Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants' elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants' perceptions of the quality of their students' improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students' musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.

Improvisation is a vital part of an elementary general music education. While some music teachers successfully include improvisation in music instruction, others have fears and face challenges when attempting improvisational activities in the classroom. This article acknowledges obstacles facing music educators when attempting to incorporate improvisation in elementary general music, such as lack of instructional time, lack of experience improvising as part of personal musicianship, and lack of training to teach improvisation. Suggestions to address these challenges are provided, and practical lesson plans have been designed to help teachers get started with classroom improvisation. Ideas include combining improvisation with other musical skills while maintaining the integrity of all endeavors, starting with simple lesson ideas, setting guidelines that can be loosened as improvisational skills develop, using familiar methods and materials, and connecting improvisational activities with music that is desirable to students outside of school. Lesson plans that can be adapted for various classroom settings are included.

Teachers can construct rubrics that "lay it all out, " telling students exactly what they need to do in order to write or perform effectively in music class.

In this article, the authors share their recent experiences with a fourth grade general music classroom in China as members of the People-to-People Ambassador Program. They provide a description of the types of musical activities they observed at Aiju Primary School in Shanghai in December 2009 by sharing the content of one specific lesson. The focus of the music lesson is Horse Racing, a programmatic piece based on a Mongolian folk melody. Horse Racing, composed in 1964 by Huang Haihuai, has become an immensely popular piece in contemporary Chinese culture. The piece was written for the erhu, a traditional Chinese instrument. The authors include historical and cultural information on Horse Racing and the erhu. Links to online resources, video performances of Horse Racing, and lesson ideas for use in American general music classrooms are also provided.