NBA Journal, Spring 2021

VOLUME LXI, NO. 2 | SPRING 2021

FEATURING Bringing the Twentieth Century to a Close with New Beginnings, pg. 17

OFFICIAL PUBLICATION OF THE NATIONAL BAND ASSOCIATION

Iconic Legacy…Vision for the Future

VOLUME LXI, NO. 2 | SPRING 2021

Executive Committee/Project and Committee Chairs

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Getting the Most out of your Percussion Budget: Stretching your Funds to Maximize Student Success — David Ratliff

President’s Message

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First Vice President’s Message

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Saxophone Fundamentals and Beyond — Dqvid Romnes

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Second Vice President’s Message

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Not This, But That: A Different Perspective — Scott C. Tobias

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Immediate Past President’s Message

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University of Wisconsin–Eau Claire NBA: Committed to Community, Service, and Learning — John R. Stewart

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Mission Statement

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IDEA Committee Announcement

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About the Academy of Wind and Percussion Arts

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Past Presidents

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The Value of Doubling Down on Student Leadership in Collegiate Bands — Wayne Magee

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Board of Directors 2020 - 2022

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NBA Awards & Contests

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NBA 2021 William D. Revelli Composition Contest

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Young Composers Jazz Composition Contest Winners

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Bringing the Twentieth Century to a Close with New Beginnings — David Gregory

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The Importance of Mentor Teachers in the Student Intern Experience — Jessica Banks and Craig Aarhus 48 A Conversation with Christian “Al” Jensen — Musician of the Greatest Generation — Marc Decker

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Young Women Conducting Symposium: A Summative Report to the Theodore Presser Foundation and the National Band Association — Margaret J. Flood

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How to Submit Peer-Reviewed Research Articles to the NBA Journal — Matthew Talbert

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Articles presented in the NBA Journal represent views, opinions, ideas and research by the authors and are selected for their general interest to the NBA members. Authors’ views do not necessarily represent the official position of the National Band Association, nor does their publication constitute an endorsement by the National Band Association.

SPRING 2021

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COMMITTEES & EDUCATIONAL PURPOSE

Educational Purposes OF THE NATIONAL BAND ASSOCIATION

EXECUTIVE COMMITTEE Rebecca Phillips, President Randall Coleman, First Vice-President

To promote the excellence of band performance throughout the world

Matt Temple, Second Vice-President Linda R. Moorhouse, Executive Secretary-Treasurer Scott Tobias, Immediate Past President

PROJECT AND COMMITTEE CHAIRS Alfred Young Band Composition Contest, Audrey Murphy AWAPA Commission, Richard Floyd Citations & Awards, Heath Nails

To encourage the composition and performance of quality band music at all levels

To assist directors at all levels of experience to identify areas of mutual concern

Constitution & By-Laws, Randall Coleman Corporate Relations, Gary Smith Foster Project NBA Representative, Wolson Gustama Hall of Fame Board of Directors, Larry Blocher & Mark Walker Hall of Fame of Distinguished Conductors, Thomas Fraschillo

To promote pride and continued enthusiasm among band directors

Inclusion, Diversity, Equity, & Awareness, Arris Golden & Elizabeth Peterson Merrill Jones Composition Contest, Paul Popiel Music Education, Bruce Moss

To encourage quality students to pursue careers in music

National Programs of Excellence, Myra Rhoden NBA Foundation, Susan Creasap Nominating Committee, Scott Tobias Research, Matthew D. Talbert Selective Music List - Concert, Cody Birdwell Selective Music List - Jazz, Erich Rivero Selective Music List - March, Col. Jason Fettig

To promote a spirit of cooperation and continued dialogue among directors, performers, the music industry, and all other band support organizations at all levels

William D. Revelli Composition Contest, Matthew McCutchen Young Composers Jazz Composition Contest, Erich Rivero Young Composer Mentor Project, Mark Camphouse Young Conductor Mentor Project, Linda R. Moorhouse NBA Journal Editor, Matthew D. Talbert NBA Journal Layout & Design, Nash P. McCutchen 2

NBA JOURNAL

PRESIDENT’S MESSAGE

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reetings, friends and colleagues!

Please allow me this opportunity to express my thanks to you for your incredible accomplishments over the past year. You have found ways to inspire performers in your ensembles while also keeping them safe, whether you work with professional musicians, students, or community members. Your efforts to adapt and instruct more creatively than ever extends above and beyond the norm and you have made a difference, keeping the practice and performance of music alive in your own corner of the world. I appreciate you, and I am continually grateful for your commitment to your bands.

In addition to your current work, an important group of people who truly impact the future of bands are the music education majors at our colleges and universities across the nation.

The National Band Association understands the need to be proactive in offering support, resources, and networking opportunities to these fine students who are developing “toolboxes” for their up-coming careers. Please help the future of bands by reaching out to your colleagues at your local colleges and universities and informing them about opportunities and resources available for student members through the NBA.

Membership for these students is only $5 and students have access to many resources, including the Selective Music Lists, the NBA Journal, the Instrumentalist, and much more via the NBA website.

The NBA would like to stay up to date with your professional accomplishments, resources you have discovered and recommend, or events you are hosting. One way to accomplish this is by sharing your news items to the NBA website. By sharing, you may end up encouraging fellow band directors and offering great ideas to the membership. Please login to the website (see below) to let us know your band news. These items will be collected and posted on the website and the NBA Facebook page (handle on pg. 9).

I hope that each of you take the opportunity to rest and rejuvenate as your time allows. The leadership of the National Band Association is committed to encouraging and representing you, our members and colleagues. I am honored and humbled to serve as your president. Please do not hesitate to contact me if you have any questions or thoughts, as we all work together to continue building the finest band organization in the world!

Rebecca Phillips President National Band Association

SHARE YOUR NEWS 3

REBECCA PHILLIPS

Your efforts to adapt

and instruct more creatively than ever extends above and beyond the norm and you have made a difference, keeping the practice and performance of music alive in your own corner of the world.

NBA JOURNAL

FIRST VICE PRESIDENT’S MESSAGE

RANDALL COLEMAN

2/20/20

These numbers have a new meaning for me. I don’t think we ever imagined that we would still be dealing with the impacts of this horrific disease for as long as we have. I have had countless teachers, mostly younger educators, contact me for advice over the past year.

The frustrations that both young and veteran teachers alike have felt and have had to deal with are many. Most teachers ask me the question “What am I doing wrong?” or “What would you do?”.

I found these two questions the easiest of all to answer. To the first question, my answer would almost always be “nothing”, and to the second, I would have to answer honestly and say “I don’t know”. Band directors are “wired” to look for solutions to each and

every problem we encounter.

We are also “wired” to assume that the problem we’re dealing with is occurring because we did something wrong, or we didn’t do something we could have done. If this year has taught me anything, it’s that we don’t have all the answers. I know that we all have to constantly remind ourselves that the past 14 months have been like no other. We are all adapting, adjusting, and doing the best we can to come out of the pandemic and be able to move forward. The impact that these past months will have on our programs won’t be fully realized for several years. The best we can do is the best we can do. Even though we have all been able to meet with our students differently this year, some completely virtually, some completely face-to-face, and most of us somewhere in between, I know we all miss being able to perform our music for a live audience. That part of our “normal” that will thankfully never change. A very special relationship exists between the conductor, the ensemble, and the audience. A brief moment in time where our stories are told, and lives can be changed. I look forward to the day when that can happen for us all. The last time I was able to do this was February 20, 2020, 2/20/20, etching these numbers forever in my memory.

I know for many of you it has been longer than that. The thing that keeps me going most days is imagining the feeling when we’re able to be together as an ensemble again, working toward a common goal and making music together. Here’s hoping that time is sooner rather than later.

If this year has taught me anything, it’s that we don’t have all the answers.

Despite the challenges that the past year has given us, the National Band Association has made strides in a very positive direction on many fronts.

President Phillips has formed a new standing committee that has the potential to make a significant impact on our organization and our profession. The Inclusion, Diversity, Equity and Awareness (IDEA) Committee is comprised of six incredible educators who have already had very impactful discussions about “ideas” to ensure that our organization becomes the organization that represents and encourages ALL of our members at every opportunity. The Co-Chairs of the IDEA Committee are Arris Golden and Beth Peterson and the committee also includes Josh Johnson, Tremon Kizer, Ingrid Larragoity, and Matt Temple. I encourage you to reach out to any of the members of the committee if you have concerns or “ideas” for the IDEA Committee. Be on the watch for the results of this committee’s vision and work!

The NBA Executive Committee is also moving forward with planning our delayed celebration of the 60th anniversary of our organization. In hopes that our beloved Midwest Clinic will be back in person this December, we will have several opportunities to recognize this milestone during the Midwest Clinic. Our Continued on next page

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NBA JOURNAL

FIRST VICE-PRESIDENT’S MESSAGE

Division Chairs are also working hard to offer assistance to the NBA members in each division throughout this most challenging year. Our mentoring program involves more of our members and is stronger than ever. By the way, if you would like a mentor, you can submit that request on our website! I hope you will take advantage of these incredible opportunities as they come your way.

As we draw closer to the end of this unique school year, I want to encourage you all to take time to stand back and appreciate all that you have done to make it through the unprecedented times of the past year. I want to encourage you all to keep the year and the challenges we have faced in perspective and never forget that we have all been “sailing through uncharted waters” and are hopefully “close to shore” by the time you read this article. I sincerely hope you enjoy a much deserved and restful summer and that the fall brings us back to a more normal time for our programs and our lives. It is my honor to serve our organization.

Please let me know if I can ever be of assistance to you or your program.

Randall Coleman

First Vice-President National Band Association

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SECOND VICE-PRESIDENT’S MESSAGE

I needed to join. It turned out to be great advice. In those early years, I was eager to absorb as much relevant information about band directing as I could. So, between The Instrumentalist, NBA Journal, and NBA Selective Music List, I had a lot to explore and learn from.

MATT TEMPLE

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s the flowers around my house bloomed this spring, I felt a particularly strong sense of renewal. With more schools returning to inperson learning and vaccinations widely available to adults, it’s hard not to get swept up in the positive momentum. I am really looking forward to directing a band again under more normal circumstances.

Despite the highly unusual year that we’ve had, membership in the National Band Association has grown! This is due, in no small part, to the many outstanding state chairs who have been reaching out to directors encouraging them to join. I was recently asked by a new member what membership in the organization means to me. When I started as an undergraduate student at the University of Illinois in 1990, I was more or less told that

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As a veteran director of 25 years now, I continue to highly value my NBA membership, but in new ways. That’s one of the wonderful things about the organization – the benefits of membership will evolve based upon your needs as a director.

College students can join one of the many student groups that exist, and novice teachers can get connected with an experienced NBA mentor. The state chairs are in the process of updating the list of available mentors, so be sure to request one via the NBA website if you are interested.

While there are several national programs and awards available from NBA, I have particularly enjoyed being involved with a few initiatives in my own state. The roots of NBA run deep in Illinois, and we regularly sponsor two events that add significant value to my membership.

Chip DeStefano, NBA Middle School Representative and band director at McCracken Middle School, has been hosting the Fall Band Director Workshop for seven years now. Past presenters have included James Keene, Paula Crider, John Whitwell, Stephen Peterson, Beth Peterson, and Alfred Watkins, amongst many others. The one-day workshop

Despite the highly unusual year that we’ve had, membership in the National Band Association has grown! is scheduled annually on election day, since many area schools are off for the day. It features multiple clinics as well as a featured performance by an outstanding high school or university band.

Another unique NBA event in Illinois has been a conducting clinic for music education majors.

Brian Covey at Lockport High School created and hosted the inaugural event, which is now organized annually by Illinois State Chair, Wayne Gordon. Aspiring educators have the opportunity to rehearse high school students in a supportive environment and receive feedback on their rehearsal techniques and conducting from veteran teachers. Participants also get to speak with high school administrators about the job search process, including tips on how to communicate well, craft an eye-catching resume and cover letter, interview confidently, and successfully land their first position.

If you are interested in having the NBA support your own event, there are project grants available up to $500. Project Grants are awarded annually to NBA members for events such as concert band symposia, conducting clinics, and other events designed to support the professional development of band directors. In tandem with Continued on next page

NBA JOURNAL

SECOND VICE-PRESIDENT’S MESSAGE

project grants, the NBA also offers research grants of up to $500 for any scholarly topic that pertains to bands. Applications for either type of grant are available on the NBA website and are due by October 15 for events that will occur the following year.

A new initiative that has further enhanced my involvement in the NBA is the IDEA committee, which was created a few months ago. I am humbled to be involved in discussions with my colleagues surrounding Inclusion, Diversity, Equity, and Awareness. If you’d like to read more about the IDEA committee, please see page ___ for an introductory message from committee co-chair, Dr. Arris Golden. The IDEA committee is investigating ways to ensure that our national organization is welcoming to all individuals and offers everyone the support that they need to be successful teachers and directors.

In closing, I hope that you find your membership in the National Band Association to be worthwhile and invigorating. We are here to support you in a myriad of ways – just let us know how we can help you!

Matt Temple

Second Vice-President National Band Association

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I M M E D I AT E PA S T P R E S I D E N T ’ S M E S S AG E

working, and teaching in some form or another. And while none of this has been ideal, can you imagine what the past year would have been like without that technology? Can you imagine going through this pandemic say forty years ago with the technology available at that time?

We have certainly been fortunate to have these resources available, but as with anything there are pros and cons.

SCOTT TOBIAS

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reetings, National Band Association. Without question this has been the most unusual and challenging year any of us have faced in our lifetimes.

That being said, I hope you have been able to weather the storm and have been able to find some time for yourselves while working to take care of your students, families, and colleagues.

Recently I heard a colleague ponder, “Can you imagine what the last year with this pandemic would have been like without all of the technology we have at our disposal?” Resources such as streaming television services have kept us entertained and have helped us keep our sanity during periods of quarantine. Social media has helped us keep in touch with friends and family. Software applications like ZOOM and Teams have allowed us to keep meeting,

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Some of these pros and cons are fairly obvious. Streaming services provide hours of entertainment, but at the same time we run the risk of wasting large amounts of time while binging all twelve seasons of a favorite show. Video conferencing allows us to meet, work, and teach from multiple locations, but we lose the inperson human interaction that is so important in life. Other pros and cons may not be as clear. For example, social media affords us the opportunity to see what everyone else is doing, but at the same time social media affords us the opportunity to see what everyone else is doing. No, that is not a typo.

Since the start of the pandemic social media has not only served as a means of keeping in touch with friends and family, it has also become a vehicle through which professional information and resources have been shared.

Directors have been able to view what other directors are doing with their programs.

Various discussion groups have been formed, and numerous online resources created. This increased communication among colleagues combined with

We are not in a “one-size fits all” business. We all work in different environments with different students, varying resources, and unique challenges. easy access to information can certainly be considered positive.

After all, it’s great to share ideas, to see what others are doing that works, and to borrow from each other. This mutual support has helped us all get through a very challenging time.

At the same time, though, we have to be careful not to fall into the trap of comparison. As we see and hear what colleagues are doing across the country, it can be easy to start asking questions of ourselves such as, “If they are doing that, should I be doing that?” or “Is what I am doing as good as what everyone else is doing?”

Allowing thoughts such as these to enter our brains can lead to doubts or frustration, and possibly may make us feel as if we are not doing our jobs well. This is one of the cons of social media, and we have to be aware of it in order to avoid this pitfall.

We are not in a “one-size fits all” business. We all work in different environments with different students, varying resources, and unique challenges. It’s our job Continued on next page

NBA JOURNAL

I M M E D I AT E PA S T P R E S I D E N T ’ S M E S S AG E

to work to the best of our ability with the resources we have so that our students may grow, develop, experience, and enjoy the world of music. Keep this in mind as we continue to benefit from the increased sharing of information through social media. As you discover new ideas and learn what others are doing, be careful to avoid comparing and copying.

Instead, ask yourself, “What is best for my program?” and perhaps, “How can I adapt that to fit my situation and the needs of my students?” Hopefully that will help us to enjoy the pros of seeing what everyone else is doing while avoiding the cons of seeing what everyone else is doing.

I am reminded of a quote I saw recently from an unknown source: “Popcorn is prepared in the same pot, in the same heat, in the same oil, and yet, the kernels do not pop at the same time. Don’t compare yourself to others. Your turn to pop is coming.”

Best wishes for the end of the academic year with hopes for brighter days ahead!

Scott C. Tobias Immediate Past President National Band Association

/NationalBandAssociation SPRING 2021 9

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NBA MISSION S TATEMENT

NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS

by Dr. William Moody | Revised in December 2009 The mission for directors of school bands is understood inherently by those who think of themselves more often as instrumental music teachers rather than simply as band directors. The basic objective of instrumental music education is that students will learn performance skills in order to understand musical language and to experience the joys of recreating music in the expressive medium of their choice. Music education should prepare students also for a fuller understanding and appreciation of the music they will be hearing the rest of their lives regardless of its style or venue.

Efforts to address the National Standards for Music Education in band class by including music theory, music history, improvisation, and composition will help the students be better listeners in adulthood and will make better musicians of those who wish to pursue musical careers or practice music as an avocation in adult life.

The National Band Association would like school administrators, teachers, and parents to recognize that students elect to study instrumental music for a variety of reasons, including: as an outlet for creativity, a source of social interaction with like-minded peers, a possible career choice, gratification that comes from recognition by responsive audiences, discipline through study and practice, and service to school and community. The evaluation of instrumental music programs should be grounded in a review of the educationally and aesthetically justifiable objectives that are explicit in this mission statement.

The long-respected model for learning to play a musical instrument based on the role of artist-teacher with a studio of private students applies as well to school bands. Band class must provide these same foundations: a correct concept of characteristic tone quality, development of technique based on a graded course of study, a formal system for counting rhythms, practice in developing good intonation, and the sure goal of playing expressively.

