The University of North Alabama Department of Music offers scholarships to qualified music majors and minors in all instrumental, vocal, and piano programs through auditions.
Participants in University Ensembles may be eligible for a Performance Award, regardless of their academic major.
Audition Dates:
November 11, 2022
January 27, 2023
February 25, 2023
March 18, 2023 Contact us una.edu/music ● 256.765.4375 music@una.edu ● @unamusic1
Degrees
Bachelor of Music in Performance
• Instrumental
• Piano
• Vocal
Bachelor of Arts or Science in Music
• Instrumental
• Vocal / Choral
Bachelor of Science in Education
• Choral Music, P-12
• Instrumental Music, P-12
Minor
• Music Certificates
• Musical Theatre
• Percussion Specialist
When I taught band one of the most common questions I heard during the Spring semester was, “What’s the band doing now that marching season is over.” No matter how many times I was asked the question above, I was still taken aback. “What do you mean what is the band doing now that marching season is over?” The tone of my voice gave away my irritation. “Band is a year-round activity.” Then I would fill in the blanks with a litany of activities that the entire band and individual students participate in throughout the spring.
I’ve been thinking, for a while now, about how we can make the often invisible of our music programs visible to our communities. Of course, performances are the most visible part of music education, but what about the weeks and months of teaching and learning that build into a performance? Performing is only one piece of a sequential and comprehensive music education. We need to convey, without coming across as bragging, that we and our students are busy in a never-ending cycle of teaching and learning. We need our parents, administrators, civic leaders, and boards of education to know that a performance is a mile marker on an education journey. Nothing can ever replicate the feeling of a performance, but the true magic of music education happens every day in music classrooms.
I think the first step is realizing that people truly do not understand what we do. In all honesty, how many of you actually understood what it truly meant to be a music educator until you became a music educator? Just like we teach our students how to be musicians, we must teach our communities how to be supporters of music. The tricky part is
making sure we educate our communities in ways that build advocates for music education and not merely people that empathize with music educators.
There are plenty of people who support the arts by giving their money, subscribing to concert series, and giving lip service to the importance of music education. If music education is to thrive in our communities and our state, we need to educate and create advocates that will get their hands dirty and work to ensure every child has access to music education. Advocacy doesn’t have to be grandiose, but it does need to be impactful and meaningful. In my humble opinion, the most effective advocacy is authentic, focused on students, and contextual.
In my best Cher voice - “If I could turn back time…” I think my response to “What is the band doing now that football season is over” would be different. I would have highlighted the accomplishments of my students, but I would have also invited the questioner to visit my classroom. I would have invited them to talk to my students preparing for honor band, solo and ensemble, or All-State. I would have highlighted everything from performances to daily learning in my classroom on social media and used the hashtag #ala4musiced. I would have taken a posture of education instead of defensiveness. Please take every opportunity to highlight your professional accomplishments and your students’ accomplishments.
We could apply the same question to AMEA - “What is AMEA doing now that the conference is over?” Let me assure you, AMEA has been busy. Please allow me to highlight a small portion of
the work AMEA has been engaged in this spring.
I am happy to report that AMEA had a fantastic first Hill Day in Montgomery, on March 21, 2023! Thank you to cNAfME members from the University of Alabama and Troy University, AMEA members from all parts of the state, Dr. Rusty Logan, Dr. Phil Wilson, the AMEA advocacy team, and the AMEA governing board for making Hill Day a huge success. I owe a huge debt of gratitude to Mr. Lloyd Warman at the Alabama Capitol for helping us secure rooms and permits for using the various areas of the Capitol. Hill Day was the culmination of months of planning and I am delighted with how AMEA advocated in Montgomery.
The highlight of the day was the performing ensembles performing on the Capitol steps, in the Capitol Auditorium, and the Old House Chamber. Thank youAuburn Junior High School Jazz BandJosh Wine, Director
Auburn Junior High Show Choir - Taylor Holt, Director
Hillcrest Elementary Choir - Sarah McLendon, Director
Rucker Rhythms - Andrea Marsh, Director Smith Station High School Saxophone Ensemble - Gene Butler, Director
The Huxford Symphony of the University of Alabama - Joseph Lee, Director
I personally want to thank the performing ensembles and their directors for traveling, the hours of preparation, and allowing our elected officials to see and hear why we were advocating.
In addition to musical performances, many AMEA members met with their elected officials. Dr. Phil Wilson, Dr. Becky Halliday, and I delivered informational folders to 35 Senators and 105 Representatives. In each folder were a music education fact sheet and postcards from AMEA members. Even if you couldn’t be physically in Montgomery your words were there. Your stories of how and why music education is important were handdelivered to your elected officials.
In my legislative meetings, I heard a common theme - investment. Every Legislator I spoke with discussed the importance of showing how music education is an investment in Alabama’s future. Friends, there’s our next advocacy task. We need to show why music education is a good investment for Alabama and our children. I hope you will make plans to advocate with me and to be at our next Hill Day in March 2024.
schools choose to take music education classes. We, as an Association, need to work to provide access to music education for every student in Alabama. Equally as important, our Association must advocate that we increase the types of music offerings for students.
Currently, 117 secondary schools in Alabama offer guitar, ukulele, keyboard, music production, music theory, popular music, and music technology courses. We need to take a long hard look at ourselves and ask if we are providing space and resources for music teachers and their students that don’t currently fit into one of our existing divisions. I also believe that we need to examine what our existing divisions are doing to ensure we are meeting the needs of all music educators from all areas of the state. Growing up I was involved in the band, and choir, and I played in my local community orchestra. I value the experiences each of those performing ensembles opportunities provided me. I also realize that many students want to participate in music, but not in band, choir, or orchestra. I believe, there is room for all types of music education and all students in our Association.
minute sessions. I encourage you to apply to present at AMEA. Please encourage your colleagues to submit a session. There are experts in every school in Alabama that music educators need to hear present their techniques and ideas. Please share your expertise by applying to present at our conference.
I hope no one will mistake our efforts to offer more music courses, resources, and to connect with various groups of music teachers as threatening to our longstanding traditions found in our bands, choirs, and orchestras. I believe there is room to honor our traditions and simultaneously open our music education spaces to new possibilities. Sixty-six percent of Alabama’s students either don’t have access to or choose not to enroll in music courses. I hope and dream of a day when every school will have multiple music educators on staff and offer a variety of music courses that meet the needs of students. I hope that AMEA will be the driving force that changes music education in Alabama.
For many years, our profession has examined ways to increase access to music education for all students.
According to enrollment numbers from the State Department of Education, one-third of schools in Alabama do not offer music education. More troubling is that only 34% of students in Alabama’s
During our August 2022 board meeting the AMEA board challenged me to find ways to engage with music educators beyond our current membership. You may have noticed that we expanded our call for sessions to include new areasGuitar, Composition, Music Technology, Advocacy, Research, and Music Industry Education. We are also working to engage with different groups of music educators from beginning and young teachers, emerging leaders with 5-10 years of experience, and music teachers that teach music industry, guitar, technology, and other music courses beyond our traditional performing ensembles.
You may have noticed that we are also offering several different session formats. We will still have our 50-minute sessions and 10-minute lighting round sessions, but we have also added 25-
As we approach the end of school and the impending summer vacation season, I do have a request. Please take time to rest and relax. Find opportunities to feed your passion for teaching young people music, but please also find ways to rest and relax. I know the summer starts a new busy year for many of you. Band and music camps, choosing and revamping curriculum, selecting repertoire, attending professional development, and many things to prepare for a new school year. I implore you to take time for yourself and your family.
As always - thank you for all you do for students. Thank you for the many hours you give to students’ musical and personal development inside and outside of your classroom.
I look forward to continuing to serve you and your students over the next year. Please do not hesitate to contact me if I can help you.
President
Dr. Rob Lyda
Cary Woods Elementary School
715 Sanders Street Auburn, AL 36830 334-663-0898 president@myamea.org
Immediate Past President
David Raney
Sparkman High School
2616 Jeff Road Harvest, AL 35749 256-837-0331 draney@madison.k12.al.us
President, AOA Joseph Lee PO Box 2532 Huntsville, AL 35804 (615) 397-4490 aoa_president@myamea.org
President, AMEA Collegiate Sarah Hicks (678) 986-1885 sehicks3@crimson.ua.edu
Industry Representative
Joey Harbison
Gadsden Music Company
607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622
jmharbison@aol.com
Executive Director
Dr. Russell (Rusty) Logan 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702
executive_director@myamea.org
Garry Taylor, Editor & Advertising Manager 1600 Manor Dr NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
President-Elect
Dr. Phil Wilson
Ogletree Elementary School
737 Ogletree Road Auburn, AL 36830 (334) 538-9679 president_elect@myamea.org
Recording Secretary
Heather Holmes
Oak Mountain Middle School 5650 Cahaba Valley Road Birmingham AL 35242 (205) 682-5210 recording_secretary@myamea.org
President, AVA
Hilen Wilson
6315 Mary Harmon Bryant Drive Cottondale, AL 35453 (205) 454-3067 ava_president@myamea.org
Treasurer/Registrar
Pat Stegall
AMEA Registration PO Box 3385
Muscle Shoals, AL 35661
treasurer_registrar@myamea.org
President, ABA
Joel Henson Pelham High School 2500 Panther Cir. Pelham, AL 35124 (205) 616-7478
jhenson@pelhamcityschools.org
President, ELEM/GEN
Sarah McLendon Hillcrest Elementary 400 E Watts St. Enterprise, AL 36330 (334) 313-2116
smclendon@enterpriseschools.net
AMEA Collegiate Advisor
Dr. Meghan Merciers University of North Alabama UNA Box 5040 142 Music Building Florence, AL 35632-0001 (256) 765-4518 mmerciers@una.edu
Assistant Executive Director Editor, Ala Breve
Garry Taylor 1600 Manor Dr NE Cullman, AL 35055 (256) 636-2754 editor@myamea.org
ADVERTISING & COPY DEADLINES
Fall - August/September (Back to School issue): July 15
Winter - October/November (Conference issue): September 15
Spring - May/June (All-State issue:) January 15
Summer - May/June (Digital Only issue:) April 15
President, HED Division Dr. Carly Johnson
Alabama State University Department of Music 915 S. Jackson Street Montgomery, AL. 36104 (334) 229-4341
cjjohnson@alasu.edu
Alabama Department of Education Arts Education Specialist
Andy Meadows 50 North Ripley Street Montgomery, Alabama 36104 (334) 694-4768
ameadows@ALSDE.edu
Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME: The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work.
Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama. Bulk rate postage paid at Dothan, Alabama.
Have you ever taught at a school where there were only eight kids signed up for band? Have you ever taught at a school where the principal assigned you a music class comprised of students who had never had any formal musical training and who had no prior experience reading music? Have you ever taught at a school where your annual budget was $500 or less? Due to a lack of resources, enrollment, interest, or budgetary constraints, some middle and secondary schools across the nation struggle to offer large ensemble-centric courses such as band, orchestra, or chorus. In such environments where programs are underenrolled or underfunded, the average student sadly, oftentimes has very little access to a formal music education experience.
