Since the 1920's, the school musical has been an important event in American high schools and in the lives of students. This study begins with a condensed history of the American musical theatre, into focus on selected shows' value as potential high school repertoire. Review of literature included studies of high school musical theatre, production guides and related materials, and writings both against and in favor of musicals at the high school level. The school musical is usually undertaken as an extra-curricular activity led by performing arts faculty. This study focuses on the preparation, responsibilities, and attitudes of high school music educators toward musical theatre direction. Musical direction is defined as teaching the vocal music, and teaching and leading the instrumental music of the production where applicable. A researcher-designed survey was distributed to Arizona music educators in schools that included grade 12. The response rate was 71%. Questions included items designed to assess the pervasiveness of musical theatre productions, the roles and responsibilities of music educators, and their preparation for those roles. Additional Likert-type questions comprised an inventory measuring attitudes toward musical theatre productions. Results of the survey showed that musicals are produced in 80% of Arizona high schools, and music faculty are expected to lead at least the musical aspects of these productions. Although 62% report that they learned about teaching musical theatre on the job, and that they received no other preparation, 70% report a large amount of personal enjoyment and fulfillment from their work in musical theatre. The mean attitude score for positive feelings about work in musical theatre was found to be significantly higher for choral teachers than instrumental teachers. The primary implications of the study are the need for better preparation and in-service opportunities for music educators in musical theatre pedagogy.

The music of Johann Sebastian Bach has long been used for keyboard percussion pedagogy and performance. The cello suites (BWV 1007-1012), in particular, are popular choices for marimbists. As with many transcriptions for marimba, performers are challenged to transfer Bach's musical genius onto an instrument whose timbre, range, mode of execution and acoustic properties are distinctly different from the original. To date, there is no concise and relevant edition of the suites for study and performance at the marimba. The edition contained herein solves most, if not all, of the problems normally confronted by marimbists. In addition to synthesizing the most salient information from early manuscript sources and modern performances, this edition corrects the harmonic and voiceleading problems that are caused by the polyphonic limitations of the cello. This edition also eliminates performance notations found in most cello editions which are of little use to a marimbist.