An instrumental music program should offer a broad range of musical experiences: an extensive solo and chamber music repertory that provides subtle opportunities for nuance and other systems of expression; a school jazz ensemble that stresses rhythmic precision, understanding of harmonic progression, and creative improvisation; a concert band, the core of the program, where our musical heritage is transmitted through inspirational compositions by the most creative composers.

Service activities such as marching band are often important to the school and community, and students who participate gain social, educational, and musical values. Because evaluative competition can raise standards and motivate progress, NBA strongly recommends that all bands participate in festivals or contests sponsored by district and state music education associations, especially when a rating rather than a ranking is the goal. However, the integrity of the instructional program can be threatened by a disproportionate emphasis on competitions and service-related performances. Marching band activities that require extra rehearsals and travel time should be scheduled with concern for the many responsibilities that students have in addition to their musical studies, and must never be the focus of the instrumental music program. Excessive demands on students, parents, and community––financial and otherwise–– bring about consequences harmful to the essence of the instrumental music program.

History demonstrates that those who cultivate a special intelligence in an area of personal interest make great contributions to the way we live. Efforts by legislators or educators to emphasize one area of study alone stifle the pluralism that has been one of this country's strengths. Rather, schools should provide a broad base of knowledge for students and also encourage development of the special abilities of those who demonstrate the capacity to excel.

Instrumental music studies provide a laboratory of artistic and social opportunities for individual development that contributes to the collective good.

The arts provide unique forms of knowledge, present a basic means of communication, and produce lasting works that are the hallmarks of a civilization. President Abraham Lincoln reminded us that education is not for the purpose of learning to earn a living, but for learning what to do with a living after it has been earned. Whether in the arts or other areas of interest, students who are encouraged to develop their talents and interests participate in the continuous regeneration of our democratic ideals.

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NBA JOURNAL

ABOUT AWAPA

NBA’S ACADEMY OF WIND AND PERCUSSION ARTS NBA AT ITS BEST

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he National Band Association was founded on September 11, 1960. This new organization was the dream and brain child of Traugott Rohner, the editor and founder of The Instrumentalist magazine. Rohner set up a meeting with two of the most capable leaders among America’s band directors, Dr. Al G. Wright, who was at that time Director of Bands at Purdue University, and John Paynter, Director of Bands at Northwestern University, and these two very able leaders established a new, inclusive band organization which grew into the largest band organization in the world.

Al Wright was the NBA’s first president, and he soon became aware of a need to establish a special, high level award program to recognize excellence and exceptional service to bands. The result of this was the establishment of The Academy of Wind and Percussion Arts (AWAPA). This award was established for the purpose of recognizing those individuals who have made truly significant and outstanding contributions to furthering the excellence of bands and of band music, and it was not to be limited to band directors, but to anyone who’s contributions were determined to be so outstanding that they deserved and warranted honor and recognition.

The nine-inch silver AWAPA figure is designed to be the “Oscar” of the band world. Elections to the academy are made from time to time by the Board of Directors acting upon nominations from the AWAPA Commission. Presentations of AWAPA awards are made at band performances or meetings of national significance. The new recipients of the award are announced at the annual National Band Association Membership Meeting at the Midwest Clinic in Chicago each December, and the honorees from the previous year are invited to attend that meeting for a formal presentation of the award.

If the recipient is not able to be present at that meeting, the award is presented at another prestigious band event where the recipient is properly honored and recognized. The award consists of a silver statuette, a silver medallion, and an engraved certificate.

The Academy of Wind and Percussion Arts represents the highest honor which the National Band Association can confer on any individual.

The NBA represents the best there is in a great, proud profession. When we honor our very best, we bring honor on our organization and on our profession. A list of the past recipients of the AWAPA Award is literally a “Who’s Who” list of some of the greatest leaders involved in the band movement during the past six decades. The list includes an international cross section of important individuals representing all aspects of the band world, who have rendered remarkable service to bands.

AWAPA RECIPIENTS LISTED BY DATE AND YEAR OF PRESENTATION

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William D. Revelli November 25, 1961

Jan Molenaar July 11, 1974

Vincent Persichetti December 16, 1981

Warren Benson December 14, 1988

Russell Hammond December 14, 1999

James Croft April 16, 2011

Karl L. King November 10, 1962

Frederick Fennell August 3, 1975

Clare Grundman December 15, 1982

John Bourgeois December 14, 1988

William F. Ludwig December 14, 1999

Paula Crider December 15, 2011

Harold D. Bachman January 9, 1965

Harry Mortimer August 3, 1975

Morton Gould December 15, 1982

Donald Hunsberger December 19, 1990

John M. Long December 20, 2001

Mark Kelly December 15, 2011

Glenn Cliffe Bainum February 21, 1965

George S. Howard December 16, 1976

Karel Husa December 15, 1982

Edgar Gangware December 19, 1991

Raoul Camus December 19, 2002

Bobby Adams December 19, 2013

Al G. Wright March 7, 1969

Mark Hindsley March 2, 1978

Harry Begian December 14, 1983

W J Julian December 16, 1992

Paul Bierley June 14, 2003

Richard Floyd December 18, 2014

Harry Guggenheim August 18, 1969

Howard Hanson December 13, 1978

Francis McBeth December 12, 1984

Geoffrey Brand December 20, 1995

William J. Moody December 18, 2003

Edward Lisk December 17, 2015

Paul V. Yoder December 18, 1969

James Neilson December 13, 1978

Normal Dello Joio December 12, 1984

Harvey Phillips December 21, 1995

Earl Dunn December 16, 2004

Linda R. Moorhouse December 15, 2016

Toshio Akiyama December 13, 1970

Vaclav Nelhybel December 13, 1978

J. Clifton Williams December 18, 1984

Richard Strange December 20, 1995

Victor Zajec December 16, 2004

Thomas V. Fraschillo December 21, 2017

Richard Franko Goldman July 23, 1971

Leonard Falcone December 12, 1979

Frank W. Erickson December 17, 1986

L. Howard Nicar, Jr. October 16, 1996

James T. Rohner December 15, 2005

John Whitwell December 20, 2018

John Paynter March 5, 1972

Alfred Reed December 12, 1979

Neil A. Kjos December 17, 1986

Kenneth Bloomquist December 18, 1996

Frank Battisti December 21, 2006

Richard Crain December 19, 2019

Roger A. Nixon July 12, 1972

Arnald Gabriel December 16, 1980

Merle Evans December 20, 1986

H. Robert Reynolds December 18, 1996

David Whitwell December 20, 2007

Loras John Schissel December 15, 2020

Traugott Rohner February 11, 1973

Nilo Hovey December 16, 1980

Hugh E. McMillen December 17, 1986

Elizabeth Ludwig Fennell December 17, 1997

Frank B. Wickes December 18, 2008

Sir Vivian Dunn March 2, 1973

Trevor Ford December 16, 1981

Claude T. Smith December 16, 1987

Arthur Gurwitz December 17, 1997

Ray Cramer December 17, 2009

NBA JOURNAL

NBA PAST PRESIDENTS

PAST PRESIDENTS OF THE NATIONAL BAND ASSOCIATION

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Al G. Wright 1960 - 1962 Honorary Life President

John Paynter 1962 - 1966 Honorary Life President

Edward W. Volz 1966 - 1968

William J. Moody 1968 - 1970

George S. Howard 1970 - 1974

F. Earl Dunn 1974 - 1976

William D. Revelli 1976 - 1978

W J Julian 1978 - 1980

Kenneth Bloomquist 1980 - 1982

James Neilson 1982 - 1984

James K. Copenhaver 1984 - 1986

James Croft 1986 - 1988

Frank B. Wickes 1988 - 1990

Edward S. Lisk 1990 - 1992

Robert E. Foster 1992 - 1994

John R. Bourgeois 1994 - 1996

James Keene 1996 - 1998

Thomas Fraschillo 1998 - 2000

Paula Crider 2000 - 2002

David Gregory 2002- 2004

Linda Moorhouse 2004- 2006

Bobby Adams 2006- 2008

Finley Hamilton 2008- 2009

John Culvahouse 2009- 2012

John M. Long 2010 Honorary President

Roy Holder 2012 - 2014

Richard Good 2014 - 2016

Scott Casagrande 2016 - 2018

Scott Tobias 2018 - 2020

NBA JOURNAL

NBA BOARD OF DIRECTORS 2020—2022

PRESIDENT Rebecca Phillips

Director of Bands Colorado State University Fort Collins, Colorado

FIRST VICEPRESIDENT Randall Coleman

Associate Director of Bands University of Alabama Tuscaloosa, Alabama

SECOND VICEPRESIDENT Matt Temple

Director of Bands New Trier High School Winnetka, Illinois

ELEMENTARY, MIDDLE SCHOOL & JUNIOR HIGH SCHOOL REPRESENTATIVES

KIM BAIN

Director of Bands Pizitz Middle School Vestavia Hills, Alabama

CHIP DE STEFANO

Director of Bands McCracken Middle School Skokie, Illinois

Director of Bands Del Webb Middle School Las Vegas, Nevada

MILITARY/PROF. BANDS LT. COL. DANIEL TOVEN

COMMUNITY BANDS MICHAEL BURCH-PESSES

MUSIC INDUSTRY AT-LARGE REP. STEVE TRULL ALFRED WATKINS DeMoulin Uniforms Greenville, Illinois

Retired Music Educator Atlanta, Georgia

AT-LARGE REP. CRAIG AARHUS

Associate Director of Bands Mississippi State University Starkville, Mississippi

AT-LARGE REPRESENTATIVES

Director of Bands W.H. Oliver Middle School Nashville, Tennessee

SHELBY R. CHIPMAN Director of Bands Florida A&M University Tallahassee, Florida

COL. JASON K. FETTIG

Director United States Marine Band Washington, D.C.

GARY GRIBBLE

Retired Music Educator Marietta, Georgia

ELIZABETH PETERSON

DAVID VANDERWALKER

Associate Director of Bands Executive Director University of Illinois Feierabend Association for Urbana-Champaign, Illinois Music Education Marietta, Georgia

BRIAN COVEY

Director of Bands Biloxi High School Biloxi, Mississippi

Director of Bands Lockport Township High School Lockport, Illinois

KRISTY DELL

CHAD KAMEI

Associate Director of Bands Gaither High School Tampa, Florida

Associate Director School of Music University of Illinois Urbana-Champaign, Illinois

Director of Bands Pacific University Forest Grove, Oregon

SUSAN WATERS

HIGH SCHOOL REPRESENTATIVES

TRAVIS COAKLEY

Director of Bands West Virginia University Morgantown, West Virginia

EXECUTIVE SECRETARY-TREASURER Linda R. Moorhouse

APPOINTED REPRESENTATIVES

Deputy Commander & Associate Bandmaster United States Army Band Washington, D.C.

TRACY LESLIE

IMMEDIATE PAST PRESIDENT Scott Tobias

Director of Bands Pearl City High School Honolulu, Hawaii

DIVISION CHAIRS

EASTERN ANDREW YOZVIAK

SOUTHERN COREY SPURLIN

Director of Bands Associate Director of Bands West Chester University Auburn University West Chester, Pennsylvania Auburn, Alabama

NORTH CENTRAL MARK HEIDEL Director of Bands University of Iowa Iowa City, Iowa

COLLEGE / UNIVERSITY REPRESENTATIVE SOUTHWESTERN DUSTIN SEIFERT ARRIS GOLDEN

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Associate Director of Bands Michigan State University East Lansing, Michigan

Director of Bands Eastern New Mexico University Portales, New Mexico

WESTERN/ NORTHWESTERN DIANE KOUTSULIS Retired Music Educator Las Vegas, Nevada

WESTERN/ NORTHWESTERN JOHN MILLER Retired Music Educator American Fork, Utah

INTERNATIONAL HENK SMIT Education Specialist Dutch National Institute of Cultural Education and Voluntary Arts Groningen, Middelstum The Netherlands, Europe

NBA JOURNAL

NBA NEWS

OF THE FOLLOWING AWARDS C AN BE FOUND ON OUR WEBSITE: NATIONALBANDASSOCIATION.ORG/AWARDS-RECOGNITION

The NBA/William D. Revelli Memorial Band Composition Contest The NBA/Merrill Jones Memorial Band Composition Contest The NBA Young Composers Jazz Composition Contest The NBA/Alfred Music Young Band Composition Contest NBA Hall of Fame of Distinguished Conductors Academy of Wind and Percussion Ar ts (AWAPA) Award Al & Gladys Wright Distinguished Legacy Award Programs of Excellence Blue Ribbon Award

FREE NBA AWARDS FOR OUR MEMBERS TO USE Mentor Award Citation of Excellence Outstanding Jazz Educator Citation of Merit for Marching Excellence 14

Outstanding Musician Award Outstanding Jazz Musician Award Music Camper Award Band Booster Award NBA JOURNAL

NBA NEWS

NATIONAL BAND ASSOCIATION 2021 FORTY-FIFTH ANNUAL

NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST WHO MAY ENTER: REQUIREMENTS:

ENTRY MATERIALS:

This contest is open to anyone regardless of age, color, national origin, or religious belief.

A work for Concert Band/Wind Ensemble. Recommendations as to style, form, length, and instrumentation are outlined in the contest rules.

A pdf of the full score plus a digital audio recording of a live performance or recording session must be sent to the chair. $5000

AWARD

FORMS & MATERIALS

ENTRY DEADLINE:

November 1, 2021

Dr. Matthew McCutchen (e-mail: mccutchen@usf.edu) Attn: NBA Composition Contest School of Music University of South Florida 4202 East Fowler Ave., MUS 101 Tampa, FL 33617

NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST COMMITTEE Matthew McCutchen, University of South Florida, Chair Terry Austin Virginia Commonwealth University

Arris Golden Michigan State University

Jason Nam Indiana University

Marcellus Brown Boise State University (ID)

Jennifer Hamilton] Red Mountain High School (AZ)

Scott Rush Fine Arts Supervisor (SC)

John Burn Homestead High School (CA)

Chadwick Kamei

Shanti Simon University of Oklahoma

Catherine Sinon Bushman St. Cloud State University (MN)

Tremon Kizer University of Central Florida

Colonel Jason Fettig United States Marine Band (DC)

John Thomson Roosevelt University (IL)

Pearl City High School (HI)

SPONSORED BY

Diane Koutsulis Retired (NV) CONTEST RULES & PAST WINNERS:

nationalbandassociation.org/composition-contests 15

NBA JOURNAL

NBA NEWS

2021 NATIONAL BAND ASSOCIATION

Young Composers Jazz Composition Contest WHO MAY ENTER:

REQUIREMENTS:

ENTRY MATERIALS:

ENTRY DEADLINE:

AWARD:

COMMITTEE CHAIR:

Anyone regardless of color, national origin, or religious belief, who was born on or after July 1, 1992 (29 years of age or younger)

A work for jazz band with no restrictions as to style, form, or length.

A pdf of the full score plus a digital audio recording of a live performance or recording session must be sent to the chair.

July 15, 2021

$1,000.00 plus a performance by a premier military jazz ensemble during the Midwest International Band & Orchestra Clinic

Erich S. Rivero | Erichrivero@dadeschools.net | Submission via Dropbox

SPONSORED BY

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BRINGING THE TWENTIETH CENTURY TO A CLOSE WITH NEW BEGINNINGS DAVID GREGORY, PAST PRESIDENT, NATIONAL BAND ASSOCIATION The National Band Association began as an idea of one, shared by a few, and grew to serve many...and it changed the landscape of bands in America.

A

national organization for all bands and band directors, regardless of whether they were working or retired, as well for anyone who might be interested in the promotion of bands and band music, was for many years a vision of Traugott Rohner, founder and publisher of The Instrumentalist magazine.

His idea became a reality in 1960 when he met with Al Wright, Director of Bands at Purdue University, and John Paynter, Director of Bands at Northwestern University, to discuss and outline how such an organization could be established. That meeting was the springboard for our National Band Association which, since its inception, has continually expanded its work and services on behalf of bands in America.

"NBA - The Early Years," part one of a series of three articles for the NBA Journal, was an overview of the first fifteen years of the organization; this second article is an attempt to capsulize the next

17

twenty-five years of NBA service as the twentieth century came to an end.

The final years of the millennium were a time when the NBA lost four of its past presidents, and four future winners of the Revelli Composition Contest were born. James Neilson, William D. Revelli, George S. Howard, and John Paynter died between the years of 1985 and 1996; Brian Balmages, Omar Thomas, Wayne Oquin, and Paul Dooley were born between the years of 1975 and 1984. During these twenty-five years the NBA High School Honors Band, the Honors Jazz Band, and the National Community Band were formed; the NBA Merrill Jones Memorial Composition Contest was established; the NBA National Composition Contest, later named the William D. Revelli Memorial Composition Contest was begun; the NBA exhibited at the Midwest Clinic for the first time; the NBA Hall of Fame of Distinguished Conductors was Continued on next page

Dr. David Gregory, Founder and Conductor Emeritus of the Georgia Wind Symphony, is former Director of Bands/Coordinator of Music Education at Reinhardt University (Ret.) and Conductor Emeritus of Tara Winds Community Band. He has conducted elementary, junior high, high school, community college, university, and professional bands during his career. He is a Past President of the National Band Association and served eight years as Advisor to the Executive Committee of that organization. Maintaining a regular schedule of appearances, Dr. Gregory has received invitations to appear throughout the United States and abroad. He has conducted allstate bands throughout America, and his band activities have taken him across the United States, Canada, Great Britain, and the European continent where he appeared as guest conductor of La Banda dell’Esercito of Rome, Italy (2x), the Associazione Musicale “G. Verdi” Band of Aci S. Antonio, Sicily, the Federazione Bande Siciliane of Santa Maria di Licodia, Sicily, the Lucania Orchestra di Fiati of Matera, Italy, La Banda di Sant’Oreste (Rome), La Banda di Commune Triuggio, and five times with La Banda di Sacrofano in Rome. He is an elected member of the American Bandmasters Association and served as a member of the Board of Directors for that organization. In February of 2020, Gregory was inducted into the National Band Association’s “Hall of Fame of Distinguished Conductors” and was named as a “Midwest Legend” for 2021.

