the political-cultural situation of Music pedagogy and the widespread decline of historical awareness which we are witnessing today; (2) a general reflection on the content to be transmitted in the teaching of subjects pertaining to musical culture; (3) the didactics of Western music in geographically and culturally border areas, or post-colonial settings, but also in the West for non-Western students; (4) didactics in formal, non-formal and informal educational settings; (5) methods that may
... methods that may be useful in learningteaching processes: lexicon and laboratory activities, didactic strategies. As the reader will see, authors were given the greatest possible freedom to condense their contribution into a few sheets, or to develop it more extensively. Nicola Badolato gave an essential contribution in coordinating the New York meeting. Before publication, each paper was submitted to two referees for evaluation, following the practice adopted by our periodical, which the ANVUR (Agenzia nazionale di valutazione del sistema universitario e della ricerca, i.e. National agency for the evaluation of the university and research system) rated as "Class A". For the time being, we thought it best to publish the New York papers in English. However, we do not rule out the possibility to publish an extra issue, in order to provide non-English-speaking with an Italian translation of at least some of the articles. Concerning the reviews, they focus on significant publications in the musical-pedagogic domain. In particular, I should like to mention the considerate reading which musicologist Fabrizio Della Seta has given of volumes II and III of a recent Music history handbook promoted by Italian university colleagues (Musica e società). The Didactic strategies rely on three major topics: Brecht and Weill's music theatre, medieval pedagogy, and Beethoven's third piano Concerto. Therein, schoolteachers will find precious suggestions about how to translate "learned knowledge" in those domains into didactic practices.