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Objective testing works against the grain of this musical nature. Test results can be misused to jeopardize already threatened school music programs. School administrators may choose to eliminate music programs if a majority of students show low music aptitude. Music aptitude does not equate to music achievement; yet the fear of misreading the tests may be at the heart of their limited use. Test scores definitely raise red flags. My view: As I synthesized ideas from the reams of resources and studies concerning music aptitude, I came away with the sense that basically everyone is in agreement about the underlying principles of music aptitude.

Students with keen ears may not necessarily be adept performers. 18 Once again, literature recommendations do not reflect actual practice in the field. My own analysis of data from the National Research Center for the Gifted and Talented (NRC G/T) at the University of Virginia revealed minimal use of music aptitude testing, with several locations using tests inappropriately. 19 Often the best way to seek answers is to ask the experts. In seeking out perspectives for this book, I interviewed Edwin Gordon about the use of aptitude testing for talent identification purposes.

Jake's exploration of his newly learned scales exemplifies this type of discovery process of learning. 7 The cognitive-developmental model places the highest value on the interactions of the individual within the environment. Instructional environments purposefully place the child in situations of conflict. Learning occurs with the development of problem-solving strategies required for resolving cognitive conflicts in the environment. We see the child solving musical problems through inventive means.

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