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NBA Historical Article, David Gregory, cont.

YEAR CONVENTION SITE CITY PRESIDENT CONVENTION HOST *1976 Iowa State University 1978 University of Tennessee 1980 University of Tennessee 1982 Kansas City 1984 University of Tennessee 1986 University of Tennessee 1988 University of Tennessee 1990 Northwestern University 1992 Northwestern University 1994 University of Tennessee 1996 Loyola University 1998 Gonzales Convention Center 2000 Gonzales Convention Center established; the first combined NBA/CBDNA convention was held by the Southern Division; thirteen NBA national conventions were held; thousands of students and band organizations were recognized for their excellence; and the NBA entered into and began its work in the digital age.

The accompanying social media resources and communication possibilities of the digital world would change the face and future of the organization. The following is an overview of how the National Band Association closed out its first forty years of service as the millennium came to an end.

National Conventions The NBA held thirteen national conventions from 1976 through 2000. Those events were designed to address the needs of directors and students in every phase of the band world. They were not exclusive within the profession; they were completely inclusive.

They were for all bands and all directors. The following list of years, convention sites, cities in which the events took place, NBA presidents, and convention hosts 18

Ames, IA Knoxville, TN Knoxville, TN Kansas City, KS Knoxville, TN Knoxville, TN Knoxville, TN Evanston, IL Evanston, IL Knoxville, TN New Orleans, LA San Antonio, TX San Antonio, TX

Earl Dunn William Revelli W.J. Julian Ken Bloomquist James Neilson James Copenhaver James Croft Frank Wickes Ed Lisk Robert Foster John Bourgeois James Keene Thomas Fraschillo

represents thousands of hours of work and planning and dedication that culminated in meetings, workshops, concerts, clinics and networking opportunities that continued to change bands in America. Yet more successful launches, year after year... (See article #1, "NBA The Early Years," re: Launch Pad 37, Cape Canaveral, FL reference). The table above show that legacy of leadership and commitment.

(Note: the summer conventions were held in June at the end of the biennium during which a respective president served. In 1998, Jim Keene's convention, the event was moved to the end of July to coincide with the dates of the TBA summer meeting, but Jim finished his presidency on June 30 of that year and Tom Fraschillo had assumed the office of president on July 1 of the year of Jim's convention. This same practice of convention date/ president took place in the three conventions with TBA: 1998, 2000 and 2002.) * It was noted in President

Jimmie Reynolds W.J. Julian W.J. Julian Ken Bloomquist W.J. Julian W.J. Julian W.J. Julian John Paynter John Paynter W.J. Julian Joe Hebert Al Sturchio (TBA) Al Sturchio (TBA)

Revelli's 1976 summer newsletter to the membership that the first convention of the National Band Association was a tremendous success...and ended with a cash surplus of $477.41. **The first combined convention of the NBA and the CBDNA took place in the early 1980s when the Southern Division of both organizations combined resources in hopes of attracting more participants by offering a wider variety of concerts and more diverse clinic and workshop opportunities. The Southern Division still offers this combined convention experience.

NEW BEGINNINGS AT THE END OF THE MILLENNIUM The final quarter of the 20th century was a continuation of the National Band Association's "new beginnings." A number of projects were begun during the first fifteen years of the organization's work, but the next twenty-five were even Continued on next page

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NBA Historical Article, David Gregory, cont. more far-reaching in their impact and implications. These are some of the highlights and more notable programs of the NBA during that time.

I: ENSEMBLES • The NBA High School Honors Band was organized in 1976, and its premier performance was at the National MENC meeting in Atlantic City, NJ that spring. According to President William D. Revelli and Past President Earl Dunn, more than 800 students representing 49 states auditioned for the 110-piece ensemble. The concert was presented before a full house and, in the words of Dr. Revelli, "performed before a standing ovation audience." (It also was noted by President Revelli that the first Honors Band ended with a cash surplus of $140.41) • The Honors Band continued to be part of the NBA convention offerings through the 2000 convention where it was conducted by Colonel Lowell Graham, Commander and Conductor of the United States Air Force Band. By that time, fewer students were able to commit to a late-summer convention performance as more high schools had moved the beginning of the school year to an earlier time and many marching bands were involved with respective school obligations. Consequently, the NBA decided it would be best not to try to compete with public school calendars and marching band schedules in trying to recruit large numbers 19

Tennessee state chair and future NBA President John Culvahouse presenting Dr. Francis McBeth, conductor of the NBA High School Honors Band, with the Citation of Excellence at the 1984 summer convention.

of qualified high school musicians for the summer event. But the NBA once again had provided an incredibly valuable performance and learning opportunity for thousands of high school band students for a quarter of a century.

• The NBA High School Honors Jazz Ensemble was organized at the 1980 convention with the first performance noted at the 1982 meeting in Kansas City.

Once again, that ensemble was an integral part of the student component of the NBA summer conventions and performed for those events for twenty years with Jim Culbertson directing the final performance at the 2000 summer meeting. (Anecdotal history as provided by Larry Green, Director of Jazz Studies at Valley High School, West Des Moines, IA, and NBA Jazz Chair for a number of years, noted a significant change of emphasis in the jazz area of the NBA. He recounts that "somewhere toward the late 1980s" he had a discussion with PresidentElect Frank Wickes regarding

the lack of outstanding jazz musicians from which the Honors Jazz Ensemble was chosen, especially when compared to the enormous talent pool of the High School Honors Band. Quite simply, according to Larry, there just weren't very many strong jazz programs in the high schools of NBA members at that time.

He explained to Frank that, if the jazz component of the summer conventions were to be as strong as the concert part and continue as a viable part of the NBA meetings, students would need to be recruited from schools that had strong jazz programs, regardless of whether the respective directors were members of the NBA. Frank saw this idea as a way of having the NBA continue with its stated purpose of serving all bands, not just those directed by NBA members, thereby providing the organization with yet another means of reaching out to and serving bands across the country...of "promoting the musical and educational significance of bands." Frank agreed with Larry, and,

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NBA Historical Article, David Gregory, cont. supporting and combining resources with the ACB was an ideal way of helping the adult band movement continue as a positive factor in our profession.)

The NBA National Community Band, directed by James Saied (as John Philip Sousa) at the 1986 summer convention in Knoxville, TN.

subsequently, Larry recruited a number of outstanding jazz musicians from schools he knew had strong programs.

The result was jazz ensembles for the summer conventions that were exceptional in every way. In fact, the bands became so strong and such an attraction at the meetings that on a number of occasions during rehearsal breaks for the concert band, many if not most of those musicians would come into the jazz rehearsal simply to watch, listen and enjoy yet another form of musical excellence.)

• The NBA Community Band presented its first performance at the 1986 convention in Knoxville. The concert was entitled "Stars and Stripes and Sousa" and was conducted by James Saied (as Mr. Sousa).

This event was very popular with participants for many years, primarily because adults did not have as many summer performance opportunities as did high school and college musicians. Mr. Saied/Sousa was asked to return a number 20

of times in his role, and over the years the NBA Community Band performed under the baton of many other nationally and internationally known conductors as well. The early years of the 21st century brought about a gradual "combining of forces" with the well-established Association of Concert Bands (ACB) as that organization's annual convention was focused primarily on adult bands and their activities, whereas the NBA Community Band had functioned as an ancillary component of a much larger summer meeting. The final official meeting of the NBA band was held at Stetson University in 2008 with NBA Past President Frank Wickes serving as conductor. (Once again, one of the functions of the NBA during its history has been to help launch new programs and to address identified needs in the profession and then to help those programs find ways to continue or move in other directions that best serve those programs. Focusing on

• The NBA Intercollegiate Honors Band was an attempt to reach out to and include college and university band students as part of the summer conventions. It was proposed as a "reading band for newly published band music" but gave all participants full convention privileges. This effort to include collegiate musicians was a one-time event due to the fact that university students simply did not have nor could they commit the time to such an obligation. It was determined that college band students spent their summers working to earn money to return to school in the fall and were not able or willing to take a week away from their wage-earning summer work. Finding other means of encouraging college band students to become involved in the NBA would be an ongoing project for the next fifteen years until NBA student chapters were organized in the early 2000s. But more on that topic in the next article...

II: PROJECTS AND INITIATIVES • The Earl Dunn Student Leadership Workshops began at the 1994 NBA summer convention in Knoxville. Tim Lautzenheiser, Vice President of Education for Conn-Selmer Continued on next page

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NBA Historical Article, David Gregory, cont. and founder of Attitude Concepts for Today, was a student of F. Earl Dunn, one of the founders of the National Band Association. When the student leadership event became part of the conference docket, it was decided to recognize Mr. Dunn’s contribution to the NBA by adding his name to the event.

• As with so many mentors, their leadership style is emulated by their students and is carried with them throughout their respective educational journeys. Music students, in particular, become a reflection of their primary influencers. Tim believed creating the Earl Dunn Student Leadership Workshops would be an ideal way for students to learn some of the essential leadership traits shared throughout Mr. Dunn’s tenure while honoring a person who played such a significant role in the development of many band directors who attended Ball State University. It also would be a wonderful way to bring recognition to a person who had been so significant in helping Tim to discover his true talents of serving others through his unique personal leadership and motivational style. The NBA summer conventions were the ideal setting for this innovative and highly successful workshop.

(The NBA was extremely fortunate to have had the support and involvement of many of the most capable and influential personalities of our profession during this era. Tim Lautzenhiser, certainly one of

Dr. Al Wright - NBA Hall of Fame Induction 1986 - with Gladys Wright and Dr. Johnny Long

those, brought to and shared enormous resources with the National Band Association throughout those years.)

• The NBA Hall of Fame of Distinguished Conductors was created at the request of President William D. Revelli who, in 1978, asked Dr. Al Wright to find a suitable location for the Hall. Dr. Wright contacted Dr. John Long, Director of Bands at Troy University who presented the request to Dr. Ralph Adams, President of Troy. Dr. Adams' response was, "We would be pleased and highly honored to house the National Band Association Hall of Fame."

• The Hall of Fame of Distinguished Conductors was established in 1979 and opened in 1980 in Smith Hall (which later became the HawkinsAdams-Long Hall of Honor) on the campus of Troy with the

induction of seventeen charter members. Over the next 40 years, there would be only 43 additional people named to receive this singular and unique honor. Information on the Hall of Fame can be found on the NBA website under the "About" item in the top menu and then "Hall of Fame" in the drop-down menu. Listed below are the seventeen original honorees inducted on February 2, 1980:

Harold B. Bachman

Glenn Cliffe Bainum

Charles Brendler Howard C. Bronson

Herbert L. Clarke

Patrick Conway

Henry Fillmore

Patrick Gilmore

Edwin Franko Goldman

Albert Austin Harding

Karl L. King Continued on next page

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NBA Historical Article, David Gregory, cont.

Samuel R. Loboda Archie R. McAllister Arthur Pryor William H. Santelmann Frank Simon John Philip Sousa

• The NBA/Merrill Jones Memorial Young Band Composition Contest was established in 1991 by Priscilla Jones, wife of Merrill Jones, as a memorial to her late husband. Merrill was coowner of Wingert-Jones Music Company and was a person committed to helping young composers. NBA past president Robert Foster suggested to Priscilla that a young composer contest be established, one which would promote works for young bands and would be an ideal way to honor the life and work of Merrill. The result of Bob and Priscilla's efforts was the Merrill Jones Memorial Composition Contest for composers under 40 years of age, one which awarded a cash prize to the winner and offered "publication right of first refusal" by WingertJones. The contest was to be held every other year and would produce works for concert bands of the 3-4 level of difficulty. The first award was made in 1992 to Robert Cronin for his composition, "A Soldier's March." Fourteen prizes have been given since the first presentation.

• The NBA National Composition Contest, originally the NBA DeMoulin Band Composition Contest, which chose its first winner

in 1977, was re-named in 1994 in honor of William D. Revelli, Director Emeritus of the University of Michigan Band and one of the most influential people in the band world of that time. Dr. Revelli died in July of that year and the NBA felt it was appropriate to honor this national leader/ NBA Past President by naming this award after him so that his legacy would continue to live through the music brought about by the National Band Association. The first winner of the contest was Jerome Sorczek for his work, "Variations for Band." Since its inception, the award has been given each year with the exception of 1982 and 1986.

III: MISCELLANEOUS ITEMS AND GREAT ANECDOTES • Claude T. Smith conducted the Alabama All-State Red Band in 1980 and brought with him his manuscript parts to "Intrada: Adoration and Praise" as one of his main concert selections. When the event was over, he left the manuscript parts and his score with NBA member and organizing chair, Tommy Brannon, and told him he could have them for use with his band. According to Tommy, he performed it later that spring at his school's graduation and planned to perform it at state band evaluation after publication.

When it was released, Tommy noticed a significant difference in the published parts from the manuscript...the first statements of the fugue

section were written for the woodwinds in the manuscript parts but were scored for the brass in the published version.

Johnny Folsom, another director who had heard Claude conduct the work with the Alabama All-State Band and later had purchased the published set, met Claude at an NBA summer convention a few years later and asked him about the change. At first Claude responded that he did not make any changes, but when Johnny told him he had a recording of Claude's all-state band playing his manuscript parts with the fugue in the woodwinds, Claude said that he had "no idea" why he made the change. But, he said, it seemed to have "worked out okay." (Along that same line...

Francis McBeth said, when told by an NBA member in the early 1990s of a change that he, the NBA member, had made in the printed parts near the end of "Chant and Jubilo,"..."If it's an improvement and makes the piece sound better, do it! I probably should have thought of that when I wrote it. And who knows, I might even sell more copies.")

• The NBA newsletter from president William Revelli in the summer of 1976 encouraged all NBA members to attend the Midwest Clinic in Chicago in December at the Conrad Hilton Hotel. Room rates that year started at $18 for a single room and $25 for a double room. Yearly NBA membership dues at that time were approximately the same as the cost of a single room for one night. (Today that same Continued on next page

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NBA Historical Article, David Gregory, cont. room rate for one night is approximately 3 times the cost of annual NBA membership dues.)

• The cost of NBA individual membership in December of 1999 was $40; the cost of individual membership in December of 2020 was $55... only a 37.5% increase over 21 years. The national average teacher salary in 1999 was $40,544.00 and the national average teacher salary in 2020 was $61,730.00...a 52% increase. Additionally, the median household income in 1999 was $42,000.00, whereas the median income in 2020 was $78,500.00...an increase of 87%. The cost of membership in the NBA was, and still is, one of the most reasonable and affordable of all professional organizations, and the returns for members and for our profession are beyond an assigned dollar amount.

(Note: average is a rather weak statistic, but it does provide helpful insight.)

• The NBA closed the 20th century with forty years of dedicated service to the directors and students of the band world. Thousands of recognitions had been awarded, programs that had been in place for years were updated, and plans were being made to move into the 21st century in ways that would better address the challenges and needs of band directors and band students. A wide array of awards was in place, and the influence of the

NBA was being felt in band rooms, communities, parent organizations, and, most importantly, in the lives of the students. The millennium ended with the following awards and recognitions programs being offered by the NBA: Citation of Excellence Outstanding Jazz Educator Jazz Student Award Outstanding Band Musician Band Booster Award Music Camper Citation Certificate of Merit for Marching Excellence

CODA The NBA approached the 21st century with excitement and anticipation. President Tom Fraschillo (1998-2000) "strongly encouraged" (no, he insisted) that NBA Board members and Executive Committee members write for and contribute to the NBA Journal as part of their professional growth and as part of their leadership obligation to the organization. PresidentElect Paula Crider spearheaded the initiative to move the organization further into the digital world by expanding and enhancing the NBA website, thereby helping to open an entire landscape of opportunities to better serve NBA members and their students. With opportunity for great forward movement, the NBA leadership was poised to better utilize the resources of the organization in helping the NBA to become an even stronger leader and pacesetter for the profession though

expanded and new recognition programs, mentor programs, new composition contests, as well as the continuation of those things that had brought the National Band Association to a position of prominence. The final quarter of the twentieth century saw the NBA grow under the guidance and care of monumental national leaders of the band world. Presidents Earl Dunn, William D. Revelli, W.J. Julian, Ken Bloomquist, James Neilson, James Copenhaver, James Croft, Frank Wickes, Ed Lisk, Robert Foster, John Bourgeous, James Keene, and Tom Fraschillo helped establish the organization as one with far-reaching possibilities and a bright future.

Paula Crider was the perfect visionary to assume the mantel of leadership as President of the National Band Association in 2000, moving it into a new age and ushering in an era of creativity and service to our profession. It was an exciting time for "the world's largest band organization." It most certainly was a time when one could stand on the threshold of the new millennium and, once again, say of the NBA (and as Frank Sinatra sang in such an inimitable way), "The best is yet to come."

FINE AL SECOLO XX. FINE DELLA SECONDA PARTE ...

Sincere appreciation is expressed to the following people and sources for their contributions to the history of the National Band Association:

Gary Barton

Larry Blocher

Tommy Brannon

Mike Brashear

John Carmichael

Continued on next page

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NBA Historical Article, David Gregory, cont.

