2021 NBA Journal, Winter Edition by seven1five

VOLUME LXI, NO. 1 | WINTER 2021

OFFICIAL PUBLICATION OF THE NATIONAL BAND ASSOCIATION

Honoring our past as we move toward our future

VOLUME LXI, NO. 1 | WINTER 2021

Executive Committee/Project and Committee Chairs

President’s Message

First Vice President’s Message

Second Vice President’s Message

Immediate Past President’s Message

Mission Statement

About the Academy of Wind and Percussion Arts

Past Presidents 11 Board of Directors 2020 - 2022

NBA Revelli Composition Contest Winners

NBA Merrill Jones, Jazz, and Young Band Composition Contest Winners

NBA Hall of Fame Distinguished Conductors

2020 NBA Awards

NBA Programs of Excellence Blue Ribbon Awards

Loras John Schissel to be Inducted into AWAPA

Colonel Hal Gibson Named Al & Gladys Wright Distinguished Legacy Award Winner

Thank You, Linda — Rebecca Phillips with NBA Past Presidents

Brian Balmages’ “Love and Light” Wins the 2020 William D. Revelli Composition Contest — Matthew McCutchen

Getting Involved with NBA as a College Student — Dylan Hansen

Document Your Career, a Personal Plea — Gary Barton

Teaching Middle School Band through a Pandemic — Justin G. McCrary

Think Before You Program — Tremon Kizer

All-American D-Day Band

The Effects of Political and Social Forces on the Life and Music of Karel Husa as seen in “Music for Prague 1968” and “Apotheosis of this Earth “ — David Montgomery

The Incidence of Hearing Loss Among University Student Musicians — Douglas T. Owens & Kathryn S. Schwartz

NBA - The Early Years — David Gregory

Reducing Bioaerosol Emissions and Exposures in the Performing Arts: A Scientific Roadmap for a Safe Return from COVID-19

2020 Midwest Clinic Reports Military and Professional Band Report Community and Adult Band Report Southern Division Report Eastern Division Report North Central Division Report Southwestern Division Report Western / Northwestern Division Reports Midwest Meetings Minutes Financial Report Membership Report

60 66 69 74 79 83 87 91 95 96

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

Membership Application

And The Band Played On, Portraits of Resilience During a Global Pandemic

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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.

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COMMITTEES & EDUCATIONAL PURPOSE

Educational Purposes OF THE NATIONAL BAND ASSOCIATION

EXECUTIVE COMMITTEE Rebecca Phillips, President Randall Coleman, First Vice-President Matt Temple, Second Vice-President

To promote the excellence of band performance throughout the world

Linda R. Moorhouse, Executive Secretary-Treasurer Scott Tobias, Immediate Past President

PROJECT AND COMMITTEE CHAIRS

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

Alfred Young Band Composition Contest, Audrey Murphy AWAPA Commission, Richard Floyd Citations & Awards, Heath Nails Constitution & By-Laws, Randall Coleman

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

Corporate Relations, Gary Smith Hall of Fame Board of Directors, Larry Blocher & Mark Walker Hall of Fame of Distinguished Conductors, Thomas Fraschillo Inclusion, Diversity, Equity, & Awareness, Arris Golden & Elizabeth Peterson

To promote pride and continued enthusiasm among band directors

Merrill Jones Composition Contest, Paul Popiel Music Education, Bruce Moss National Programs of Excellence, Myra Rhoden NBA Foundation, Susan Creasap

To encourage quality students to pursue careers in music

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 William D. Revelli Composition Contest, Matthew McCutchen Young Composers Jazz Composition Contest, Erich Rivero

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

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

reetings and welcome to the first Journal of the National Band Association’s th 60 Anniversary! Founded on September 11, 1960, this year marks a milestone in the NBA’s history. The NBA Journal is an incredible resource for band directors and continues to be one of the most important cornerstones of the organization. This edition includes the 2020 reports from some of our project chairs, division chairs, and state chairs. In addition, the names of the 2020 winning composers and their compositions for three of the NBA composition contests will be cited. The 2020 Programs of Excellence Blue Ribbon Award winners at both the division and national levels will be mentioned and the winner of the Academy of Wind and Percussive Arts Award will be included. A new award, the NBA Al & Gladys Wright Distinguished Legacy Award, will be described. As a special feature, a historical journey highlighting the past sixty years will be presented in each Journal this year. Later in this issue, you will read about the amazing accomplishments and the incredible gift of service that Dr. Linda R. Moorhouse gave to the organization as the

Journal editor from 2006 to 2020. With her retirement from the editorial job as of December 31, 2020, we welcome and introduce the new NBA Journal editor, Dr. Matthew Talbert. Dr. Talbert is currently assistant professor of music education at Ohio University and is the Research Chair for the NBA. Previously, he served on the faculty at Berea College in Kentucky. Dr. Talbert began his career as a secondary school band director in North Carolina. Matt is building an advisory board for the Journal in consultation with the Executive Committee and we know that he will do a wonderful job taking over this publication for the NBA. In addition to the numerous articles that offer educational benefits to the readers, you will find documentation of evidence showing how the National Band Association has continued to move forward with current projects while also adventuring out with new endeavors to help the profession during this pandemic. We offer our sincerest thanks to the NBA Project Chairs, Board of Directors, Division Chairs, and State Chairs for their outstanding work in 2020 and we look forward to your service to the organization in 2021. In addition, we thank

REBECCA PHILLIPS

Continued on next page

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PRESIDENT’S MESSAGE

President’s Message, Rebecca Phillips, cont.

I continue to applaud each of you for your resilience and tireless planning during these unprecedented times.

MENTORSHIP ENCOURAGEMENT

Terri Daniels, the NBA office manager, for her wonderful work throughout the year. She is such an intelligent and kind person to head up our official membership office. Finally, thank you to the membership for your attendance at the 2020 General Membership Meeting, held virtually in December. It was fantastic to see each of you.

SERVICE

I am reminded now, more than ever, that nothing beats a good old fashion phone call of encouragement to a colleague, both young and old, who may feel isolated as they strive to work through this pandemic with their individual programs and students. I urge each of us to look outward and use the wonderful video chat technology, for which we have become accustomed to using, to reach out to fellow band directors who need mentorship and/or encouragement. A simple word of "thanks," “good job," or just taking a moment to chat may make the difference in a fellow band director's outlook in the profession.

GRATITUDE

I continue to applaud each

of you for your resilience and tireless planning during these unprecedented times. I am reminded that we ultimately strive to provide the tools that will allow the members of our ensembles, whether students or community members, to become life-long learners, supporters, and participants in music. Remember to take time to breathe and allow yourself to decompress. Each of you are truly amazing! 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! Dr. Rebecca Phillips President National Band Association

NBA JOURNAL

FIRST VICE-PRESIDENT’S MESSAGE

s you read this message, we will have ended a year that many will be happy to forget. What an unusual ride the year 2020 proved to be. As I think back to March 12, 2020, I was driving home from Murfreesboro, Tennessee from an evaluation event I was adjudicating that had been cancelled. I remember thinking on my drive how odd it was to have to cancel such an important event, and I also remember thinking about the event on my calendar for the next week and wondering if it would be cancelled, too. Little did I know then that we would still be dealing with cancellations, postponements, and “zooming” as we put the “final ending” on 2020. Like so many of you, I have not been able to rehearse with any of the ensembles I conduct since late February. I miss the students that make up the Alabama Symphonic Band and my wonderful colleagues in our adult band, the Alabama Winds, very much and anxiously await the day that we can safely meet as an ensemble and make music together once again. As we sit now in a brand new, shiny New Year, here’s hoping that you are all safe, well, and we are on our way back to our “new normal”. We have been able to persevere through very difficult circumstances. We have been forced to do without

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many things that we never imagined having to be without. With the hope of vaccinations already underway, we will hopefully be “around the curve” of this terrible pandemic soon and indeed on our way “home.” One of those icons that we never imagined being without is our beloved Midwest Clinic. It was hard to even think about not being able to gather in Chicago for the clinics, concerts, exhibits, and most of all, renewing our friendships and THE FOOD! Even given our virtual circumstance, it was fantastic to “see” so many of you at our annual Midwest meetings for the NBA. Having an opportunity to reconnect with so many friends from across the country and around the world was such a treat. At our Midwest meeting, we were able to recognize several of our outstanding band programs with our Program of Excellence Blue Ribbon Awards, our composition contest winners, our AWAPA recipient, and our new Distinguished Legacy Award. Please check our website and elsewhere in the Journal for more in-depth information about each award, but I didn’t want this opportunity to pass without acknowledging these stellar accomplishments. Congratulations to the Division Winners of the NBA Blue Ribbon Program of Excellence Award: North Hills High School,

RANDALL COLERANDALL COLEMAN Len Lavelle and Lucas Beaver, Directors (Pennsylvania); the LaVilla School of the Artss, Ann Adams-Valle, Thomas Flynn and Christopher Banks, Directors (Florida) and West Salem High School, Todd Zimbelman, Director (Oregon). Our National Winners for 2020 are the LaVilla School of the Arts and West Salem High School. This is such a tremendous honor for the conductors and the program - please take a moment and congratulate these outstanding educators and their programs! The NBA/Alfred Young Band Composition Contest winner for 2020 is Brooke Pierson for his work “The Lighthouse Keeps Watch”. The NBA/Merrill Jones Composition Contest winner for 2020 is Tom Davoren for his work “A Midwestern Suite”. Our NBA/William D. Revelli Continued on next page

FIRST VICE-PRESIDENT’S MESSAGE

First Vice-President’s Message, Randall Coleman, cont.

Composition Contest winner for 2020 is Brian Balmages for his work “Love and Light”. All three compositions are simply outstanding. I hope you will check them out if you are not already familiar with them. The 2020 recipient of the Academy of Wind and Percussion Arts (AWAPA) Award is Loras Schissel, senior musicologist for the Library of Congress in Washington, DC and a noted conductor and leading authority on many composers who have written for the wind band. We were also honored to present a new NBA award this year, the Al and Gladys Wright Distinguished Legacy Award. This award honors band directors who have contributed to our profession over their lifetime as a mentor, conductor, teacher, and colleague. Al Wright was the first President of the National Band Association and, along with his wife and noted band conductor Gladys, will have this award named in their honor. The inaugural recipient of the Wright Distinguished Legacy Award is Colonel Hal Gibson. Colonel Gibson is the retired commander of the US Army Field Band and Chorus and the retired Director of Bands at Columbus State University in Columbus, Georgia. I had the honor and pleasure of meeting Colonel Gibson while he was the Director of Bands at Columbus College (now Columbus State University) 6

early in my career. During those early years, he was such a positive role model for so many of us, as he continues to be today! Congratulations, one and all! As we all look forward to a return to our new normal in the coming months, I want to encourage you all to think about the “good things” that we have learned during these strange times. I don’t think we need to return to “normal”, I think we need to return to our “new normal”. Let us all pledge to keep those positive things that we have learned during the pandemic and integrate those things into our professional lives. I know we can each find several things that we’ve learned that we would want to keep. When we blend these things that we’ve learned with our tried-and-true habits and methods, we will indeed emerge from these times a stronger, more vibrant, and student-centered profession. You are all heroes. You have persevered through these times and are always working to give your students the very best of you, no matter if it’s virtual, hybrid, or face to face. You have learned new technologies and methodologies and have gained additional patience. This has been a monumental educational experience for us all. Don’t forget in the midst of these challenging times, to take time for YOU. Don’t ever

You are all heroes ... This has been a monumental educational experience for us all.

neglect to remind yourself that no one has ever had to do what you have been asked to do through the pandemic. When something doesn’t work as well as you imagined, step back and try again. Resist the “band director urge” to take the blame yourself. In almost every case, it’s the times, not the teacher! I am honored to serve the members of the National Band Association and more importantly to share this journey with each of you. Please do not hesitate to contact me if I can be of assistance to you or your program. Randall Coleman First Vice-President National Band Association

NBA JOURNAL

SECOND VICE-PRESIDENT’S MESSAGE

s a band director, I frequently marvel at the copious amounts of work that I can create for myself. I have certainly learned some important strategies during my career to help counteract this tendency. A pearl of wisdom from Richard Floyd’s book, The Artistry of Teaching and Making Music, that really made a profound impact on my workload was the following: “Only do what only you alone can do.” There are many things that only we are qualified to do as the leaders of our programs, but there are also many things that we can enlist our students and their parents to do.

was well worth the walk outside to hear their heart-warming message. It was the first time I had ever seen someone’s spouse presenting alongside them, and that made a strong impression on me.

Before the pandemic, my personal life had become quite hectic, too. With my son and daughter both finishing middle school (yes, they are twins!), they were very busy with a multitude of their own activities. I am reminded of John Lennon’s lyric: “Life is what happens to you while you’re busy making other plans.” And even after twenty-five years of directing bands, I still have to constantly remind myself to prioritize what is most important between work and life. And when the day is done, that’s taking care of myself and my family. Ultimately, we must take care of ourselves before we can take care of others.

The pace of our lives outside of work has slowed considerably this year. An unexpected silver lining of the pandemic has been the amount of time I have been able to spend with my family. Early on, we started taking a family walk with our dog, Sprout, usually in the late afternoon. It has become sacrosanct for us, including our dog, who now begins to beg around 4:00 pm every day when she knows that the walk outside is inevitable!

I vividly remember when Molly and Ray Cramer presented their session at the Midwest Clinic based on the poignant poem, The Dash, by Linda Ellis. It was in the Crystal Ballroom at the old Blackstone Hotel across the street from the Hilton Towers. Remember those days? The temperature in Chicago that year was quite frigid, but it WI NT ER 2021

Without reprinting the entire poem, here are a few lines that encapsulate its meaning: I read of a man who stood to speak at a funeral of a friend. He referred to the dates on the tombstone from the beginning… to the end. He noted that first came the date of birth and spoke of the following date with tears, but he said what mattered most of all was the dash between those years.

Physical activity is so critical to our health. My wife and I bought a Peloton home exercise bike over Thanksgiving Break. As the prospect of winter loomed before us, we were becoming increasingly concerned about how we would get enough exercise while stuck inside during the cold Chicago weather. Over the course of the fall, both of us had managed to be quite inactive while teaching virtually on countless Zoom calls. Now we can ride with instructors who are cycling in New York and London – modern technology!

MATT TEMPLE This past year has given me a new perspective on life and for that, I am very grateful. As work and life settle into a new normal with an end to the pandemic in sight, let us all remember to take care of ourselves and our loved ones so that we can be the best version of ourselves for our students, their parents, and the communities that we serve. Matt Temple Second Vice-President National Band Association

This past year has given me a new perspective on life and for that, I am very grateful. 7

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

In speaking with various colleagues from across the country during a number of Midwest Zoom meetings back in December, a few common themes became apparent. First, band students are among the most resilient people on the planet. Time after time, directors shared stories of students being flexible and adapting as necessary all while maintaining positive attitudes. I don’t think any of us needed a pandemic to know how outstanding band students are, but the manner in which they have responded to recent challenges just solidifies that fact.