In recognizing this disparity stemming from the inequitable distribution of resources available to educators, the recent modern band movement has been steadily growing in K-12 schools across the nation to offer a more inclusive approach to engaging students in musical activities and learning experiences beyond the initial elementary or general music experience. The method serves as an option to better serve students at the middle and secondary school levels who may not be able to afford to purchase or rent instruments, who do not have the preliminary skills necessary to join a secondary school band or orchestra, or who may have no interest in playing or singing in a traditional school music ensemble. As an alternative model, it is an innovative and flexible approach that helps with circumventing traditional barriers and obstacles with the goal of promoting musical growth and creative expression in a new, non-traditional manner. Modern band is oftentimes a more culturally relevant approach to teaching music as it mainly utilizes popular music from diverse styles and genres as its central
canon instead of focusing on one main genre such as classical or jazz. By using music that students already know and love, the idea is to foster a greater sense of connection and familiarity, and less reluctance or hesitation from students who may be reluctant to participate in musicmaking experiences. Styles that are studied in the modern band approach include rock, pop, reggae, hip-hop, rhythm & blues, rap, electronic dance music, and other emerging contemporary styles. Students are often better able to relate to and see themselves reflected in the music when diverse musical examples are included in the curriculum. Modern band often utilizes but is not limited to, the musical instruments that are commonly used in popular music: the guitar, bass, drums, piano, vocals, and technology. The approach encourages students to explore, experiment, improvise, and even create and compose their own music.
The impact of modern band on music education in recent years has been huge. With the approach being inclusive, immersive, student-centered, and successful at attracting more students who otherwise would not participate in music study, over seventy colleges and universities now offer coursework in the modern band approach. The approach is particularly impactful, in my opinion, for HBCUs and other minority-serving institutions that emphasize the study and performance of traditional and contemporary Black musical styles and genres, in addition to studying standard repertoire and composers from the Western-European canon. It has been a beautiful experience at ASU seeing students relate to, take pride in, and deliver impactful performances of composers and repertoire that celebrate and validate the distinctive heritage, tradition, and performance practice of African American music and culture.
Dr. Shane Colquhoun, Assistant Professor of Music Technology & Contemporary Musical Styles at Alabama State University, and a member of the Higher Education division of AMEA has a new book coming out in May of 2023, titled The Producers of Pop: A Comprehensive Guide for Studying Popular Music Producers, published by FFlat Books, that may be of interest to educators looking for a resource to learn more about contemporary popular music, or to incorporate more elements of popular music and modern band teaching into their own classroom instruction.
In closing, for music educators interested in learning more about the modern band method and approach, the Modern Band Summit is an annual professional development conference that takes place during the summer months where music educators from all over the country come together to learn, teach, play music, and experience the modern band curriculum. Registration and fellowship applications are currently open for the next summit that will be taking place on July 12-14, 2023, at Colorado State University in Fort Collins, Colorado. Additional information on the 2023 summit can be found at www.musicwill.org/events/modern-bandsummit.
For Middle & High School Students
Sept. 30, 2022 Festival of Voices
Oct. 15, 2022 All-State Choir Workshop
Nov. 5, 2022 Single Reed Symposium
Feb. 17-18, 2023 Middle School Honor Band
March 3-5, 2023 High School Honor Band
March 21, 2023 Choral Festival Day
For Scholarships
Jan. 28, 2023
Feb. 25, 2023
March 4, 2023
Honor Band participants only
March 18, 2023
Dr. Meghan Merciers, Advisor
On March 21, 2023, the Alabama Music Educators Association hosted the first annual Hill Day in Montgomery, Alabama. This event advocated for music education in all schools throughout Alabama, particularly those overlooked due to socioeconomic status. Hill Day not only brought together many music educators supporting an important cause, but it also inspired many collegiate students to begin thinking about the importance of advocacy before they even enter the classroom as teachers.
According to Matthew Suit, a sophomore at Troy University and the President-Elect for the State Executive Board, almost 30 collegiate students were excused from class to attend Hill Day. There were students in attendance from Troy University, the University of Alabama, and many other institutions across the state that both performed and observed the day’s events. Another one of our Executive Board members, Reid Sayle, had the opportunity to perform with the Huxford Symphony Orchestra to celebrate the day. Matthew noted that the college students who were not performing enjoyed the live music, listened to the inspirational speeches of Dr. Rob Lyda and Mr. Phil Wilson, and had valuable conversations with our state legislators.
Matthew advocated for music education in his conversations with Lieutenant Governor Will Ainsworth, Senator Clyde Chambliss, Representative Marcus Paramore, and Representative Leigh Hulsey. When describing Hill Day, Matthew said, “This event gave me inspiration and confidence for talking to those in a higher position and advocating for music education not only in my life but
in the lives of those around me.”
In an outstanding show of support for music education, a majority of the Troy University chapter of cNAfME was able to attend Hill Day. Kensley Fuller, a Troy student, and State Executive Board member described what she experienced throughout the day. Kensley reported, “Troy students and professors made plans and discussed this event for weeks leading up to the event. To prepare for this event, we wrote and practiced pitches to talk to representatives about our philosophies of music education. We left Troy very early to get to Montgomery to watch the opening performances by Hillcrest Elementary and the Auburn High School Jazz Band. For a while, we cheered them on and mingled with local educators. I was able to meet educators from many different places, levels of experience, and areas of expertise. It was a great opportunity to network with others in our field. After that, we met with various people at the Capitol who gave us a tour of the facilities and educated us on how they operate in those spaces. We left with a greater understanding of our governing systems, and I believe we were able to
make connections with them along the way, which left them with a greater understanding of what we do and why we do it. Each person we talked to was able to form some sort of connection to music education, such as the fact that they were in band or choir at one point, their children were involved in the arts, or they simply just have an appreciation and love for music.”
It is so inspiring to know that Hill Day not only impacted music education because we could advocate to our legislators, but it also impacted music education because our future educators supported and advocated for our schools. The future is brighter because these students learned about our government and its impact on music education. The State Collegiate Board would like to thank Dr. Lyda and all of the AMEA members who facilitated this event. We would also like to thank Mrs. Smith for coordinating the participation of the Troy cNAfME chapter in Hill Day. Based on our inaugural experience at Hill Day, the collegiates anticipate always having great success connecting with Capitol legislators!
The impact of music education and arts education is difficult to quantify in Alabama because there is no clear measure for reporting at the local or state level. The only clear metric we can access is enrollment data from the Alabama State Department of Education. This is an area where Alabama needs to improve. We are hopeful this will change with the State Department of Education’s investment in artlook®Alabama.
Based upon current enrollment numbers, 65% of Alabama’s public K-12 students are enrolled in arts courses. 34% of Alabama’s public K-12 students are enrolled in music education courses. Enrollment numbers do not provide a clear picture of access to music education.
Music Education Inequality is difficult to quantify in Alabama because there is no clear measure for reporting from the State Department of Education. We have no definitive number of music programs, students enrolled in music programs, or number of highly qualified music teachers in the state. In addition, some school systems without music classes code their general education teachers in grade K-6 as music teachers. This is an area we need to improve.
There is no allocation from the Foundation Program for music teaching positions. Therefore, a system must have resources through local funds to pay for music education. Poverty and local economic conditions are the best indicators we have to judge if students are receiving a music education in grades K-12.
In music classrooms across Alabama, students are learning skills employers and colleges desire. Problem solving, developing confidence, creativity, collaboration, and receiving constructive feedback are a few of the many skills students learn in music.
The arts have had a tremendous impact on Alabama’s economy. According to Americans for the Arts (2018), 83% of Alabamians believe that the arts attract travelers and are good for tourism. In addition, 71% of Alabamians agree that the arts industry is good for the economy and supports jobs.
- According to Americans for the Arts, 90% of Alabamians agree that the arts are part of a well‐rounded education for students in grades Kindergarten through 12th (K‐12).
- According to Americans for the Arts, 77% of Alabamians believe the arts help students perform better academically.
- In 2016, researchers from Justus Liebig University in Germany found that 20 weeks of singing and rhythmic drumming three times a week for 20 minutes—had a significant impact on the phonological awareness of preschoolers.
The Alabama Music Educators Association (AMEA) is the largest community of professional music educators in the state. Membership is open to all public, private, and post-secondary music educators as well as private teachers. AMEA works with local administrators and elected officials in to ensure access to the best possible school music programs and advance music education as a profession. We support quality music instruction in Alabama from early childhood through college, and we work to foster a better understanding of music’s important role in the development of the whole child.
- Several research studies have reported that schools with music education courses see higher attendance and graduation rates.
- Several studies have found that participating in music education helps students develop social skills, empathy, perseverance, and increased selfesteem.
by Jason Jackson
A few of my favorites to teach are:
Bim Bam (Serbia/US) – Good for introducing half note and reinforcing steady beat. My students like to see how fast they can do this one without messing up.
Navajo Happy Song (Navajo) – Good steady beat reinforcement, uses only quarter notes and eighth notes.
Double, Double/Mariposa (England/Mexico) & Bate, Bate, Chocolate (Mexico) – I like using these as notation practice with my younger grades.
Four White Horses (Carribean) – When I taught K-12, this was 10th grade’s favorite every year. It was such a hit that I remember one class singing the song as they walked out the door when the bell rang.
Backe, Backe, Kuchen (Germany) – This is a great pentatonic melody to notate and isolate high do. The game uses circles of 6 students who clap across with their partner at various changing levels.
I sometimes struggle finding activities for upper elementary classes that introduce or reinforce beginner-level concepts. Hand clapping games are excellent for reinforcing steady beat, rhythm, singing, phrasing, and collaboration, just to name a few. I’ve successfully used many of these games with all ages, especially my 5th and 6th graders who crave partner and small group activities. A few of the games can be a bit tricky, especially for kids who haven’t played many clapping games before, but that’s precisely what makes them fun. Hand clapping games with a melody are also a fantastically sneaky way to get those reluctant singers to sing!
Hands to Hands is one of my most bookmarked, dogeared, scribbled-in resources. This gem is a collection of hand clapping games from around the world compiled by Aimee Curtis Pfitzner. The 40 games are delightfully diverse, originating from over 20 countries on six continents. Over half are notated in their original language with pronunciation tips and translation.
O Mochio O Tsukimasho (Japan) – This game rocks my 6th graders’ world. Good steady beat reinforcement as well. I like to wrap up this lesson by showing a video of two people preparing mochi dangerously fast with the traditional usu (mortar) and kine (pestle).
You can preview several pages for free on the Beatin’ Path Publications website (bppub.net/AimeeCurtisPfitzner). While you’re there, also check out Hands to Hands, Too! which includes over 40 hand clapping games from the US and Canada.
I would love to hear about the clapping games you use with your students or what concepts you pull out of them! Send me an email! jajackson@bcbe.org
Jason Jackson teaches K-6 music, choir, and Orff ensemble at Daphne East Elementary School.