Scott Casagrande Paula Crider Jim Culbertson John Culvahouse Johnny Folsom Robert Foster Thomas Fraschillo Larry Green Jim Keene Pam Smith Kelly Tim Lautzenheiser Ron McCurdy Linda Moorhouse Heath Nails Robert W. Smith Gladys Wright Al and Gladys Wright - The Music Makers: A Love Story With Music Lisa Zemlock

PHOTOS FROM “WAY BACK” IN THE 20TH CENTURY

Note: The information gathered for

this article again came from many sources and people. Much of the documentation from the early 1980s is no longer available, therefore, much of the information used in this article was gathered from member recollections.

It is possible that unintended errors might have occurred with regard to some of the dates, places and names of people. Every effort was made to bring to this document a factual and accurate accounting of the early years of the NBA, and apologies are offered for any inaccuracies or oversights. There was no intent to fictionalize or misrepresent the facts of history.

Future NBA President Ed Lisk with his Oswego, NY, high school band for the 1978 NBA Summer Convention in Knoxville, TN.

Future NBA President Paula Crider with her Crockett High School Band of Austin, Texas, at the 1978 NBA Summer Convention in Knoxville, TN. Continued on next page

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NBA Historical Article, David Gregory, cont.

"Dr. Tim" announcing the 1st Earl Dunn Student Leadership Workshop NBA High School Honors Band NBA/TBA Summer Convention 1998

Gladys Wright - NBA Hall of Fame Induction Ceremony - 1999

Continued on next page

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NBA Historical Article, David Gregory, cont.

NBA Executive Committee and Board of Directors -NBA/TBA Summer Convention 1998 Continued on next page

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NBA Historical Article, David Gregory, cont.

NBA Summer Convention Schedule - 1998 NBA/TBA joint convention - San Antonio, TX Continued on next page

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NBA Historical Article, David Gregory, cont.

NBA National Community Band - 1998 - NBA/TBA Convention Continued on next page

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NBA Historical Article, David Gregory, cont.

NBA High School Honors Band - NBA/TBA Summer Convention 1998 Continued on next page

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NBA Historical Article, David Gregory, cont.

NBA High School Honors Jazz Ensemble - NBA/TBA Summer Convention - 1998

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PEDAGOGY

GETTING THE MOST OUT OF YOUR PERCUSSION BUDGET: STRETCHING YOUR FUNDS TO MAXIMIZE STUDENT SUCCESS

I

DAVID RATLIFF

f you are a band director with a limited budget for percussion, sometimes the choices composers use when writing pieces for your group can lead to certain pieces being unperformable for your group unless you increase your equipment selection. This article is intended to help provide some tips and tricks to help stretch your budget dollars while still providing a viable musical experience for your students. Obviously, the best practice would be to have the highest quality, specific percussion instruments called for in the score by the composer, but if that is just not a reality for your program, here are some suggestions for alternative methods to achieve similar sounds as well as a few generic tips for getting the most out of your funding.

SNARE • Try to include in your budget a coated two-ply snare batter head for your snare drum each year. Just like reeds and strings lose their resonance over time, so do batter heads. If you have any extra money at the end of the year, consider purchasing a batter head and a snare side head for the following year.

Two-ply batter heads last longer than single-ply.

• If you use the same snare 31

drum for concert band and drum set, be sure to use a coated head to allow the most versatility in sound between those two very different applications.

• If you don’t have a field drum, you can use a marching snare with a mylar batter head tuned down, NOT a kevlar head.

KEYBOARD INSTRUMENTS • Have your students avoid excessive touching of the “fuzzy” part of yarn or cordwrapped mallets. The oils from their skin will be attracted to the yarn/cord and can cause dirt and grime to attract to the material. This can lead to the yarn/cord breaking down over time.

• Once the yarn/cord has worn down on your mallets, which will happen over time with normal wear, some mallet companies will rewrap them for a fee. A quick Google search for “mallet rewrapping” will yield YouTube videos demonstrating how to rewrap mallets yourself. The cost of rewrapping mallets will be much less than purchasing a new pair.

David Ratliff is currently in his twenty-sixth year of teaching band and fifteenth year as the Director of Bands at Madison Southern High School in Berea, KY. He is also the Kentucky Music Educators Association AllState Bands Percussion Coordinator.

Mr. Ratliff has articles published in The Instrumentalist, Percussive Notes and Bluegrass Music News. He has published multiple study guides in Teaching Music Through Performance in Band series and Teaching Music Through Performance in Beginning Band series. He is a Performing Artist/Clinician for the Yamaha Corporation of America, Innovative Percussion Drum Sticks and Mallets, and Evans Drum Heads.

• Generally speaking, rattan handled mallets will last longer than birch handled mallets.

• If the ball of a mallet comes off the shaft, a few drops of super glue will reattach the ball to the mallet. This is much cheaper than buying a new pair.

• Parachute cord is a great replacement for commercially available keyboard cord.

You can find a large spool of parachute cord at Army Navy Stores or online for much less.

Continued on next page

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PEDAGOGY

Getting the Most out of Your Percussion Budget ..., David Ratliff, cont.

• Cracked bars on a keyboard instrument will quickly destroy yarn/cord mallets. The cost of replacing one cracked bar will be much less the cost of repeatedly replacing damaged mallets.

• Non-wrapped mallets will last much longer than yarn/ cord wrapped mallets. You can use mallets that have had the yarn/cord fray and come off as non-wrapped mallets as well.

Furthermore, non-wrapped mallets can be a wise choice to use with marching band front ensembles in rainy weather, allowing the usual yarn/cord mallets to last longer by not using them in bad weather.

• If you don’t have a set of chimes, you can use metallic mallets on the lower register of any metallic keyboard instrument.

• If you don’t have a set of crotales, you can use finger cymbals as mallets and play on orchestra bells.

• If you don’t have a marimba, you can use soft mallets on the lower end of a xylophone.

• If you don’t have a vibraphone, you can use soft mallets on the lower end of orchestra bells. Wave your hand or a piece of cardboard over the bars to get the sound of the vibraphone’s rotating baffles.

TIMPANI • To help mallets last longer, be sure students know to touch 32

the felt as little as possible. The oils from their skin will cause the felt to break down quicker.

• Yarn or cord-wrapped keyboard mallets will work in a pinch for timpani mallets.

If the passage contains lots of rolls, use the softest mallets you have.

• Take the time to teach students and parents alike how to properly move the drums (by the struts, not the rims) to help the instruments last longer.

ACCESSORIES • You can get a replacement head for most brands of headed tambourines. Concert music almost always calls for a headed tambourine. The cost of a replacement head will be less than one third the cost of a new tambourine.

• Brake drums and anvils come from junk yards, not music stores. Ask your band parents if anyone has a connection that could help get one for free.

• Generally speaking, train whistles, slide whistles, police whistles, and shakers are the same no matter where you find them. Don’t think you have to purchase them from a music store.

• A slapstick can easily be made on your own with two pieces of wood and a hinge.

• If you don’t have a set of

castanets, you can use hard mallets on a wood block.

• If you don’t have a conga drum, you can use soft mallets on a tenor drum tuned lower than usual.

• If you don’t have a cowbell, you can use a heavy wood stick on the bell or dome of a muffled suspended cymbal.

• If you don’t have finger cymbals, you can use a small triangle beater on the bell or dome of a suspended cymbal.

• If you don’t have a hi-hat cymbal stand, you can use a pair of hand crash cymbals held in a horizontal position by one player while another plays with snare sticks.

• If you don’t have a ratchet, you can use snare sticks or hard mallets while playing a single-stroke roll on a concert bass drum rim or shell. Be careful not to damage the shell with excessive forceful playing.

• If you don’t have a shaker, you can use small metal pellets (“BBs”), popcorn, rice or beans inside a metal can/cylinder.

You can also use rice inside a plastic easter egg.

• If you don’t have a tambourine, you can use snare sticks while playing on a snare drum rim with the snare wires very loose.

• If you don’t have a tam-tam, you can use large soft mallets on a large suspended cymbal.

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Getting the Most out of Your Percussion Budget ..., David Ratliff, cont.

• If you don’t have temple blocks, you can use mediumsoft mallets on multiple wood blocks.

• Check with your local music stores to see if they have any old percussion gear in their warehouse or backroom. This might lead to great deals on sticks, mallets or instruments.

• If you don’t have a tenor drum, you can use a medium or large sized concert tom, a smaller floor tom from a drum set tuned a bit high or a field drum with the snares turned off.

• Be sure to look at Facebook Marketplace or Craigslist in your area. You can often find great deals on percussion instruments.

• If you don’t have timbales, you can use two snare drums (tuned to different pitches) with the snares turned off.

• If you don’t have a triangle, you can use a small metal rod or triangle beater on the bell or dome of a suspended cymbal.

• If you don’t have triangle beaters, you can use metal dowel rods from a local hardware store or welding rods. Both will come in different sizes and are relatively inexpensive.

• If you don’t have a wood block, you can use hard mallets on the shell of the bass drum.

Be careful not to damage the shell with excessive forceful playing.

GENERAL TIPS • Percussion instruments are not tables. Be diligent about this. The damage caused by allowing things to be placed on drums or keyboard instruments can really shorten the life of those instruments.

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• The toms from a used drum set can help your program get some concert toms in a pinch.

Take the two smaller toms and mount them using the base of a cymbal stand you already have.

• If you find a good deal on a used drum set, be sure to see if it has cymbals included.

This is a good way to increase your cymbal inventory, including cymbals that might be mounted to keyboard instruments for use with marching ensembles.

• Sometimes you can find people selling world percussion instruments as well, such as bongos, congas or timbales. Ask band parents if they have any instruments sitting around they no longer want or use. Sometimes you can really supplement your instrument inventory with donations from parents looking to clear out some space in their home.

would be a fraction of the cost of purchasing a new instrument.

• Search the “groups” on Facebook for percussion help. There are a few groups on Facebook created by percussion educators specifically to provide assistance and to be a resource for band directors. These groups can be a wonderful resource.

• Cases and covers are much less expensive than new instruments. Start with a case for your snare drum and a cover for your xylophone.

Expand to cases for all drums other than concert bass drum and timpani and covers for all keyboard instruments.

Funding continues to be a struggle for many band programs across the country and ensuring that all students have a high-quality music education experience should be at the forefront of every director’s mind. While working to develop a percussion inventory will take time, be mindful of the instruments necessary when planning your budget items.

• If you have larger percussion instruments that are not working, search online for percussion repair technicians.

The cost of getting a single timpani or bass drum repaired NBA JOURNAL

SAXOPHONE FUNDAMENTALS AND BEYOND FRED DAVID ROMINES

W

hen teaching the saxophone, interconnected barriers related to appropriate physical input, mechanical features of the instrument, and general acoustical properties have to be addressed simultaneously.

The following strategies and advice may be useful in organizing reliable instructional sequences that address all three of these important elements.

TONAL DEVELOPMENT The mouthpieces in the photo below shows us much about the way a basic saxophone tone is produced. The left mouthpiece is made for soprano saxophone and the right one is designed for the Bb clarinet. Note the significant difference in length of these “pitch generators”. What may surprise some is that each mouthpiece should, in theory, produce the

same note (a concert C).

This difference in mouthpiece size gives an idea of how much firmer the clarinet embouchure needs to be in comparison to the more rounded and relaxed, yet taut, saxophone embouchure.

Although there are no absolutes, younger saxophone players often play with an embouchure that is too tight, and as a result, will greatly overshoot the mouthpiece pitches provided here: • Soprano C • Alto A • Tenor G • Baritone D Everything about classical saxophone tone is directed toward creating a richness of sound by allowing overtones to freely flow from the instrument. The best sonority is most often produced by a muscle input that is controlled and firm but not tight. Most saxophone instructors mention a flat chin (note: the chin cannot be flat unless the muscle group located at the corners of the mouth is flexed but not stretched).

The jaw should be down. Most of the physical support that allows the instrument to speak (assuming the performer is using a dynamic airstream) comes from the complex ring of muscles (orbicularis oris) that surround the lips and closes around the mouthpiece in the same manner as a drawstring bag. The internal

Fred David Romines, D.M.A. is Director of Bands and Departmental Co-Chair for the Music, Theatre, and Dance Department at Marywood University in Scranton, Pennsylvania. He helps oversee departmental operations and conducts the Marywood University Wind Ensemble and Wind Symphony.

Romines has conducted throughout the United States (32 states) and in Canada, Italy, South Korea, and China. He has held residencies at the Sichuan Conservatory of Music in Chengdu, China, Yunnan Arts University in Kunming, China, and Sang Myung University in Seoul, Korea.

Romines earned the Doctor of Musical Arts degree from the University of Southern Mississippi.

voicing (placement of the soft palate) should be as if singing the word “YOU” (a middle of the road placement, neither too high nor too low).

MOUTHPIECES Many saxophone players have strong opinions about which mouthpiece is best, while the truth is that a perfect mouthpiece does not exist. Be sure to practice selfassessment and receive trusted guidance before considering any new piece of equipment. Here are Continued on next page

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Saxophone Fundamentals and Beyond, Fred David Romines a few factors to consider before purchasing a mouthpiece: • What type of music will you be playing?

• Do you want something functional across multiple genres (what compromises are you be willing to accept)?

• What is the desired sound – who are your influences?

• How much will it cost?

• How will the mouthpiece match your instrument?

• Matching the mouthpiece to your instrument involves the assessment of: Response Pitch Tone Articulation Expressive potential Dynamic range Although it is sometimes difficult to evaluate multiple mouthpiece brands and models in one sitting, players should try a variety of mouthpieces before deciding on which to purchase.

It is imperative that before even trying a mouthpiece, each potential mouthpiece is assessed to match a predetermined performance criterion.

Fortunately, there is a greater level of consistency in the production of mouthpieces than ever before, which means an increased level of reliability across a model line.

Several years ago, I had a vintage baritone saxophone remade (not refurbished). The 35

instrument received a new custom neck and bow (bow in this context meaning the curved area of a baritone saxophone between the neck and the straight part of the body). I had the tone holes resized and all the key heights reworked.

The craftsman recommended a mouthpiece for the horn, but I found it was a bit too radical. I do a lot of classical quartet playing with this saxophone and knew that I wanted a rounded mouthpiece chamber that emphasized a resonant tone, response in the lower register (where a lot of quartet parts are written for baritone), but also had a degree of projection.

I started calling and emailing saxophone professors at wellknown music schools asking for their opinion. Although a few mouthpieces were recommended, one in particular seemed to stand out with the caveat that I would need to buy a matching ligature.

Both the mouthpiece and ligature were premium priced, but I have since never regretted the purchase.

Remember: The right mouthpiece and ligature combination for the player and instrument will have an immediate impact in all performance areas. Do your homework and ask the opinions of those you respect.

ARTICULATION Saxophone performance skill sets are interdependent. Working on intonation is futile if the tone is poor, and refining articulation is impossible unless a defined and energetic stream of air is entering the mouthpiece no matter the dynamic level. Without going into too much detail, the pressures

inside the mouthpiece have a direct bearing on how quickly the tongue can recycle for the next articulation stroke. The key is to use air pressure (support) to assist the tongue as it starts and stops tones. For rapid articulation, use the lightest possible tongue stroke, making contact in the area just underneath the tip of the reed. For slower articulations, the tongue is often deemphasized, and the air pulses become more important as the tongue is used primarily to define the exact starting point of the sound.

PALM KEYS (TECHNIQUE AND TONE PRODUCTION) Technique and tone producing issues are a common problem for all young saxophonists. Without direct guidance, students will almost always employ techniques that will hinder their development.

Adding fluidity and expressive potential to the palm key tones comes in three parts: 1. Pressing and releasing the keys in a controlled manner.

Inexperienced players will often stiffen their fingers and deploy these keys with a sideways motion that slams the palm into the keys in a semi-random manner resulting in predictable results. Accomplished saxophone technique requires a downward wrist motion to activate the D key (similar to turning a door knob). The Eb and F keys are pressed by progressively closing the palm near the junction with the index and Continued on next page

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Saxophone Fundamentals and Beyond, Fred David Romines, cont. middle finger joints. The pads of the fingers stay in the area of the left-hand home keys while maintaining a relaxed curved shape. Key risers are often affixed to palm keys for comfort and to decrease the amount of travel. This is especially helpful for players with long fingers and palms, and it is not uncommon to engage a technician to bend palm keys into a more desirable shape.

2. Creating an expressive tone to the top of the standard range.

It is common for young players to pull back from notes as they move into the palm keys. Diminishing air support will produce weak tones at all dynamic levels and magnify pitch problems.

Keep the air flowing and supported at all dynamic levels and don’t collapse the embouchure or take a less aggressive embouchure to favor palm key notes. I find it helpful to keep the soft palate raised a bit higher (raised voicing) when playing these tones.

3. Exposure to a desired aural concept Listening to classical saxophonists perform with grace, power, and expression in this range is important, and hearing an accomplished mentor is even more valuable. Knowing what can be done will lead players toward developing the techniques required to produce these sough-after sounds.

Lastly, I must mention the palm 36

key that is not a palm key. The high E-natural side key is often played with poor hand technique. Avoid moving the wrist and fingers up toward the top of the instrument when this key is pressed. The fingers should stay pointed down close to the right-hand home keys, and the hand is shifted up so the side of the index finger at the first joint touches the key holster.

SPATULA KEYS The left-hand pinkie should remain rigid when sliding from low Bb to B-natural. The wrist shifts away from the body and this pulls the finger across the roller to the other note. The action is reversed to move from B-natural to Bb.

BUILDING TECHNIQUE As players build speed and technique, they become more efficient when navigating the pathways between notes. This efficiency often means the fingers can start to anticipate the next move and stay increasingly closer to the keys, decreasing travel time. Therefore, players should endeavor to keep their fingers as close to the keys as possible throughout the technique building process. Note: the ring finger on both hands is weak and can drag, so make sure to keep this in mind while moving through technical patterns.