SCOTT TOBIAS

reetings, National Band Association. I hope your new year is off to a good start despite the challenges we continue to face. Like many of you, I missed seeing everyone in Chicago this year for the annual Midwest Clinic. While it was great seeing everyone on Zoom, it’s just not quite the same as “meeting at the tree” or touching base in the exhibit hall. I imagine it’s similar to how our students feel during virtual instruction. We see each other and communicate with each other, but that key element of direct human interaction is missing. Regardless of the advances in technology, I’m not sure anything will ever take the place of simply being there in person. That being said, I am thankful that current technology does afford us the opportunity to maintain some form of contact with each other during these unusual times.

... What we do matters – now more than ever.

was reinforced through many shared stories. For those who have not been able to engage in live music making, an act as simple as an online band meeting has had a profound positive effect on students. In those programs that have been able to continue Second, the sense of with live music making in some community among band directors fashion, simply playing music has only grown stronger during with others, no matter the size the pandemic. The camaraderie or format of the ensemble, has we enjoy as band directors has proven to be therapeutic and always been a special part of greatly appreciated by students. the profession, and that has Despite the challenges and never been truer than in recent frustrations we have experienced months. In an often-quoted since last March, the knowledge story, TV personality Fred Rogers that our efforts are making a told of his mother’s advice to positive impact on our students him in times of trouble – “Look and communities continues to for the helpers. You will always make it all worthwhile. find people who are helping.” As we have navigated the While we still have a way to uncharted territory of teaching go before a complete return to music in virtual or socially normal, the future certainly distanced settings, colleagues appears to be a bit brighter. In the from across the country have months ahead we will continue reached out in efforts to help to work under less-than-ideal each other. Whether it be sharing conditions, but I am confident curriculum ideas, running that with resilient students and virtual masterclasses, or simply tremendous support from our organizing weekly conference colleagues we will continue to calls for support, directors have make a difference for our students. stepped up and gone the extra The National Band Association mile to provide a network of stands ready to assist in any way assistance for each other in these possible. unprecedented times. Scott C. Tobias And lastly, what we do matters Immediate Past President – now more than ever. While National Band Association not a new revelation, this fact NBA JOURNAL

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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A B O U T AWA PA

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

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

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 11

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

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 NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTES T 1977

Jerome Sorczek – Variations for Band

1999

Donald Grantham – Southern Harmony

1978

No Award Given

1979

Harry Bulow – Textures

2000

David Kechley – Restless Birds Before the Dark Moon

1980

Byron Tatte – Between Worlds

2001

Joseph Spaniola – Escapade

1981

David Gillingham – Concerto for Bass Trombone and Band

2002

Dean Roush – Illuminations

1982

No Award Given

1983

Gregory Youtz – Scherzo for a Bitter Moon

1984

Arthur Gottschalk – Concerto for Wind and Percussion Orchestra

1985

Michael Colgrass – Winds of Nagual

1986

No Award Given

1987

Anthony Iannaccone – Apparitions for Symphonic Band

1988

Martin Mailman – For Precious Friends Hid in Death’s Dateless Nights

1989

Gordon Ring – Concerto for Piano, Winds and Percussion

1990

Paul Epstein – The Adventures of Matinee Concerto, as Broadcast Live from the Late 20th Century, with Notes

1991

Mark Camphouse – To Build a Fire

1992

Ron Nelson – Passacaglia (Homage on B-A-C-H)

1993

James Syler – The Hound of Heaven

1994

Jeffrey Hass – Lost in the Funhouse

1995

Donald Grantham – Bum’s Rush

1996

Walter Mays – Dreamcatcher

1997

Warren Benson – The Drums of Summer

1998

Donald Grantham – Fantasy Variations

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2003 (tie) David Dzubay – Ra! Sam Hazo – Perthshire Majesty 2004

Joseph Turrin – Illuminations for Solo Trombone and Wind Symphony

2005

Philip Sparke – Music of the Spheres

2006

Frank Ticheli – Symphony No. 2

2007

Steven Bryant – Radiant Joy

2008

Steven Bryant – Suite Dreams

2009

John Mackey – Aurora Awakes

2010

Steven Bryant – Ecstatic Waters

2011 (tie) Scott Lindroth – Passage Kevin Walczyk – Epitaphs Unwritten 2012

Michael Schelle – The End of the World

2013

Oliver Waespi – Audivi Media Nocte

2014

Wayne Oquin – Affirmation

2015 (tie) Paul Dooley – Masks and Machines

John Mackey – Wine-Dark Sea

2016

Philip Sparke – A Colour Symphony

2017

James Stephenson – Symphony No. 2, “Voices”

2018

Wayne Oquin – Song for Silent Voices

2019

Omar Thomas – Come Sunday

2020

Brian Balmages – Love and Light

NBA NEWS

WINNERS OF THE NBA/MERRILL JONES MEMORIAL BAND COMPOSITION CONTEST 1992 1994 1996 1998 1999 2001 2003 2005 2007 2009 2010 2012 2014 2016 2018 2020

Robert Cronin – A Soldier’s March David Checketts – Festival de Ladrones (Festival of Thieves) Robert T. Smith – Panther Fire No Award Given Charles Rochester Young – Legends of the Northern Wind Sam Hazo – Novo Lenio Jonathan Newman – Moon by Night Brett Dietz – shards of glass Ryan Main – The Clash No Award Given Jack Hughes – After Rain Jess Turner – Exultant Heart David Faleris – Of Chivalry and Honor Joshua Hummel – Fanfare for the Appalachians, I-77 James M. David – With Soul Serene Tom Davoren – A Midwestern Suite

WINNERS OF THE NBA YOUN G C OMPOSERS JAZZ C OMPOSITION C ONTEST 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020

Susame Watanabe – Duodecim Brendon McMullin – Sal y Pimienta David von Kampen – Hodie Christus Natus Est Sean Nelson – Every Possible History of the Universe Jessika Smith – Cyan Thread Cassio Vianna – April Song No Award Given Matt Horanzy – Init 1 Jorge Machain – Por Ahora (For Now) No Award Given

WINNERS OF THE NBA/ ALFRED MUSIC YOUN G BAND C OMPOSITION C ONTEST 2012 2014 2016 2018 2020

Clifton Jones – Rondo Picoso Erika Svanoe – The Haunted Carousel Haley Woodrow – And it Begins Andrew Perkins – Gradients Brooke Pierson – The Lighthouse Keeps Watch

NBA HALL OF FAME OF DISTIN GUISHED C ONDUCTORS — INSTALL ATION DATES Col. Harold Bachman Mr. Glenn C. Bainum Cmdr. Charles Brendler Capt. Howard Bronson Mr. Herbert L. Clarke Mr. Patrick Conway Dr. Henry Fillmore Mr. Patrick Gilmore Mr. Edwin F. Goldman Dr. Austin A. Harding Mr. Karl L. King Col. Sam Loboda Mr. A. R. McAllister Mr. Arthur Pryor Capt. William H. Santelmann Dr. Frank Simon Mr. John Philip Sousa Mr. Dale C. Harris Dr. James Neilson Dr. William D. Revelli Col. George S. Howard

Dr. Merle Evans Dr. Mark Hindsley Mr. Charleton Stewart Mr. Ernest Williams Dr. Leonard Falcone Dr. D. O. Wiley Mr. Raymond Dvorak Mr. Nilo Hovey Dr. Al G. Wright Dr. Frederick C. Ebbs Dr. Frederick Fennell Dr. Robert Hawkins Lt. Col. William F. Santelmann Dr. Paul Yoder Col. Arnald Gabriel Dr. Harry Begian Dr. W J Julian Dr. Frank (Francesco) Nicolo Mancini Dr. John M. Long Mr. William P. Foster

Mrs. Gladys Stone Wright Col. John Bourgeois Mr. Kenneth Bloomquist Dr. James Croft Col. Hal Gibson Mr. Robert E. Foster Mr. Edward S. Lisk Dr. Donald E. McGinnis Mr. Ray E. Cramer Dr. William J. Moody Mr. Frank B. Wickes Dr. Bobby Adams Dr. Paula Crider Dr. Thomas V. Fraschillo Mr. John Paynter Mr. Robert D. Jorgensen Dr. Richard E. Strange Dr. David Gregory Mr. Michael Nakasone

NBA JOURNAL

NBA NEWS

2020 NBA AWARDS

2020 NBA/ALFRED MUSIC YOUN G BAND C OMPOSITION C ONTEST

2020 NBA/MERRILL JONES MEMORIAL BAND COMPOSITION CONTEST

The Lighthouse Keeps Watch Brooke Pierson

A Midwestern Suite Tom Davoren

2020 NBA/ WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST Love and Light Brian Balmages

ACADEMY OF WIND AND PERCUSSION ARTS (AWAPA)

AL & GLADYS WRIGHT DISTINGUISHED LEGACY AWARD

Loras Schissel

Colonel Hal Gibson

FREE NBA AWARDS FOR OUR MEMBERS TO USE Mentor Award Citation of Excellence Outstanding Jazz Educator Citation of Merit for Marching Excellence WI NT ER 2021

Outstanding Musician Award Outstanding Jazz Musician Award Music Camper Award Band Booster Award Awards continued on next page

NBA NEWS

2020 NBA Awards, cont.

PROGRAMS OF EXCELLENCE BLUE RIBBON AWARD NATIONAL WINNERS LAVILLA SCHOOL OF THE ARTS Dr. Ann Adams-Valle, Thomas Flynn, and Christopher Banks – Directors Jacksonville, FL

WEST SALEM HIGH SCHOOL Todd Zimbelman, Director Salem, OR

DIVISION WINNERS

LAVILLA SCHOOL OF THE ARTS

Dr. Ann Adams-Valle, Thomas Flynn, and Christopher Banks – Directors Jacksonville, FL

NORTH HILLS HIGH SCHOOL

Len Lavelle and Lucas Beaver, Directors Pittsburg, PA

WEST SALEM HIGH SCHOOL

Todd Zimbelman, Director Salem, OR

NBA JOURNAL

NBA NEWS

LORAS JOHN SCHISSEL

TO BE INDUCTED INTO NBA’S ACADEMY OF WIND AND PERCUSSION ARTS

t the 2020 virtual NBA General Membership Meeting, Loras John Schissel was recognized as the 2020 recipient and the 77th person to be elected to the NBA’s Academy of Wind and Percussion Arts. A formal presentation of AWAPA award materials and induction ceremony will take place at the NBA General Membership meeting in Chicago during the 2021 Midwest Clinic in December. Schissel, a native of New Hampton, Iowa, is the music director and conductor of both the Virginia Grand Military Band, of which he is the founder, and the Cleveland Orchestra’s Blossom Festival Band, two of the finest concert bands in the world. He studied brass instruments and conducting with Carlton Stewart, Frederick Fennell, and John Paynter. Over the years, Schissel has distinguished himself as a prominent conductor, orchestrator, and musicologist. Schissel has appeared as conductor of allstate music festivals and of festivals of bands and orchestras in more than 30 states. As a composer and orchestrator, Schissel has created an extensive catalogue of over 500 works for orchestra, symphonic wind band, and jazz ensemble, all published exclusively by Ludwig/Masters Music. As a recording artist, Schissel has amassed a large discography with a wide variety of ensembles and various musical genres. His musical score for Bill Moyers: America’s First River, The Hudson that first appeared on PBS in April 2002, received extensive critical claim. Additionally, he created musical scores for two films for the Franklin D. Roosevelt Home in Hyde Park, New York. Schissel is a senior musicologist at the Library of Congress and a leading authority on the music of Percy Aldridge Grainger, Aaron Copland, Leonard Bernstein, and former Boston Symphony Orchestra conductor Serge Koussevitzky. He co-authored The Complete Literary and Musical Works of John Philip Sousa and is currently co-authoring The Musical Works of Karl L. King with Gene Milford of the University of Akron. He also serves as a commentator on the Voice of America and for the United States Information Service. In 2005, he was elected to membership in the prestigious American Bandmasters Association. He is also an honorary conductor of the historic Ringgold Band – the last band conducted by John Philip Sousa. The AWAPA award was established for the purpose of recognizing individuals who have made truly significant and outstanding contributions to furthering the excellence of bands and band music. Congratulations, Loras John Schissel, on being named the next recipient of the National Band Association’s AWAPA award.

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NBA NEWS

AL & GL ADYS WRIGHT DIS TINGUISHED LEGACY AWARD WINNER

COLONEL HAL GIBSON

olonel Hal J. Gibson, (U.S. Army, Ret.), is the first recipient of NBA’s newest award — the Al and Gladys Wright Distinguished Legacy Award. The National Band Association lost its co-founder and first President with the passing of Dr. Al G. Wright on September 5, 2020 in West Lafayette, Indiana. He was one hundred and four years old. Dr. Wright’s many accomplishments and career achievements have left a legacy of leadership, mentorship, and service to the band profession. His widow and fellow music educator, Gladys Stone Wright–– an extraordinary individual in

her own right––thought it most appropriate to support a national/ international award through the National Band Association in her husband’s honor. The Al and Gladys Wright Distinguished Legacy Award recognizes individuals for their lifetime achievement in the band profession. Recipients must have at least 30 years of distinguished service to the profession, supporting the mission and goals of the National Band Association. These include the promotion of the concert band and concert band music, teaching, mentorship, scholarship, leadership, and service to the band profession. Recipients of this award will be

acknowledged at the NBA General Membership meeting at the Midwest Clinic in Chicago. Our 2020 inaugural award recipient, Col. Hal J. Gibson (U.S. Army, Ret.), is a man who has dedicated his life to bands and band music. As a young musician, he was a gifted French horn player who performed with both the Oklahoma City University band and orchestra while attending Classen High School (Oklahoma City, Oklahoma). As a high school senior, he performed in weekly national radio broadcasts with the Oklahoma Symphony, and after graduation, he pursued a music degree at Oklahoma City University under the tutelage of Dr. James Nielson. Toward the end of his first year in college, Col. Gibson was called into active military service. He had opportunities to serve as a musician with one of the many Army bands, but he chose instead to volunteer for flight training. Col. Gibson served as a single engine fighter pilot in the Pacific Theatre with a combat unit stationed on the southern-most island of the Philippines. When the war ended in 1945, he was asked to form a band to back up entertainers from the states who performed for troops still stationed in Manila, and then he was asked to help establish the 8th Army Headquarters Band in Yokohama, Japan. After six months in Japan, he was sent back to the states to be discharged. Continued on next page