April 8, 1940 - Feb. 22, 2023
A music educator from 1962, Dr. Frances Moss taught band and choir in public schools, grades 1-12, and taught at Calhoun Community College from 1966-1999. At Calhoun, Dr. Moss taught voice, piano, music theory, conducting, and vocal ensembles, served as chairperson of the music department, and initiated the Church Music Program. She founded the internationally known Chorale, Madrigal Singers, and Alumni Musica. These ensembles were invited to perform nationally and internationally for professional events, took annual concert tours, performed for local, state, regional, Church, and school groups, presented an annual Madrigal Dinner, and performed for governors and presidents. The Alabama Honor Choir Festival, founded by Dr. Moss, was held at Calhoun Community College for 23 years. The event was conducted by nationally known clinicians and was a state-wide event for middle school choral students. In-service workshops, presented by Dr. Jack Platt, Aden Lewis, Dr. Joan Goree, and other noted musicians, were provided for choral directors. During her tenure as president, the choral division became the Alabama Vocal Association. The AVA instituted their first auditioned All-State Chorus, implemented required sight reading at both district and state choral festivals, gave the
first medals to members of the All-State Chorus, and established the provision of certificates for choirs participating in State Competition Festivals. Dr. Moss edited the first AVA Handbook, wrote the Handbook for District Chairmen, and the Handbook for Choral Adjudication. During her tenure as president of AMEA, the first state convention was inaugurated bringing together all of the divisions for an inservice event. AMEA met at the Jefferson Davis Hotel in Montgomery. The event was staffed by music students from Calhoun Community College. The AMEA Handbook was developed, an official logo was designed for AMEA and the Ala Breve, the Former Music Educators Division, and College Division were established and the Outstanding Music Educator Award was instituted. Dr. Moss also served as interim editor of the Ala Breve. She served many years as historian, preparing materials for state and divisional projects. She was also chairman of the Student Division. Dr. Moss served on the board of the Southern Division and served on several national committees including a task force to develop goals and objectives for the improvement of music education in the United States. She served on numerous committees of the Alabama Association of College Music Administrators, served as chairperson for music for the Alabama Community College Association, and wrote that group’s position paper to the State Board of Education regarding Revised Standards for Teacher Education in Alabama. Dr. Moss served as General
Chairman for the Curriculum Guide Committee for Vocal/Choral/General Music for the State Department of Education. Degrees held include a bachelor’s degree from Jacksonville State University, a master’s and doctorate from the University of Alabama, and a doctorate from Covington Theological Seminary. Professional memberships include Pi Kappa Lambda, Kappa Delta Pi, Delta Omicron, and NAfME. Dr. Moss has been frequently honored and received many awards in recognition of her accomplishments as a music educator. Awards from Calhoun Community College include Outstanding Faculty Member Award, External Service to the Community Award, and the Carlton Kelley Teaching Excellence Award. Dr. Jack Platt endowed a music scholarship and Austinville United Methodist Church annually presents a music scholarship in her honor. AVA presented the Outstanding Service Award at the conclusion of her terms as president. Dr. Moss was awarded the inaugural Frances P. Moss Outstanding Choral Director Award by AVA. AMEA presented two Awards for Outstanding Service and has named her as an Outstanding Music Educator. Huntsville Choral Directors Association has presented her with an Outstanding Service to Choral Music in Alabama Award. In 2008, she was inducted into the AMEA Hall of Fame. In 1999, Dr. Moss retired from full-time teaching to serve as Minister of Music and Laity at Austinville United Methodist Church, Decatur, Alabama.
Life isn’t a line, but a circle. The ending of each year brings with it a new beginning. We should always be striving to make our program better than the year before. Think back on the school year. What went well; what did not go as well? Which lesson did you knock out of the park; which lesson was a total flop? What amazing things did you accomplish; what did you not? This circle is ending, but a new one will soon begin.
We had our first Music Education Hill Day this past March. The choirs from Hillcrest and Rucker Boulevard Elementary performed at the Capitol. State Senator Josh Carnley said, “It was so special for me to see the future of our town and nation stand with confidence as they performed.” Remember to advocate for your program. The best advocate for your program is you! Use #ala4musiced when you post to social media about your program.
As we move forward into 2023, I am excited for music education in Alabama.
As you know, my two year term as Elementary Division President is coming to an end. It has been a pleasure serving you. You have elected a wonderful slate of officers who stand poised and ready to take the helm in June.
Your newly elected Elementary Board is as follows:
President: Alicia Luttrell
President Elect: Jason Jackson
Secretary: Melissa Galanopolous
Treasurer: Devin Lacy
Past President: Sarah McLendon
Festival Director: Melissa McIntyre
We have started planning our annual AMEA Professional Development Conference. Our 2024 conference will be in Huntsville, on January 18 - 20, 2024. Some of you may not know how items are selected for Conference. We love to showcase the talent from around the state! This year we are going to add an Elementary All State Choir. Check your email this fall for more information. Please consider applying for your choral or instrumental group to perform at the conference. It is a lot of extra work, but it is so worth it. Your students would love to be on that stage. The board goes through the applications and listens to the recordings to select the performances for the year.
We would also love for you to be a presenter. What are you passionate about? Some of our best interest sessions have come from our fellow Alabama music teachers. Please consider sharing your wonderful ideas with us. We can only pick from what
has been submitted; if no one submits, then there is nothing from which to choose. We usually have a great variety of submissions, but would love to have more! We would love for you to share with us!
Both conference applications can be found on the myamea.org webpage https://myamea.org/conferenceapply/. The deadline to apply is June 1st . It is time to renew your NAfME membership. Do so quickly so that you will not miss any fun PD sessions and conferences.
We want to stay in touch with you and reach out to those who are not members of AMEA. Please email us at elementaryamea@gmail.com to update your information and please share this address with those who you know are not members.
It is time to recharge our batteries. “The best six doctors...are sunshine, water, rest, air, exercise, and diet.” Enjoy your summer break and get ready for the new circle to begin.
Upcoming Dates:
East Alabama Workshop, Saturday, August 26, 2023, 9am-1pm, Grace United Methodist Church, Auburn, AL
Elementary Music Festival, Friday, October 27th, 2023; Metropolitan Church of God in Birmingham, Alabama
Joint Fall Workshop sponsored by Elementary/General Division of AMEA, AOSA, and SHAKE, Saturday, October 28th
2024 AMEA Professional Development Conference, January 18 - 20, 2024, Von Braun Center, Huntsville, AL
Greetings from the Alabama Jazz Collective! Dr. Andy Nevala, Chris Kozak, and Dr. Dave Camwell each provide a brief review of the Jazz Ensemble literature they are performing with their ensembles, and give a glimpse into our favorite Jazz Ensemble recordings!
Dr. Andy Nevala, Director of Jazz Studies, Jacksonville State University
Jazz is a language, made up of many different dialects from around the world. A person wouldn’t learn how to speak Italian or French without hearing what it’s supposed to sound like, right? It’s the same for Jazz: you can’t perform it without listening and hearing it. There is no substitute for listening when it comes to playing jazz, period. So, where do you start, exactly? It starts with your concert programming. I try to do at least one Essentially Ellington or Count Basie Orchestra selection, one Afro-Caribbean or Bossa/Samba selection, a new(ish) composition, a modern groove selection, and a vocal chart with each group every semester.
I choose my listening examples for each ensemble based on what we are performing. The Essentially Ellington Charts are all transcriptions from the Ellington performances; the recordings are a must if you are playing any of these, as the charts are accurate representations of what was being performed. For a Basie selection, the “Live At the Sands (Before Frank)” album is one the best representations of a Jazz Ensemble that is Swingin’! They would play a warm-up set before Frank Sinatra came out, which was recorded, and those guys were on fire. Another great album in that style is “A Tribute to Count Basie” featuring pianist Gene Harris. This is a studio recording, but it still has that live energy! I’ve been following the WDR Big Band (Cologne, Germany), the HR Big Band (Frankfurt Radio Big Band), and the Jazz at Lincoln Center Orchestra, which all have great YouTube visibility, and all are performing the great standards and new commissions and arrangements. Those groups are the best examples of what big bands should sound like these days, and they are always pushing the envelope in Jazz Performance.
At JSU, we have 4 big bands, each at a different ability level, and I purchase my charts from several places to provide music for each group. For the new and contemporary pieces, I look first at the new ijazzmusic.com, which has a great and always continually updated selection, for all levels. Ejazzlines.com also has great selection of old and new charts, from Easy Jazz Ensemble Packs to grade 5 historical reenactments from famous bands! Of course, JW Pepper has many great things as well. What is different these days is that many of the newer arrangements and compositions are being sold by the arranger/ composer directly, without the middleman taking his cut. They will also have links to the recordings, done by professional groups. Another consideration is to bring in a guest artist that will send you their charts to play (and keep for later), a win-win!
Write/Arrange for your ensemble, and have the students arrange songs for your group. If you want to play the new #1 hit out there, arrange it yourself! We recently had a performance where we were requested to play hit songs from
the group “Alabama”. There aren’t any available for purchase for big band, so we arranged them ourselves!
Christopher Kozak, Director of Jazz Studies, and Instructor of Double and Electric Jazz Bass, University of Alabama.I have recently revisited listening to several modern Jazz Big Band Albums: Joe Henderson’s “Big Band” Album, Mel Lewis’s “Soft Lights and Hot Music,” and Darcy James Argue’s Secret Society’s “Infernal Machines.” With contrasting styles and levels of complexity to their arrangements, they all contain some unbelievably exciting and difficult music that is definitely worthy of adding to your listening playlists. One album that I keep coming back to is from my favorite Trumpeter and Flugelhornist, Tom Harrell. “Time’s Mirror” is a collection of his own Big Band arrangements that are a lesson in the art of Big Band composition, arranging, and performing. With an outstanding lineup of musicians that exercise all of the extremes of intense solos and masterful ensemble playing, it is a true delight to listen to. While these arrangements are nearly impossible to find, the listening alone would be beneficial to any High School or College band. His handling of one standard in particular, “Autumn Leaves” is a template that I use in my Arranging class on how to “sculpt” or devise an arrangement and about how parts work together over a specific tune and its form. That fresh take on a standard that can sometimes be thought of as “overplayed” in Jazz educational scenarios is only one track, but the entire album has moments that capture all of the elements of what a Jazz Ensemble should sound like. It is an excellent example of the Jazz language and ensemble playing to share with your students!
As a Jazz Ensemble director and Jazz educator, it can be hard to separate the music you love listening to and the
music you’d have your bands play. I have certainly fallen prey to selecting a piece of literature that may have been slightly out of reach for my band because it was something that I had connected with. While that can be a difficult realization, having a goal to play toward can be incredibly rewarding for all if achieved. Recently, The University of Alabama Jazz Ensemble played Duke Ellington’s “Black, Brown, and Beige Suite” and “The Far East Suite” for our chamber concert. While some of that material is very difficult, specific movements like “Work Song” and “Blue Pepper (Far East of the Blues)” would be a fine addition to most any band’s repertoire and are certainly within reach of most groups. These historically significant pieces carry with them all of the hallmarks of traditional Jazz Big Band playing but also have an air of “classical” sophistication that some programs can use to their advantage when recruiting players from their concert bands. These charts were recently made available for purchase for the first time and can be found at eJazzlines.com and JWPepper.com
and imaginative arrangements of all the famous “PLANETS” by Gustav Holst. Successfully transferring large and famous orchestral works to jazz ensemble takes considerable skill and craft, and the result is fabulous. Levy’s ensemble is made up of well-known jazz musicians based in Los Angeles, California, and the level of improvisation and style is very high.