Address technical passages at a uniform tempo (a tempo set by metronome at which you are virtually mistake free). If uniform technique within sections is not yet possible, divide the exercise or music into segments that

pose different levels of technical challenges and practice at different tempi. As soon as possible, add these sections together to achieve a fluid presentation covering the entire range of the instrument or excerpt. This an efficient way to increase technique and avoids a situation where impressive technique is accomplished only to falter badly when encountering a complex passage. We have all heard the young saxophonist who flies through MOST of the F major scale, only to crash and burn 20 times in a row when using the palm keys. “Slow makes fast” is a good rule for building technique.

I encourage players to crisply tongue every note of an awkward passage at a clearly attainable speed regardless of the marked articulation. Slowly tonguing a passage first promotes evenness because it is easier for the tongue move evenly in comparison to fingers of different sizes playing keys of various weights.

This exercise also places an emphasis on each note of the section and avoids the “ghosting” of notes within a passage.

Once every note is tongued as fast as possible, switch to the indicated articulation. Often, the improvement is dramatic – especially in extended slurred passages.

Steve Mauk’s Saxophone Scale Series (PDF available on his Ithaca College web page) is a great resource for players who want to progress towards more impressive repertoire. Professor Mauk is the retired Professor of Saxophone at Ithaca College. His exercises cover major scales and scales in thirds, major and minor triads, Continued on next page

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Saxophone Fundamentals and Beyond, Fred David Romines, cont. and harmonic and melodic scales.

Saxophonists who add these patterns to their daily practice regimen will develop stronger and quicker hands that move efficiently between notes.

These suggestions are not meant to be taken in any sequential order, but should be thought of as rising pillars that support a building.

Breakthroughs may happen in one area or another, but eventually performance skill sets all have to rise in support of the others.

FINAL WEBINAR — NBA SPONSORED AEROSOL STUDY THURSDAY, MAY 20TH @ 2:00 PM EDT The third and final webinar with results from Colorado State University’s study, “Reducing Bioaerosol Emissions and Exposures in the Performing Arts: A Scientific Roadmap for a Safe Return from COVID19,” will be hosted by NASM/ NAST/NASD and presented by Professor Dr. John Volckens.

The first of three scientific papers from the CSU study are in preparation and more information about those open-source papers will follow. The first paper will outline speaking and singing results. The second will be a thorough look at wind instrument results. The final paper will focus on movement/dance results.

FOR INFORMATION/ REGISTRATION:

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NOT THIS, BUT THAT: A DIFFERENT PERSPECTIVE

P

SCOTT C. TOBIAS

erspective is an interesting phenomenon. By simply looking at an object from a different angle an individual’s perception of it may be greatly changed.

There may be added dimensions that were hidden from a single point of view that are suddenly revealed. This may lead to a greater understanding or perhaps a different interpretation of the object.

If we apply the same concept to music, looking at things from a different perspective, we may reap the same benefits resulting in an enhanced musical experience for both the performers and the audience. Below are three such changes of perspective that I have found effective in rehearsals.

In each case it simply involves considering the fact that it may not be this, but that.

RELEASES – IT’S NOT ABOUT STOPPING SOUND, BUT RATHER STARTING SILENCE. In music we tend to think about creating sounds, and not as much thought is given to the silence that exists within the music. Often times when musicians have a rest, they simply stop making sounds. They become inactive performers and run the risk of 38

becoming disengaged from the music making process. Instead of looking at rests as periods of inactivity or not playing, I encourage a different perspective that views rests as “creating silence.” With this approach, music is always about creating – either creating sound or creating silence. As a result, the musicians in the ensemble have a new role to consider.

They may be performing a melody, a countermelody, an accompaniment, or now perhaps their role is to add silence.

This keeps musicians active and engaged throughout the composition and leads to benefits such as enhanced focus and greater ensemble awareness.

Assuming one uses this concept, then releases are no longer simply the end of sounds.

Instead, they become the start of silence. A release then becomes more of a transition from one aspect of music making to another, thereby keeping the musical energy moving forward until the end of the composition.

This can also lead to an improved quality of release in terms of both precision and style. Since a release is no longer considered the end of an action, but rather the beginning of a new action, the ensemble members can now approach starting silence in the same manner as they would starting a note – watch,

Scott C. Tobias currently holds the position of Director of Bands and Associate Professor of Music at West Virginia University where his responsibilities include conducting the WVU Wind Symphony, teaching undergraduate and graduate courses in conducting, and providing administrative leadership for the WVU Bands program. Prior to his appointment at West Virginia University, Dr. Tobias served on the faculties of the University of Central Florida and Appalachian State University. A native of South Carolina, Dr. Tobias earned the Bachelor of Music degree in Music Education from Furman University, the Master of Music Education degree from the University of Georgia, and the Doctor of Musical Arts degree in Conducting from the University of Georgia. Dr. Tobias presently serves as Immediate Past President of the National Band Association and President of the Big 12 Band Directors Association.

prep, initiate. The attention the performers give to starting notes together now transfers to starting silence together resulting in releases with greater precision. In terms of style, the same articulation varieties used on notes can now be placed at the beginnings of rests. What does a legato start to silence sound like?

An accented start? This thought process provides an additional way to qualify the style of release desired in any given passage.

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Not This, But That: A Different Perspective, Scott C. Tobias, cont.

To demonstrate and practice this concept I have ensembles do the following. First, we create sound. The ensemble is asked to watch the conductor and to play a given note on cue (a simple preparatory gesture and downbeat). The ensemble should sustain this note until a release gesture is given by the conductor.

The process is then reversed.

Instead of creating sound, the ensemble is asked to create silence. To accomplish this, the ensemble members are asked to start by creating sounds. This can be snapping, clapping, tapping, shuffling feet, etc. While making these sounds, the ensemble members must maintain focus on the conductor. Once the sounds have continued for a period of time, the conductor will give a preparatory gesture and downbeat.

On the downbeat, the ensemble is to “create silence” and sustain that silence until the conductor shows a release. In order to “release the silence” the ensemble must start making the random sounds once again.

Once the ensemble has experienced the creation of sound and the separate creation of silence, the two concepts are put together into one exercise. In this case, the ensemble is asked to play a given note, then silence, and finally the given note once again. This places the creation of silence into a musical context as opposed to the making of random sounds described above. This also provides an opportunity for the conductor to show varying styles as mentioned previously.

It is interesting to note what happens when the ensemble creates silence. At the moment the downbeat is given and the silence begins, the ensemble members remain very still. There is a heightened level of focus as the members work to keep unintended sounds from interrupting the silence. In this sense, they are engaged in the creation of silence.

This is very different than what you might notice following a traditional release where the performers may be less focused on what is taking place once the sound stops.

When an ensemble member is having difficulty playing a rhythm, a commonly used technique is to have the individual count the rhythm. The response usually sounds like, “The first note is on one. The next note is on the e-of-two. The next note is on the and-of-three, and so forth.” Once the correct answers have been established it is assumed that the individual will be able to play the rhythm correctly; however, the problem often remains. If the individual knows the correct counts on which the notes occur, then why are they still unable to play the rhythm correctly?

With this new perspective a release becomes less of an ending and more of a beginning. As ensemble members begin to focus on the silence in the music as well as the sounds, they learn to “play their rests” and a new dimension is added to the music-making process.

RHYTHM - IT’S NOT THE NOTES THAT CREATE PROBLEMS. IT’S THE RESTS.

One possible answer is that while the individual knows the correct counts on which the notes occur, they do not know when those count occur in time. For example, imagine visiting a new town and asking a local person for directions. They may tell you, “Go down this road to where Mr. Johnson’s garden used to be, then turn left and continue to where the food truck parks on the weekends.”

Those directions might be correct, but they are not very helpful unless you know where those places are. Similarly, knowing that a note is on the e-of-two is not very helpful unless you know where the e-of-two occurs in time.

In order to play a rhythm correctly it is necessary to take into consideration not only the counts on which the notes occur but also the space that exists between the notes. It is often this space, represented by rests, that causes the majority of the rhythmic problems and not the notes themselves. Similar to the concept mentioned above, a successful rhythmic performance requires that an individual play both the notes and the rests. The focus must be on both the sound and the silence.

In situations involving challenging rhythms, it is common to ask a performer to subdivide.

This is a good first step in that it attempts to help the performer fill the space in between the notes by counting or thinking of all the counts that exist within a measure.

For even greater success, though, an expansion of this concept can be used to help the performer shift from simply thinking about the rest to actually playing the Continued on next page

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Not This, But That: A Different Perspective, Scott C. Tobias, cont. rest. I call this technique the Bingo method, a reference to the children’s song about a farmer’s dog. Those familiar with the song know that it involves spelling the name Bingo, but with the removal of a single letter on each subsequent verse. Although the removed letter is not sung out loud, I am certain that almost everyone still sings the letter silently in their mind.

Applying this technique to a challenging rhythm involves first having the performers play all of the subdivisions on a single pitch, for example straight sixteenth notes. One at a time, individual sixteenth notes are then removed until the desired rhythm is reached. As an example, consider the rhythm is figure 1 below. The target rhythm is found inside the gold box. The sequence described above is outlined below the box.

The performer starts with all of the sixteenths (2e&a 3e&a). On the next line, one of the sixteenths is

FIGURE 1

removed from beat 2. Then one is removed from beat 3. Once that rhythm is performed accurately, another sixteenth is removed from beat 2. Then another is removed from beat 3. The remaining notes constitute the desired rhythm (see Fig. 1).

In much the same way that we continue to sing the removed letter from Bingo silently in our minds, the performers begin to play the rests when the notes are removed; that is, they continue to hear the removed note in their mind. This is due to the fact that instead of adding sound to silence, we are actually adding silence to sound.

This requires the performer to create the silence by playing the rest. As a result, the performer actually plays the entire measure – notes and rests – resulting in a more accurate rhythmic performance.

As an interesting comparison, famed artist Michelangelo

supposedly once stated that he did not create sculpture but rather started with a block of marble and simply removed what was not needed. What was left was the sculpture.

The next time your ensemble has difficulty with a rhythm, consider that the problem may not be the notes they are trying to play, but instead may be the rests that are not being played.

DYNAMIC CONTRAST – SOFT IS NOT LESS THAN LOUD, BUT GREATER THAN SILENCE. This simple shift in reference can result in greater dynamic contrast and musical interest in performances. Consider a musical work that has a loud passage followed by a softer passage, for example a march which features a forte second strain followed by a piano trio.

Upon reaching the trio most ensembles will play softer than they played in the previous section and dynamic contrast will be achieved. However, the ensemble may not achieve as much contrast as is possible.

Consider Figure 2 (page 38).

The left column represents the performance described above. The second strain of the march is played forte, perhaps at an 8 on a scale from 1 to 10. The trio is marked piano and is therefore played softer, perhaps a 4 or 5 on the same scale. Since this volume is less than the volume of the previous section and contrast is achieved,

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Not This, But That: A Different Perspective, Scott C. Tobias, cont.

FIGURE 2

the performance is deemed successful. After all, the piano (soft) was less than the forte (loud) and that was the indication in the music.

The right column in Figure 2 shows what might be possible if a different reference point is used. What if the piano (soft) is considered not to be less than forte (loud), but rather greater than silence?

As a demonstration (and exercise), I ask the ensemble to play the soft trio without making a sound. Instruments remain in playing position. Keys are pressed.

Slides and sticks are moved. The conductor continues to conduct.

There are just no musical sounds played. Everything is silent, and the music exists only in the performer’s inner ear. By doing this, the ensemble has been given a new reference point – musical silence. The ensemble 41

is now asked to play the trio again, but this time at a volume just 5% louder. The result is usually a remarkable, truly piano performance. With nothing more than a slight change of perspective, the ensemble is now able to achieve greater contrast than the performers may have thought possible.

Looking at elements of musical performance from a slightly different angle can open up a wide variety of possible benefits.

The three discussed here are just the beginning. A change in perspective just might allow new relationships and dimensions to be seen. Consider the options, and you might discover that the best way forward is not this, but that.

NBA JOURNAL

UNIVERSITY OF WISCONSIN – EAU CLAIRE NBA: COMMITTED TO COMMUNITY, SERVICE, AND LEARNING

T

JOHN. R. STEWART

he University of Wisconsin – Eau Claire Student Group of the National Band Association is a vibrant group of students from various majors across campus who provide valuable support for the Band Program, service learning opportunities for members, outreach to the Eau Claire community, and community building within the Department of Music and Theatre Arts. The UW – Eau Claire NBA student group was the first collegiate group, formed in 2002, and presently has 25 active members. Through these various activities, students gain valuable insights into running and organizing music festivals, supporting public-school teachers, building mentoring relationships, and networking with professional educators and musicians.

Each year, the NBA Student Group kicks off the fall semester by providing a meal for the 450 member Blugold Marching Band during band camp. This social activity provides the chance for the organization to recruit new members while supporting one of the nation’s largest marching bands. Additionally, following each concert by the UWEC Wind Symphony and Symphony Band, the NBA Group hosts receptions in order to provide the opportunity for musicians to interact with the audience in a relaxed social environment.

In November and January, the UWEC – NBA is engaged in outreach with the Bands by participating in the High School and Middle School Honor Bands.

Members support these events in myriad ways – event organization,

Dr. John R. Stewart is Associate Professor of Music and Director of Concert Bands at the University of Wisconsin – Eau Claire where he conducts the Wind Symphony, teaches conducting and repertoire, coordinates the concert band program, serves as Wind and Percussion Division Coordinator and faculty advisor for the NBA student group.

Dr. Stewart contributed to Teaching Music through Performance in Band, published articles in Contributions to Music Education, the MMEA Journal, and presented at the SMTE bi-annual conference, WMEA Conference, NBA – Wisconsin Chapter Conference, MMEA Mid-Winter Clinic, Florida Music Educators Association Convention, and Colorado Music Educators Association Convention.

registration, sectional rehearsals, supervision of students, serving as liaisons with guest conductors and teachers, and facilitating final concerts. The NBA student group involvement with the Honor Bands is an important part of the success of these annual events that bring close to 800 students to campus each year.

Each spring semester the concert bands are fortunate to tour to regional high schools. As part of this outreach, the NBA group collects and organizes tour books to help build the band community within the ensembles while on tour. These tour books consist of information on each of the members of the ensembles, including the directors, games

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STUDENT GROUP FEATURE

UW — EAU CLAIRE NBA ..., John R. Stewart, cont. to pass the time on bus rides, and other various activities. The addition of these books on tours have really helped form a lasting bond for the members of the bands. As an added bonus to the tour books, the NBA group also provides snacks to the band members on tour as a token of their appreciation for the service being provided to regional schools.

The student group has commissioned compositions for the UWEC Wind Symphony and started a biannual composition contest for undergraduate composition majors. The composition contest is a way to encourage young composers to write for wind instruments and aligns with the goals of the NBA. A recent commission was a brass fanfare for the Wind Symphony by faculty composer Chiayu Hsu to add to the growing body of repertoire by underrepresented composers.

During the COVID-19 pandemic, the members reached out to regional middle and high school teachers to set-up free lessons with instrumental music students.

Since many of the local schools were virtual at the beginning of the year, this provided members who are music education majors to practice teaching skills while providing support for local teachers. At the present time, 15 NBA members are teaching lessons and masterclasses, providing feedback on student Podcast assignments, creating short instructional videos on various instruments, and coaching student sectionals via Zoom and Microsoft Teams. This is a great opportunity for our college students to enhance and develop 43

their teaching skills and work with adolescents. In a normal semester, volunteer activities like this would take place in-person, but NBA members and the school band directors are thankful to continue these activities through virtual platforms. Abbey Keister, NBA Student Group Vice-President stated, “I love working with the students. I am able to put my schooling into practice when I give lessons. It’s a great way for me to gain teaching experience and connect with current band directors before graduating.”

In addition to mentoring young musicians, the NBA members organized and facilitated several meetings on mental health for students within the department of music, and professional development opportunities by inviting recent graduates to speak on their experiences as professional teachers. These online workshops have helped students learn healthy ways to manage stress during the pandemic, transition from student to teacher, and provided opportunities to learn from their peers.

is the community of people.

Everyone involved values band and generously donates their time and energy to enhancing and sharing musical experiences. It is so great to surround myself with this community of people. I look forward to meetings not only for career related content, but for the lasting connections I make with other members.”

We are very fortunate to have an active group of the NBA for our students at UW – Eau Claire. The entire band program (Concert Bands, Athletic Bands, and Jazz Bands) has benefited from the student engagement on campus.

Their engagement in the UW – Eau Claire group has encouraged participation in NBA as the college representative for the Wisconsin Group of NBA, and alumni of the group are now serving in leadership roles across the state.

When asked about their experiences with NBA, Elizabeth Hainlen, NBA Student Group President stated, “I have enjoyed being part of the NBA because of the positive connections I have formed with other students, professors, teachers, and the music community in Eau Claire. I have also appreciated the many ways to grow as a leader.” To further highlight the positive impact the NBA has on our students, Abbey Keister stated, “What I love most about the National Band Association NBA JOURNAL

THE NATIONAL BAND ASSOCIATION ANNOUNCES

THE CREATION OF A NEW COMMITTEE The new IDEA Committee is designed to have open conversations about inclusion, diversity, equity, and awareness within the NBA and the profession as a whole. The IDEA Committee will provide guidance to the NBA Executive Committee and Board of Directors regarding recommendations as to how the NBA can best serve all individuals, both in the association as well as the profession.