NBA JOURNAL

NBA NEWS

Al & Gladys Wright Distinguished Legacy Award Winner, cont. Col. Gibson spent a brief time playing horn professionally in the Mexico City Symphony and the Summer Festival Orchestra of Chicago before he returned to Oklahoma City University to continue his music degree. It was here he met his wife, Marie, also a music major. They married in 1947 and moved to Dallas, Texas, where Col. Gibson finished his bachelor’s degree in addition to a master’s degree at Southern Methodist University. He played horn professionally in the area while serving as a band director in the public schools of Irving, Texas, where he had award-winning bands. He was soon asked to form and serve as commander and conductor of a new band with the 49th Armored Division, a part of the Texas Army National Guard. The band earned immediate and widespread success in Texas, and soon Col. Gibson was called to active service to command the Army’s 4th Armored Division Band, which was to be stationed in Germany at the height of the Cold War. This band was also extremely popular with the public, winning wide-spread acclaim and numerous awards in both concert and marching events in Europe. After three years in Germany, Col. Gibson returned to the states where he spent time as conductor and director of the West Point Military Academy Glee Club before his selection as the fourth commander and conductor of the U.S. Army Field Band, the “Army’s Musical Ambassadors,” a position he held from 1968 to 1974. At the end of his military service, he was chosen from all the military band conductors in Washington, D.C. to serve as conductor of United States Armed Forces Bicentennial Band, the only band ever to be WI NT ER 2021

comprised of musicians from all five uniformed services. Following his retirement from the Army in 1975, Col. Gibson was hired at Columbus College, now Columbus State University (CSU) in Columbus, Georgia. He served as director of bands for 16 years before retiring in 1991. Upon his retirement, the Georgia Board of Regents named him Professor Emeritus of Music, the first such honor for a university band director in the state of Georgia, plus awarded him an honorary Doctorate of Humane Letters. Following his retirement, he and Marie endowed the “Hal J. Gibson Distinguished Chair in Conducting,” and the band rehearsal hall in the CSU Schwob School of Music subsequently was named the “Hal J. Gibson Rehearsal Hall” in his honor. In 1993, Col. Gibson and his wife Marie (pictured below) moved to Melbourne, Florida. Never one to be sedentary, Hal immediately became involved in the band and orchestra activities of that area and served as a conductor with the Melbourne Municipal Band in addition to forming and conducting his own band, the Space Coast Winds. Col. Gibson is a 50-plus year member of the American Bandmasters Association and was inducted into the National Band Association Hall of Fame in 2004. He has conducted in all 50 states, and 36 foreign countries, and was the first person to be named Conductor Emeritus of the U.S. Army Field Band. The National Band Association is proud to honor Col. Hal J. Gibson as the inaugural recipient of the Al and Gladys Wright Distinguished Legacy Award. 19

NBA SPECIAL TRIBUTE & THANKS

Forward by Dr. Rebecca Phillips, current president of the National Band Association

he NBA Journal, the official publication of the National Band Association, is hailed as one of the most valuable resources in the band profession. Receiving accolades from professional leaders across the nation, the elevation of the Journal over the past several years is, in no small part, due to the tireless work of Dr. Linda R. Moorhouse, current Executive Secretary of the NBA and editor of the NBA Journal from 2006-2020. Records indicate the Journal was conceived and implemented in 1960 under the guidance of Earl Dunn, the first NBA Journal editor, who held this position for over four decades. The Journal is considered to be one of the cornerstone projects of the NBA, the largest professional organization for bands in the world whose purpose is to serve professionals and students from every facet of the band world. As

the scope, depth, and design of this premiere publication develops over the years, the value continues to increase exponentially as a source of educational materials to its readers. In addition, the Journal serves as a historical reference for the NBA. As of December 31, 2020, Linda Moorhouse retired as editor of the NBA Journal. She offered a tremendous service taking care of this time intensive project, entirely on her own and without any outside assistance. As one might imagine, this has been no small task and the NBA would not have provided this quality resource for band leaders and students across the world without her gift of time to the production of the Journal. On behalf of the membership of the National Band Association, we thank Dr. Moorhouse from the bottom of our hearts. Continued on next page

NBA JOURNAL

NBA SPECIAL TRIBUTE & THANKS

NBA Special Tribute & Thanks – Linda Moorhouse, cont. “Linda Moorhouse has been a “jewel” for NBA throughout these many years. Whenever something had to be done, Linda was there to do the job....and always with a smile. The NBA is truly fortunate to have Linda’s leadership and assistance. THANK YOU, Linda Moorhouse, for your many years of support and dedication to NBA Journal!!!” ~ Ed Lisk – NBA President, 1990-1992 “In the years that I have been associated with NBA, I cannot think of a year that Linda has not given more than her share to the organization. She is without a doubt an extraordinary individual, one who is always willing to give of her time and her vast knowledge. The Journal has been extremely well done during her years. Nothing in our profession can compare with the overall scope of the product. In the words of one of our good friends who just passed away, Frank Wickes, Linda loves to work. Many people love to work; however, they do not have the skills in so many areas that she does. She has contributed to the NBA as no other. In short, the NBA would not be what it is today without Linda Moorhouse.” ~ Thomas Fraschillo, NBA President, 1998-2000 “I have known Linda for more than forty years and have seen her become one of the most significant and influential names in the band profession. She has achieved more in her career than most could in two professional lifetimes, and she has done so in a quiet, humble, efficient, artistic and gentle manner. Her enormous administrative and organizational talents have taken the National Band Association to the position of prestige and respect it now enjoys; her intellectual and academic abilities are second to none; her artistic skills both on and off the podium inspire students and peers alike; and her concern for and commitment to helping others make her someone who has changed our band world. Linda has made our profession a better place. She has served as a role model for so many during her spectacular career, and those "gems" of her teaching and conducting artistry continue to permeate our art form through the lives of the thousands who are better because they came into contact with Linda Moorhouse. The National Band Association Journal is recognized and respected as one of the most significant of our profession because of her work as Editor for more than a decade, but I am exceptionally fortunate to have had her as a student, a peer, a friend, and role model for the majority of my career. Most do not have such an honor. Both the National Band Association and David Gregory can paraphrase the thought that we ‘have been changed for the better, and have been changed for good.’ Thank you, Linda.” ~ David Gregory, NBA President 2002-2004 “Dr. Linda Moorhouse has been a backbone of strength, stability, and vision for the NBA for decades. Serving as a Board Member, as President, as Executive Secretary-Treasurer, and long-time Journal editor, she has been a tremendous influence on bands and band music. I thank Linda for her visionary work, mentorship to many, and guidance through her strong institutional memory. Masterful Journal editing, the last, 60th Year Tribute is stunning and heartfelt. Cheers, Linda!” ~ John Culvahouse – NBA President, 2009-2012 “The National Band Association is an organization that attempts to speak to and for band directors of every experience level who work with musicians from beginners to professionals. Linda Moorhouse is, to me, the person that most embodies the characteristics of selflessness and dedication necessary to allow such an ambitious endeavor as the NBA the possibility of success. As the NBA Journal editor she patiently waited on submissions from the Executive Committee and others, then carefully edited each offering to try to make us all sound intelligent. The years of volunteering not only to the Journal but in several other capacities alone are impressive. Linda has always been there to give context and understanding to various situations, while also quietly and efficiently making the Journal a valued resource for all band directors. She is one of a kind.” ~ Roy C. Holder, NBA President, 2012-2014 “There is no telling how many countless hours Linda Moorhouse, NBA Journal Editor, spent working at this job for over a decade. The meticulous detail she put into each and every journal made this journal one that all members would actually read! Needless to say, these shoes will be hard to fill because Linda lives and breathes what the NBA and the Journal stand for every day. When you think about it, the NBA Journal is the face of our association and the one concrete thing you see, read, touch, and learn from. Her legacy as NBA Journal Editor will be everlasting and is greatly appreciated.” ~ Richard Good, NBA President, 2014-2016 “Dr. Moorhouse worked tirelessly on the behalf of the NBA and did a superb job in the role of NBA Journal Editor, in addition to the other "multitude of hats" that she wore in support of our organization. Matt has some big shoes to fill, but I am sure he will do a wonderful job. I am sure that Dr. Moorhouse will continue to fill her hours in other ways of service to our profession, but I hope she takes some time for herself, too! Thank you, Linda!” ~ Scott Casagrande – NBA President, 2016-2018 “The National Band Association owes Dr. Linda Moorhouse a tremendous debt for her dedication and tireless service as editor of the NBA Journal. She has put in countless hours of work behind the scenes resulting in a quality publication that has proven to be a valuable resource for both the membership and the profession. A simple thank you barely seems adequate, but on behalf of the National Band Association, ‘Thank you, Dr. Moorhouse!’” 21 WI WINT NT ER 2021 21 ~ Scott Tobias, NBA President, 2018-2020

LITERATURE

BRIAN BALMAGES’ LOVE AND LIGHT WINS THE 2020 NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST BY MATTHEW MCCUTCHEN

espite the difficulties that COVID-19 placed in the many composers’ way of getting live recordings, 2020 was a surprisingly strong year for the NBA/ William D. Revelli Composition Contest. We received a large, strong, and diverse set of entries, and are thrilled to announce that the winning selection of the fortyfourth annual contest is Love and Light by Brian Balmages.

Brian Balmages is an award-winning composer and conductor whose music has been commissioned and performed throughout the world by ensembles ranging from elementary schools to professional orchestras. He was born in Baltimore to musician parents, and it was obvious at a young age that he had inherited their gifts and passions. He was already an accomplished trumpeter when he began his undergraduate degree at James Madison University, and started turning to composition more seriously while he was pursuing a master’s degree in Media Writing and Production from the University of Miami. During this time he played trumpet in the Disney All-American College Orchestra (Orlando), the Henry Mancini Institute (Los Angeles) and the Miami Symphony Orchestra. After graduating, and under the advice of Robert W. Smith (with whom he studied at JMU), Balmages soon turned his attention to composing. Although most of his early works were for college and advanced musicians, he partnered with The FJH Music Company and began writing pieces for young musicians – many of these works have become standards in band and orchestra rooms throughout the country. His music has been premiered in prestigious venues such as Carnegie Hall, the Kennedy Center, and Meyerhoff Symphony Hall, and performed as part of the 2013 Presidential Inaugural Prayer Service. He is a recipient of the prestigious A. Austin Harding Award from the American School Band Directors Association and in 2016 was awarded the James Madison University Distinguished Alumni

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NBA JOURNAL

LITERATURE

Revelli Memorial Band Competition Contest Winner, cont. Award from the School of Visual and Performing Arts. Balmages enjoys regular conducting engagements with all-state and region bands and orchestras, as well as university and professional ensembles throughout the world. Notable appearances have included the Midwest Clinic, Western International Band Clinic, CBDNA Conference, American School Band Directors Association National Conference and others. Currently, he is Director of Instrumental Publications for The FJH Music Company and Assistant Director of Bands and Orchestras at Towson University. Balmages’ program notes to Love and Light begin with a letter from 1st Lt. Elizabeth Elliott: “On November 8th 2018, our daughter, Madison Hope Elliott, was born. Her heart had stopped beating the day before and I labored for 12 hours to get to hold her for the first and last time that day. It was the worst and best day of our lives. If you’ve never kissed your child goodbye forever in a hospital room or held your child’s lifeless body in your arms, or felt the deep dark hole that losing a child leaves in your heart, then I hope you never do. While I was in labor, knowing that it was just the beginning of our pain, I knew I wanted to commission a piece for her. I didn’t want Madison’s name to be forgotten. She made me a mom for the first time. After we left the hospital and word spread about what happened, many people reached out to us. Oftentimes people wanted to help us but didn’t know what to say. Stillbirth isn’t openly discussed. It happens to

one percent of babies born in the United States. That translates to 24,000 stillborn babies a year. The number is much higher when you include the one in four pregnancies that are lost due to miscarriage, and the many infants that are lost due to SIDS and other causes. For tragedies like this, there really are no words. Turning to music for comfort was just the natural thing for me to do. It took a few months for me to mourn and grieve and finally crawl out of my pit long enough to start reaching out to composers. We announced the project a little while later and the response we received was overwhelming. We heard from people all over the country and the world who wanted to be a part of it. Once we saw the overwhelming response, my first reaction was a sense of responsibility to all of those families to whom this mattered so much and to make this project the best it could possibly be. I know that this piece will help so many families now and into the future. While “Love and Light” is for my daughter, it is also for all the babies in heaven that we have lost. But most importantly, it is for the parents. I believe that God sent this music down to Earth to comfort us mommies and daddies that are still in pain every day, just trying to learn how to live a life without their child. Nothing can take away the pain of losing a child, but time eventually reveals the “Love and Light” on the other side.” Balmages continues, “Love and Light is in three sections, each of which tackles an impossible question. The first

section asks the question ‘What does unconditional love sound like?’ Not temporary love, but full-on unconditional love. Then the second question – ‘What does it sound like when that unconditional love is shattered?’ I intentionally use the word ‘shattered’ instead of ‘broken,’ because unconditional love is never broken. But events in our lives do come along that shatter our emotions and cause tremendous amounts of pain. What does that sound like?” And finally, the last and most difficult question. ‘What does it sound like when a child first sees the face of God?’ I spent countless hours thinking about this, praying about it, and searching for the sounds that seemed to make sense of it all. The answer I came up with makes sense to me, and hopefully it will make sense to the listener as well. While there are massive moments, I realized it all began with a very intimate, personal and quiet encounter. There are several musical elements used throughout the piece. Some will recognize subtle use of “alleluia, alleluia” from All Creatures of Our God and King throughout the work – used in hopeful, mournful, and angry settings. In addition, Elizabeth shared that she used to play Ben Folds’ “The Luckiest” on the piano to her daughter every day during her pregnancy. Before the funeral, Elizabeth actually reached out to Ben Folds knowing it was impossible that he would be able to attend the funeral. However, he wound up sending her a framed picture of the sheet music to “The Luckiest” on his own piano along with an inscription: Continued on next page

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LITERATURE

Revelli Memorial Band Competition Contest Winner, cont. ‘ “Your mother used to play this song to you because you made her feel like the luckiest mom. Every time she plays it now, it will be in memory of you, her little angel in heaven.” ’ I decided I wanted to write a lullaby that would be a unifying element throughout the piece. This original lullaby is loosely based on the chord progressions in Ben’s piece, and is present throughout the work, including a comforting, triumphant and powerful setting toward the end of the piece. Finally, the entire piece is based on a three-note motif, presented at the very beginning of the work. While the three notes are used and developed throughout the piece, it is not until the last section that it becomes apparent that these notes are the first three notes of Salvation is Created, a popular and powerful choral work by Pavel Tchesnokov. This, combined with elements of the earlier lullaby and fragments of All Creatures of Our God and King, forms the basis of the last section of the piece. It is incredibly powerful, both in its fullness and its quiet vulnerability. And, as best as I can describe it, seeks to answer that difficult question – ‘What does it sound like when someone first sees the face of God?’ ” The members of the Revelli Committee have made a concerted effort in recent years to select pieces that are accessible to a large number of ensembles throughout the country. While this piece certainly requires mature players, the technical aspects are within the range of many high school musicians. Love and Light is scored for standard wind band instrumentation with slightly expanded voices in the brass – 4 trumpets, 4 trombones, 24