Many of the movements of this album feature re-imaginations of the original music into Latin grooves; Mars is one example that uses a piano montuno to great effect. The phrase structure is quite true to the original scores in many places, so anyone familiar with this music will recognize the musical material. The genius of these arrangements is how Levy skillfully interweaves the familiar melodies into a wholly new structure that really works in jazz, and in particular, for jazz ensemble. This music is available on all streaming platforms and can be purchased here:
https://www.jlevymusic.com/planets
I have been listening to the Jeremy Levy Big Band recently, enjoying his excellent
The useful part of the YouTube videos is that you can see the scores, and so see if they are an appropriate level for your band. In my opinion, strong high school bands could play Jupiter, so perhaps your next program can have a “universal” appeal!
The beginning of my time as ABA President made the end bittersweet! Serving in a leadership role during the pandemic was not for the faint of heart. Numerous meetings, big decisions, and disappointments were the norm. Navigating through virtual auditions, virtual assessments, and mitigation strategies was necessary to keep our association viable during such a difficult time. However, as I sat and watched 800-plus instrumental music students make incredible music this past weekend, it made it all worth it. Band is alive and well in Alabama.
The All State Festival 2023 was once again a successful musical experience for the band students in the state of Alabama. The event commenced with the All-State Solo Festival. It was a great display of the amazing student musicians in our state. The finalists were: Noah Bender, Madeline Cagle, Emma Coley, Kayin Hardy, Ellen Head, Chandler Myhan, Victoria Nail, Koen Pritchard, Yukino Shichinohe, and Olivia Tures. Being a finalist for this prestigious event is a huge honor. The All-State Soloist Finalist winner for 2023 was saxophonist Yukino Shichinohe from Cullman High School.
We were very fortunate to have worldclass clinicians at this year’s festival. The Middle School White Band was conducted by Jack Wilds. Jack is a prolific composer and exposed our students to new and exciting music. The Middle School Red Band was conducted by Dr. Arris Golden who serves as Associate Director of Bands at Michigan State University. She really pushed her students to play a very challenging program with such artistry The Blue Band was conducted by Dr. Ben Lorenzo Director of Bands at Kent State University. His perfect combination of humor and musicianship led to a great performance by this ensemble. The White Band was conducted by Dr. Rebecca Phillips Director of Bands at Colorado State University. This group’s rendition of Eric Whitacre’s Sleep was simply stunning. Lastly, our Red Band was conducted by the highly acclaimed composer and clinician Dr. Frank Ticheli. Their performance was spectacular! I was really moved by Omar Thomas’ Of Our New Day Begun and amazed by his new composition Lux Perpetua
The All-State Festival is a huge undertaking for the Alabama Bandmasters Association. The District I band directors, led by chairman Stuart Tankesley and President-Elect Keith Anderson, worked tirelessly to make this event successful. Another aspect of making our event run smoothly is the outstanding band hosts and percussion techs for each ensemble. Jon Bubbett and Kevin Ownby (Red), Heather Henson and Doug Teuscher (White), Damon McAllister and Alex White (Blue), David Caddell and Courtney Lankford (MS White), and Connie and Tim Hammond and Josh Lynch (MS Red) served in this capacity for us this year. Our clinicians were impressed with their organization, commitment, and professionalism during the entire experience with the Alabama Bandmasters Association. ABA Executive Officers Lori Hart, William Mixon, Terry Ownby, Ben Posey, and Nick McDonald, and Executive Secretary Doug Farris worked together, along with our District
Chairmen and Vice Chairmen, to see to it that our students could count on a positive All-State experience. A special debt of gratitude is owed to our outgoing District Chairmen Stuart Tankesley (I), Jeremy Willis (III), Dakota Bromley (V), Meredyth Petersen (VII), Ben Posey (Jazz Chair), and Terry Ownby (Past President). Terry will be leaving the board after serving 20 years in various capacities. There is no way the association can function without dedicated people like these. It has been an honor to serve alongside you.
As my term as President of the Alabama Bandmasters Association comes to a close, I am filled with a sense of relief and gratitude. It really doesn’t hit you that you have been entrusted with this huge responsibility until it becomes real. It’s hard to believe that a small-town trombone player from rural Walker County, Alabama would ever be entrusted with the privilege of serving in this capacity. Over the past few years, I have had the privilege of working with a dedicated team of individuals who share my passion for music education and the band students in Alabama. As I reflect on my time as president, I am grateful to have had the opportunity to serve in this role and look forward to continuing to support President-Elect Lori Hart to promote music education in any way that I can.
Lastly, the Summer Conference will be back at the Perdido Beach Resort. This event is also later in the month (June 2022). Registration for the conference will open on May 1, 2023. Information about the Summer Conference can be found on our website: www.alaband.org. This is a great way to celebrate a successful year and kick off a new one. It is also one of the few times that directors have the opportunity to receive professional development while enjoying their families at the same time. The ocean, beach, and outstanding seafood are an added bonus! Hope to see you there! Thank you all for your support during my tenure. Now….it’s time to take the Coda!
Piccolo Rachel Strong Covenant Christian Academy
Flute Lauren Tillman Sparkman High School
Oboe Michael Algarin Montgomery Catholic Prep
Bassoon Elias Loo Sparkman High School
Clarinet Ashlyn Berry Vestavia Hills High School
Bass Clarinet Liam Grapperhaus Covenant Christian Academy
Contra Clarinet Hannah Kelley Enterprise High School
Alto Sax Yukino Shichinohe Cullman High School
Tenor Sax Thomas Washer Helena High School
Bari Sax Elijah Putman Cullman High School
Trumpet Noah Bender Hewitt-Trussville High School
French Horn Madeline Cagle Spain Park High School
Trombone Kayin Hardy Daphne High School
Baritone Connor Lovette Vestavia Hills High School
Tuba Drake Miller Vestavia Hills High School
String Bass Noah Sugg Fairhope High School
Percussion Victoria Nail Oak Mountain High School
Piccolo Aldyn Falkenberry Oak Mountain High School
Flute Emma Coley Hewitt-Trussville High School
Oboe Rachel Rowland Grissom High School
Bassoon Nicholas Muir Enterprise High School
White Band Clarinet Gloria Phillips Pelham HS/MS
Bass Clarinet Jacob Knowles Mcadory High School
Contra Bass Clarinet Joshua Schlerf Weaver High School
Alto Sax Samuel Chen Vestavia Hills High School
Tenor Saxo James Bagley Lee Scott Academy
Baritone Sax Elijah Boyd Hoover High School
Trumpet Caleb Wilson James Clemens HS
French Horn Carter Robinson Austin High School
Trombone Andrew Vo Baker High School
Baritone Ephraim Nunnally Mortimer Jordan High School
Tuba James Ezra Brown Saint James School
String Bass Abram Griffith Scrollworks Music School
Percussion Mandy Gregory Alabama Christian Academy
Piccolo Luke Pinion Hewitt-Trussville High School
Flute Maggie Tonsmeire Huntsville High School
Oboe Tori Smith Huntsville High School
Bassoon Aidan Blum Montgomery Catholic Prep
Clarinet Maria Levio Pelham HS/MS
Bass Clarinet Tyler Simposon St Clair County HS
Contra Clarinet Addison Young Trinity Christian School
Alto Sax Austin Horne Daleville High School
Tenor Sax Carter Ingram Marbury High School
Baritone Sax Christian Kime Straughn High School
Trumpet Joshua Wortham James Clemens HS
French Horn Claus Na Vestavia Hills High School
Trombone Gibson Purser Bob Jones High School
Baritone Ben Bailey Hewitt-Trussville High School
Tuba Charlie Grimes Bob Jones High School
String Bass Ian Martin Robertsdale High School
Percussion Matthew Diffey Oak Mountain High School
Kayin Hardy - Daphne High School, Victoria Nail - Oak Mountain High School, Chandler Myhan - Muscle Shoals High School, Koen PritchardHewitt Trussville High School, Olivia Tures - Daphne High School
Yukino Shichinohe - Cullman High School, Madeline Cagle - Spain Park High School, Noah Bender - Hewitt Trussville High School, Emma Coley - Hewitt Trussville High School, Ellen Head - Haleyville High School
Solo Festival Winner: Yukino Shichinohe, Cullman High School
Piccolo Jolie Vaughn Rainbow Middle School
Flute Annika Dalton Pizitz Middle School
Oboe Sofia Cagle Berry Middle School
Bassoon Ellah Ingram Wetumpka Middle School
Clarinet Jenna Owens Decatur Heritage Christian Academy
Bass Clarinet Anu Falola Hewitt-Trussville Middle School
Contra Clarinet Olivia Harbin Montgomery Catholic Preparatory
Alto Sax Samuel Butte Muscle Shoals Middle School
Tenor Sax Rishi Patel Dauphin Jr. High School
Baritone Sax Jack Courson Central Baldwin Middle School
Trumpet Aidan McDavid Hampton Cove Middle School
French Horn Makenzie Howell Daphne Middle School
Trombone Ethan Sze Auburn Junior High School
Baritone Shelby O'Linger Hampton Cove Middle School
Tuba Jude Williams Monrovia Middle
String Bass Avie Thompson Pizitz Middle School
Percussion Tripp Beasley Auburn Junior High School
Flute Cadee Niu Baldwin Arts
Oboe Josh Deng Tuscaloosa Magnet MS
Bassoon Daniel Su Pizitz Middle School
Clarinet Erin Talley Chelsea Middle School
Bass Clarinet Silas Conti Oak Mountain Middle
Contra Clarinet Sumehra Shaik Liberty Middle School
Alto Sax Samantha Li Phillips Preparatory School
Tenor Sax Landon Cain Chelsea Middle School
Baritone Sax Dago Franco Albertville Middle School
Trumpet Claire Ellenburg Liberty Middle School
French Horn Isabella Weber Liberty Middle School
Trombone Will Hayes Montevallo HS/MS
Baritone Andy Brislin Oak Mountain Middle
Tuba Akira Osuka Bumpus Middle School
String Bass Natalie Dale Briarwood Christian School
Percussion Liam Anners Oak Mountain Middle
Ashleigh Kiesel, recipient of the Phi Beta Mu Lamar Triplett Memorial Scholarship, flanked by ABA President Joel Henson and President-Elect Lori Hart
CONGRATULATIONS!
Columbiana M.S. Band
Columbiana, AL
“Free Beginner Program”
North Jefferson M.S. Band
Kimberly, AL “Our Band”
APPLICATIONS OPEN NOW!
The Advocacy in Action Awards program is designed to collect, recognize, and share effective practices and initiatives that support music education in our schools. We hope that by celebrating these programs, we can inspire others to lead by example and take action in their own programs and communities.
Performance and a Master’s in Conducting also from USM. During the year between my Bachelor’s degree and Master’s Degrees, I attended the Höchschule für Darstellunde Kunst“Mozarteum in Salzburg, Austria where I received a Certificate of Performance. I am currently serving as Vice President of the Alabama Vocal Association, have served AVA as a District Chair for 18 years, AVA Treasurer for 2 years, and President of AVA. I am happily married to my wife, Missy Powell for 37 years. We have worked in the same classroom every day for the past 21 years. We have 2 children, Joseph and Marc, who grew up through our program, and one granddaughter, Ellis. Joseph is the Director of Choirs at White Station High School in Memphis, Tennessee.