IDEA COMMITTEE

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Arris Golden Michigan State University

Joshua Johnson Traughber Junior High School, Oswego, IL

Elizabeth Peterson Illinois University

Tremon Kizer University of Central Florida

Ingrid Larragoity-Martin Skyline High School, Longmont, CO

Matt Temple New Trier High School, Winnetka, IL NBA JOURNAL

THE VALUE OF DOUBLING DOWN ON STUDENT LEADERSHIP IN COLLEGIATE BANDS

I

WAYNE MAGEE

was on a trip to Las Vegas with my wife to see her favorite singer in concert.

Yes, you guessed it. We went to see Celine Dion! Before you judge me, please know the saying is true. Happy wife, happy life! Back to the story, we decided to spend time at Caesars Palace where the concert would be held to double down on experiencing it all. One of those experiences was doing something my bride thought was crazy. Gambling! Before we entered the casino portion of the palace, we agreed on only spending twenty dollars each. She took her portion and gave it to the "one-armed bandit,” the slot machines. The bandit gladly took all of her cash with not even the smallest return on investment. I went to the Blackjack tables and surrendered the totality of my allotment to the dealer. At the end of thirty minutes, we walked out together with the same amount of money we walked in with. I can honestly say it was due to the way the cards fell, but mostly to the disciplined approach to going all in, doubling down on what truly matters. At Caesar's palace, what mattered to us that day was to be disciplined enough not to go over what was budgeted for fun. In the band room, what truly matters is the development of the best thinkers, most engaged citizens, and good leaders. Everything else,

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even music is a tool at best, and secondary at least.

Student leadership development should be a top priority for any institution that seeks to educate young people today. You can see claims of its importance in nearly every secondary and higher education institution in America.

You see phrases somewhere buried in the institutional vision or mission statements. You know the phrase that reads something like, "To educate the strong leaders of tomorrow.” I would like to entertain what we already know, that music is a perfect vehicle to educate the leaders of tomorrow.

We have seen music throughout history change the world, yet we often forget our purpose as band directors: To educate tomorrow's leaders today, using music and everything in between to do so!

WHY STUDENT LEADERSHIP MATTERS? It was my first year as the band director at a small college, I was one year removed from my undergraduate studies, and I was completely convinced my job was to build a band program of amazing sounding musicians.

In my interview months prior, the Dean of Students assured me anything I needed I would have to run the program. All that was

Wayne Magee is a native Ohioan. He earned a Bachelor of Music degree with honors from Youngstown State University’s “Dana School of Music”. Wayne earned his graduate degree in Leadership Science from Northeastern University in Boston.

Wayne has been serving at Massachusetts Maritime Academy since 2008. He has the distinct honor of being the longesttenured director of the "Pride of the Regiment ", the "Regimental Band, Honor Guard, and Drill Team". Wayne also has the privilege of serving as an adjunct professor at Bridgewater State University in the Department of Management.

expected of me was program growth and a better sounding band. Years later I can say both were accomplished, however, it had very little to do with me.

It was the investment, the bet doubling down, I made on student leadership development as the most important thing that would shape a solid college band program of any size. Leadership matters because in all of our bands, the students that sit on the seats in our band rooms will themselves be leaders in the real-world. In my case, many would be sent to serve as officers in the military, others serving at sea, aboard a ship as merchant marine officers, and others would be fast-tracked into

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The Value of Doubling Down ... Wayne Magee, cont. the boardrooms of top companies.

In all of these examples, these young adults would be leading in their early twenties and making decisions that would affect lives.

Musicianship became secondary, a hopeful byproduct of doubling down on the development of leaders.

“The main thing is to keep the main thing the main thing.”- Dr. Stephen Covey

WHERE IS THE VALUE? In teacher training programs we are taught music theory, conducting, and classroom management. However, what we are not often taught is the value of stepping off the podium and taking a seat. It is at this point where a director can take a band from good to great. Lao Tzu said, “A leader is best when people barely know he exists…when his work is done, his aim fulfilled, they will all say: We did it ourselves.” I have lived this quote and take pride when I can say "we," instead of "me". When we as directors create an environment of extreme ownership of the band by the students, the band becomes an unstoppable force. And we, as directors, become the continual visionary beat for program continuity. This is where the value lives. If you hand over the baton to the band and work to make something great, you can add valuable leadership opportunities within the ensemble. I can honestly say when the members of the band walk across the stage on commencement day, I know for a fact they are all combattested leaders. I know they will encounter things in the future they may not have an answer for, but I know they will have 46

the confidence to face these challenges head-on because they have seen it, worked similar problems before, and overcame it. When I see them on that final day of their college career, many may tell me about their job opportunities. I make a point to reassure them that they can lead anyone, anywhere, because they have led under one of the most difficult of situations. They have led a successful band program of volunteers, all of which could have quit on them at a moment's notice without any repercussions.

“Leaders don’t create followers, they create more leaders”- Tom Peters

HOW CAN IT WORK IN YOUR BAND? It seems counter-intuitive for conductors and directors to focus on creating leaders instead of followers. As musicians we are taught to follow the conductor, locking into the pulse without question. How can a leadership focus work in the modern collegian band program? First it starts with doubling down and truly putting everything on the table. We should not want to simply produce a band of followers, but a band of leaders, successors, respectfully challenging the process to make the band better. We cannot truly succeed as band directors without developing our band membership leadership capacity.

Peter Drucker said it best, “There is no success without a successor.”

Our desire should ultimately be to work ourselves out of a job! We should be comforted by being a leadership-focused band that

our students could carry on in our absence at a moment’s notice without missing a beat.

The highlights of my years serving in the profession is seeing former band students keep winning and growing their leadership capacity to levels I have never seen myself. And I can say it all started with the band, allowing them the opportunity to lead within the band organization.

I heard it said to develop anyone you must first tell them what they are to do, then you show them what to do, then you walk beside them while they are doing it.

And finally let them run with it, knowing you have complete trust and confidence in them.

Here are three ways that have proven successful in band programs: "Tell me and I forget, teach me and I may remember, involve me and I learn."- Benjamin Franklin 1. “Share The Baton” This was a difficult task for me.

However, when I allowed student conductors to have podium time the band got better, and seemly better quicker than when I was on the podium. There is an “X” factor gained in being led by your peers.

The only way this works is when you do not micromanage the students and allow for complete trust and confidence to build.

If you want to take it to the next level, establish a complete student leadership team with focus areas of operational responsibilities to help the program. Here are a few key student staff roles you may want to implement in your program:

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The Value of Doubling Down ... Wayne Magee, cont.

Band Operations OfficerA senior student who oversees all other student band staff. This student is second only to you, the head director.

Band Assistant OperationsOfficer(s)-A junior student(s) who helps with the Band Operations Officer in their duties.

Student Conductor/Drum Major(s) - A student of any class who serves as the principal conductor for either the marching band and/or concert band.

Caption/Section Leader(s)- A student of any class that has the musical aptitude to run section rehearsals and communicate the organizational mission.

Quartermaster/Equipment Manager(s)- Student(s) who organizes and accounts for the whereabouts and conditions of every piece of equipment the band owns. These students are also responsible for loading equipment for transport when the band travels.

Music Arranger- Head student music arranger. This student can be paired directly with a professional arranger if you have one on your staff.

Social Media/Public Relations Officer- Student(s) that runs all the official social media pages for the organization. The student can also focus on community outreach coupled with capturing and/or pursuing internal and external performance requests.

Band Historian/PhotographerStudent(s) who are is charge of documenting the band via video, 47

audio, and photo mediums.

2. “Give up the Microphone”When I first started in the profession it was my thought that the band director had to do all the talking at every rehearsal and at the concerts. Now, by delegating this to a student leader, in my case, the Band Operations Officer - everyone wins! The band leadership can develop as public speakers. I can honestly say the band concerts have never had higher reviews than with a student master or mistress of ceremonies.

And lastly, the band rehearsals have never been more engaging and enjoyable.

“Leadership can be the Sage on the stage, but it is often the guy on the side.” – Unknown 3. “Listen to the Beat” – This can be the riskiest process.

It will test if you are truly willing to double down to take your band from good to great. It is listening to the band membership desires and ideas taking the ones that have the heart along with the excitement of the band to pursue. It is a known fact if you involve people in the decision-making process from the beginning, whether they agree or not, they are more likely to be fully engaged. This only happens when they felt their voice was respected and fully heard. Listening to the band’s heart alone has done wonders for our band program.

As a program, I don’t move on any major decisions without the membership weighing in publicly on the matters. A number of years ago I began meeting with the band when decisions needed to be made concerning the program’s direction or major performance opportunities. We meet in the

band room with all the chairs in a circle, we all sit down facing each other as a family, and share thoughts on the matters at hand.

During this time no one, not even myself, is allowed to stand and talk. We do this to show we are all on the same level and have an equal voice. After these meetings, I have made the final decisions not to take performance opportunities, not to select certain pieces or concert themes. Some of these decisions do not always sit well with the administration. However, I always take the band’s consensus position on all decisions, no matter what it may cost me professionally. By listening to the beat, pulse, and heart of the band your program will flourish.

There is value in betting the farm - doubling down! When you are dealing with bands, there is literally no downside to allowing student leadership as a nonnegotiable. Your band membership will learn the value of leadership and its importance in our world.

They will get the opportunity to try their own unique leadership styles on for size, adapt, and stand ready for the next opportunity. If you received nothing of value out of this article, please take this vital piece with you. Everything rises and falls on leadership and the band room is the perfect place to make more leaders, not followers.

To do anything less is completely tragic and devoid of doubling down on what truly matters.

NBA JOURNAL

THE IMPORTANCE OF MENTOR TEACHERS IN THE STUDENT INTERN EXPERIENCE CRAIG AARHUS AND JESSICA BANKS

T

he student internship is the capstone experience for music education majors. It is the synthesis of their entire time spent as an undergraduate student. Teachers who agree to serve as mentor teachers for interns play a critical role in helping them have a positive experience before they head into the profession full time. Here are some suggestions for mentor teachers to help interns have a successful experience.

1. COMMUNICATE WITH THE INTERN AND UNIVERSITY SUPERVISOR EARLY AND OFTEN Communication is always the key in any relationship, and the student teaching internship is no different. It is important to communicate both positive and negative aspects of the intern’s work with them and their supervisor so improvements can be made. This is especially important if the mentor teacher has concerns about an intern because the sooner the university supervisor is involved, the sooner the issue can be resolved.

2. MAKE REHEARSAL GOALS AND/OR OBJECTIVES AVAILABLE 48

TO THE INTERN IN ADVANCE Lesson planning is an essential part of the development of music educators. Obviously, the time it takes a student intern to develop a lesson plan is much longer than that of a mentor teacher. As such, it is extremely helpful if you can provide the students with a rough guide of materials you plan to cover throughout the week, especially at the beginning of the internship. As the intern advances, you can work with them to discuss pacing of materials such as how you determine when to move onto new material or when to review for each class/week/unit. A great way to do this is through a shared electronic document such as a Google Doc that lists objectives or rehearsal goals.

Dr. Craig Aarhus is Associate Director of Bands and Associate Professor of Music at Mississippi State University. At MSU, he co-directs the Famous Maroon Band and basketball pep bands, conducts the Concert Band and Campus/Community Band, and teaches Conducting and Brass Techniques in the Department of Music. As a member of the band faculty, Dr. Aarhus has been part of a team that has helped lead the band program to unprecedented growth, making it currently one of the largest bands in the Southeast.

3. GIVE FEEDBACK Informal verbal feedback is great, but written comments often have a bigger impact.

Sometimes when interns receive verbal feedback right after they are done teaching, they translate “you need to be more concise in your instructions” to “your ideas don’t work and you talk too much,” or “the pacing needs to be faster” to “maybe I’m not cut out for this career.” Teaching is a deeply personal experience, and sometimes interns overreact

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Dr. Banks serves as Assistant Professor of Flute at Mississippi State University as well as the director of the MSU flute choir. An enthusiastic performer, Dr. Banks performs with the MSU Faculty Wind Quintet, Wind Trio, and serves as the principal flutist for the Starkville Symphony Orchestra. Dr. Banks received her Bachelor of Music Education and Bachelor of Flute Performance degrees from Baldwin-Wallace Conservatory in Berea, OH. She completed her Master of Music and Doctor of Music degrees at Indiana University's Jacobs School of Music.

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The Importance of Mentor Teachers ... Craig Aarhus & Jessica Banks, cont. to criticism in the moments immediately following a lesson.

Criticism is better received through writing that can be read and reread after the intern has had some time to reflect.

4. UNDERSTAND THAT THEY LIKELY HAVE GAPS IN THEIR PRACTICAL KNOWLEDGE No school can provide interns with all the information that seasoned teachers have. There are fingerings they do not know.

They are unsure how to manage discipline in a classroom. They may not know if they want to teach middle school or high school. As an experienced music educator, use your expertise to help them fill these gaps so that they can be successful early in their careers.

5. SHARE RESOURCES At this point in their careers, interns have very few printed or digital materials they can refer to as they begin teaching outside of what they may have acquired in methods classes. Offer them copies of letters you use to communicate with parents, strategies you employ to recruit new students, and guidelines you follow to issue press releases (as examples).

Provide them a copy of your band handbook, band booster bylaws, and school procedures. Teach them about technology resources you have used successfully in your classroom. Anything that is helpful for you will likely be helpful for them.

6. SHARE YOUR EXPERIENCES Your intern will only have a basic understanding of the things they are expected to do as a teacher. Offer your advice on score study and rehearsal planning.

Show them the importance of nurturing relationships with colleagues in the school and with their students. Keep in mind that the intern might not seek out this information directly simply because they don’t know what questions to ask. However, when an intern does ask a question about how you teach something or why you introduce a concept a certain way, don’t take this curiosity as a criticism. Most of the time, they are genuinely interested in learning more about a given method and how you have achieved success in your program.

7. HELP THEM ESTABLISH PROFESSIONAL BOUNDARIES Interns are close in age with the students they are teaching, and as a result, it may be difficult for them to create boundaries that will keep them and your students safe and avoid problems for them in the future. Without a doubt, social media has made access to communication much easier than it once was. Show them that proper relationships with their students will help them build their programs, but without those boundaries in place, serious problems can follow.

One important way you can help them create this boundary is to always refer to the intern with

their proper title (Mr./Ms./Mrs.).

This will help the students in your classroom see the intern as a member of the teaching staff, which is an important factor for the intern’s classroom management plan.

8. PUT THEM TO WORK AS SOON AS POSSIBLE Every school is different, and some require interns to observe for a period of time before they can begin teaching. As soon as you can, give them some kind of teaching responsibilities. It should probably be limited at first: small groups, sectionals, individual help, etc. They will benefit from opportunities to rehearse ensembles as often as you can allow them to do so. Their time with you will go quickly, and the best experiences they’ll have with you are ones that will allow them to teach.

9. YOUR INTERN IS FROM A DIFFERENT GENERATION Interns today have grown up in a world that is likely somewhat different from the one in which you grew up. They have lived their entire lives online in the social media age and have gathered information primarily from screens rather than books. For perspective, they were small children when 9/11 happened.

Don’t allow this to impact you negatively. They have a lot to offer, too, so be willing to understand their perspective and use it as an opportunity to gain some insight into what the next generation of

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The Importance of Mentor Teachers ... Craig Aarhus & Jessica Banks, cont. music educators will be like.

10. BE AN AMBASSADOR FOR MUSIC EDUCATION We all know that some days are just difficult, but part of the job of a mentor teacher is to introduce interns to the real-world experience of being a teacher and inspire them to continue in the field.

Serving as a mentor teacher is a tremendous responsibility, and it is one in which you can truly “give back” to the profession by training the next generation of band directors. It is not easy, but the work is necessary and sincerely appreciated by those of us who supervise student interns for our colleges and universities.

NBA WANTS TO HEAR FROM YOU We welcome and encourage members to submit articles for inclusion in future editions of the NBA Journal. Peer-reviewed and non-peer reviewed articles are accepted. Please note the following deadlines for submission: JOURNAL EDITION

DEADLINE

Winter Edition (February)

January 1

Spring Edition (May)

April 1

Summer Edition (August)

July 1

Fall Edition (November)

October 1

Please submit your article in Word document format to NBA Journal Editor Matthew Talbert at talbertm@ohio.edu. For guidance on how to submit a peer-reviewed article, please see page 62. Articles are published at the discretion of the editor and may appear in a later journal edition.

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NBA JOURNAL

A CONVERSATION WITH CHRISTIAN “AL” JENSEN: MUSICIAN OF THE GREATEST GENERATION

C

MARC DECKER

hristian “Al” Jensen began his music career playing clarinet in high school band in Dallas. In 1940, at the suggestion of his high school band director, he switched to oboe and began studying privately with Louis Greenberg, principal oboist of the Dallas Symphony Orchestra.

At the age of sixteen he auditioned and won a scholarship to study at Juilliard. Under the guidance of his teacher, Harold Gomberg, Al auditioned and won the position of assistant first oboe of the NBC Symphony Orchestra under principal oboist, Robert Bloom.

Al played with the NBC Symphony Orchestra until he was called to serve in the U.S. Army Air Force during World War II. After the war he finished at Juilliard and played another summer with the NBC Symphony Orchestra. During his time with the orchestra, Al played under Arturo Toscanini, Dr. Frank Black, Howard Hanson, and many other guest conductors. In 1948 he moved back to Dallas to help his father run the family business, Graham Brown Shoe Company.

In 1966, after learning how to run a successful business, Al moved to Enid, Oklahoma, and opened Jensen’s Music Store. He served as an adjunct professor of oboe at Phillips University from 1969-1995.

Many of his students went on to

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receive advanced degrees in oboe performance and are currently performing throughout the world.

He has received numerous awards including in 1984 the Oklahoma Governor’s Service Award and was inducted into the Oklahoma Bandmasters Association as an Honorary Member, a first for a non-band director.

