| Question|Title | Department | Issue | Authors |
| What is the difference between teaching reading and teaching sight reading? | Music Reading | 1990, 1-2 | Brenda Ishikawa, Rita Fuszek |
| Have you found a way for your students to practice sightplaying at home? | Music Reading | 1990, 1-3 | Louise Guhl, Deborah Merrifield, Rosamond van der Linde, Rein van der Linde |
| How do you teach your students to read intervals fluently? | Music Reading | 1990, 1-4 | Diana Daggett Margeson, Sharon Elliot Cheek, Carole Tillotson |
| Where should reading come in the beginner's curriculum? | Music Reading | 1991, 2-1 | Adela Bay |
| Do you use summer lessons for special reading activities? | Music Reading | 1991, 2-2 | Mary Ann Lenti, Berdine Ehrman |
| Do you have special ways to teach reading to students with exceptional ears? | Music Reading | 1991, 2-3 | Max Camp, Elaine Clark, Mary Sallee |
| Why do you use the whole-keyboard approach to beginning reading? | Music Reading | 1991, 2-4 | Carol Baughman, Karla Hastings, Deborah Merrifield |
| How do you teach students to read music patterns rather than note-by-note? | Music Reading | 1992, 3-1 | Stephen McCurry, Teri Watson, Myrna Bietz, Janet Mann |
| Why do you teach Five-Finger Pattern or Multi-Key approach in reading? | Music Reading | 1992, 3-2 | Patricia King, Constance H. Kotis, Emily K. Dunnam, Marsha Wolfersberger |
| Do you teach sightplaying from the very first lesson? | Music Reading | 1992, 3-3 | Joyce Grill, Rosemary Colson, Gail Berenson |
| How do you teach your students not to back up and start over? | Music Reading | 1992, 3-4 | Arthur Wilson, Jackie Edwards, Louise Guhl |
| Does the size of the notes affect a student's ability to read? | Music Reading | 1993, 4-1 | Carole Flatau, Barbara Kreader, Beverly McGahey |
| How do you teach fluent chord reading? | Music Reading | 1993, 4-2 | Terry Kroetsch, Leslie Wolf, Deborah Fishbein Adams, Alison S. Barr |
| How do you teach students to read who already play by ear? | Music Reading | 1993, 4-3 | Dennis Alexander, Doris Allen, Kelley Benson |
| How do you teach fluent rhythm reading? | Music Reading | 1993, 4-4 | Connie Arrau Sturm, Kenneth Williams, Jean Stackhouse |
| What role do the eyes play in sightplaying? | Music Reading | 1994, 5-1 | Deon Price, Jack Eaton, Rita Fuszek |
| When choosing an elementary method, what do you look for in the area of note reading? | Music Reading | 1994, 5-2 | Carla Dean Day, Marilynn Carstens, Elaine Clark, Joan Reist |
| What do you do when the notes go up and your student plays down? | Music Reading | 1994, 5-3 | Paul Miller, Helen Smith Tarchalski, Valerie Bates |
| Is there more to reading than reading pieces? | Music Reading | 1994, 5-4 | Harriet Green, Leanne Hedges Kirkham, Gwendolyn Perun, and Carole Thomas |
| How do you prepare students for the reading traps in a piece? | Music Reading | 1995, 6-2 | Janet Palmberg Lyman, Kathleen Murray, Margaret Lorince |
| How do you turn a reading performance into a dramatic performance? | Music Reading | 1995, 6-3 | Donna Maxwell, Maxine Berghoff, Tim Brown, Richard Collins |
| Keep your eyes on the music—fact or fiction? | Music Reading | 1996, 7-1 | Gail Berenson, Alys Terrien-Queen |
| What did you learn from a week's worth of reading problems? | Music Reading | 1996, 7-2 | Judith Kotok, Georgann Gasaway, M'Lou Dietzer |
| What do you plan to do about sightplaying this year that is different? | Music Reading | 1996, 7-3 | Becky Corley, Ted Cooper, Susan van Wyk |
| Does group teaching help you teach reading? | Music Reading | 1996, 7-4 | Christopher Hepp, Christine Hicks, Kathy Nafius, Sue Collier |
| Is traditional notation the best approach for teaching beginning students? | Adult Piano Study | 1996, 7-4 | Reid Alexander, Jean Warner |
| How do your students practice sightplaying? | Home practice | 1997, 8-1 | Janet Johnson, Richard Chronister |
| Do you use notespellers to help students learn to read? | Music Reading | 1997, 8-4 | Jammie Wileman, Frances Sexauer, Susan van Wyk |
| Is sightplaying important for adult leisure students? | Adult Piano Study | 1997, 8-4 | Gail Bereson, Carole Thomas |
| What reading problems did you observe this week? | Music Reading | 1998, 9-1 | Ginger Pickering, Karen Koch, Laurel Ince |
| How do you integrate composition and reading? | Music Reading | 1998, 9-2 | Richard Chronister, Carola Grindea, Sheila Hekmat, Martha Baker |