Editor’s Note: Each Teacher Profile spotlights a different music educator from across the full spectrum of AMEA - new teachers, experienced teachers, retired teachers, and teachers from each of AMEA’s different divisions. This issue features Harold (Jody) Powell.
Editor: Briefly tell us about your current position, how long you’ve been there, and a little about your schedule.
HJP: I am currently Director of Choirs and Theatre at St. Paul’s Episcopal School in Mobile, Alabama. I am finishing my 37th year at St. Paul’s. Our schedule is a 7-period day where the first 2 periods and the last period rotate each day so we see a different period at the beginning of each 3rd day.
Editor: Tell us about your background – hometown, college, family, etc.
HJP: A native of Mobile, I graduated from UMS Preparatory School, currently UMS-Wright, and now live in my childhood home. I received my Bachelor of Music in Vocal Performance from the University of Southern Mississippi and then received a Master’s Degree in Vocal
Editor: Why did you decide on a career in music education?
HJP: After being offered a full scholarship to Auburn University to major in electrical engineering, I made the decision to pursue music as a career. My high school choir director arranged an audition with Dr. David Foltz and he offered me a full scholarship to USM. I am so glad that I made that decision. Having worked in my Dad’s engineering firm during summers and holidays for many years during high school and college, I realized that was not my passion. Now I go to school every day and create music.
Editor: Who are some of your teachers/colleagues that you would consider mentors and why?
HJP: Having been influenced and mentored by many professors and colleagues, I took tutelage from people such as Dr. William Bullock, Patricia Marsh, and Eleanor Nation. With the tools and tricks that these folks taught me, I was able to put together a tool bag of devices that help every day in the choral classroom and on the stage.
Editor: Name one accomplishment that fills you with pride so far in your career.
HJP: One accomplishment in my career that fills me with pride was the opportunity to perform in St. Peter’s Basilica in Rome, Italy. Our Chamber Singers performed as the guest choir for the 5:00 pm mass. When the service was over, we even received a note from Pope Francis which read “Bravissimi!”, signed “Francis”.
Editor: What would your students be surprised to find out about you?
HJP: One of the things that my students would be surprised to find out about me is that I am an avid miniature model builder. I have over 5000 28mm models that I have built and painted.
Editor: How do you spend your summer breaks?
HJP: When not in school during the summer and on some holiday breaks I run a home repair/construction company. We build lots of decks, pergolas, custom cabinetry, and many other renovations. This is a great financial factor in that being a school teacher, as you all well know, is such a lucrative profession.
Editor: Are you involved in other musicrelated activities in addition to your teaching position? If so, please explain.
HJP: I am heavily involved in my church, where I sing in the adult choir and serve as the assistant director. I sing bass and play keyboard in a Southern Gospel quartet called The Messengers. I am also a substitute organist that has to get up on Sunday mornings and figure out what denomination I am that day. In addition, I perform in a combo that plays for wedding receptions, parties, and other events.
Editor: Lastly, what are your interests or hobbies not related to your teaching position?
HJP:: Other interests not relating to my teaching position are playing a table game called Warhammer 40K. A friend of mine and I build and paint all of the terrain and table settings and use our 28mm models to play the game. Some games last for days.
Editor: Can you condense your philosophy of life and teaching down to a few sentences?
HJP: I have learned in life that you are only going to get out of something what you are willing to put into it. Be it my family, my faith, my profession, or anything else. Making music and being a part of the creative process is the joy of my life. I enjoy going to work every day and hardly ever feel that it is a job. Soli Deo Gloria!
Thank you again to everyone who contributed to making this year’s All-State Choral Festival a success. This event would not be possible without so many of you being willing to serve as choir coordinators, transportation coordinators, rehearsal monitors, concert coordinators, and so many other jobs. It takes all of our wonderful directors to put on such a successful event. I hope the festival was a wonderful experience for your students and that they brought their enthusiasm back to your choir rooms.
At our general membership meeting, we discussed forming a teacher committee to reevaluate our All-State audition process. Please be looking for an email from me regarding the next steps. If you have not already indicated that you would like to be part of that committee, please contact me.
We will be returning to the BJCC for AllState Choral Festival on February 29-March 2, 2024. I look forward to seeing you all there.
We had a wonderful time this past year at the University of Montevallo and we are so excited to return there this fall! Our clinician this year will be Matthew Gawronski. Please go ahead and mark your calendars for September 8 and make plans to join us!
If you have anything you would like to present at Fall Workshop or if you have ideas for sessions, please let me know.
We will be moving to Huntsville for the 2024 AMEA Professional Development Conference. Our guest clinician will be Dr. Francis Cathalina who serves as the Director of Choral Activities at the University of Memphis.
Please consider submitting to present a session or to have your choir perform at the conference. The deadline to apply is June 1 and the application may be found on the AMEA website under the “Conference” tab under “Apply to Perform or Present.” There were so many great performances and sessions at the conference this year, so please submit so we can continue highlighting the excellent choral music from across our state.
During this year’s AMEA Professional Development Conference, we will have our Honor Choir Festival for 9th-12th grade students. Dr. Valerie Harris from Miles College will be joining us as our clinician for our gospel honor choir. Directors can send up to 2 balanced quartets and students will learn all music on-site during the festival.
Thank you so much to everyone who participated in our All-State Show Choir Festival. Thank you again to Cameron Johnson for running such a successful event as Show Choir Coordinator and to Jim Schaeffer at Spain Park High School for hosting. Next year’s show choir festival will be April 10-12, 2024.
This year’s Summer Board meeting will be held on June 25-27. If you have feedback or any items you would like me to add to our agenda for discussion and review during our meeting, please provide that to me through written feedback before June 1. You may do that by emailing me at hilen.wilson.ava@gmail.com or by completing the membership survey that was sent to your email at the beginning of May.
I hope you all have a wonderful summer and can find some time to reflect on this school year and to rest and refocus for this coming fall. If I can be of help to you in any way, please let me know.
I look forward to seeing you all at Fall Workshop!
HilenPat Blackwell Music Education Winners:
District I: Cameron Hubbard, Decatur HS
District II: Emma Chambless, Tusc.Co.HS
District III: Eli Hollingsworth, McAdory HS
District IV: Parker Ragsdale: Alexandria HS
District VI: Olivia Seale Esposito, Auburn HS
District VII: Macayla Wiggins, Saraland HS
Treble OCS Winners:
District I: Kate Powell, Florence HS
District II: Noelle Douglas, Paul W. Bryant HS
District III: Cordelia Fox, Spain Park HS
District V: Katelyn McAllister, Buckhorn HS
District VI: Olivia Seale Esposito, Auburn HS
District VII: Anna O'Neal, Gulf Shores HS
Tenor-Bass OCS Winners:
District I: Preston Lumpkins, Mars Hill
District II: Justin Morton, Paul W. Bryant HS
District III: Triston Allen, Gardendale HS
District IV: Parker Ragsdale, Alexandria HS
District V: Dayshaun Oti, Hazel Green HS
District VI: Connor Hawthore, Auburn HS
District VII: Jordan Guyton, Ben C. Rain HS
When I decided to write this article, I was in my eighth year as a music teacher and my second year teaching music in the United States. I spent four years (20132017) in China to complete my undergraduate degree in piano performance. Before coming to the United States, I worked as a music teacher in both educational institutions and public schools for four years. In 2021, I started as a teaching assistant at the University of Alabama and was involved in the Pre-K music program and teaching an introductory music course to education majors. Before I started working, I was full of anticipation, excitement, and confidence about my new role as I thought I had enough experience to teach with high quality. However, the reality has not been as smooth as I expected. In the past year, I have experienced many difficulties in working as a GTA and received a lot of feedback from many different voices.
People with music-related diplomas from other countries are often hesitant to take teaching assistant jobs in the US, preferring administrative work that doesn’t involve interacting with students. One of my friends is a doctoral student majoring in piano performance who told me she would be satisfied if she could work in an American primary school after graduation– In fact, her background and level are fully qualified to teach in
higher education systems. When I asked other friends why they were afraid to teach in a classroom, their answers were similar–our cultural background and music learning experience made it a great challenge to integrate ourselves into the American music education system. Based on my own experience and that of people around me, I think it is harrowing and inefficient for international teaching assistants to improve their workability only through their own experience. My experience as an international teaching assistant working for the school of music is like a story about an adventure that should be documented–that’s why I wrote it in the first place. It also reveals from some angles that international teaching assistants in music majors urgently need additional help and training.
U.S. universities require language test scores on scholarship applications to ensure TAs have qualified spoken English. TAs are expected to give approximately 10 subject-related presentations during training unless admission requirements specify language scores. This step is considered the main TA training process, which enables the trainer to effectively improve the delivery ability of teaching, but it is not enough for me. Learning is not as simple as making students understand some
musical concepts in a real music class. Unlike other subjects, interaction is the most common way of teaching music. Teachers need to use clever language, behaviors, and expression to get everyone engaged in. I had a shortage of this age-appropriate American language in my repertoire, and I used weak phrases like “Let’s try it” or “Please sing with me.” These statements are very effective in a Pre-K class but often do not work in a college class. It is difficult to motivate some volunteers to share their musical performances in class.
For international teaching assistants, the existence of language barriers is closely related to their cultural background. “Crisscross applesauce” is an idiomatic verbal phrase generally used by nursery school and primary school teachers to children, sometimes followed by “spoons in the bowl” to mean “hands in your lap.” Most Americans perhaps would not expect an international teaching assistant to look puzzled when they hear this phrase. But this is a phrase that I have never seen on the TOEFL or GRE, which would appear at the beginning of every class in the Pre-K class. Such language barriers are unique to the plight of international teaching assistants. I try to remember these phrases in class, translate them afterward, and speak to students in the next class. This may be a rite of passage for nonnative English speakers when teaching abroad, but I always thought that if there were a class available to teach international teaching assistants these idioms, their teaching level would improve much faster.
Some language barriers come from differences in the learning experience. My knowledge tells me that as a teacher, pointing out students’ mistakes should be a basic responsibility and job requirement. In my first semester of teaching, I commented on the students’ playing, stating “your rhythm is wrong,” or “your fingering is wrong.” Chinese students will not feel any discomfort in the face of such comments, because the classroom in Chinese culture is an efficient place for correcting mistakes. After reading a lot of comments from local teachers in the United States, I was surprised to find that almost no one would make such comments about the students’ playing. They would use euphemisms like “could you try the rhythm of this piece again?” to mean their mistake in rhythm. I am not a rude personality, but the language barrier establishes a rude image in front of students in the American cultural context.
The characteristics of the music discipline are also a linguistic challenge for music teachers. Not only do international teaching assistants need to be aware of this difference, but local teachers also have difficulties in using accurate language. Not only because people interpret music differently, but they also experience their bodies differently. Two people might react differently to the same instruction– “relax your wrist and use the power of your fingers to touch the keys.” At the same time, the characteristics of aesthetic education –freedom, equality, and openness decide that in music appreciation class, teachers require
richer and more precise language to explain music pieces and give comments for students’ opinions. Reimer emphasized the importance of explicitness and precision in talking about teaching and learning because speaking and writing precisely will lead to thinking precisely as a teacher. This brings new challenges to international teaching assistants who are weak in their language. That’s why I think pre-service training should focus on subject differences.