2 euphoniums, and 2 tubas. Six percussionists are required to cover the parts, and the piano, while not particularly difficult, is crucial to the success of the piece. There are few extreme range concerns, although the first trumpet must have a solid C# and the bassoon gets to explore the upper register. Individual technical challenges include numerous rapid passages for the woodwinds in the middle section, but they are primarily chromatic and short and should fall under the fingers quickly. Also, it is imperative that the entire trumpet section be able to double tongue. There are several short solo passages throughout the work, but the largest demand lies on the shoulder of the principal oboist, who must be lyrical and mature. Love and Light was premiered on February 28, 2020 by the U. S. Army Band “Pershing’s Own” under the direction of 1st Lt. Elizabeth Elliott. Initially, the premier was scheduled for April, but was moved forward two months when Lt. Elliott joyfully became pregnant and was due within a week of the concert. While Balmages could have conducted the premiere in April, he felt strongly that Elliott should have the opportunity, thus moving it to February. The timing was even more fortuitous as it happened only a few weeks before COVID-19 brought most musical activities worldwide to a halt. The initial performance can be seen on YouTube by searching “Balmages, Love and Light, US Army Band.” With Love and Light, Balmages has created a moving and emotional work that examines a deeply personal and grievous tragedy experienced by an estimated 2.6 million people

Matthew McCutchen is the Director of Bands at the University of South Florida. He is also the founder and conductor of the Bay Area Youth (BAY) Winds and the Artistic Director and Conductor of the Florida Wind Band. Dr. McCutchen earned a Ph.D. in Music Education with an emphasis in Instrumental Conducting from Florida State University, a master’s degree in conducting from Virginia Commonwealth University, and a bachelor’s degree in music education from Furman University. He is the chair of the National Band Association’s William D. Revelli Band Composition Contest, and is on the John Philip Sousa Foundation Legion of Honor Selection Committee.

annually. The members of the Revelli Composition Contest believe that ensembles that program the work will be profoundly rewarded. Balmages is currently selfpublishing this piece, and more information can be found on his website, brianbalmages.com. The NBA has decided that with the composers’ permission, each of the finalists for the NBA/William D. Revelli Memorial Band Composition Contest will be named publicly as these are all pieces that are worthy of attention and performance. The 2020 finalists are: Ancestral Rumors Andrew Boss An Elegant Sufficiency Shawn Davern From Whence They Came Leslie Gilreath

And Sings the Tune Without Words Aaron Perrine Smoulder Andrea Reinkemeyer Symphony #2 James Syler

Times of the Day Julien Meisenzahl

NBA JOURNAL

NBA STUDENT GROUP SPOTLIGHT

GETTING INVOLVED WITH NBA AS A COLLEGE STUDENT BY DYLAN HANSEN

SNOW COLLEGE NBA GROUP EPHRAIM, UTAH

eing a part of the National Band Association (NBA) has always been something that was encouraged since I started my journey to becoming a band director at Snow College. I remember my first college band director detailing all the benefits it has and how it could help me become a better music educator. Being a student member, I have access to amazing articles by leading professionals in our field, journals, and seemingly unlimited resources! During my first year at Snow College, my band director encouraged us to attend the Utah Music Educators Association (UMEA) conference in St George, Utah. Not only that, he also urged students pursuing a career in band directing to attend the Utah Bandmasters conference the day before UMEA. When I returned from the conference, I began talking with my current director about how to recruit more college and university students to attend these conferences. Our first step was to create a club at Snow College specifically dedicated to the National Band Association. This was the start of our own NBA student group. I reached out to Dr. Rebecca Phillips, First Vice-President of NBA at the time, to attempt to gain insight

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on how the Snow College student group could serve as an example in our region to other colleges and universities. The goal was simple: to encourage students in our region to prepare for their career now by utilizing the resources available from the National Band Association. Our student group at Snow College has a full complement of officers, including a President, Vice President, Secretary, and Treasurer. We meet as officers once a week to discuss our upcoming events as a group and to plan activities that will be beneficial for all of our students. Although our activities vary from month to month, some include meeting together to talk about the most recent journal and specific articles, or having guest clinicians speak to our membership. This is our second year with an NBA student group at our school, and while we have seen much improvement, we anticipate continued growth in the years to come. It has been such an awesome experience having band directors and other mentors come and speak with the group and help the students here prepare to be the future generation of band directors. I highly encourage college students across the nation who are pursuing band directing as a profession to join the National Band Association - you

If anyone has any questions on how to organize a student group, feel free to email me: dylanhansen96@gmail.com

will not regret it! College students are preparing to lead future generations of band and music students, so why not prepare ourselves even more now while in college so that we can be the best band directors possible? The resources are incredible and are seemingly available at our fingertips! All student members of the National Band Association will have access to electronic formats of all NBA Journals, a subscription the Instrumentalist, access to the NBA membership directory, access to video materials on the website, and so much more! It is a great way to network and create lasting relationships with current and future band directors. Being a part of the NBA has impacted my studies on becoming a band director in such a positive way, and I am confident it can help other pre-service teachers across the country. The creation of the NBA student group at Snow College has been an incredible experience for all involved. Having the opportunities to speak with band directors in our state and across the country has truly brought a knowledge to the members that we wouldnâ&#x20AC;&#x2122;t have had without the NBA.

PERSPECTIVE

DOCUMENT YOUR CAREER, A PERSONAL PLEA

“

BY GARY BARTON

If you haven’t touched it in a year, throw it away, you don’t need it.“

This is a great rule for clothes and kitchen gadgets, but it’s a terrible idea when it comes to memories. As you go through your career there will be many performances and most will include recordings and printed programs. Recordings and programs are the hard copy proof of how a program performs and progresses under your leadership. Recordings, programs, and photographs document the most important part of your teaching: people - the students and colleagues who made your career possible. It wasn’t until after I retired that I realized that while I left contest recordings, group photos, and files of programs at the schools, I didn’t always keep copies for myself. Students contact me asking about that piece we played twenty years ago, who was that trumpet player with the red hair, do I remember the time…..., where is {name} now? It is a frequent regret that I don’t have good records of so many events, special moments, and people. MY “PERSONAL PLEA”: Take the following suggestions to heart and avoid my regrets. RECORDINGS Record as much as you can. These don’t always have to be

professional recordings or even performances. A friend discovered a ninety-minute reel-to-reel recording of a rehearsal with his band from decades ago with a prominent guest conductor who also happened to be his college band director. That recording became a treasured part of the program’s archives. Every music program should have collections of recordings that are valued and stored in a protective environment. These recordings are the living proof of the program, the highs and lows, the progress over time. Every contest or festival will include a quality recording of the performance. Going back to the beginning, these will be reel-toreel recordings, then cassettes, followed by CDs. The current trend is digital recordings, often sent to your email. For many years bands made yearly LPs. These recordings and the devices used to play them must be preserved. The current trend is to transfer older recordings to a number of computer storage formats. This is a great thing to do, but with rapidly changing technology we have no idea how this stored music will fare fifty years from now. Seventyyear-old reel-to-reels, fifty-year-old LPs, and thirty-year-old cassettes are still working. To be thorough, save recordings in multiple formats. Be sure to include the date and location, the name of the conductor, and the repertoire on the recording. If the recordings

Gary Barton retired from the La Porte, Texas Independent School District after thirty-seven years of teaching in five states. He received the Bachelor of Music Education from the University of Louisiana-Monroe and the Master of Science in Education from Indiana University. A Past President of the Arkansas School Band and Orchestra Association and Past 2nd VicePresident of the National Band Association, he has written for numerous publications and has done clinics and presentations in sixteen states.

were purchased by the school or were included in the registration fee, they are not yours to take when you leave the position. My Plea: Make copies for yourself. Once you leave a school, your successors may not value the program’s recordings and rarely is there a system in place to guarantee the protection of these treasures. PHOTOGRAPHS I wish I had been more vigilant about saving pictures over my career, maybe even more than I wish I had saved more recordings. If you have many band friends on Facebook, you have probably seen posts of photographs from the “good old days”, and you have seen dozens of comments from people who were thrilled to see the old pictures. Continued on next page

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Document Your Career, A Personal Plea, Gary Barton cont. Almost every musical performing organization in a school has a tradition of a yearly group photo and possibly a composite photo of individual students. These are school property and should not be subject to being disposed of by the next teacher, not even at the direction of administration. There will also be photos for the school yearbook. If your group photo photographer sends you a cd or email with the pictures to share with your yearbook, he or she will probably give you permission to make hard copies for your files. As antiquated as it may sound, I would save hard copies of all of my important photographs. Paper is proven to stand the test of time. I have a retired friend who is assembling a comprehensive family tree. Her dining room table is covered with photos that are fifty to one hundred years old and even the worst ones are clear and useful. For a convincing read on this subject, I highly recommend this book: “DOUBLE FOLD, Libraries and the Assault on Paper,” by Nicholson Baker (Random House, 2001). Baker makes his case for the value of paper hard copies and the reading is quick and always interesting. Include the names of the people in the pictures in an easyto-navigate manner. Dates and locations can also be helpful after many years. For your personal hard copies, buy a storage bag. Most office supply stores sell damage-proof bags or envelopes for important papers and pictures. MY PLEA: Make space for treasured photographs. If you only store these electronically, is there a guarantee that others will be able WI NT ER 2021

to see them in fifty years? PROGRAMS Concert programs should always include date, location, personnel, and pieces to be performed. The program becomes a record of your students and repertoire. Those lists of student names are another way to show growth in the program. Names of composers and arrangers including first and last names, are a must. Programs becomes keepsakes for families as well. Technology is wonderful, but when I go to a school concert and there is no printed program because a PowerPoint slide is projected on the wall with all of the information, I wonder if there will be any record of the event. Designate a file cabinet at school for programs as they are an important part of the archives. Keep copies for yourself not only to appreciate your memories many years later, but also because a future employer may require programs and recordings as part of the application process. Store programs much in the same way as photographs. My Plea: Be diligent about creating good printed programs. Your students and parents will appreciate it and they might be useful to you in your career. CORRESPONDENCE Your band just played at a convention and the composer, whom you’ve never met, of one of your pieces sends you a Facebook message thanking you for a wonderful performance. Would you want to delete that message? In a plastic storge container I have letters from early in my career that are personal treasures. These letters were written before

the existence of email or texts or social media. Some are from my teachers while others are from professional colleagues and friends. This was a time when long distance calls were expensive and even the fax machine hadn’t come on the scene. If you are fortunate to receive a special letter, save it. Create a designated storage space for letters. You will receive emails, social media messages, and texts that may be highlights of your career. If they really are special and unique, print them and store them with your letters. For the most part, store correspondence like you store photographs. When I see a social media post in which a person is sharing a letter written by an important person from decades ago, I always wonder if I would be seeing it if it were originally an email. MY PLEA: Keep correspondence. If you receive a message or letter that would make you feel good if you read it again in twenty years, store a paper copy. If I could do it all again, I would use a good quality metal file cabinet to file photographs with programs together by the year. I would store recordings in every format available. We tend to live in the present, but at the same time we must be vigilant about preserving those things that are making it memorable. If I seem to be preaching a bit of overkill, it’s because I am on the other side of my career and wish I had practiced what I am preaching. Build your school’s archives, build your personal archives and before you discard anything try to remember: We’re just passing through… 27

PEDAGOGY

TEACHING MIDDLE SCHOOL BAND THROUGH A PANDEMIC BY JUSTIN G. MCCRARY

o say that the COVID-19 pandemic has transformed the way we deliver instruction to our students would be a huge understatement. This article documents much of what I and so many other teachers are currently experiencing. My hope is that reading and relating to these experiences will serve to help and unite teachers during this unprecedented time. March 13, 2020 is a date that stands out to many of us; the date we instantly underwent the transformation from face-to-face learning to “online” learning. Teachers worked tirelessly to rethink how to teach music and the arts effectively through a computer, and while I am sure many were successful, I know that personally, it was and continues to be an extremely lack-luster experience for both students and teachers. Initially, I felt as though my students were as overwhelmed as myself if not more so, and many did not have devices or Internet to access Google Classroom. Due to this, I took a less-than-intricate approach to their music education from March 13 to the end of the school year. I offered opportunities and provided resources that my students would hopefully peruse and enjoy, but I did not expect a lot of work to be completed. My goal was simple: to allow the students to have a musical experience in the midst

of these unusual circumstances. The sudden change from in-person learning to virtual learning was traumatic enough without their band director demanding them to meet hard deadlines and forcing them to jump through more hoops. I realized that simplistic and engaging was going to be enough for now. This incomplete spring semester led to many cancelled traditions, lack of student motivation due to the stress and uncertainty, and little to no beginning band recruiting. Not being able to travel to each feeder elementary school as we normally do put a huge dent in our beginner numbers. I drafted snail-mail letters and postcards, made and shared recruiting videos through social media, created slide shows detailing what the band offered to students, made cold calls, wrote emails, and so much more in order to spread the word and get students to sign up. Still, so many families were apprehensive due to the uncertainty of the future in regard to finances, how schools would operate, and the unknown effects and spread of COVID-19 when playing an instrument. This made for an incomplete cadence to the 2019-2020 school year, and lessthan-desirable long-term effects. We as teachers are resilient, so I persevered, made the best of the cards that has been dealt, and

Justin McCrary is in his tenth year of teaching, and has been the Director of Bands at South Davie Middle School in Mocksville, NC since 2012. Mr. McCrary, a native of Dobson, NC and a graduate of Surry Central High School, received his Bachelor of Music degree from Appalachian State University in 2009, and a Master of Music Education from Ohio University in 2020. In 2017, Mr. McCrary was awarded the Ed Rooker ENCORE Award for young educators from the prestigious American School Band Directors Association. Currently, he serves as the Northwest District All-District Middle School Band chair. Additionally, he has been a camp counselor at Cannon Music Camp since the summer of 2009, and now serves as one of the lead counselors. Mr. McCrary is a National Board Certified Teacher, and holds professional membership in the National Association for Music Educators, the North Carolina Music Educators Association, the National Band Association, the North Carolina Association of Educators, the National Association of Educators, is an Eagle Scout, and is an alumni member of Phi Mu Alpha Sinfonia, professional men’s music fraternity. He lives in Mocksville with his wife, Caroline, who is a biology teacher at NewtonConover High School.

attempted to regroup and reassess during the summer. Thanks to studies conducted and supported by the National Band Association and the College Band Directors National Association, we as a profession had some insight on how to carefully move forward. We assessed musician mask options, Continued on next page