HOW DID YOU COME TO WIN A SCHOLARSHIP TO JULLIARD AT SIXTEEN YEARS OLD? I grew up in Dallas and began playing clarinet when I was eight years old. At the age of 13 I joined a Dixieland band that played for high school dances. It was 1940 and the war was on, so local theaters couldn’t find musicians and our band auditioned to play on Friday nights at a burlesque theater. We got the job but didn’t tell our parents because we knew they would object. For six weeks this went on until the whole thing came undone when our parents found out. My mother, in tears, said I wasn’t to play clarinet anymore.

But my band director told her, “if you let him switch to oboe, he will never play in a burlesque theater again, I guarantee it”. So, the next week my Dad bought me an oboe.

Back then there were only eleven

Dr. Marc Decker is an Assistant Professor of Music and Associate Director of Bands/ Director of Athletic Bands at Florida Atlantic University where his primary duties include directing the Marching Owls, ‘Parliament Sound’ Pep Band, and Symphony Band. He holds a BME from the University of Illinois and both an MA and DMA from the University of Iowa.

Dr. Decker has held various teaching and conducting positions at South Haven High School in Michigan, Gettysburg College, American University, and Northwestern Oklahoma State University. He is an active arranger, drill writer, guest conductor, and adjudicator, and is currently serving as President of the Florida College Music Educators Association.

grades. That’s how I was able to graduate when I was sixteen and began attending Juilliard in the summer session. My mother wasn’t thrilled about her sixteen year old son living in New York while she was in Dallas. But, I had family nearby because my Dad was from New Jersey.

Peter Wilhousky was the orchestra teacher when I auditioned at Juilliard. He was the greatest teacher I had aside from my oboe instructor, Harold Gomberg. I remember auditioning for the scholarship and being in a room with about twenty others from across the country.

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A Conversation with Christian "Al" Jensen ... Marc Decker, cont. his voice that we were in for a long ordeal. He pointed at the first person and said “let’s hear you play an ‘A’ scale”. She accidentally played a G natural, and Wilhousky dismissed her immediately. It was terrifying, but that was the way it was done.

Only three of us won the scholarship and that summer we played in the Juilliard symphony under Wilhousky. The other two oboists were John Mack and Marty Sperber. Both were fantastic musicians and good friends. Marty went on to play with the Pittsburgh Symphony. John, who was two years older than me, left Juilliard as a sophomore and went to New Orleans as principal oboist with the Symphony. He ended up as principal oboist of the Cleveland Symphony and served on the faculty at Juilliard and the Cleveland Institute of Music.

Bruno Labate was our first oboe teacher. He was a great musician that Toscanini brought over from Italy who played with the New York Philharmonic for many years before Harold Gomberg took his place.

Harold was the finest oboist I ever knew. He came to New York from the St. Louis Symphony at the age of 25 to join the Juilliard faculty and serve as principal oboist of the New York Philharmonic. He was a great teacher and friend.

DESCRIBE YOUR AUDITION FOR THE NBC STUDIOS AND SYMPHONY ORCHESTRA. I auditioned in March 1945.

Robert Bloom was the principal oboist for the NBC Symphony Orchestra and retired in 1944, but continued to play Toscanini 52

concerts in 1945. Because of the war, his assistant oboist was drafted, and I was able to get the audition because he was good friends with Harold Gomberg. So, I went in to audition with Robert Bloom, Dr. Frank Black who was the NBC Symphony Orchestra’s music director, Mischa Mischakoff who was the concertmaster, and a clarinetist named Harold Freeman. Two other oboists auditioned, one from Buffalo and the other from New York City.

The one from Buffalo was very good, I heard him play and it scared me to death. I went up next and played Handel’s Oboe Sonata #1, the oboe solo to Tchaikovsky’s Symphony #4, and an excerpt from Scheherazade by Rimsky-Korsakov. Half-way through the excerpt they kicked my stand over and the music fell, but I kept playing. I never told them, but I had recently memorized that music for a contest in Texas. Dr. Black asked if I had a perfect memory. I replied, “sometimes”.

WHAT WAS IT LIKE TO BE A MEMBER OF THE NBC SYMPHONY ORCHESTRA IN THE 1940’S? Professional orchestras were entirely different back then. The NBC Symphony Orchestra had 94 men and no women. If you take 94 men it’s like a wild fraternity with everybody smoking and cutting up. There was always a haze from the smoke, and if the orchestra wasn’t playing, they were smoking. You would see music with burns from the ashes. Me being so young, everyone was very kind to me. Many of the people I met became good friends and helped me when I opened my music store by getting me name brand instruments, like Lorée and Getzen.

WHAT WAS IT LIKE TO BE UNDER ARTURO TOSCANINI? When Toscanini had the orchestra, it was like being in church. Nobody goofed around much, although the smoke never cleared. He was “no nonsense” and always started rehearsals on-time. He never sat down, always standing throughout rehearsal, which was impressive for a man in his late 70s.

He conducted with his eyes and you would know what he wanted.

When the music was triumphant he would point the stick at you, like he was driving the orchestra. He would hold the baton like he was playing the cello. At times he would step down from the podium and play on Continued on next page

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A Conversation with Christian "Al" Jensen ... Marc Decker, cont. the cello to show us exactly what he wanted. He would make some comments in English, but would often speak in Italian.

During rehearsals we would spend large amounts of time on small details, like a single grace note or trill. He was hardest on the violin section, led by the concertmaster Mischa Mischakoff. Mischakoff was the nicest gentlemen you would ever meet. Sometimes Toscanini would get upset with someone in the orchestra, but Mischakoff would find a way to bring them together and calm everyone down.

Whenever we played something Italian, Toscanini would tear up and become very emotional, especially because of the war. I remember performing the Pines of Rome and he would have tears in his eyes as he conducted. Although he was very emotional, Toscanini rarely laughed.

In fact, the only time I remember him laughing was once while rehearsing Roman Carnival by Berlioz. We were working on the opening with the English horn solo. After we played through it once, Toscanini said to the soloist, “I want you to sing it”. So, after the introduction, he laid down his English horn and sang. Toscanini got a good laugh. But you had to be pretty sure of your job to do that.

At one rehearsal I was covering the first oboe part because Robert Bloom had dental work done and couldn’t play. We were doing Samson and Delilah by Saint-Saens and the fourth movement has an oboe solo. Toscanini had me play it once…and again…and again. He then called me up to the podium to speak with him and when he did, the second bassoonist leaned over and whispered, “Chris, don’t say a 53

word!” So, I walked up there, keep in mind that I was much taller than Toscanini, even while he stood on his podium. Once I arrived he looked up at me and said, “you’ve got to watch me! You need to watch when you play the cadenza! You’re a good boy, now go sit down.” I returned to my seat and didn’t say a word. Although there were others in the orchestra he didn’t get along with, Toscanini was always very kind to me.

WHO ELSE WORKED WITH THE NBC SYMPHONY ORCHESTRA WHILE YOU WERE A MEMBER? Because of the war we had numerous guest conductors while I was in the orchestra including Fabian Sevitzky from the Indianapolis Symphony, Howard Hanson from the Eastman School of Music, Fritz Reiner from the Pittsburgh Symphony Orchestra, George Szell from the Cleveland Orchestra, the composers Igor Stravinsky and Ferdé Grofe, and of course, the music director of the NBC Symphony Orchestra, Dr. Frank Black.

Howard Hanson was a great conductor and the members of the orchestra always knew exactly what he wanted. He was complimentary to all of us and the orchestra liked working with him. The orchestra also enjoyed working with Fritz Reiner, but he was different. He was a tough “no nonsense” type of guy.

A lot of other guest conductors were flourishing their batons when they conducted, but not Reiner. He was controlled, keeping his gestures right in front of his body. The orchestra also enjoyed working with Ferdé Grofe because he was very relaxed

and fun. We performed his Grand Canyon Suite and during the third movement, On the Trail, he asked all the oboes to play the solo together which we enjoyed. The orchestra was very different under each of these men.

WHAT MADE YOU DECIDE TO LEAVE NEW YORK AND MOVE BACK TO TEXAS? I went into the Army Air Force in September 1945 and returned to Juilliard to receive an oboe performance degree the summer of 1946. When I returned I also played oboe and English horn with the NBC Summer Symphony. Unfortunately, my Dad’s business partner died in 1947 and he needed my help to run the family business, “Graham Brown Shoe Company.” So, I left and worked in the shoe business. It was this experience where I learned about management and how to treat customers. I learned that I was a salesman and enjoyed meeting people.

I worked in the family business until we sold the company in 1964.

At that time my family and I were living in Enid, Oklahoma. I missed my music and playing oboe, but had a lot of experience in sales. That’s when I decided to open a music store in a new shopping center and named it “Jensen’s Music Store”. Shortly after the opening, one of the local shoe stores put an ad in the paper that said, “thank you, Al, for not going into the shoe business.”

My store did very well over the years, in part because of the Continued on next page

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INTERVIEW

A Conversation with Christian "Al" Jensen ... Marc Decker, cont. friendships I made in the NBC Symphony Orchestra. This gave me an advantage over my competitors.

I’m especially thankful to “Doc” Severinsen who helped me get Getzen instruments and Buffet clarinets.

We were in the same room when we signed our contracts, me with the orchestra and him with the Tonight Show Band, and he has always been a close friend.

Even though I was busy running my business, I played oboe as much as I could and taught lessons.

Phillips University, which was located in Enid, heard that I could play. They called me and asked me to be the oboe instructor in 1969 and I taught there until 1995. The students would either drive a few miles to see me at my music store, or I would drive to campus. I still teach lessons, although not as many as before. Of all the things I’ve done professionally throughout the years I like teaching oboe the most and even now, at 93 years old, I still do.

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YOUNG WOMEN'S CONDUCTING SYMPOSIUM ONLINE: A SUMMATIVE REPORT TO THE THEODORE PRESSER FOUNDATION AND THE NATIONAL BAND ASSOCIATION MARGARET J. FLOOD OVERVIEW OF PROJECT

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y aim in creating the Frost Young Women Conductors’ Symposium was to give current and aspiring conductors an opportunity to work on their conducting skills, learn from women conductors, and meet new allies and mentors. This event also provided music educators a progressive professional development experience as participants and/or observers. Dr. Emily Threinen of the University of Minnesota and Dr. Amanda Quist of the Frost School of Music served as the instrumental and vocal conducting clinicians. This symposium was unique in that although it was focused on women in the conducting profession, it was open to everyone, regardless of age, sex, gender identity, or gender expression. In order to mitigate costs that would sometimes prevent people from attending these types of conducting clinics, this event was FREE to all participants.

WHAT’S IN A NAME? We realized that the name of the symposium caused some criticism throughout the initial

announcements of the event and we were quick to provide this statement at the time: While the focus of this symposium is geared toward encouragement, support, and promotion of young women conductors, it is by no means exclusionary to any individual.

This event is an opportunity for individuals to advance their craft as conductors and to exchange ideas with other individuals who have interests in topics related to women and their work as conductors. Acknowledging that women have slowly started to hold prominent leadership positions on the podium and in the academy, conversations around systematic inclusion, development, and growth will be included.

FYWCS STAFF A symposium of this caliber could not take place through the work of one person, particularly since the event was thoroughly planned twice. I use the term “us” throughout the majority of this report because this project would never have been a success without the help of my close friends and colleagues. It was a team effort formed from a group of young women equally passionate about

Margaret is currently an Assistant Professor of Music and the Coordinator of Music Education at Florida Southern College in Lakeland, Florida. She is a Doctoral Candidate in Music Education at the Frost School of Music–University of Miami, where she was selected as a 2019 Theodore Presser Graduate Award Recipient. Most recently, she was awarded the Women Band Directors International Gladys Stone Wright Scholarship in honor of her contributions to research, activism, and service to women conductors. She is currently completing her dissertation, which investigates the codeswitching tendencies of men and women secondary band directors.

the conducting profession and music education. The following Frost School graduate students volunteered to help organize the event: Instrumental Conducting Coordinator & Schedule Coordinator Tina deMeglio, DMA Wind Band Conducting Student Choral Conducting Coordinators Jami Lercher, DMA Choral Conducting Student, Frost School Class of 2020, Assistant Professor of Choral Music Education, Baldwin-Wallace Conservatory Continued on next page

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Young Women's Conducting Symposium Online, Margaret J. Flood, cont.

Wendy Gunther, PhD Music Education Graduate Student Program Design, Technology Coordinator, and Social Media Engagement Julia Klingner, MME Instrumental Music Education Graduate Student Social Media Engagement and Marketing Jaden de Guzman, MME Choral Music Education Graduate Student

COVID-19 FYWCS RESTRUCTURE The Frost Young Women Conductors’ Symposium was originally set to take place on the weekend of May 2 & 3, 2020 at the Frost School of Music. Due to the pandemic, the Frost School of Music and the University of Miami shut down all operations during the third week of March with no plans to reopen until the CDC deemed it safe, and the school administration had made proper preparations to provide a protocols for a safe learning environment.

In July of 2020, we were informed that the campus would not be open for conferences in the 2020-2021 school year, which forced us to reenvision the event online.

RE-ENVISIONED: THE FROST YOUNG WOMEN CONDUCTORS’ SYMPOSIUM ONLINE CLINIC AND WEB SERIES In August, it was decided that the event would split into two parts: an online weekend conducting clinic on September 56

19th and 20th, and a subsequent web series that would take place over several nights throughout the month after the clinic.

Since the March shutdown, I had gained employment as Coordinator of Music Education at Florida Southern College, which also allowed for me to invite some of my new colleagues as collaborators.

The re-structuring of the event allowed for us to re-allocate funding to bringing in more conductors, musicians, and scholars. This included inviting the Grammy-award winning Maestra Joann Falletta of the Buffalo Philharmonic Orchestra as our keynote speaker during the weekend clinic. Other guest collaborators throughout the web series included: Dr. Carolyn Watson, Director of Orchestral Activities, University of Kansas Maestra Alice Farnham, Royal Philharmonic Society, Artistic Director of Women Conductors, London Dr. Deanna Joseph, Director of Choral Activities, Georgia State University Dr. Meredith Bowen, Director of Choral Activities, Radford University Dr. H. A. Nethery, Associate Professor of Philosophy, Florida Southern College Dr. Jobia Keys, Visiting Professor of Communications, Florida Southern College

Dr. Amy Bovin, Music Education Researcher and Scholar on Women Band Directors Dr. Cynthia Johnston Turner, Director of Bands, University of Georgia Jennifer Jolley, Composer and Assistant Professor, Texas Tech University Alex Shapiro, Composer Lindsay Kesselman, Soprano Brittney Boykin, Composer, Interim Director of Choral Activities, Agnes Scott College KHAOS Winds, Professional Woodwind Quintet, Frost School of Music Through the installation of the web series, we were able to expand the session topics to align more closely with our current political and social climate that had vastly changed since we first planned our original in-person clinic. Web series topics included concert programming, diversity and inclusion, research, and shared stories about the unique Continued on next page

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Young Women's Conducting Symposium Online, Margaret J. Flood, cont. paths of women rising within the profession. Discussions on race, gender, and authenticity were common topics that threaded throughout the presentations and subsequent questions by the participants. A communications scholar and critical race theorist were able to give suggestions and best practices of how to approach the classroom with an inclusive lens. KHAOS Winds joined us for a streamed performance before our Salon Chat, in which participants were able to listen to a vulnerable conversation among some of the leading women in music composition, education, and performance.

The web series sessions gave participants a safe place to ask questions to our collaborators. As program director, I used the chat function on Zoom to field and anonymize private questions from participants who may have wanted to inquire about difficult topics or personal experiences.

Participants asked a number of thought-provoking questions throughout the web series, which generated interesting conversations.

FYWCS ONLINE WEEKEND CLINIC Initial and Final Sponsorship This event was predominantly fund by the Theodore Presser Foundation Graduate Award. A National Band Association Project Grant also helped to subsidize the honorarium of Dr. Emily Threinen.

Initially, the Yamaha Corporation and Cadence Music of Fort Myers, Florida were committed sponsors for the in-person event but were not needed when FYWCS 57

reformatted to be online.

Marketing and Media The primary source of advertisement was through the social media platforms of Facebook, Instagram, and Twitter. We relied heavily on our personal connections to repost within these platforms. Several band organizations, including the American Bandmasters’ Association, also promoted us through their Facebook platforms, which allowed us to reach an international audience.

Since this event took place in Florida, it was publicized through the Florida Bandmasters Association list serv. A website was created through the Frost School of Music Choral Studies webpage. As founder and program director, I attended the Florida Bandmasters’ Association Summer Conference, the Midwest Band and Orchestra Clinic, and the Florida Music Educators Association Annual Conference and handed out flyers and speak with individuals interested in attending. Flyers were provided through the Frost School of Music booths at various conferences that occurred in January and February of 2020.

The wide reach was effective, which is evident by both the initial fellow and observer applications in January and again when the RSVPs were re-opened for the FYWCS online clinic and web series.

Outside of our national reach, we had applicants from countries and regions such as, but not limited to, Canada, Venezuela, Spain, Ireland, England, Australia, and the Netherlands.

Throughout the entire web series, weekly emails were sent to all people who RSVP’ed with details about events, times, and ways of participating. Within these emails, our collaborators were introduced along with a brief description of each session.

Initial Application Results Applications were open online through Google Docs from January 20 through February 10, 2020.

One hundred forty-six individuals applied to be conducting fellows: 82 in the instrumental track and 64 in the choral conducting track.

Thirty-seven observer applications were collected. Eleven were for the choral track and 26 for the instrumental track. Due to the overwhelmingly positive response, applications for both observers and fellows were closed on February 10. Over the following two weeks, fellows were chosen by the FYWCS staff members, and the choral conducting fellow application selection was guided

by Dr. Amanda Quist.