As an international teaching assistant, I also had to face some very insecure moments due to the language barrier when I teach. In a class explaining rhythm types, I came across an exercise asking for the name of a rhythm type. The standard answer was a dotted eighth note and a sixteenth note. I do not think this answer is certainly the name of this rhythm pattern, so I tell the students “Ignore this problem since this way is pointless, and kind of stupid; we should not think rhythm patterns can be titled in this way.” I suddenly noticed that all the students had shocked looks on their faces with several making comments on how they can’t believe I said that. I realized that I had used a word that they would find “rude.” From my experience, “stupid” is certainly not a “cuss word.” Its context is more important than its meaning, which is why I use it. However, for the next ten minutes, I was in a state of trepidation. I am not at all confident in explaining to students why I used this word, because I am not sure if my reasons are valid in the American cultural context. I think that teaching assistants’ training courses should probably consider teaching them which words are not appropriate for the actual classroom because their learning and life experiences are completely derived from textbooks or the Internet, not real life in the United States.
In addition to language, teaching assistants face various challenges in their work. For example, ITAs need to face additional challenges stemming (primarily) from their “foreignness” and a lack of sociocultural competence. ITAs may be exceptionally brilliant students in their fields of study. However, the lack of competence in U.S. classroom culture creates an additional layer of challenges compared to the experiences of domestic teaching assistants. Due to the different growth environments, the differences between international and native English speaker teaching assistants far exceed the language differences. The root of the difference lies in the lack of artistic ability in the “new” culture. Different practices in teaching, planning, and curriculum implementation, these aspects (and many more) together make up music teaching and vary between cultures. In my first year as a teaching assistant, the gap caused by my cultural background became my biggest challenge after the language barrier.
When all students are laughing, I sometimes get confused about what people are laughing about. No teacher wants to admit that
their class is boring and laughing with students over the same point is part of building a healthy teacher-student relationship. This challenge is the toughest because no one can help the teacher and there is no immediate change I can make in the short term, so I always need to overcome some psychological barrier in those moments. After my first semester, I tried to be as sincere as possible in this environment. I tell my students because I grew up in China, I’m slow to understand your jokes, so in this class, we’re learning from each other because I need to learn what I need from you. Such sincerity works from a psychological point of view. Even when I see students laughing once, I no longer feel as uncomfortable for not understanding them as I did before.
I saw this comment in the evaluation system of a course I taught in my first semester– “this class was not graded fairly.” This comment put me in the shoes of a new teacher again and overturned my previous notions of fairness. Due to the differentiation of social resources, in China’s cultural atmosphere, students are graded strictly according to their performance. With such a concept, I always grade each homework according to the quality. Students will get high marks if they play correctly and lose some marks if they play incorrectly. This is my ideal fairness. It wasn’t until after summer break that I spoke to the other teachers in the course that I learned that she had given all her students an “A.” My colleague told me that as a music course that teaches basic skills if students can complete the task regularly and quantitatively and get a good score, they will be more willing to take the initiative to play music in the future. This is another idea of fairness I get–if a student does the best he can, he deserves full marks.
The k-12 basic education I received came from a society with scarce educational resources and intense competition for admission which leads to the result that all classroom forms focus on pursuing “high efficiency.” After more than ten years of cultural enlightenment, I designed the classroom to focus on lectures, supplemented by other activities after I entered the role of teacher. At the same time, the teacher’s role in the Chinese cultural system is like authority because of the Confucian culture, and few teachers seek immediate feedback in the classroom to make changes. If you had never had the section– “classroom feedback” in more than ten years of learning, you would know how hard to imagine the impact of this action on teaching. The inappropriate setup of the class and the neglect of the opportunity to give feedback to students have had a negative impact on my teaching. The reason I felt powerless about the cultural barriers was that they were my own problems. None of my mentors or colleagues knew about them, and there was no training course to remind international teaching assistants of what might happen when they start teaching work. For me, I had to hit a wall and looked back at why I had gone off course.
Based on my experience, I would like to offer some advice to international teaching assistants who are struggling with teaching music in America. These lessons come from reflecting on some of my failures and some self-summary of success over the past two years.
Avoid any words or teaching methods that might
• offend your students. In that case, international teaching assistants who are just beginning to adjust to American society should check with colleagues to make sure the style of comments and teaching language is polite and acceptable. You can simply ask passing colleagues to read some of the comments you’ve prepared for your students and ask them if the wording is appropriate.
Look for opportunities to observe other music • teachers’ teaching, especially what the teachers do to put students at ease. Experienced teachers use many musical games to enliven their classes, and it is not easy to access these helpful measures just by watching YouTube videos. The most helpful method for international teaching assistants is very traditional - observe other teachers’ classes and take notes on what you think you can do.
Make sure your students are on the right track when • teaching. In classrooms led by ITAs, students are also more likely to give up active communication with their teachers due to perceived cultural differences. The effort of the ITAs should not just be seeking feedback in the class and you need to ask students in after-class emails about specific points where they still feel they need help. It is also very effective to set up an online survey and mention that all responses will be anonymous if you want more honest feedback to adjust your lesson plan.
Prepare an honest introduction for your opening • statement, even if your students are young children. The style of singing, the way of eye contact, body language and other aspects of international music teachers are slightly different from native music teachers. A confident and sincere self-introduction from you can make students realize the reasons for these differences in your class and bring more understanding to the subsequent communication in the future.
Remember to conduct your teaching as a “teaching • assistant” and not as an “international teaching assistant” to avoid showing cultural influences on the teaching process. Otherwise, you will get the students’ pity instead of their recognition of your ability, which will interfere with good communication in the class. A simple example is that some international teaching assistants choose to tell students they prefer to communicate via email rather than face-to-face instruction because they are international teaching assistants. Such behavior will not help students to understand your identity, but easy to lose students’
recognition of the course. So, please do your best to meet the expectations that the course should have and make the cultural background a plus of your classroom, not a minus.
When you need to teach music theory, do a Google • search, or talk to colleagues to make sure that your teaching methods and terminology are those used in the American music education system. The knowledge you have learned is not wrong but following the American music education system will enable students to continue to study higher-level courses in the future without any obstacles. For example, the solfege pronunciation of pitch “B” is “xi” in China and different from “si” in America, if you are teaching American students who have never studied music before, using “xi” to sing pitch B will cause confusion for their future solfeggio course.
Never be afraid to be yourself in your work. In my first • semester of teaching, I am always worried that I cannot say as many jokes as my colleagues and make undergraduate classes so enjoyable. I resisted showing leadership in group activities because I thought all my colleagues are more capable than I am, so I always try to be quiet in conversations and meetings. When a colleague realized my timidity, she said something profound to me that I would love to share with all the ITAs who still feel insecure. She said that you do not have to look like a native speaker, you need to be yourself, and your students would like your class because they like you, not because you look like a native speaker. This has gradually become the philosophy that guides my life and work - that international teaching assistants should grow not to imitate American teachers, but to become closer to their better selves. Language can limit what we can say, but it should not limit what we can think.
Teaching undergraduates made me realize that American higher education values the growth of young people as a gradual process, whereas Chinese college education focuses mainly on final exam performance. Therefore, studying all night in the last week is a common situation in Chinese college education, but in the American curriculum, grades are divided into tasks for each stage. The change brought to me by such a work arrangement is that I began to think about what kind of growth the completion of a course means for students in the American college education. I began to tolerate some unannounced absences and to care about the real progress of my students. I started to show a new attitude: You should know this is not right but now we look to the future; We still have a chance to do something to save your final score. I found that this concession brought back some American students who had tried to drop out of the class, and I began to be willing to look beyond the instructor’s horizons to use the educator’s horizon to think about the future implications of the course for them.
This year’s adventure story is a significant lesson in my life. What I learned from this lesson is that if you want to change the situation, you must be the master of your life and save yourself. We always want to ask, “who can save me?” when we are in trouble. The truth is that there are many people who can help you when you are in trouble, but the only person who can save your life is yourself. How? Start by doing every little thing well and start by taking charge of your own life and taking responsibility for your work.
Siyu Tian is a Ph.D. student in music education at the University of Alabama with a passion for teaching. Originally from China, Siyu has a background as a piano teacher and has recently moved to the United States to further her studies. Siyu's love for music education is matched by her enthusiasm for communicating with young people and exploring new teaching methodologies. Through her research, Siyu seeks to further the philosophy of effective teaching and inspire future music educators to make a positive impact in the classroom. When she's not working on her research, Siyu enjoys playing the piano, reading, and exploring new places.
Sing Your Way Home (SATB voices, a cappella; also available for TTBB voices)
by Joseph MartinWords: Anonymous
Quoting “Goin’ Home” by Antonin
Dvořák
Hal Leonard – Milwin Music Corp., copyright 2011
00280274 / $2.60
Duration: Approximately 2:50
Joseph Martin’s beautiful voicing of this anonymous poem is easily accessible to most mixed choirs. While the notes and rhythms are easy to read, there is a musical sensitivity required of the ensemble to convey the nuances and expressive elements of the song. The soprano and alto ranges are set in the middle area of the voice, although many sopranos would consider it low for their voices. Because the tenor and bass parts occur in the mid-to-upper area of their range, their voices will provide the necessary intensity when needed at the song’s climax. There is some divisi in the treble voices which enhances the harmonic colors that Martin creates. This lovely setting can be learned in one or two rehearsals, depending upon the skill set and vocal independence of the singers.
A Red, Red Rose (SATB voices and piano with optional Piano Trax; also available for SAB and SSA)
by Greg Gilpin
Words: Robert Burns (1759-1796)
Alfred Music, copyright 2021
48919 / $2.05
Duration: Approximately 2:55
Greg Gilpin provides a delicate piano accompaniment to a tenderly voiced setting of Robert Burns’ iconic poem. He allows the melody to travel between tenor-bass voices and soprano-alto voices at appropriate moments in the text. The short piano interludes serve to separate the sections of the poem into reflective moments for the listener. Gilpin’s voicings are in comfortable ranges for each voice part. He ends the composition in an unresolved cadence as has be-
by Dr. William Powellcome the practice of modern popular music over the past two decades. In this composition, one might get the sense that the composer wants to convey to the listener that love continues without a sense of finality.
Rejoice in the Lord (four-part mixed chorus and organ)
Thomas Weelkes (1576-1623)
Reconstructed by David Cynan Jones
Choral Public Domain Library (cpdl.org)
Location: https://www.cpdl.org/ wiki/i ndex.php/
Rejoice_in_the_Lord_ (Thomas_Weelkes)
Duration: Approximately 1:00
The gift of the Choral Public Domain Library is truly the gift that keeps on giving. One can spend an entire choral career ascertaining music from this marvelous resource and never find the ends of its treasures. This skillfully composed anthem by Thomas Weelkes’ is no exception. Written in the seventeenth century, and taken from Psalm 33, it is musically and textually relevant today. It is, perhaps, most usefully sung by a church choir, although it is also quite suitable for academic choirs. David Cynan Jones’ reconstruction of Weelkes’ anthem makes the composition workable to be sung without the organ. The first section is in homophonic texture, and the second section is written in polyphonic texture.