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Teaching Middle School Band Through A Pandemic, Justin G. McCrary cont. explored bell covers, turned our classrooms into grids to determine just how many students could fit with the recommended social distancing guidelines, and even searched for safe condensation collection solutions, especially for our brass players. Who would have ever imagined that we would be using or cutting up Puppy Pads in the band room! Even with these mitigations in place, so many schools still would not let bands play inside, and many were not even allowed to do so outside. However, once these details were compiled, our administration approved and cleared us to play instruments. Then came the time to figure out how to get the students in the room, both physically for in-person students and virtually for online students, soon followed by what and how to teach. While it would not be easy, keeping these students enrolled and engaged was vital. The transition from seeing students every day for 40 minutes to working with them twice a week has certainly been a major challenge. Although many teachers already operate successfully with a similar schedule, with all of the new safety guidelines, and the need to keep virtual students and in-person students engaged, rehearsals and progress made has moved at a much slower pace. At the beginning, I took a step back from my usual curriculum, as many of our yearly events had been cancelled. While it could be perceived that this took away motivation to learn and rehearse, I felt as though it allowed us to step back and focus on why we are here: to learn! I realized early on that I would not be able to truly cover the material that I usually WI NT ER 2021

do in the manner that I usually do, and that would be OK. I have streamlined material and have attempted to structure things into smaller segments so that it will be less overwhelming for students. I feel as though I am able to go into more depth than usual, and the smaller class sizes have allowed more one-on-one student help. Another major challenge is the lack of continuity that I have become accustomed to over the past few years. Since Canvas was implemented as our learning management system, students now submit their pass-off lines in Canvas. Although there was a learning curve for myself and my students, this process has allowed students more playing time and I am able to provide more direct feedback than they would typically get in normal conditions. Ensuring that students receive instruction that is relevant and gives them the tools to be better equipped to move ahead in the future should always be the core of what we do, but has become even more pertinent during this time. As teachers, we can often tenaciously pursue the material that we have set out to teach; although, we must not forget that morale and relationships must be at the forefront, especially in a time where everyone is feeling increasingly isolated. Social bonds within ensembles and musical communities is such a unique and motivating facet of music making. As educators, we all know it is hard to have a valuable experience in an ensemble without social connections, and I believe that we must grow and foster connections within our ensembles. A mentor of mine once told me, “You can’t teach them if you can’t reach

them.” Students have to know that you care about them before they will trust you, and in these lessthan-normal times, mental and social needs need be a larger part of our day-to-day. Writing positive notes of encouragement to the students, something I am sure that many of us do, has become a focus during my planning times. These notes don’t take long to write, and the benefit of seeing kids light up when they read them certainly makes it all worth it. I have noticed several students keep their notes in their cases or binders. I have also placed a heavy focus on showcasing all forms of student achievement on social media platforms. This has been easy to do in the past, however this year, we have focused more on the individual student. I have a student that earned his Boy Scout Troop’s bugler position, and this student was highlighted on social media via pictures with the troop bugle. I also highlighted students as they worked on solo/small ensemble pieces. Being sure to share student accomplishments, no matter the size or outlet, continues to keep the public in tune with what we are doing. Most importantly, it gives students and the band as a whole a sense of pride and achievement. The effects of this pandemic will be felt throughout music classrooms for years to come. It is important for us to step back, restructure what we are teaching, and to ensure that we are meeting the social and emotional needs of our students. Band directors are inquisitive, passionate, and adaptable. We will persevere!

PERSPECTIVE

THINK BEFORE YOU PROGRAM BY TREMON KIZER

ithin the past 100 years, the wind band world has been fortunate to have numerous composers write specifically for winds. Our medium continues to grow and flourish with talented composers each day, writing significant works for our students. Young and emerging composers such as Kevin Day, Viet Cuong, and Katahj Copley, to more household name composers such as Carlos Simon, Valerie Coleman, and Omar Thomas, have created some amazing art for us to celebrate, embrace, and program with our students. Many of the composers who write for wind band now have a message they are trying to convey - a message of cultural awareness, of authentic language, and of truth. We definitely should welcome in a new era of composers, their works, and their stories. While this is important, it is equally important to remember where we have come from. Over the past 200 years, several composers have been motivated to write original works for band for different reasons. And within these reasons, some of the composers have adopted different philosophies and ideologies about gender, race, and equality. Some of these ideas may counter our own philosophies and may even strike a tone or rhetoric that evoke hostility and even anger.

Regardless of the composers’ philosophies and motivation behind writing works for wind band (along with their personal views), it is important to keep these in mind before programming works with your students. Below are a few examples of pieces that may make a conductor think twice before programming the work. Elsa’s Procession to the Cathedral, by Richard Wagner It is highly noted that Adolf Hitler loved music by Richard Wagner. It is also noted that Wagner was anti-Semitic. Toward the end of his life, Wagner wrote articles that conveyed these views, and it is documented that some of his operas had elements that highlighted his views. However, Elsa’s Procession to the Cathedral was later transcribed for wind band and continues to be a staple in the wind band repertoire. To learn more about Wagner and his influence on Hitler, visit www.spiegel.de/international/ zeitgeist/richard-wagner-acomposer-forever-associatedwith-hitler-a-892600.html Lassus Trombone, by Henry Fillmore For those who have performed this piece along with other works in his Trombone Family, Fillmore uses several trombone glissandos throughout the work. In this time period, glissandi became associated with minstrel shows, which

Tremon Kizer serves as the Associate Director of Bands, Director of Athletic Bands, and Assistant Professor of Music at the University of Central Florida. In addition to serving as the lead administrator for the UCF athletic band program, he conducts the Symphonic Band, teaches courses in music education, conducting, and observe music education student interns. Concurrently, he serves as the principal conductor of the Youth Band of Orlando, a high school honor wind ensemble based in Central Florida along with the Florida Symphony Youth Wind Orchestra. Prior to his tenure at UCF, he served on the conducting faculty at the University of Dayton, Coffeyville College, and taught courses at the University of Central Missouri. In addition, he taught 5-12 grade instrumental music in the state of Kanas and Missouri. Dr. Kizer earned an undergraduate degree from Kansas State University, a masters degree from the University of Central Missouri and a doctorate from the University of South Carolina.

portrayed African-Americans dressed in blackface by whites for pure entertainment purposes. These performances often made African-Americans look unintelligent and unorganized. When Fillmore was asked about the title to Lassus Trombone, he often said, “Why, molasses, of course. I really don’t know why except I thought of molasses on bread for breakfast, dinner, and supper.” Research indicates that Continued on next page

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Think Before You Program, Tremon Kizer, cont. molasses was a stereotypical trope that represented slow-moving and slow-thinking people. In fact, each of the works in the Trombone Family were marketed to consumers as music that offended African-Americans. To read more about Lassus Trombone, visit thelasttrombone.com/2020/06/28/ trombone-players-its-time-tobury-henry-fillmores-lassustrombone/ for details. Star-Spangled Banner by Francis Scott Key While many people across the country think of our national anthem as patriotic and a symbol of our country, others think of this song as divisive with lyrics that embrace the killing of slaves in the United States. In the 3rd stanza of the Star-Spangled Banner, the lyrics, “No refuge could save the hireling and slave from the terror of flight or the gloom of the grave” argue to suggest the killing of slaves and British soldiers who betray the new United States of America. Today, many people believe that playing a piece with these types of lyrics is not patriotic, but a clear division between racial groups. The students in our classroom are comprised of different ethnicities and genders. Playing a piece of this nature could evoke emotions that need to be taken into consideration and possibly discussed before being programmed. This information is well documented in journals and newspaper articles and is easily accessible. To find some of the most recent information, visit https://www.washingtonpost.com/ history/2020/10/18/star-spangledbanner-racist-national-anthem/ for details. WI NT ER 2021

Suite of Old American Dances, by Robert Russell Bennett The first movement, “Cakewalk” portrays slave couples imitating plantation owners in the way they danced with the winning couple earning a cake. This particular dance became part of minstrel shows during the 1870’s and was at times performed as a mockery to slave owners. The music that Bennett composed was an attempt to authentically duplicate rhythms, style, articulations, and dynamics to the Cakewalk. For more information, visit www. npr.org/sections/codeswit ch/2013/12/23/256566647/ theextraordinary-story-of-why-acakewalk-wasnt-always-easy

represent a variety of ideologies, it is important that we consider the advantages and disadvantages of programming music that our students will benefit and learn. All composers have a set of morals, ethics, and philosophies that drive them and sometimes their music. When we consider which composers to program, you have to decide what is most important, the quality of the composition or the ideology of the composer. Sometimes the latter is challenging to discern, however with research, you can figure out which course to take. It is up to each conductor to decide what they believe is appropriate along with any potential consequences.

Variations on a Korean Folksong, by John Barnes Chance John Barnes Chance wrote variations on the folk song “Arirang”. This famous folksong was heard while Chance was stationed in South Korea in the late 1950’s. Some would argue that Chance writing variations on this folk song was inappropriate while others argue that he wrote it to celebrate the cultural heritage of South Korea. People state this argument because they believe that the only people who should write and reproduce music originally written for another culture is that particular demographic. Others believe that everyone should have the opportunity to write and reproduce music written by anyone. It is up to the wind band conductor to decide the quality of the piece and its authenticity before programming the work.

While we live in a society that should celebrate diversity and inclusion, we also must think about how our students will feel, react, and move forward with the music we program. The number of students we have in the classroom is significant compared to other disciplines. Having said this, understand that certain groups of students will respond differently, therefore each piece should be carefully thought out before programming.

The above works are a small sample of pieces that us as conductors have to discern. While the above works and composers

You might find that performing each of the works above is appropriate in the proper context. On the other hand, you might decide that some of the works are not worth performing again. Be sure that you think not only about the quality of music you put in front of your students, but the impact it might have on them as they move from your band room to someone else’s. Our students will make positive decisions about us and our program, provided we consider everything before programming a work. 31

Directors, to nominate your best students for this prestigious honor please visit

DDAYPARA DE. ORG/A LL A MERIC A N 32

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ALL-AMERICAN D-DAY BAND MAY 31 – JUNE 9, 2022

In June of 2022, you could be one of 125 high school musicians selected from across our nation to be members of the inaugural All-American D-Day Band. Join Col. Timothy J. Holtan, music director, and the superb band staff, and be a part of the premier concert band for D-Day events in the Normandy region. As musical ambassadors to France, the All-American D-Day Band will perform the ceremonial music for the officially recognized commemoration and wreath laying ceremonies at the Brittany and Normandy American Cemeteries and Memorials. In the historic village of Sainte-Mère-Église the band will perform in the International Salute to Liberation and lead the D-Day Memorial Parade. This All-American opportunity is open to the classes of 2022 and 2023. Director nominations are the first step, which triggers the invitation to complete a student application. Both must be complete and submitted by February 15, 2021, so don’t delay. This unique and prestigious opportunity is open to all United States high school students who meet the selection criteria, are nominated by their band directors, and are selected by video audition. The All-American D-Day Band experience will provide a oncein-a-life-time musical and educational experience, and give these All-Americans the opportunity to represent their country in these important D-Day ceremonies and events. • 2 nights in DC • 3 nights in Normandy • 3 nights in Paris • Performance at the World War II Memorial in Washington, DC • Performances at the American Cemetery in Brittany, in Sainte-Mère-Église • Performance at the American Cemetery at Omaha Beach • Feature Performances in Paris • Tours of le Mont St. Michel, Omaha Beach, Point du Hoc, Louvre Museum, and the city of Paris On June 6th, 1944, thousands of young men landed on the shores of Normandy, France, to launch the largest amphibious assault in world history. D-Day was the driving force behind the allied liberation of France and the beginning of the end of the Nazi tyranny that had engulfed Europe. Historic Programs is proud to be the producer of numerous officially recognized D-Day Commemoration Ceremonies and events each year in Normandy, France, and is pleased to partner with the National Band Association to build this opportunity for our nation’s best high school musicians. The All-American D-Day Band will be uniformed courtesy of DeMoulin Bros. and Company, and Jupiter, Majestic and Mapex instruments are furnished by KHS America. Limited scholarship will be available for students with financial need by the National Band Association.

ADDITIONAL DETAILS The All-American D-Day Band is a fully instrumented, standing concert band that will also march one parade. The instrumentation includes: • Flutes/Piccolo (all march with piccolo) • Oboe (march alternate instrument) • Bb Clarinet • Bass Clarinet (march Bb clarinet) • Bassoon (march alternate instrument) • Saxophone (alto, tenor, and baritone)

• • • • • •

ADDITIONAL INCLUSIONS • Custom music arrangements • Round trip airfare from Washington to Paris • All meals, tips, gratuities and transfer fees

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Trumpet Horn Trombone Euphonium Sousaphone Percussion (Concert percussion and mallets – no timpani; marching snare, quads, bass and cymbals)

ALL-AMERICAN D-DAY BAND STAFF • DIRECTOR: Timothy J. Holtan, Col., US Army, Retired • ASSOCIATE DIRECTOR: Derrick Shaw, Lt. Col., US Army, Retired • ASSISTANT DIRECTOR/HIGH BRASS: Ginger Turner, Sgt. Maj., US Army, Retired • FLUTE/PICCOLO: Chadwick Kamei, Director of Bands, Pearl City High School, HI • DOUBLE REEDS: Dr. Melissa Gustafson-Hinds, Director of Bands, O’Fallon Township HS, IL • CLARINET: Dr. Scott Tobias, Director of Bands, West Virginia University, Morgantown, WV • SAXOPHONE: Dr. Myra Rhoden, Director of Bands, Fayette County HS, GA • TRUMPET: SGM (Ret.) Ginger Turner, Applied Faculty, Towson University, MD • HORN: Rodney Workman, Director of Bands, Asheville HS, NC • TROMBONE: Dr. Rebecca Phillips, Director of Bands, Colorado State University, CO • EUPHONIUM/TUBA: Randall Coleman, Associate Director of Bands, University of Alabama, AL • PERCUSSION: David Starnes, Director of Orchestras, Kennesaw Mountain HS, GA

PEER—REVIEWED ARTICLE

THE EFFECTS OF POLITICAL AND SOCIAL FORCES ON THE LIFE AND MUSIC OF KAREL HUSA AS SEEN IN MUSIC FOR PRAGUE 1968 AND APOTHEOSIS OF THIS EARTH BY DAVID MONTGOMERY INTRODUCTION

overnmental actions and policies have commonly affected the lives and work of composers throughout history. This has been especially true during the 20th Century. In particular, the governments in Germany and the Soviet Union enforced strict policies onto composers which directly affected their work and musical output. In Germany, many composers had to leave the country because of their Jewish heritage, marriage to a Jew, or had their music banned (declared Entartete Musik1 ) for writing atonal or serial works2. Some of these composers include Arnold Schoenberg, Kurt Weill, Paul Hindemith (all left due to Jewish associations) and Anton Webern and Alban Berg (banned for writing atonal/serial music). The ramifications of politics on musical life in the Soviet Union are even more complex than are those in Germany. Joseph Stalin’s rise to power in 1932 began a period of strict enforcement and control over the Arts. As Robert Morgan explains, Stalin had little use for music, or any other art, except as a political weapon; and consequently, his views accorded with those of the Russian Association of Proletarian Music: art should be direct

and, above all, conventional, in idioms rooted in folk and popular traditions. During Stalin’s ascent increasing pressure was applied to curtail freedom in the Arts… In 1932, when Stalin had attained full power, a proclamation entitled “On the Reconstruction of Literacy and Artistic Organizations” brought to a definitive halt the openness and variety that had characterized Russian art throughout much of the 1920’s and inaugurated a period of repression and absolute conformity3.