Twenty choral and 20 instrumental conducting fellows were chosen, as well as two alternates for each conducting tract. The fellows were representative of North America, South America, and Europe. Ability raged from high school students to amateur and professional conductors, although most were college students and in-service teachers. Four of the fellows identified as male, 35 identified as female, and one who identified as non-binary were selected. Several fellows indicated they were members of the LGBTQ+ community. Age Continued on next page

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Young Women's Conducting Symposium Online, Margaret J. Flood, cont. ranges and ethnicity were not collected until the final survey, though were loosely gleaned from resumes, essays, and curricula vitae that were collected as part of the application process.

Rather than asking specifically for these identities, we chose to allow applicants to self-identify according to what was important to them within their application essays. All observers were accepted and also represented a diverse population of gender, age, experience, career aspirations, and self-identities.

RSVP for Online Weekend Clinic and Web Series A new RSVP was sent to fellows and observers at the end of August. Transitioning to an online format allowed us to increase the space for more observers, though we were still limited by the 300- person cap set by Zoom.

Two weeks before the online clinic weekend, the FYWCS was open to other participants and further marketed on social media. All collaborators were also counted as attendees, as several of them chose to join other events throughout the clinic weekend and web series.

Two hundred and sixty-eight people completed the final FYWCS RSVP. Due to the urgency of obtaining these RSVPs, very little demographic information was requested. Our goal at that time was to obtain a headcount, name, pronoun, and email contact information for our shared directory.

The weekend clinic was structured so that conducting fellows could either send in filmed footage to be critiqued 58

within a masterclass setting with the clinicians and observers, or participate in a thirty- minute one-on-one private session with either Dr. Quist or Dr. Threinen.

Masterclasses averaged about 20-30 participants, whereas the workshops and sessions averaged about 40-50 participants.

Our clinicians also provided workshops pertaining to warmups, programming, leadership, mental health, score study, diversity in programming, repertoire choices, and women supporting women. The keynote session with Maestra Falletta averaged about 70-80 participants.

Attendees were encouraged but not required to attend all sessions.

SURVEY RESULTS FROM WEEKEND CLINIC Using the University of Miami Qualtrics survey collection software, participants of the FYWCS weekend clinic were sent a survey in the two weeks following the event. The intent of this survey was to secure important demographic information from those who attended. This survey will also be used to support the replication of this event in the future, as well as information that would be valuable to place on future grant applications. We hope that the feedback garnished from these responses will help us to make the event even better and to expand it to meet the needs of our future participants and the conducting profession.

Participant Demographics Fifty-two people chose to complete the survey. Some survey respondents chose not to answer all the questions. This is most

likely due to the flexibility in what and when they could attend throughout the weekend. The first part of the survey requested general demographic information.

Fifty people responded to the item regarding gender identity.

Ninety-four percent of survey participants identified as women, four percent as men, and two percent as other. Fifty-two people chose to respond to the inquiry about their ethnicity. Seventy-five percent identified as white, 9.6% responded as Hispanic or Latino, 1.9% responded as BIPOC, 11.5% responded as Asian, and 1.9% as other. The respondent that chose “other” indicated they identified as Guyanese.

Fifty-two people responded to the question regarding residence.

Ninety-four percent of the respondents resided primarily in North America, whereas 3.9 % resided in Europe and 1.9% in Asia.

Fifty-two people responded to the question pertaining to age. Forty-two participants were between the ages of 15 and 35, approximately 80%. Forty percent of people indicated being between the ages of 15 and 25 and another 40% between the ages of 26 and 35. Seven participants, or 13.5%, were between the ages of 36 and 45. Three participants, or 5%, were over the age of 45.

When asked to provide their primary career title, forty-nine people responded. Forty-six percent identified as a music student and 26.5% indicated they were music teachers.

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Young Women's Conducting Symposium Online, Margaret J. Flood, cont. university professors. Two indicated they were professional conductors and one was a freelance musician. Ten percent of the respondents indicated other. When asked, those who indicated other either indicated that they identified as multiple titles that were previously listed, or as a church musician or college student.

Overall Experience Ratings Within this section of the survey, participants were asked to rate their overall experiences on a Likert scale of one to five (Strongly Disagree, Somewhat Disagree, Neither Agree or Disagree, Somewhat Agree, Strongly Agree).

There were approximately 48 responses, with only 47 responses on the question pertaining to the ability to connect with other participants. This particular question had the lowest rating, averaging 3.87, which is mostly likely indicative of the switch to a virtual symposium. The average mean of all other ratings ranged between a 4.23 and 4.77, indicating that the vast majority of participants either somewhat agreed or strongly agreed they had a an overall positive experience at the FYWCS. The items with the two highest ratings of a 4.77 were “I would attend an online YWCS in the future” and “The sessions covered topics applicable to my professional development.”

Forty-two participants strongly agreed that the event was well organized and 79% strongly agreed that the clinic met or exceeded their expectations. Forty-two participants strongly agreed that they would participant in a FYWCS 59

online, and 38 strongly agreed they would attend an in-person YWCS in the future. Forty-two participants either somewhat agreed or strongly agreed that they would pay a reasonable fee to attend a similar event of this caliber in the future.

Because we aimed to create an inclusive space that was open to vulnerable discussion, we did our best to engaged participants through the chat function. Eighty-one percent of the participants responded that they felt comfortable participating in the chat function and 77% felt encouraged to ask questions and join the conversation.

Overall Experience of Weekend Clinic Sessions The last part of the clinic survey asked participants to rate each of the types of sessions and activities that took place throughout the weekend. Responses to this section varied between 42 and 47 submitted, as not all participants attended each of these events.

A five-point Likert scale was used (Very Poor, Poor, Average, Good, Excellent). None of the respondents indicated Very Poor or Poor within their responses.

Most participants rated the various sessions as Excellent.

The joint sessions with Dr. Quist and Dr. Threinen were rated as 88% Excellent and 9% Good.

Conducting warm-ups led by the clinicians were rated as 77% Excellent and 20% Good.

Masterclasses with fellows, which were the one event that had drastically changed by placement online, was rated as 70% Excellent and 26% Good. The breakout

sessions on instrumental and choral-specific topics had the largest response rate of 47.

Eighty-nine percent of respondents rated them as Excellent and 11% as Good. The special session with Meastra Farnham and Dr. Carolyn Watson was rated 74% Excellent and 26% Good. Maestra Joann Falletta’s keynote session was rated 72% Excellent and 26% Good. The Q and A breakout sessions were also highly rated with 80% responding Excellent and 19% responding Good.

Notable Highlights Indicated by Participants “I felt rejuvenated and excited going into my week of teaching.”

“The biggest highlight of the weekend was definitely the last session on Saturday where everyone talked about their mental health and the future of conducting. The session felt open, honest, and therapeutic because everyone was willing to show their own vulnerability as well as willing to help each other out during the discussion.”

“I loved the guests, and also learning from well-known conducting teachers in the field.

This was my first attending any open/women-centered event out of numerous clinics and master classes I have attended before, and I was pleasantly surprised at how comfortable and open it felt, even being online, in comparison with many other events which may be either too big to connect with people, or too competitivedriven.”

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Young Women's Conducting Symposium Online, Margaret J. Flood, cont.

“Hearing the perspective of women conductors outside of the U.S.” “The highlights of my experience were generally the ability to form a community over zoom.

I learned so much for my professional development, and was actually sad to "leave"!”

“I loved being able to speak to Maestra Falletta. That was truly an awesome keynote speech from such a musical force of nature! I also loved being able to pick Dr. Quist and Dr. Threinen's brains, and when we were led through short exercises as answers to our questions, or as extensions of critiques being given to the fellows. It was all so helpful and invigorating!”

“I enjoyed hearing about the careers and experiences of the featured speakers.

It was validating to hear their continued passion and perseverance.”

Feedback on Improvement of the FYWCS Suggestions on how to improve the event varies. Many participants asked for the symposium to be extended beyond the two days.

Some felt they were not able to absorb the information enough before entering another session.

Participants outside of the region wished for it to be more spread out as well, so they could attend more events. Several wished for there to continue to be a virtual format to include caregivers and people unable to travel.

Others were impressed with the professionalism and believed 60

the transfer to an online format was successful, but would have liked to have more breakout rooms within the sessions to have the opportunities to engage in further discussion with participants and collaborators.

Participants also asked for better communication and one secure place for all information to reside, whether it be a website or Google drive. Many participants asked for a schedule sooner. We, the staff, would have liked to share a schedule with participants at least 4 weeks ahead of time but we only had six weeks to change from an in-person to an online format.

We recognize that providing a schedule earlier would have been beneficial for participants.

Another suggestion our staff discussed as soon as the event ended stemmed from this participant suggestion: “…this kind of event would probably highly benefit from a continued mentormentee type connection, as many of the attendees are fresh in or out of college, and the connections between group members and faculty seems quite strong. A longer-term project could benefit and develop out of something like this type of event, especially under the auspices of a university and educational atmosphere.

This would also be a good thing to present in some way at the Midwest Clinic.”

Several participants also made suggestions other clinicians and collaborators, which will be saved for later events.

General Comments

“I honestly am so grateful for this event. Often times as a student, one doesn't exactly have the means to cover costs of attending a symposium such as this which is integral to professional development. The fact that I only had to pay travel was a huge plus, as if I had to pay a substantial fee I probably wouldn't have been able to afford this and my development as a female conductor would have suffered greatly!”

“I was asked, as one of the few male-identifying people participating in the symposium, if I was ever made to feel uncomfortable because of the focus towards advocating for female conductors and gender equality in the field; and my answer was of course no! All in all, this event did a STELLAR job from the very beginning at being inclusive, during the application process, in informational emails and posts, and during every discussion. Any person of any sexual orientation, or of any gender identity or expression should attend this wonderful, inspiring, informative event! All will be made to feel comfortable.”

“Thank you so much for the opportunity and making it available for everyone (especially for free!). As an aspiring conductor and music educator, this program has been an enlightening experience for me to grow as a musician and student.

I look forward to the webinar series that are coming soon.”

“This event was--hands down-the best virtual event I have ever

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Young Women's Conducting Symposium Online, Margaret J. Flood, cont. attended. Kudos to all involved!”

“Loved how supportive all the women were of each other, let’s keep this going!”

NARRATIVE ON VALUE AND IMPACT OF THE PRESSER GRADUATE AWARD As a music educator and researcher, I wanted to make sure that the money earned through the Presser Graduate Award benefited as many people as possible. While the focus of this symposium was geared toward the awareness, participation, and recruitment of women conductors, it was important for me to make it allinclusive. I wanted to be sure it brought together all people interested in the art of conducting and music education, regardless of differences. While the in- person event was successful in achieving these goals, I was excited to see that the reformatting of this event to be online allowed for an even broader reach, allowing us to host an international presenter and international participants. It also gave us the opportunity to expand our topics of discussion and provide a healthy and vulnerable environment to discuss current state of identity politics, society, and education. This is something I never would have imagined to happen when initially applying for the award.

Although I was skeptical if participants would truly be able to connect and bond in the way we were hoping to do so in person, I was proven wrong. Fellows and observers cheered each other on throughout the conducting 61

masterclasses, as evident in the chat function and through positive valuable and constructive comments shared during the critique. This open and vulnerable space was created by both our clinicians and the participants themselves. This was exciting to watch transpire over a short two days.

The FYWCS was a passion project that allowed for me to create an event I personally would have loved to attend as a young band director. Now that I am a veteran, and completing my PhD in music education, this was an incredible opportunity for me to give back to my profession. Besides the worldclass professional development opportunities that occurred throughout the event, the FYWCS allowed for me to form meaningful personal and professional relationships with many women of whom I looked to as role models throughout the various stages of my musical career. Furthermore, I also believe that this has helped me find my ultimate purpose as a music educator. This is a project that I can perpetuate, helping young women rise into the higher ranks of the conducting profession. This never would have happened without the support of the Presser Foundation.

of Florida in Bradenton, Florida and Florida Southern College, in Lakeland Florida. Both locations are close to family-oriented tourist destinations. We hope this will encourage more women to attend and to bring their families. Both of our music departments also have strong and successful women leadership in both administrative and ensemble directing positions.

We have already researched potential funding sources that will help to keep the costs down for attendees. The majority of the staff of FYWCS plan to stay on board to help organize and execute future symposiums.

This event has also led to future research projects pertaining to documenting the lives of women conductors. Several interview projects have been scheduled for 2021. I have taken any remaining funds and purchased quality audio-video equipment to support these endeavors. My goal is to compile enough life stories of women conductor-educators to be able to publish a book and perhaps create a national archive for these projects.

FUTURE PROJECTS As of December 2020, I am in preliminary planning to host the next installment of the Young Women Conductors’ Symposium with the help of Dr. Robyn Bell at State College of Florida.

The intent is to share it between our two campuses: State College NBA JOURNAL

HOW TO SUBMIT PEER-REVIEWED RESEARCH ARTICLES TO THE NBA JOURNAL

T

BY MATTHEW TALBERT

he difference between a peer- reviewed research article and the articles traditionally published in the NBA Journal is best described as a difference in the vetting process and source material. To have an article appear as “peer-reviewed” in the NBA Journal means recognized researchers and scholars in the field of music/music education will read, evaluate, and then recommend whether or not an article should be published, revised or rejected. This process is widely recognized as an indicator of quality scholarship in a particular discipline or field. Other names for these types of articles are “scholarly” or “refereed.”

A traditional NBA Journal article is most often written from the perspective of the author’s unique experiences in life, music, and/or the profession. These articles are of extraordinary value, as they often present a number of ideas that have been effective for the author and may also be effective for the reader.

A research article is most often written as a continuation of ideas presented in previous articles, with the motivation drawn from combining the findings of those previous articles and the author’s own experiences, experiments, or observations. In building the article in this way, the validity of the information is heightened beyond the traditional

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article. These articles are also of extraordinary value as they may also impact the way the reader approaches the subject material in a potentially more generalizable way. When incorporating the peerreview process, the an author’s article now has a final layer of review (for accuracy) utilizing other experts within the same subject matter.

THE TRADITIONAL RESEARCH LAYOUT AND VALUE OF THE RESEARCH ARTICLE Dr. Russell Gavin, former chair of NBA’s Research (and Editorial) committees, shares his thoughts on the layout and value of these types of articles: A number of peer-reviewed research articles may read like other articles found in the NBA Journal, with the author outlining their thoughts on a subject while using citations to support the premise of the issue being discussed. Other research articles will take on a bit more of a scientific approach. These articles begin with a review of literature summarizing the research on the topic that already exists, while simultaneously presenting the reader with the rationale driving the current article. A method section follows, describing

Matthew Talbert is Assistant Professor of Music Education at Ohio University.

Joining the faculty in the fall of 2016, his responsibilities include teaching undergraduate and graduate courses in music education, with additional teaching responsibilities in the Patton College of Education.

Talbert earned a Ph.D. in Music Education from the University of South Carolina (2012), a Master of Music in Music Education from Appalachian State University (2005), and a Bachelor of Music in Music Education from Appalachian State University (2004).

what actually happened in the research, then a results and analysis section(s) describing what the researcher found, if anything. The article closes with a discussion of the findings and how they may relate to the world. The article concludes with a list of references from which the author drew information and ideas.

If you are inexperienced at reading research articles, you may want to read the discussion section first. This part of the article will explain how the information found in the rest of the article may impact you and others in the article subject community.

Oftentimes this is the place where practical ideas will be most clearly expressed; however, taking in the entire Continued on next page

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How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont.

article will always give a much clearer view of what the author was attempting to express.

As mentioned above, an ideal research article is adding to the research that came before it. This continuation and growth of knowledge is one of the defining characteristics of this kind of inquiry. At the end of the article, the reader is left with information that is not only new to them, but simultaneously new to the world. This level of investigation is of paramount importance in all areas of music and education, and the NBA is proud to present this new avenue for such exploration and thought.

GUIDELINES FOR SUBMISSION OF PEERREVIEW RESEARCH ARTICLES A. Submission Method: Manuscripts should be submitted as Microsoft Word attachments via email to the Editorial Committee Chair: Matthew Talbert at talbertm@ ohio.edu.

B. Length: The manuscript should not exceed 25 pages and should include an abstract of 100-150 words in length on a separate page. We encourage the submission of short form articles (4-10 pages) as well as full-length articles.

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C. Cover Page: To ensure anonymity in the review process, the manuscript should

contain no clues as to the author’s institutional affiliation or identity. Author’s name(s), address, institution affiliations, and pertinent information should be listed on a separate cover page at the beginning of the submission. The cover page should also include up to five keywords/phrases that describe the contents of the manuscript.

D. Style Guide: Manuscripts should conform to one of the following style manuals: (1) Publication Manual of the American Psychological Association (7th edition, 2019), (2) The Chicago Manual of Style(17th edition, 2017), or

documentation allowing the reproduction of these materials.

F. Ethical Requirements: It is the author’s responsibility to ensure that no copyright issues have been violated by the submission, including images, charts, etc. Manuscripts already published in other journals can be submitted for consideration in the NBA Journal providing the author has permission to do so.

Questions about submitting a peerreviewed article?

Email Research Chair Matthew Talbert at talbertm@ohio.edu.

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(3) A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 9th edition, revised by Wayne C. Booth, Gregory Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff, 2018).

Note: Authors may not combine and/or mix styles within a single manuscript E. Tables and Figures: Tables and figures may be included with the manuscript, however, these must be publishable in black and white. It is the author’s responsibility to make sure any tables/figures are checked for accuracy before submission. Additionally, if any copyrighted materials are submitted, it is the author’s responsibility to provide

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