William Powell Director of Choral Activities Auburn University
With the end of the school year approaching, I have begun to look toward the next. For this edition, I thought I would share a few pieces I am considering programming next year. I hope you enjoy them as much as I have!
Origin (2022) is a grade 4 piece by Cait Nishimura (www.caitnishimura.com). Nishimura is a Japanese Canadian composer known for writing nature-inspired, programmatic music. She is also the co-host of the Band Room Podcast (www.bandroompod.com).
From the composer: Origin was commissioned by Dr. Jeff Reynolds for the University of Toronto Wind Ensemble. As an alumna of the school and a former student of Dr. Reynolds, it was an honor to compose this short fanfare to open the 2022-23 concert season at U of T. Origin is an uplifting, empowering piece that evokes the feeling of returning home to a significant place in one’s journey, reflecting on all that has changed and all that has remained. I have come to cherish the magical full-circle experiences that occur when my music is performed in spaces that were meaningful or inspiring to me as a young musician. This piece is an ode to all the people and places that leave a lasting impact on the lives of others.
by Dr. Jeremy StovallOrigin is a fanfare that contains shifting meters with some use of 7/8 time. The key signature is in C Major throughout with no use of accidentals. Instrumental ranges are very comfortable for all instruments and can be performed with as few as 5 percussionists. After a four-measure introduction, the first theme is stated twice, containing some use of syncopation; however, a constant steady pulse in the percussion parts during the majority of the work helps create stability for the ensemble. After a brief lyrical interlude, a development section follows, containing a lyrical melody over a rhythmic motor element. This two-minute work concludes with a recap of the opening theme but altered slightly. Origin would be an energetic start to a program as a concert opener.
A recording and score of Origin can be found at www.caitnishimura.com/pages/origin.
Reformation (2021) is a grade 4 work jointly composed by Tyler Austin and Danielle Fisher. Dr. Tyler Austin serves as Director of Bands and Assistant Professor of Music at Old Dominion University. Danielle Fisher (www.daniellefisher.net) is an educator, composer, and performer living in Dallas, TX where she is the Director of Bands at J.L. Long Middle School.
Reformation was written for Dr. Tyler Austin & the Oklahoma State University Concert Band and is dedicated to Kim Austin. From the composers: The piece takes its source
material from the Lutheran anthem “Ein feste Burg ist unser Gott”, which translates as “A Mighty Fortress Is Our God”. This chorale was superimposed with original material from one of Danielle’s earliest melodies for winds. The piece’s title has a double meaning: First, the piece draws its inspiration from Martin Luther’s chorale which served as an emboldening piece of music that lead a theological revolution, and second, both the chorale and accompanying melody are “re-formed” through dual sets of variations.
A setting of Martin Luther’s chorale begins the piece. Fisher’s melody is then stated in its original form and is later developed in variations throughout the piece. A second variation of the chorale by Johann Sebastian Bach follows before arriving triumphantly with Martin Luther’s original chorale. The piece concludes with a solemn coda for flute and saxophone quartet. This version of the chorale is a variation set by Luther’s friend Johann Walther. Austin and Fisher selected this setting of the chorale as a reflection of their own friendship.
This piece can be performed with as few as 4 percussionists. One interesting part of percussion writing is found in the triangle part. The instructions indicate using at least 12 different triangles of various sizes and multiple beaters to obtain a twinkling effect.
Some wind parts also contain an element of aleatoric music in which certain elements are left for the performers to realize. Special instructions for wind players direct them to play small groupings of notes, or cells, in any rhythm. The notes of each cell must be played in order, but the player may repeat the cells at their discretion. These moments are short-lived, but this freedom of expression could be intriguing to the ensemble members. Reformation would be a great addition to a spring concert program.
A recording of Reformation can be found at www.daniellefisher.net/compositions/reformation-windensemble-grade-4. The score can be found at www.issuu.com/ danielle.fisher /docs/reformation-score.
Celestial Song (2014) is a grade 3 piece by Robert Spittal (www.robertspittal.com). Spittal is Professor of Music at Gonzaga University where he leads the Creative Music Lab Ensemble and teaches conducting and music theory.
Celestial Song was composed for the Gonzaga University Wind Symphony. Program note from the publisher: Composer Robert Spittal was moved to complete this work in response to the Newtown, Conn., tragedy in 2012, and serves as a reflection of our complicated feelings of grief and loss. The music is simple and direct and meant as a hopeful work for young players. Moved by a metaphor describing the victims as
“twenty-six new diamonds in the sky” the title is a reference to the stars which we look upward to for inspiration, for hope, and to dream of better things to come.
This work is included in the Windependence Series by Boosey and Hawkes at the Apprentice Level. It contains a beautiful, expressive melodic line of a single eight-measure theme. There is some shifting between 4/4/ and 3/4 time, and a key signature of Eb Major, later modulating to F Major. Rhythms are relatively simple, with the most complex rhythm being the dotted eighth/sixteenth, and occasional use of syncopation. Contrasting articulations (regular, tenuto, slurred) are utilized in this work. Spittal’s orchestration separates the band into woodwind and brass choirs in several moments. This stunningly beautiful work would be a wonderful addition to any concert program.
A recording and score of Celestial Song can be found at www.youtube.com/watch?v=Lbfce31yGTo
Best of luck to everyone as we all finish out the school year. I hope you all have a safe and restful summer. Please reach out if I can ever be of assistance!
Dr. Jeremy Stovall Assistant Director of Bands Associate Professor Jacksonville State University jstovall@jsu.edu
Before we begin, we must acknowledge that “The Culture” was created and cultivated by necessity. Being ostracized and treated as if one is less than others creates a moment where one has to create their own. Believe me when I say that I am here for all of it. However, some problems need to be acknowledged and addressed regarding the future of Music Education for black students. The first way to deal with the issues is to talk about them.
The Problems: Band heads are becoming Music Educators due to the teacher shortage. Black schools are hiring these band heads who often lack teacher certification and the skills necessary to provide black students with a fair, equitable Music Education. Black students are, in turn, not exposed to basic building blocks of musicianship, such as auditioning, learning to be an independent musician, and learning the fundamentals of their instrument. These deficiencies make the black student unequipped to navigate the professional music world.
At Historically Black Colleges and Universities, the music department is often dominated by the marching band. They are the face of the school and represent an entirely different entity than the School of Music. There is usually a color line among the schools of music faculty, with most of the professors being white and the band director being black. The students will then gravitate more to the program and the professor that looks like them. HBCU band programs also
bring most students to the music department. Through rigorous recruiting for the marching band programs, many students land in college because of their band scholarship obtained through auditioning to be a member of the marching band vs. the School of Music. This creates a disparity of whether the student has the skills necessary to matriculate successfully through the music department.
Bandhead is a person that is a devoted follower of all things band-related. They will make provisions to be anywhere that a marching band is located. They peruse the internet for clips of marching bands, and they enjoy bantering with others regarding the marching bands. A bandhead is not necessarily a musician, as they are anyone with an appreciation for bands. A musician can play or sing an instrument well enough to make a living. They study their instrument, practice playing all genres of music, and build a repertoire of music from most genres. Musicians enjoy making music, period, whether by themselves or with others. Musicians can be hobbyists or professionals.
A Bandhead is an individual that is a hobbyist in the Marching Band culture. This individual will travel to different states to attend Football games only to record the Band. They are marching band enthusiasts. Obsessed with the cul-
ture, this person will be so enthusiastic that they want to teach Band in schools, not Music but Band. The teacher shortage has opened doors for these types to work in schools and be hired as band directors. This is not only at the K-12 level but also at the collegiate level. Bandheads believe that they can teach music because they can arrange music, which is a skill that is self-taught due to their love for the craft of Marching band. For the typical Bandhead Band Director, the main focus of obtaining a job as a band director is to write music and teach students to play their music. The strategies in use to teach music are acceptable. Teaching by rote is an option throughout all the years this individual is in front of students. This means many black and brown children with this individual as their teacher will never actually learn to read music. The goal of this type of director is to hear their arrangements played as loud as possible by the students. This helps them to obtain clout among other Bandheads. Relevancy. This individual seeks to be placed on a pedestal by other Bandheads. It is also sparked by social media adulation. The Bandhead community is strong amongst HBCU bandsmen past, present, and future.
Over the years, the community has evolved from popular discussion boards such as “The Fifth Quarter” to “Showtime Magazine” and several others. When social media became popular, the discussion boards moved to outlets such as Facebook and Instagram. The discussion groups are a way for those who
have participated in HBCU marching bands to bond socially and have fun rivalries amongst each other. The rivalry among the football teams filters over into the Band, which can be even more intense. It creates a sense of community for an often marginalized group. The purpose of the society has made lifelong friendships and bonds for many of its members.
These communities have great qualities, but they have a downside as well. Many young, impressionable, and upcoming young musicians follow these communities heavily. The young musicians will smother themselves in the culture and become entrenched in all the glory. Life becomes the marching band, the HBCU rivalry, and the next band battle. Many are taken in as early as middle school into this culture. Their musicianship is defined by their ability to emulate HBCU marching bands, from how the bandsmen stand, hold their instruments, phrase passages, and how the groups move while they play. This young mind has one goal: to become an HBCU bandsman. The goal of being a musician has gone out the window for this student; it is about being a bandsman.
This student will have to audition to get a scholarship to their favorite HBCU band. Still, these auditions have become more accessible and easier through the years. Some HBCU bands advertise that they will give scholarship dollars to a student without an audition. Some advertise “No Scales” needed! The band programs are desperate for members to have a certain number on the field to be respected on these forums full of past bandsmen. There was a post on social media from a director with a picture of a collegiate HBCU Band Director and the caption, “Full Scholarship for these students after only playing for 2 months!” As a 1st generation college student, I was happy for those young men. Still, I was concerned with their future navigating a college music department and the professors that spent years and years obtaining the education to teach higher level students and build a
reputable studio of musicians to have these beginners dropped into their Applied course the following year, whether they signed on to take on this student or not.
No HBCU band staff wants to be the subject of critique regarding numbers. Many HBCU band directors and staff members follow these discussions and some comment. Many started as followers of these boards when they were young bandsmen, and now they carry their own HBCU band program. The pride is excellent and thick between these programs. A music educator believes in a fair and equitable music education for all students. The music educator can teach all aspects of music to students without bias to their preference. This person wants their students to know all there is to know. The educator sets a standard for what their students should know based on the National & State standards and objectives, not their preferences. A Music Educator ponders the question, “What should the student know?” The Music Educator is all about exposure for their students. They want their students to be able to sit in any room and play whatever is placed in front of them with the best of them.
The difference between the bandhead and the music educator is the focus on the development of the individual, independent musician. The bandhead is developing a number for a marching band. The music educator is producing an overall musician. The issue is that bandheads are landing in our schools as band directors and becoming responsible for most music education for black and brown students. There are also demographic changes occurring in school leadership in specific communities. Many building leaders are graduates of HBCUs searching for a director of the demographic to serve the population. The administrator is hiring Bandheads to help students without entirely being aware of their incompetence, especially in districts that need a viable Instrumental Music coordinator to assist the building leaders with
the hiring.
