Secondary general music is hard to define. For some, this denotes an accelerated version of elementary general music or a decelerated version of a college music appreciation course. Others view this as any nontraditional ensemble geared for middle or high school students, such as guitar, keyboard, or steel pans. Still, for others, secondary general music is not so much a stand-alone course as it is any time devoted to teaching fundamental skills to students in band, orchestra, and choir so they may more successfully perform the repertoire. The authors acknowledge each of the above-listed views as valid; thus, rather than debate what is secondary general music, we will highlight each viewpoint in a three-part series. The first of this series will focus on a class structure where students experience various activities all while learning music fundamentals, studying music history, and developing music literacy skills.

In the third segment of the series, we explore general music behaviors and techniques that may be incorporated into the secondary performing ensemble in order to provide enrichment and depth to performance-focused instruction. Using research-based evidence and ensemble experience in both the choral and instrumental settings, we will discuss methods for incorporating and integrating the general music behaviors of (a) listening, (b) moving, and (c) singing into the ensemble experience within traditional rehearsal techniques and practices. The focus will be placed on the experience of these practices as they relate to performance goals, in contrast to the typical general music experience of these behaviors where they are the primary goal. Techniques and resources will be applicable in a variety of secondary ensemble settings.

In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

The purpose of this study was to compare teachers’ time use and teaching behaviors including teacher talk, modeling, physical location/proximity to students, conducting, and instructional choices in middle school (Grades 6–8) beginning and advanced band settings, with the goal of identifying practices that are specific or unique to each setting. Participants ( N = 5) were expert middle school teachers who were recorded while teaching a heterogeneous beginning band and an advanced band class. I compared episodes of teacher and student behaviors including instruction, modeling, group/individual performance, and student talk, documenting frequency and time use in both settings. Results indicated differences in frequency and time for all observed episodes, with differences supporting greater emphasis placed on individuals in the beginning setting. I also found that teachers in the advanced setting addressed rehearsal frame targets representing traditional rehearsal goals more frequently (e.g., phrasing, articulation), whereas teachers in the beginning setting addressed targets representing typical beginning band goals more frequently (e.g., vocabulary/terms, rhythm literacy.)