As a result, all music from 1932 onward had to be composed to conform to the principles of Soviet realism or risk being labeled as ‘formalist’ and thus, banned. This had an effect on two well-known composers, Sergei Prokofiev and Dmitri Shostakovich, both of whom were labeled as formalists, which had dramatic consequences on their careers. In addition to political pressures, composers reacted to social forces by writing music that responded to contemporary societal ideals. One need look no further than the music following World War I by composers such as Darius Milhaud, Igor Stravinsky, Paul Hindemith and Kurt Weill, to name a few, to see evidence of a musical response to societal needs. These composers were responding to the idea that music should be for, and accessible by, common people. Music should be functional

and include the sounds and music of everyday life, not necessarily that of ‘modern high art’ or prewar (World War I) ‘concert music.’4 Certainly, politics have played an integral part in the life of composers in Germany and the Soviet Union. Both countries imposed strict guidelines on what could be considered good music and went so far as to censor composers refusing to write under those restrictions. While those political conditions reflect extreme conditions, politics in other countries also affected composers. The life and music of Czechoslovakian composer Karel Husa was especially affected by governmental actions and societal concerns. Although he did not suffer censorship or have to compose within a governmentally regulated paradigm, his music displays clear, distinct, and direct reactions to world events both regarding politics and society as a whole. This is evident in much of his music but is particularly present in his Music for Prague 1968 and Apotheosis of this Earth. BIOGRAPHICAL INFORMATION Karel Husa was born in Prague, Czechoslovakia on August 7, 1921 and died December 14, 2016 in Apex, North Carolina. Husa received his early training on piano and violin. His earliest Continued on next page

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Music of Karel Husa, David Montgomery, cont. Karel and his younger sister. While Husa’s parents steered him towards a career as an engineer, they allowed their son to take lessons in music and painting as well.

Dr. David Montgomery is Associate Professor of Instrumental Music Education at Baylor University where he teaches courses in band music education and observes student teachers. Prior to his appointment at Baylor, Dr. Montgomery was Associate Director of Bands and Director of the Bronco Marching Band at Western Michigan University for 14 years, and taught high school band in North Carolina. Dr. Montgomery is an accomplished teacher and was recognized as a finalist for the “University Distinguished Teaching Award,” and was recipient of the “Dean’s Teaching Award” at WMU. In addition to his teaching duties, Dr. Montgomery frequently serves as an adjudicator and clinician in both concert and marching band settings. He is published in The Instrumentalist, The National Band Association Journal, Bandmasters Review, The Southwestern Musician, and The Journal of Band Research as well as given numerous presentations at music conferences across Texas, Michigan, Ohio, Illinois, Florida, Iowa, Kansas, and North Carolina, including College Band Directors National Association and been invited to present at the Midwest Band and Orchestra Clinic. Additionally, he served as State Chairperson of the Michigan chapter of the National Band Association. Dr. Montgomery is the founder and director of Serviam Leadership Academy, a high school marching band leadership camp.

compositions date from around age 13 and were pieces written for violin and piano, and piano solo. Early in his life, Husa was drawn into the inescapable reality of art and politics. Byron Adams, one of the leading scholars on Husa, states the following: Husa came to understand the meaning of oppression early in life. He was the son of an intelligent and enterprising merchant who provided a thorough education for

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The Nazi occupation of Czechoslovakia rent Husa’s life asunder. A student protest in 1939 provided the Germans with the pretext they sought for closing all the universities in Prague, including the technical institute where Husa was then studying. Further, they ordered most of the students deported to Dresden for work in munitions factories. The conservatories of art and music were allowed to remain open, however, and in 1941 Husa barely escaped deportation by gaining admission to Jaroslav Ridky’s composition class at the Prague Conservatory5.

From 1941-1945, Husa attended the Prague Conservatory where he began studies in composition and conducting. He studied composition with Jaroslav Ridky and conducting with Pavel Dedecek and Vaclav Talich. He composed his first published piece, Sonatina for piano (1943), as a student at the conservatory. In 1946 Husa moved to Paris on a French government scholarship and attended the Ecole Normale de Musique where he studied composition with Arthur Honegger and conducting with Jean Fournet. He then enrolled at the Paris Conservatoire where he studied conducting with Eugene Bigot and composition with Nadia Boulanger and Andre Cluytens. In 1948 Husa completed his String Quartet No. 1. Upon its premiere performance in Paris that same year, Husa gained international recognition. In 1954 Husa moved to America and joined the faculty at Cornell University (on the recommendation of

Donald Grout) where he became the Kappa Alpha Professor of Music. While at Cornell, he taught composition, conducting, and orchestration until his retirement in 1992. Husa became an American citizen in 1959. Dr. Husa frequently appeared as a lecturer and guest conductor with major orchestras across Europe and America while mostly conducting his own music. Husa was awarded two Guggenheim Fellowships (1964, 1965), the Pulitzer Prize for String Quartet No. 3 (1969), the Friedheim Award of the Kennedy Center (1983) and the Grawemeyer Award for Concerto for Violoncello and Orchestra (1993). In 1994, he was elected to the Academy of Arts and Letters and was awarded the Gold Medal of Merit of the Czech Republic in 19956. MUSICAL STYLE- REACTIONS TO SOCIAL AND POLITICAL FORCES Husa’s musical style is broad and reflects the trends of the time periods in which he lived and worked. His early compositions predictably show the influence of nationalistic Czech composersSmetana, Dvorak, Janacek, as well as Suk and Novak. The impact of Debussy and Ravel is also apparent in his early music along with the influence of classical and romantic styles. Husa also used twelve tone techniques in some of his earlier music. Moreover, he dabbled in some aleatoric techniques as well as imitated some of the sonic qualities of musique concrete while still using traditional instruments. However, what is striking about Husa, and the focus of this discussion, is how he was so affected by governmental actions

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Music of Karel Husa, David Montgomery, cont. and societal concerns and the way in which they were reflected so sharply in his music. In fact, Husa went so far as to compose a triptych that he named his “three ‘manifests’; scores intended to address serious issues of international concern.”7 These three ‘manifests’ include Music for Prague 1968 (1968) for wind band, Apotheosis of this Earth (1971) for wind band and The Trojan Women (1980) for ballet. MUSIC FOR PRAGUE 1968 In January 5, 1968, reformist Alexander Dubček came to power in Czechoslovakia, and continued until August 21, when the Soviet Union and its Warsaw Pact allies invaded the country to halt the reforms. This invasion sparked an intense reaction from Husa who was living in the United States but was separated from his family members who still remained in Prague. Music for Prague 1968 is a direct reaction to the Soviet invasion of Czechoslovakia in August 1968. However, Husa already had in mind the idea of writing for Prague before the invasion as he was approached by Kenneth Snapp, Director of Bands at Ithaca College, for a commission. Regarding this time Husa remarked: It was in late August 1968 when I decided to write a composition dedicated to the city in which I was born. I have thought about writing for Prague for some time because the longer I am far away from this city (I left Czechoslovakia in 1946) the more I remember the beauty of it. I can even say that in my idealization, I actually see Prague even more beautiful. During those tragic and dark moments of

Czechoslovakia in August 1968, I suddenly felt the necessity to write this piece for so long meditated. My friend and colleague, Dr. Kenneth Snapp, then Director of Bands at Ithaca College, had mentioned to me the possibility of commissioning a work should the Ithaca College Band play at the MENC Convention in Washington in January 1969. I was sure that the music I would write for Prague would be scored for the concert band, a medium which I have admired for a long time.8

Only 11 days after the Soviets invaded Czechoslovakia, Husa got word that Ithaca had received their invitation to perform in Washington and would be commissioning him for a work. However, the turmoil in which his homeland was then engaged shifted the work for Prague from one simply recalling the beauty of the city to a cry for help for a war-torn land. In an article in The Instrumentalist, Adams describes the disquiet, intensity, and compositional response that Husa underwent during this time as follows: Husa was galvanized by the invasion of his native Czechoslovakia by Soviet troops, particularly the entry of the invading army into Prague, the city of his birth, where several of his immediate family members still lived. After a sleepless night monitoring radio broadcasts for news of the situation, Husa began sketches for a composition. In the short space of seven weeks, working at a high pitch of excitement and inspiration, Husa composed Music for Prague 1968 with the score completed in October 1968.9

Husa, himself, provides important information about the musical depictions and sources that inspired him, and the compositional devices he used to capture these feelings. The

following quote is included in the score and asked to be printed in all concert programs, or read aloud to the audience, whenever the work is performed. Three main ideas bind Music for Prague 1968 together. The first and most important is the old Hussite war song from the 15th century, “Ye Warriors of God and His Law,” a symbol of resistance and hope for hundreds of years, whenever fate lay heavy on the Czech nation. It has been used by many Czech composers, including Smetana in My Country. The beginning of this religious song is announced very softly in the first movement by the timpani and concludes in a strong unison (chorale). The song is never used in its entirety. The second idea is the sound of the bells throughout. Prague, named also the “City of Hundreds of Towers,” has used its magnificently sounding church bells as calls of distress as well as calls of victory. The last idea is a motif of three chords first appearing very softly under the piccolo solo at the beginning of the piece in flutes, clarinets, and horns. Later it reappears at extremely strong dynamic levels, for example, in the middle of the Aria. Different techniques of composing as well as orchestrating have been used in Music for Prague 1968 and some new sounds explored, such as the percussion section interlude and the ending of the work. Much symbolism also appears: in addition to the distress calls in the first movement (Fanfares), the unbroken hope of the Hussite song, sound of bells, or the tragedy (Aria), there is also the bird call at the beginning (piccolo solo), symbol of liberty which the city of Prague has seen only for moments during its thousand years of existence.10

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Music of Karel Husa, David Montgomery, cont. of the feelings generated by the invasion. He further describes, In that frustration or anger over the Soviet invasion, I had the idea that the piece would start with two measures of the “War Song,” in the beginning pianissimo, and then it would all finish fortissimo with five measures of the song. This drama of the fifteenth century, when the Hussites went into their war, I imagined this just as a symbol. And then I thought, “Yes, as a symbol of freedom- like a bird song.” I could have put flute, but I thought so many pieces have started with flute, but not with piccolo. Piccolo would make a more unusual beginning… the uneasy quietness before the storm. I knew that the piccolo has a ‘D’ low note, but I didn’t know how it would sound. It’s sort of unusual. I’m sure that the flute would have sounded beautiful in that register, but maybe that is why I didn’t want it.11

The above quotes illustrate how deeply the Soviet invasion struck Husa and how he wanted to express these emotions musically. In particular, the Hussite War song (Example 1) has had particular meaning to the Czech people for centuries. Upon hearing the song, feelings of national pride, courage, and strength would be obvious to Czech listeners. Certainly, Husa intentionally drew upon this expected emotional reaction during the compositional process. Music for Prague 1968 has become an enormously popular work and is a staple in the wind band repertory. In fact, the work was transcribed for orchestra after its premiere. To date, there Example 1: “Ye Warriors of God” 15th Century Hussite War Song “Ye Warriors of God and His Law” Hussite War Song

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have been over 10,000 known performances worldwide.12 Although Music for Prague 1968 may be considered his most wellknown work, Husa also wrote another piece as a response to external circumstances. Apotheosis of this Earth (1971) was Husa’s ‘manifesto’ on the social concern for the care of the planet. APOTHEOSIS OF THIS EARTH Following the success of Music for Prague 1968 and the Pulitzer Prize in 1969 for his String Quartet No. 3 (1967) demand was high for Husa’s music. To that end, Husa was contacted by the Michigan School Band and Orchestra Association (MSBOA) to commemorate the retirement of Dr. William Revelli, legendary Director of Bands at the University of Michigan, in 1971. As noted above, Husa was a composer who was particularly aware of humanitarian causes and affected by social forces. While concern for man’s misuse of the planet was a concern since the Industrial Revolution, in the 1960’s and 70’s this debate heated up as it was argued that man could affect the Earth in devastating ways with the advancements in technology over the course of the 20th century (i.e. the atomic bomb, increased reliance on fossil fuels etc.). With these social concerns at the forefront and the commission from MSBOA, Husa reflected his feelings and concerns in this three-movement work Apotheosis of this Earth. The composer’s note in the score details his thoughts on the genesis of the work. The composition of Apotheosis of this

Earth was motivated by the present desperate stage of mankind and its immense problems with everyday killings, war, hunger, extermination of fauna, huge forest fires, and critical contamination of the whole environment. Man’s brutal possession and misuse of nature’s beauty- if continued at today’s reckless speed- can only lead to catastrophy (sic). The composer hopes that the destruction of this beautiful earth (sic) can be stopped, so that the tragedy of destruction- musically projected here in the second movement- and the desolation of its aftermath (the “postscript” of the third movement) can exist only as fantasy, never to become reality.13

The structure of the work, in three movements, depicts the story of the Earth from its creation, man’s impact and devastation, and the aftermath of destruction. Regarding the first movement, Husa explains: In the first movement, “Apotheosis,” the Earth first appears as a point of light in the universe. Our memory and imagination approach it in perhaps the same way as it appeared to the astronauts returning from the moon. The Earth grows larger and larger, and we can even remember some of its tragic moments (as struck by the xylophone near the end of the movement).14

About the second movement the composer continues: The second movement, “Tragedy of Destruction,” deals with the actual brutalities of man against nature, leading to the destruction of our planet, perhaps by radioactive explosion. The Earth dies as a savagely, mortally wounded creature.15

Finally, on the third movement Husa remarks: Continued on next page

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Music of Karel Husa, David Montgomery, cont. The last movement is a “Postscript,” full of the realization that so little is left to be said: The Earth has been pulverized into the universe, the voices scattered into space. Toward the end, these voices—at first computer-like and mechanical— unite into the words this beautiful Earth, simply said, warm and filled with regret…and one of so many questions comes to our minds: “Why have we let it happen?”16