The Band Director’s job is reasonably autonomous in most school buildings (except duty posts), as many building leaders focus on pulling up or maintaining passing scores on tested subjects. As long as the Band Director performs at the football games, the building leader needs to be more knowledgeable about anything else happening in the bandroom. This is also why many Middle School directors can only fly under the radar if held accountable. They are simply in some buildings to provide planning time for teachers. The building leadership is not concerned with whether student learning is happening in the classroom. This often lends itself to High School directors having to start beginners in 9th grade, even with a valid middle school feeder right down the street. There has to be accountability for the programs in place for particular directors to do their jobs.
In the same way, responsibility is in place for tested subjects. There are accountability measures for Music Educators, such as concert festivals. Still, in certain states and districts, attendance continues to wane as directors are not mandated to go. School leaders who are in place need to be trained or briefed on these assessments or their purpose. The districts need a coordinator for Instrumental programs to guide the administrators. This creates a hole in the evaluation of the Band program. This leaves space for the National and State standards to not be followed in the classroom, leading to individuals teaching their hobby instead of the subject matter.
A Music Education degree takes work to obtain. It requires focus, time management skills, patience, and tenacity. It is close to a double degree because of the fulfillment of the requirements for both the Music department and the Education department. The credit hours alone required will scare one off. Many black students that attend HBCUs are
first-generation college students. They are brought into the college due to their scholarship for the marching band. The marching band has a tedious rehearsal schedule and game schedule where the Band often travels out of state every weekend. Being in the marching band for an HBCU is a full-time job plus overtime. Since most students are brought into the music department by the marching band, the Music Department faculty often has to compete for time with the student.
The student will put the marching band before their studies. Their classes become secondary to the requirements of the band program. Many faculty at HBCUs have to learn to work around the marching band schedule. The student is tired and often with their mind buried in what they have to do for the Band that day more than preparing for their recital or class. The students who continue with the Music Education degree are few and far between at HBCUs. Many will declare Music Education as their major when they enter as freshmen and not make it past sophomore year. Many will change their major later in their matriculation due to their inability to progress. It could be the applied lesson courses, music theory courses, or their recitals… many of these students were not prepared for the professors’ expectations of them musically entering college or university. The audition they prepared for the marching band to obtain a scholarship is different from the same level of playing ability one needs to prepare literature for a recital.
There needs to be more discussion regarding the fact that in middle and high school, students taught by Bandheads need to be adequately prepared by their directors to progress and be able to play standard wind literature. The students should have done it earlier. If these students graduate, they will often have to graduate with a degree other than Music Education. However, they intend to still be a band director. Some HBCUs pass out Music Performance degrees like candy. Some students will go through
the Education department, and some will obtain a Liberal Studies degree or General Studies degree. During the teacher shortage, these individuals will be hired in many school districts due to relaxed certification requirements. Some more than others. Some states have flexible certification requirements regardless of the teacher shortage, especially regarding non-tested subjects such as music.
In conclusion, all accounts mentioned in this article are from personal observation and word of mouth. I remember being a 7th grader and deciding to join the Band at Ribault Middle School in Jacksonville, Florida. My band director was Mr. Daniel Johnson graduate of Florida A&M University. Florida A&M is one of the better schools for students seeking a Music Education degree. Black Excellence is celebrated, and the students are prepared to go out and teach their eventual students to be musicians, not Bandheads. I thank God I started there with him. The foundation was set from Day one. Learn to play. Learn these notes. “Easy Steps to Band” must be on the stand. Playing tests. Chair placements. “Treasury of Scales .”I was ready when 9th grade rolled around. I was entering the big blue doors at Ribault High School with another Florida A&M legend as director, Mr. Clifford Buggs. The first music he passed out was not his arrangements or Top 40 tunes. It was a book of marches. “In Storm & Sunshine, Golden Bear, Purple Carnival, Them Basses….” the list goes on.
I remember sitting on the porch at my grandma’s house in Sherwood Forest on the north side of Jacksonville, learning my third-octave fingerings on the Flute to play “In Storm & Sunshine” the summer of my 8th year going into 9th grade.
By the time band camp started, I knew that book of marches and those fingerings from memory.
The summer was going into my 10thgrade year we moved to the Atlanta, Georgia, area. Clayton County, to be
exact. This was in 1996. We moved to a small town called Forest Park, Georgia. I was zoned for Forest Park High School. I remember the first thing I did when we got settled in our apartment was grabbed the yellow pages and call the Forest Park High Band room. A friendly white man answered the phone and said he was Michael Eddy, the band director. I was thinking to myself… A white man? I was praying it wouldn’t be one of those bands we played at Ribault with those kids rolling their feet and doing weird shows. Band camp rolled around, and yes, it was one of THOSE bands *sigh*. My first inclination was to quit. Then a girl in the Flute section with me said that if you didn’t march, you couldn’t be in the top symphonic Band at FP. I knew I was good and deserved a spot in the full Band at FP from my foundation with Johnson & Buggs. I didn’t care if the entire Flute section was white girls who took private lessons (what’s that? I’ve Never heard of it in Jacksonville). I knew I would work up to their level if they were better than me. Two of them were good, but I was not that far off. I was more proficient in my third octave because I knew those marches Mr. Buggs made us learn. I could easily hit B flat five lines above the staff. I was so proficient in the third octave that I was placed on Piccolo a few months into the marching season. This set me up to be the only Piccoloist in the FP marching band and our Symphonic Band (not surprisingly, at age 41, I won a spot playing Piccolo in the Montgomery Symphony). I played Piccolo in all the standard wind literature grades IV, V, & VI. You name it, we played it. Mr. Eddy would attend Midwest And state conferences and bring back new music premieres. I remember when he brought back “Of Sailors and Whales,” he was so excited about it (My memory may be slightly off). Of course, we played it with the entire narration and everything. The marching band wasn’t much of a priority at FP. In class, we only worked on literature, and even during marching band season, Mr. Eddy had us participating in every competi-
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tion and doing every concert. We traveled and did concerts profusely. I did not really understand this because although I had a solid foundation, we did not do the competitions at Ribault because of some racial tensions going on at the time with our directors and the association. Although we did not participate, we were still prepared as musicians like we were competing.
12th-grade year at FP, I remember working on “Incantation and Dance,” most likely for our Fall concert or somewhere we were traveling.
We were moving to Bouldercrest, where my zoned school would be in Dekalb County. McNair High School. I did not want to go there because I heard it was rough, but then again, Forest Park was my first time in a white school.
I tried to stay at FP and hated disappointing Mr. Eddy, but getting back and forth was hard for me, so I had to transfer. I walked into the band room at McNair and met Mr. Barrett Alexander for the first time.
An Omega man I saw from his office and a graduate of Alabama A&M University (I had never heard of the school at the time). A young black man that looked very smart to me but appeared to be very stern. He leaned in his office chair and said, “Forest Park!” I said, “Yes sir, Forest Park,” he asked me what instrument I played. I said, “Flute.”
He said, “Flute, eh?, You want to play something for me? “I said sure, he was getting ready to tell me where to get a Flute, and I let him know I had my own. He raised his eyebrows, sat up, and said, “Ok, play a few scales .”I took out my Flute and played all of them. I had just made District 6 Honor Band in my 11thgrade year (but he didn’t know that at this point). He sat up more. He asked me what grade I was in, and I told him I was a senior. He let out a loud groan but still smiled from ear to ear. He then got up and called the Flute section in the office. He asked me to play what I had just
played for them. I was nervous as hell, as well as totally embarrassed. I knew these girls would hate my guts. I played for them and then let him know I play Piccolo too. I also had a Piccolo (The one from Forest Park that we eventually returned). I then played my scales on Piccolo. He got up, ran into the band room, introduced me to everyone as “Forest Park,” and told the entire Flute section to scoot down a chair. They all hated my guts and would not talk to me for weeks. I remember being called a white girl and arguing with a bandmate who swore I was a white girl. No. I. was. Not. Nowhere near. Eventually, we all became best friends and are still friends today. I love those girls.
He then changed the entire LGPE program into pieces that featured Piccolo and Flute. We played a challenging Grade VI program that year, including Holsinger & Bernstein. Thankful for the Music Educators I encountered who changed my life; I would not be who I am today if not for them and their imprint. I challenge all of us who stand in front of our children to give them opportunities. Do not limit them!
I had a conversation with a Bandhead that stood in front of our children at multiple jobs, telling me that our students don’t do MPA. They don’t like those environments and would never do that for me. Imagine that? The ones supposed to protect and tell them the sky is the limit are diminishing them.
Footnotes:
HBCU band culture is a topic that it is tough to find references on as there is not much that exists. It is only as old as the 20th century as a topic. Due to the “newness” of the issue, the literature is still being built. As I read through the search results in the library, I noticed that I knew 95% of the individuals that had contributed as an author in Proquest.
The feeling we get from the HBCU band community is a general love. The community is one of closeness. Over time
these groups have had cruises and annually get together, many connected by different organizations and letters, but all related to their love of the HBCU band.
A large part of the professional music world is auditioning. One has to prove that one can play the music for the ensemble and that one has the skill to convey the music to the listener the way the conductor would like to have it transferred. Some skills should be developed in young musicians to prepare them for auditions.
Diversity and Inclusion efforts run abound. The military bands actively seek high and low for black students to audition, Symphony Orchestras. The George Floyd movement brought on a want and need for inclusion. However, the groups have a hard time finding black musicians to audition. How much of the shortage directly correlates to WHOM is being placed in front of our kids?
Jammie Phillips has worked in Music Education for 15 years. She is currently the Director of Bands at McKee Middle School in Montgomery, Alabama and Piccoloist for the Montgomery Symphony Orchestra. Phillips taught for several years in the Atlanta metro area, where her bands were superior-rated for several years. She is a professional Flutist and Arts advocate. She graduated from Bethune-Cookman University with a B.A. in Music Education and an M.S. & Ed.S in Education & Administrator Leadership from Walden University. Phillips is looking forward to making a difference for band directors who graduated from Historically Black Colleges and Universities that often face different challenges. She is a National Teacher Leader for NAFME for the Connected Arts Network Project and was recently selected as the Montgomery Public Schools District Teacher of the Year.
American Travel Consulting
P.O. Box 750, Albertville, AL 35950
Arts Music Shop, Inc.
3030 East Blvd, Montgomery, AL 36116
Gadsden Music Company
607 Broad Street, Gadsden, AL 35901
J.W. Pepper
191 Sheree Blvd, Exton, Pennsylvania 19341
Marchmaster
P.O. Box 73370, Newnan, GA 30271
Performance Carts
11212 AL Hwy 157, Moulton, AL 35650
Sight Reading Factory
1321 Upland Drive, Suite 12621, Houston, TX 77043
Southern Performances
PO Box 6852, Gulf Shores, AL 36542
Troy University
John M. Long School of Music, Troy, AL 36082
University of Alabama Department of Music Education
Box 870231, Tuscaloosa, AL 35487-0231
University of Alabama School of Music
Box 870366, Tuscaloosa, AL 35487
University of North Alabama
UNA Box 5040, Florence, AL 35632
University of South Alabama
5751 USA Drive South, Mobile, AL 36688