| What do you do with an intermediate student with no reading skills? | Music Reading | 1998, 9-4 | Anna Harriette Foshee, Myrna Bietz, Rebecca Johnson |
| If all your students were excellent sightplayers, how would your teaching change? | Music Reading | 1999, 10-2 | Suzanne Guy, Rosemary Colson, Teri Watson |
| What are the differences and similarities in teaching reading in the United States and Russia? | Music Reading | 1999, 10-3 | Sophia Gilmson |
| How does the student's reading level influence your repertoire assignments? | Repertoire | 2000, 11-1 | Marvin Blickenstaff |
| Is there a relationship between student dropouts and when and how reading is introduced? | Music Reading | 2000, 11-2 | Elvina Pearce, Adela Bay |
| Why do you prefer an "Off-Staff" rather than a Grand Staff approach to beginning reading? | Music Reading | 2000, 11-3 | Ted Cooper, Meg Gray, Kathleen Rountree |
| How do you use notation software to improve your students' reading skills? | Technology | 2000, 11-3 | Gail Fischler, Maura Hall, Linda Kennedy, Bobbie Rastall |
| Why do you prefer a "Grand Staff" rather than an "Off-Staff" approach to beginning reading? | Music Reading | 2001, 12-1 | Carole Flatau, Sophia Gilmson, Regina Syrkin |
| How do you teach theory so that it enhances your students' reading skills? | Music Reading | 2001, 12-2 | Nancy Davis, Gayle Kowalchyk, Julie Lovison |
| When and how does the Suzuki method introduce reading? | Music Reading | 2001, 12-3 | Carol Bigler, Dorothy Clark, Valery Lloyd-Watts |
| How do you help a transfer student with poor reading skills? | Music Reading | 2001, 12-4 | Kelley Benson, Suzanne Guy, Rachel Snyder |
| How much music-reading do you teach in your public school classroom? | Music Reading | 2002, 13-1 | Karen Foley, Kim Nagy |
| What role does fingering play in music-reading? | Music Reading | 2002, 13-2 | Mary Bloom, Jane Magrath, Susan Osborn |
| What does the latest research tell us about sight-reading? | Music Reading | 2002, 13-3 | Phyllis Alpert Lehrer |
| What common problems occur in reading and how do you solve them? | Music Reading | 2002, 13-4 | Janet Hart Johnson, Beverly Lapp, Sharon Stosur |
| How do you adapt your reading materials for students with learning disabilities? | Music Reading | 2003, 14-1 | Alice Hammel |
| How does your pre-school music program prepare for reading? | Music Reading | 2003, 14-2 | Kathy Anzis, Jennifer Merry, Sally Sloane |
| What is new in your teaching of reading this year? | Music Reading | 2003, 14-3 | Rebecca Lewis |
| How do you use music technology for sight-reading? | Technology | 2003, 14-3 | Michelle Gordon, Sara Hagen, Lori Rhoden |
| How do you teach "hard-to-read" pieces? | Music Reading | 2003, 14-4 | Joan Fasullo, Stephanie Myers |
| How is teaching adults to read music different than teaching children? | Music Reading | 2004, 15-1 | Rebecca Johnson, Lillian Livingston, Matthew Harre |
| How do you incorporate ear training into your curriculum? | Music Reading | 2004, 15-2 | Cathy Albergo, Gayle Kowalchyk, James Goldsworthy |
| How do you teach reading in groups? | Music Reading | 2004, 15-3 | Serena Mackey, Stephen Reen, Tessa Sawchuk |
| What do you do with transfer students whose reading level is far below their performance level? | Music Reading | 2004, 15-4 | Mary Brostrom Bloom |
| How do you teach secure reading on ledger lines? | Music Reading | 2005, 16-1 | Rosemary Colson, Melissa Falb, Mark Mrozinski |
| How do you develop the ability to sight-read hands together? | Music Reading | 2005, 16-2 | Elaine Rusk |
| What do you do with a transfer student who reads well on the treble staff but is insecure with reading on the bass staff? | Music Reading | 2005, 16-3 | Steve Betts, Jacqueline Blender, Melody A. Hanberry |
| What steps do you assign for the process of sight-reading? | Music Reading | 2005, 16-4 | Meg Gray, LeAnn Halvorson, Virginia Houser |
| Do good reading skills help or hinder memorization? | Music Reading | 2006, 17-1 | James Helton, Suzanne Schons |
| How important are rhythm, dynamics, and articulation in first readings of a new piece? | Music Reading | 2006, 17-2 | Esther Chan, Jessica Johnson |
| How does teaching music-reading differ from teaching sight-reading? | Music Reading | 2006, 17-3 | Midori Koga, Brian Marks, Connie Arrau Sturm |
| When do you add fingering to assist a student in reading? | Music Reading | 2006, 17-4 | Arlene Steffen, Brenda Wriston |