The Basal Series that I am critiquing is Music and You, 6^th grade level, published by the Macmillan Publishing company. I will examine the philosophy and scope of the book, the information that is provided for each song, the types of extended and integrative activities that are suggested, the opportunities provided for students to develop specific concepts under individual headings, and the indexes and other helpful features of the book.

While Music and You does not contain a preface, its philosophy and scope are made evident through the material in the book. The approach is multicultural and presents a Kodaly-influenced "learn by doing" attitude through singing, moving, playing the recorder, reading music, etc.

For each song, the title, music, verses, composer, lyricist, and an explanation of the topic introduced are given. Some extended and integrative activities that are often suggested are composer studies, playing the recorder, singing, clapping, and listening exercises.

Music and You is organized by units. Each unit focuses on a certain element of music. Some examples of the lessons are as follows:

1. Rhythm: Lonesome Valley, p.10 "long sounds as to the lonely feeling of the words"; following the song is an explanation of note values and rhythmic notation.
2. Melody: Viva, Viva, La Musica, p.13 Topics discussed include the musical notation of pitch and the explanation of high and low notes as pitch. Come, Follow, Follow Me, p.16 examines the shape, contour, and types of contrasts among melodies.
3. Dynamics: Slow Down, p.11 The spoken round in this exercise presents several voice and music markings to describe dynamics.
4. Form: Do-Di-Li, p. 91 Rondo form is introduced as a concept in this example.

The book presents several activities that may aid instruction. Every song in the book is intended to be sung by the students. An example of this is Toembai on page 84. Tapping and clapping a beat, such as with Island in the Sun, on pp. 222-224 emphasize rhythm. As with most music Basals, playing the recorder is intended to be an introduction to band programs that may be available to students later in their schooling. Songs like Benue (p. 105) introduce and strengthen the skills that students need to play most band instruments. Finally, teachers and students alike will delight in the abundance of listening excerpts found throughout the basal. Many children would otherwise never hear J. S. Bach’s Brandenburg Concerto Nr. 2 (3^rd Mvt. on p.15) or comparable works.

Categorical headings such as style, motif, scales, American music, meter, and timbre help those using this series to find the resources and lessons that they are interested in quickly. Other helpful features include a songbook, a glossary, a recorder fingering chart, and performable mini-musicals for the children, such as Why the Sun and Moon Live in the Sky.

I could use this series in a variety of ways, but the method that I would most likely employ would be to first give a setting for the lesson by broaching a musical topic, using the information provided that accompanies each lesson, and gain attention with graphics and media. I would follow this with an in-depth interactive look approach to the musical concepts and examples by applying integrative skills such as dancing, moving, singing, playing the recorder, etc.

This concludes my critique of Music and You, vol. 6. I feel that this book is very useful because of its versatility.