.

Provides some guidelines within the context of the NSW Department of Education's general policy on talent development.

 

Grimes, E. (1986) Conversations with American composers: William Schuman. Music Educators Journal, 72 (8), 46-54.

"If you take music seriously, it's the same as if you take literature seriously. ... You don't do it by trying to cover everything factually; that is impossible. You do it by giving them a point of departure and a way of listening, or reading, or acting, or looking. It's training in the insights of penetrative observation. That's what public education - general education - should do. It really doesn't. It bogs down in music appreciation courses, which mostly are on a very low anecdotal level." (p.53)

 

Hollander, L. (1987) Music, the creative process, and the path of enlightenment. Roeper Review, 10 (1), 28-32.

"Creativity is being stifled in many classrooms. The multi-dimensional thinking involved in harmonic and temporal concepts of music touch the most basic structure of the mind. Those who don't accept music as a basic in education don't understand that the study of music fulfills the very intellectual needs that they blindly seek elsewhere." (p.28)

 

Howe, M.J.A. & Sloboda, J.A. (1992) Problems experienced by talented young musicians as a result of the failure of other children to value musical accomplishments. Gifted Education International, 8 (1), 16-18.

"Eleven of 42 children aged 10 to 17 who participated in an interview study of the early lives of talented young musicians spontaneously remarked on problems they had experienced in connection with the failure of other children of their own age to value or appreciate the importance of musical accomplishments and the learning activities that contribute to expertise in music. The children's observations illustrate the nature of such problems, and suggest that for talented young people who are specialising in a particular area of expertise, difficulties of this kind may be more widespread and more severe than is generally appreciated." (p.16)

 

Kenny, A. (1987) Counseling the gifted, creative, and talented. The Gifted Child Today, 10 (5), 45-51. [See under Counselling]

 

Marek-Schroer, M.F. & Schroer, N.A. (1993) Identifying and providing for musically gifted young children. Roeper Review, 16 (1), 33-36.

"This article discusses the importance of identifying musically gifted young children with respect to three major questions: Why is it important to identify musical gifts at a young age? What characteristics and abilities are notable among musically gifted young children? What provisions can be made to nurture the gifts and talents of the child who is musically gifted?" (p.33)

 

Mendecka, G. (1996) Development of creativity through performing arts. High Ability Studies. 7 (2), 151-156. [See under Drama]

 

Murphy, F. (1990) Music and the gifted. Gifted Education International, 7 (1), 33-35.

"This article examines the nature of musical ability and the ways in which it can be identified. It then considers the problem of making suitable provision for musically gifted pupils at the primary and secondary levels. It also includes an extensive bibliography for further reading." (p.33)

 

Norris, P. (1983) The Yehudi Menuhin School. International Journal of Music Education, 2, 33-36.

Describes the operation of this boarding school in Surrey "where young and talented children could receive an intensive and broad musical training, and at the same time a rich and varied general education." (p.33)

 

Piirto, J. (1991) Why are there so few? (Creative women: Visual artists, mathematicians, musicians) Roeper Review, 13 (3), 142-147. [See under Visual Arts]

 

Pogonowski, L. (1989) Teaching listening through critical thinking. Music Educators Journal, 76 (1), 35-38.

Discusses the use of structural dictation, appropriate questioning, and classroom dialogue, using specific examples from music listening but pointing out that these could also be applied to composition, improvisation, and in-class performance.

 

Reahm, D.E. (1986) Developing critical thinking through rehearsal techniques. Music Educators Journal, 72 (7), 29-31.

"Teaching thinking skills in the music class will serve a dual purpose in the education of the student: to develop independent musicianship through critical thinking and to teach students to wrestle with ambiguity in subject matter within which there is no single right answer." (p.31)

 

Renshaw, P. (1982) Talented young musicians and the Yehudi Menuhin School. Gifted Education International, 1 (1), 22-25.

The school's principal outlines its approach, hoping "to have shown that it is possible for children to receive a high-level, quality education and training in music, without detriment to the breadth of experience and understanding so fundamental to being an educated person." (p.25)

 

Richardson, C.P. (1990) Measuring musical giftedness. Music Educatorss Journal, 76 (7), 40-45.

"This article includes a short explanation of some of the issues involved in the identification process, descriptions of the various types of data and data-gathering instruments that have been developed, and some general guidelines to consider in setting up an identification procedure." (p.41)

 

Thomas, R.B. (1990) Designing a curriculum for the gifted and talented. Music Educators Journal, 76 (7), 54-58.

Outlines "the general dimensions of a curriculum for uncommon young people who, guided by a gifted and talented musician-teacher, will gain the ability to use the language of music." (p.58)

 

Von Seggern, M. (1990) Magnet music programs: A look at the issues. Music Educators Journal, 76 (7), 50-53.

"Magnets must include a solid philosophical base, a suitable model, a healthy respect for the total music program, a good system of communication among all constituencies, a well-designed instructional program that meets student needs, a faculty that is committed and competent, and an enlightened administration." (p.53)

 

Winner, E. & Martino, G. (1993) Giftedness in the visual arts and music. In K.A. Heller, F.J. Monks & A.H. Passow (Eds) International Handbook of Research and Development of Giftedness and Talent. Oxford: Pergamon. pp.253-281. (371.95/H477i)

Discusses 'Early signs of musical giftedness' (Interest in musical sounds, Musical memory, Perfect pitch, Sight-reading, Skill in performing on an instrument, Musical generativity: ability to transpose, improvise, and compose, Capacity for multiple representation of musical relations, Capacity for sustained concentration: Self-discipline and compliance, The musical prodigy's 'midlife crisis'), 'The role of family and teachers', 'Correlations between musical ability and other abilities', 'Procedures for identifying musically gifted children', 'High musical ability in average children as a function of instruction: The example of Suzuki', '"Savant" musicians', and 'Relation between early musical giftedness and adult musicianship'.

 

Wooddell, G. (1984) Gifted children in general music. Music Educators Journal, 70 (5), 43-46.

Argues that music education "is in desperate need of a curriculum for the artistic imagination, an opportunity for individual students to explore themselves and their potential in this changing world, through musical creation" (p.46), and outlines a sample unit plan.

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