To portray the intensity of this musical program, Husa engages the use of several contemporary techniques including sections of indeterminacy, extended techniques including glissandos and bending pitches, flutter tonguing, sound masses, spoken parts from the performers, and the integral uses of the coloristic possibilities available to the modern percussion section. These combined sonic effects result in a work that is dramatic and stirring in its presentation. Apotheosis of this Earth has not proven to be as popular as Music for Prague 1968 but it is no less dramatic and expressive. Perhaps it is not performed as often due to its undisguised message on the impact of man on the planet. Conductors may not wish to be overtly political with their programming. Nonetheless, both works are of quality construction and considered worthy pieces in the repertoire. CODA Husa went on to compose the final piece of his triptych addressing serious issues of international concern with his ballet The Trojan Women (1980), a work commissioned by the Louisville Ballet. About its program Husa explains, “it is based on the play of Athenian 38

Euripides (born approximately 484 B.C.) and deals with the horrors of the war, immense suffering, murdering of innocents, annihilation of freedom but also with the dignity of nobility of the captured women, awaiting their departure into slavery.”17 It is essentially an anti-war statement. The 20th Century has seen a large influence of governmental forces and social concerns on art and music. Though composers in Germany and the Soviet Union were especially impacted by the policies and restrictions of their governments, composers elsewhere also had musical reactions to political actions and cries of humanity, and Karel Husa was one who uniquely portrayed these forces in his music. BIBLIOGRAPHY Adams, Byron. “Karel Husa”, Grove Music Online ed. L. Macy <www. grovemusic.com.> (Accessed [20 October 2020]) . “Karel Husa- Composer Essay” <www. wisemusicclassicalcom> (Accessed [20 October 2020]) . “Karel Husa’s Music for Prague 1968: An Interpretive Analysis.” The Instrumentalist (October, 1987). Battisti, Frank. “Karel Husa Keeping Ties with Tradition.” The Instrumentalist (July, 1990). Fullmer, David. A Composer’s Insights: Thoughts, Analysis, and Commentary on Contemporary Masterpieces for Wind Band Vol. 1. ed. Timothy Salzman. Galesville, MD, Meredith Music Publications,

2003. 164p. Husa, Karel. Apotheosis of this Earth. Full score. New York: Associated Music Publishers Inc.(Hal Leonard), 1971. Husa, Karel. Music for Prague 1968 Full score. New York: Associated Music Publishers Inc.(Hal Leonard), 1969. Husa, Karel. “Program NoteThe Trojan Women. <www. wisemusicclassical.com> (Accessed [21 October 2020]) Morgan, Robert P. Twentieth Century Music. New York, W. W. Norton & Company, 1991. 545p. Nelson, Judy. “Karel Husa: Echoing Mankind through Music.” The Instrumentalist (October, 1987). Phillips, Harvey. “Musician from Prague.” The Instrumentalist (September, 1992). Radice, Mark A., ed. Karel HusaA Composer’s Life in Essays and Documents. Lewiston, New York: Edwin Mellen Press, 2002. 219p. Strunk, Oliver. Source Readings in Music History; The Twentieth Century. New York, W.W. Norton& Company, 1998. 249p. ENDNOTES

Translated as “degenerate music.” A declaration by Joseph Goebbels, German Minister of Enlightenment and Propaganda, made during a speech at the Dusseldorf Music Festival, used to define all music not considered “good German music” such as serialism, jazz, popular music, ragtime, blues, and café music. The Nazi regime sought to cleanse and purify artistic culture which they believed had become dirtied with Western and Jewish 1

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Music of Karel Husa, David Montgomery, cont. influences. Oliver Strunk, Source Readings in Music History; The Twentieth Century (New York: W.W. Norton & Company, 1998), pp. 125126. 2

Robert P. Morgan, Twentieth-Century Music (New York: W. W. Norton & Company, 1991), pp. 237-238. 3

Ibid., p. 159.

Byron Adams, Schirmer Publications [Web site], “Karel Husa- Composer Essay” site address: www.wisemusicclassical.com 5

Byron Adams, New Grove Dictionary of Music and Musicians online [Web site] “Karel Husa” site address: www. grovemusic.com 6

David Fullmer, A Composer’s Insights: Thoughts, Analysis, and Commentary on Contemporary Masterpieces for Wind Band Vol. 1, ed. Timothy Salzman (Galesville, MD, Meredith Music Publications, 2003), p. 74. 7

Ibid., pp. 72-73.

Byron Adams, “Karel Husa’s Music for Prague 1968: An Interpretive Analysis” The Instrumentalist (October 1987), 19. 9

Karel Husa, Music for Prague 1968, (New York: Associated Music Publishers, 1969) 10

D. Fullmer, A Composer’s Insights, p. 73.

Ibid., p. 74.

Ibid., composer’s note in the cover of the score 14

Ibid., composer’s note in the cover of the score 15

Ibid., composer’s note in the cover of the score 16

K. Husa, Schirmer Publications [Web site], “Program Note on The Trojan Women” site address: www.wisemusicclassical.com 17

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THE INCIDENCE OF HEARING LOSS AMONG UNIVERSITY STUDENT MUSICIANS BY DOUGLAS T. OWENS AND KATHRYN S. SCHWARTZ INTRODUCTION According to the National Institute on Deafness and Other Communication Disorders, noise-induced hearing loss (NIHL) “can be caused by a one-time exposure to an intense “impulse” sound, such as an explosion, or by continuous exposure to loud sounds over an extended period of time, such as noise generated in a woodworking shop” (NIDCD, 2015). NIHL is a major health issue: Of Americans ages 20 to 69, 15 percent exhibit some level of hearing loss (NIDCD, 2015). Upon examining the data from the most recent National Health and Nutrition Examination Survey, Shargorodsky, et. al (2010) concluded that “The prevalence of hearing loss among a sample of US adolescents aged 12 to 19 years was greater in 2005-2006 compared with 1988-1994” (2010, n.p.). NIHL is characterized by difficulty in understanding speech, particularly in noisy situations. For the musician, NIHL may impact one’s ability to effectively interpret 40

multiple aspects during listening, rehearsal, and performance. Noise-induced hearing loss is also commonly associated with tinnitus. Persons with tinnitus may hear ringing, hissing, or other loud sounds without the presence of any externally produced source (American Tinnitus Association, 2015, n.p.). Such sounds can interfere with the normal listening process, and can be debilitating to musicians. University music majors may experience tinnitus more frequently than do students majoring in other disciplines (Zeigler, 1997). For musicians, any type of hearing loss is potentially a career-changing event. Hearing loss due to excess noise exposure can occur at any age. Research suggests that musicians should have a comprehensive baseline audiometric threshold hearing examination, with yearly followup hearing examinations (Owens, 2008). However, the National Institute for Occupational Safety and Health (NIOSH) reports that Americans do not have their hearing checked on a regular basis (NIOSH, 1998). In addition to musicians monitoring their own hearing

Dr. Douglas T. Owens is the F. Ludwig Diehn Endowed Chair of Instrumental Music Education, Graduate Program Director, and a past Chairperson of the Old Dominion University F. Ludwig Diehn School of Music, Norfolk, VA. Dr. Owens previously served as Department of Music Chair at the University of Massachusetts Dartmouth, and as an Associate Professor of Music at the University of Southern Maine. Additionally, he taught band at the elementary, middle, and high school levels in Wauwatosa, and Glendale, Wisconsin. Dr. Owens is the director of the ODU Jazz Orchestra, and teaches multiple courses at the undergraduate and graduate levels. He continues to serve as a guest conductor, clinician and adjudicator of concert bands and jazz ensembles. Dr. Owens has published research in the Medical Problems of Performing Artists, the National Band Association Journal and The Instrumentalist. His chapter on music entrepreneurship appears in the book Disciplining the Arts: Teaching Entrepreneurship in Context. Dr. Owens is a former lead trumpeter of the Portland (Maine) Jazz Orchestra, and appears on the 2009 recording Nor’easter. He is a past member of the Virginia Wind Symphony, and the Norumbega Brass.

health, sound pressure levels should be monitored in the music rehearsal environment, and appropriate action should be taken as necessary. Ensemble directors should be aware of the average sound exposure limits and maximum allowable daily noise dose as recommended by the National Institute of Occupational Safety and Health (NIOSH). The recommended noise dose has a 3-decibel (dB) exchange rate; for each sound pressure increase of

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. 3 dB, the exposure time needed to reach a 100 percent noise dose should be lowered by one half (Kardous, et. al, 2016). This is illustrated in Table 1 (below). The National Association of Schools of Music (NASM) requires all NASM accredited universities to inform students of the risks associated with rehearsal and performance in music settings (NASM, 2013). University musicians must be aware of the potential for hearing loss in the profession and that the exposure to high sound pressure levels could affect their hearing. In a review of 467 university music major and non-music major attitudes regarding noise, Chesky et. al (2009) found that music majors more frequently observed the potential negative risks of listening to loud sounds, and would change their habits to reduce their exposure (Chesky et. al, 2009, p. 49). Purpose University music majors and musicians may be at risk of noise-induced hearing loss

due to exposure to excessive sound pressure levels during participation in music rehearsal and performance. The purpose of this study was to determine undergraduate musicians’ hearing acuity (as measured via a basic hearing test) and to learn about their hearing health habits related to music rehearsal and performance. Selection of the Sample Following approval by the university Institutional Review Board, prospective participants were notified of the study via email, posters, and messages through the university email and Internet announcement system. Participants received and signed the Informed Consent Document prior to participation in this study. Data Collection Tools and Procedures The participants completed a 22-question written survey prior to the hearing screening in order to avoid influencing the survey results. The survey included questions regarding the participants’ primary instrument

Table 1 Average sound exposure levels needed to reach the maximum allowable daily dose of 100% (NIOSH, 1998). dB(A) refers to decibels, A-weighted, a frequency response setting used in sound level measurement equipment to approximate the response of human hearing (NIOSH, 1998).

SOUND PRESSURE LEVEL 85 DB(A) 88 DB(A) 91 DB(A) 94 DB(A) 97 DB(A) 100 DB(A) WI NT ER 2021

TIME TO REACH 100% NOISE DOSE 8 HOURS 4 HOURS 2 HOURS 1 HOUR 30 MINUTES 15 MINUTES

or voice type (soprano, alto, tenor, bass), the number of years of music rehearsal and performance involvement, the average number of rehearsal and performance hours per week, the use of hearing protection during rehearsal and performance and whether the hearing protection was generic or custom-made. Additional questions about the participants’ secondary and tertiary instruments or voice, their hearing perception, and listening habits with personal music devices, were asked. Hearing screenings were conducted using standardized audiometric procedures. Frequencies (pure tones) were produced by a clinical audiometer and presented to the participants via air conduction with standard earphones in a soundproof mobile facility. All test results were recorded on standard audiogram forms outlining the participant’s hearing threshold between the test frequencies of 1,000 Hz, 2,000 Hz, 3,000 Hz and 4,000 Hz. Each participant was provided with a copy of their audiogram (hearing exam) and an explanation of the significance of the results. The investigators retained a record of each participant’s examination. The names of each participant were not included in the data analysis stage. Data analysis was performed with version 17 of SPSS. ANALYSIS OF SURVEY RESULTS Participant Demographics Fifty-one persons (29 males; 22 females; mean age = 21 years) participated in the study. Participants included music majors (n = 41) and non-music majors (n = 8); two participants Continued on next page

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. did not provide their major. Participants reported an average of 15.67 hours of practice per week. The years of instrumental or vocal performance experience in the participants’ primary performance area ranged from one to 40 years. The mean number of performance years equaled 11 years. The instrumental/vocal distribution is displayed in Figure 1 (below).

Recent Exposure to Loud Sound and Sense of Hearing Loss The participants were asked to recall their most recent exposure to what they perceived as loud sound. Each participant replied as shown in Figure 2 (below). Figure 3 (page 43) indicates the distribution of participants that self-reported hearing loss and the participants that self-reported no hearing

Figure 1. Instrumental/vocal distribution of participants (n = 51)

Figure 2. Time of participants’ most recent exposure to loud sound (n = 51)

loss as related to their primary instrument. Occurrence of Tinnitus Regarding tinnitus, the participants were asked the following: “Have you experienced tinnitus (a ringing, hissing, or other loud sound) in your ears following listening to music, rehearsing or performing music or exposure to other sounds?” Thirty-two participants reported experiencing tinnitus. Of those participants, 10 female participants and 22 male participants reported experiencing tinnitus. Use of Hearing Protection Hearing protection is recommended in various situations where the potential for high sound pressure levels may exist. Participants reported various levels of hearing protection use in different settings (Table 2, page 43). The use of hearing protection in non-musical, rehearsal, and listening situations was evident among participants with self-reported hearing loss. In performance situations, there appears to be no difference in the use of hearing protection between participants with self-reported hearing loss and those who reported normal hearing. Among those participants that used hearing protection in musical rehearsal or performance, the types of hearing protection used in musical situations varied. Eight participants reported the use of generic hearing protection. One participant reported the use of custom-made hearing protection, and one participant reported the use of both generic and customContinued on next page

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. made hearing protection. Use of Personal Music Players Musicians often spend time listening to music on their personal music players. This is of interest, as doing so potentially adds to the overall exposure to loud sound. Out of 51 participants, 48 participants reported listening to music via

personal music players with varied types of headphones. Of those participants, 38 used earbuds, seven participants used over the ear (supra aural) headphones, and three participants used on-ear headphones. The average reported listening time was 10 hours per week. Three participants did not answer this question.

Dr. Kathryn S. Schwartz is an Adjunct Professor at Old Dominion University in the Darden College of Education and Professional Studies, Norfolk, VA and a Research Consultant in the Otolaryngology/ Head and Neck Surgery Department at Mayo Clinic, Jacksonville, FL. She previously served as a Clinical Audiologist at the University of Virginia School of Medicine, Charlottesville, VA and taught as an Adjunct Professor at Salus University in the Osbourne College of Audiology.

Figure 3. Instrumental/vocal distribution of participants that selfreported hearing loss (n = 20) (black bars) and participants that selfreported no hearing loss (n = 31) (gray bars) Table 2 Frequency of participant hearing protection use in various situations (n = 24) Setting

Number of participants using hearing protection

Music Performance

Listening to Live Music

Music Rehearsal

Noisy Situations/Non-Music

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Dr. Schwartzâ&#x20AC;&#x2122;s research interests include exploring factors that influence successful auditory processing in healthy and impaired listeners. She also studies the efficacy, development and evaluation of tools and procedures for improving auditory rehabilitation. Her research has been published in numerous journals such as the International Journal of Speech-Language Pathology, the Journal of the American Academy of Audiology, Deafness & Education International, and Frontiers in Human Neuroscience. Dr. Schwartz was named a Jerger Future Leader of Audiology by the American Academy of Audiology in 2016. Dr. Schwartz earned a Ph.D. in Audiology from the University of Memphis (2011), a Doctor of Audiology in the School of Medicine from the University of Louisville (2005), and a Bachelor of Science from Miami University (2001). She has served on the Board of the Academic and Professional Standards Council for the American Academy of Audiology as well as the Coalition for Hearing, Education, and Research at Eastern Virginia Medical School.

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. The volume levels reported by participants when using personal music players is of interest, as musicians need to be aware of the potential negative impact to their hearing. The results are illustrated in Figure 4 (below). The personal music player volume levels reported by participants that self-reported hearing loss are

illustrated in Figure 5 (below). Hearing Examination Results All participants completed the hearing examination. As previously stated, using standardized audiometric procedures, pure tones were produced by a clinical audiometer and presented to the participants

Figure 4. Reported personal music player volume levels (N = 51)

Figure 5. Personal music player volume levels reported by participants that self-reported hearing loss (n = 20) 44

via air conduction with standard earphones in a soundproof mobile facility. All test results were recorded on standard audiogram forms outlining the participantâ&#x20AC;&#x2122;s hearing threshold between the test frequencies of 1,000 Hz and 4,000 Hz. The examination results are noted in Table 3 (next page). The majority of the participants passed the hearing examination. However, it is noted that the examination equipment had inherent limitations, due to the limited frequency range tested on the lower end of the spectrum (to 1,000 Hz) and the high frequencies (to 4,000 Hz). It is acknowledged that additional testing at higher frequencies is recommended for all participants. Figure 6 (next page) displays the instrumental and vocal distribution of participants that passed the hearing test. Discussion All persons can benefit from having a comprehensive hearing exam completed by an audiologist. If noise-induced hearing loss is present, a comprehensive hearing exam will expose hearing loss at 3,000, 4,000 or 6,000 Hz (Mirza et. al, 2018). Although the majority of the participants in this study passed the hearing exam, 20 of the 51 participants self-reported hearing loss in the survey. This may indicate their concern of possible exposure to loud environments. It is noted that the hearing test in this study was limited to a maximum of 4,000 Hz, and would not have revealed any potential hearing loss above that frequency. Continued on next page

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. Brass and percussion instruments are potentially loud and are often placed within proximity of each other in ensembles (Henoch and Chesky, 2000). Within this study, it is apparent that the participants that play brass and percussion instruments self-reported hearing loss.

In addition to participation in ensemble rehearsals and individual practice, music students spend many hours listening to music via their personal music players. The use of earbuds with personal music players is of great concern, as they allow external sound to mix with the intended listening. Portnuff and Fligor (2006) state that output levels

Table 3. Hearing examination results (N = 51)

FREQUENCY

EAR

1,000 HZ 1,000 HZ 2,000 HZ 2,000 HZ

R L R L

NUMBER OF PARTICIPANTS THAT PASSED THE EXAMINATION 51 50 49 50

3,000 HZ

4,000 HZ

Figure 6. Instrumental/vocal distribution of participants that passed the hearing test (n = 48) WI NT ER 2021

vary depending on the type of earphones used. “On average, output levels of earbud-style earphones are 5.5 decibels higher than earphones that sit on top of the ears (supra-aural earphones)” (2006, n.p.). A reduction in volume levels and listening time is highly suggested when using earbuds or any headphones (Portnuff and Fligor, 2006; Shah et. al, 2009). In the present study, of the 20 participants that self-reported hearing loss, 14 participants also reported listening to their personal music players at a medium volume setting. Twenty participants reported using hearing protection more frequently than those participants without a selfperceived hearing loss (n = 31). For these participants, this finding could suggest an increased awareness of the challenges of hearing loss, and the need to preserve their hearing by reducing the volume of their personal music players. The results from this study suggest that certain participants may have made self-modifications to their auditory environment, based their own awareness of their hearing acuity. An increased awareness and monitoring of sound pressure levels is highly suggested for all musicians. Noise-induced hearing loss remains a major issue for music ensemble participants and ensemble directors. Some ensemble rehearsal rooms may not of sufficient size for the sound produced by ensemble participants, and/or may not be designed with excellent sound absorption and reflection necessary to avoid exposure Continued on next page

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. to high sound pressure levels. Ensemble directors should routinely monitor the sound pressure levels in their rehearsal and performance environments. Several smart phone apps exist that provide the basic monitoring of sound pressure levels sufficient to create such awareness. If sound pressure levels exist that result in exceeding the NIOSH recommended exposure limits, an acoustician should be hired to conduct noise measurements and to suggest potential solutions to reduce the sound pressure levels (Owens, 2004). Such solutions that could result in a reduction of the exposure time to high sound pressure levels include the reduction of loud dynamic levels in rehearsals, adjustments to the number of students rehearsing in the room, adjustments to the acoustic materials used in rehearsal and performance spaces, flexible planning of literature, among others. The continued education of university music students through hearing conservation efforts such as those advised by the National Association of Schools of Music and the Performing Arts Medicine Association (NASM, 2013), along with other endeavors, may influence persons to make positive changes to their own music listening, rehearsal, performance, and general hearing conservation efforts. Music educators at all levels can play an important part in this effort by reviewing the NASM/PAMA and NIOSH guidelines, by becoming very aware of the sound pressure levels produced in the rehearsal environment, and by reminding students of the importance of 46

hearing conservation for a lifetime of musicianship. References American Tinnitus Association. Understanding the facts https://www.ata.org /understanding-facts

pama-hearing-health/

Chesky, K., Pair, M., Lanford, S., & Yoshimura, E. (2009). Attitudes of college music students towards noise in youth culture. Noise and Health, 11(42), 49-53. https://pubmed.ncbi.nlm nih.gov/19265253/

National Institute of Occupational\ Safety and Health (NIOSH) (1998). Noise-induced hearing loss—Attitudes and behaviors of U.S. adults. Atlanta, NIOSH/CDC. http://www.cdc gov/niosh/topics/noise abouthlp/nihlattitude.html

Henoch, M. & Chesky, K. (2000). Sound exposure levels experienced by a college jazz band ensemble: Comparison with OSHA risk criteria. Medical Problems of Performing Artists, 15(1), 17-22. Kardous, C., Themann, C. L., Morata, T. C., & Lotz, W. G. (2016). Understanding noise exposure limits: Occupational vs. general environmental noise. NIOSH science blog. https://blogs.cdc.gov/niosh science-blog/2016/02/08/noise/ Mirza, R., Kirchner, B., Dobie, R. A., & Crawford, J. (2018) Occupational noise-induced hearing loss. Journal of Occupational and Environmental Medicine 60(9) https://acoem org/acoem/media/News Library/Occupational_Noise Induced_Hearing_Loss.pdf National Association of Schools of Music (2013). NASM-PAMA advisories on hearing health. https://nasm.arts accredit.org/publications brochures-advisories/nasm-

National Institute on Deafness and Other Communication Disorders (NIDCD) (2015). Noise-induced hearing loss. http:/ www.nidcd.nih.gov/health /hearing/pages/noise.aspx

National Institute of Occupational Safety and Health (NIOSH) (1998). Recommended exposure limit. In: Criteria for a Recommended Standard: Occupational Noise Exposure. https://www.cdc.gov/niosh docs/98-126/pdfs/98-126.pdf Owens D. T. (2008). Hearing loss: A primer for the performing arts. Medical Problems of Performing Artists 23(4): 147 155. Owens D. T. (2004). Sound pressure levels experienced by the high school band director. Medical Problems of Performing Artists 19(3): 109–115. Portnuff, C., & Fligor, B. (2007). Sound output levels of the iPod and other mp3 players: Is there potential risk to hearing? http:/ www.rockstarears.com/ resources/ SoundOutputLevelsofPods&M P3Players.pdf

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Peer Reviewed Article, Douglas T. Owens and Kathryn S. Schwartz, cont. Shah, S., Gopal, B., Reis, J., & Novak, M. (2009). Hear today, gone tomorrow: An assessment of portable entertainment player use and hearing acuity in a community sample. The Journal of The American Board of Family Medicine, 22(1), 17-23. https://doi.org/10.3122 jabfm.2009.01.080033 Shargorodsky, J., Curhan, S. G., Curhan, G. C., & Eavey, R. (2010). Change in prevalence of hearing loss in US adolescents. Jama, 304(7), 772-778. https://doi.org/10.1001 jama.2010.1124 Zeigler, M. C. (1997). An investigation of the prevalence of tinnitus in college music majors and nonmusic majors (Publication No. 9735829) [Doctoral dissertation, Florida State University]. ProQuest Dissertations and Theses Global.

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 97. Articles are published at the discretion of the editor and may appear in a later journal edition. WI NT ER 2021

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NBA - THE EARLY YEARS DAVID GREGORY, PAST PRESIDENT, NATIONAL BAND ASSOCIATION "Idea: a thought or suggestion as to a possible course of action." The National Band Association began as an idea of a few that grew to serve many.

uite a number of years ago, a small group of band directors and music industry people got together to share an idea: the possibility and practicality of starting a band clinic for directors to come together once a year to listen to and examine and discuss some of the newer and better-quality band music being published. The idea seemed like a good one, and the organizers committed themselves to making it a successful meeting. December of 2021 will mark the 75th anniversary of the Midwest Clinic. It was a vision that, through much hard work and shared beliefs, became one of largest gatherings of its kind in the world, if not the largest. That one seems to have been a pretty good idea... The National Band Association emerged from a similar "idea meeting," a meeting that gave life to one of the most innovative and productive and supportive band organizations ever formed... one that became the largest band organization in the world. This idea also came to fruition from a collaboration between

the business world and the band world. It too was a good idea. No... it was a great one! Anecdotal and documented archival information (a list of references and sources will be provided at the conclusion of this article) indicates that in the spring of 1960 Traugott Rohner, Founder and Publisher of The Instrumentalist, called Al Wright, Director of Bands at Purdue University, and told him he wanted to organize a national organization for band directors and asked him if he would assist. Dr. Wright agreed to collaborate with Mr. Rohner and John Paynter, Director of Bands at Northwestern University, in planning for this new organization and a meeting was arranged for the fall. At that September meeting were Traugott Rohner, Al Wright, John Paynter, Earl Dunn (Director of Bands at Ball State University), David McCormick (Director of Bands at J.S. Morton High School), Tom Richardson (State of Illinois Music Supervisor), and Father George Wiskirchen (Director of Bands at Notre Dame High School). The meeting took place at the Sherman House in

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.

Chicago, and the outcome of that assembly was our National Band Association. The first "official" meeting of the NBA took place at the Midwest Clinic the following Continued on next page

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December with 67 band directors in attendance. An era was begun. (Dr. Wright stated in his book, The Music Makers: A Love Story With Music, that Traugott Rohner "was the founder of the NBA. The NBA was his idea.")

When one views the work of the NBA, one might think that the operations and projects of the organization are more vertical than linear, but that most certainly is not the case. Events and projects of the NBA were not conceived solely as an end-product but rather as a means to a greater end...a launching pad as it were. The NBA has functioned and grown, in a linear manner, for sixty years, and, as a result, the band world is stronger than it ever has been. An analogy of the linear growth of the NBA is that of Launch Pad 37 at Cape Canaveral Space Center in Florida. We remember many of the historic Saturn and Apollo launches from Cape Canaveral... launches that many times changed the world in which we live. What we may not remember, however, is Launch Pad 37. That location, which began operations in the early 1960s, has been the site of hundreds, possibly thousands, of successful and incredibly important launchings of rockets and satellites that helped make our world a better place. In the band world, the NBA has in many ways served as a version of Launch Pad 37...and it continues to put into place valuable and professionchanging programs. The NBA history has been, and continues to be, a linear one. Here is part of our great story. The first meeting of the newly organized National Band Association took place during the Midwest Clinic at the Sherman House in Chicago in December of WI NT ER 2021

NBA Officers for 1961 â&#x20AC;&#x201C; 1962. L-R: Al Wright-President; Carroll Copeland, Secretary/Treasurer; David McCormick-1st Vice President Elect; Nilo Hovey-2nd Vice President; John Paynter-1st Vice President

1960. At that meeting Al Wright was chosen as the first president, John Paynter was to be the 1st Vice President, Nilo Hovey would be the Secretary-Treasurer, Earl Dunn would serve as the Editor of the NBA publication (soon named The NBA Journal), a Board of Directors was appointed, and Traugott Rohner agreed to promote the newly formed NBA in each issue of The Instrumentalist and to provide a subscription to the magazine as part of annual membership dues. Subsequently, The Instrumentalist became the "official" magazine of the NBA. There was great interest in forming the NBA, especially since membership would be open to ALL band directors, regardless of level taught or whether they were active, inactive or retired. Many, if not most, of the other band organizations in existence at that time were "membership by invitation," whereas the NBA required no more for membership status than an interest in promoting bands and band music plus payment of small annual dues. The NBA was launched. (Anecdotal history has Al and John flipping a coin to determine who would be the first president, with the proviso that the other would become president after two years. It never was completely

determined whether Al "won" or "lost" the coin toss that put him into the presidency.)

Mr. Rohner provided an extensive mailing list and paid for postage to send NBA information to all subscribers of The Instrumentalist, and it was agreed that Mr. Paynter would write for the magazine and other publicity items while Dr. Wright would be responsible for producing a brochure and mailing it to the thousands of directors on the mailing list. Following the first "open meeting" of the newly formed NBA at the 1960 Midwest Clinic, Dr. Wright and Mr. Paynter decided that the organization should be one that provided special services to its members and provided assistance to all band directors regardless of NBA membership status. The purpose of the National Band Association would be "to promote the musical and educational significance of bands." Membership in the NBA grew from the 67 in attendance at the initial meeting to approximately 600 members by the end of the first year of operation. Within a decade the NBA had more than 2600 members and could lay claim to the title of the world's Continued on next page

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NBA Historical Article, David Gregory, cont. largest organization of band directors. (Dr. Wright provided this information in his book The Music Makers: A Love Story With Music and explained that regardless as to whether it actually was the largest such organization, and he believed it was, the NBA was indeed a very large and powerful voice for bands and band music.)

Those who knew Al Wright knew him to be a person who always was finding ways to move forward in his profession. Those same personal and professional traits that had brought him success were utilized during his presidency of the NBA. As president it was his responsibility to develop "service items" that would be available to the membership. He began work on a recommended list of concert music, a list of suggested adjudicators and guest conductors, and a membership directory. Additionally, it was his belief that there should be awards and recognitions for excellence as an additional service to the membership. The NBA Board of Directors agreed and authorized him to develop a series of awards which would come from a "national organization," thereby bringing additional prestige and credibility to the recognition. Yet another successful launch for programs that would continue and expand for the next six decades. The first award approved by the NBA Board of Directors was the "Certificate of Excellence" (later changed to the "Citation of Excellence"). It was a simple but very nice certificate that could be awarded for any number of reasons. The award could be given to recognize excellence for individual directors whose bands were selected to perform 50

at state conventions or the Midwest Clinic, for those who wrote exceptional articles for The Instrumentalist, and occasionally for those who served as adjudicators for special events. Presentations of the certificate were made by an NBA officer, a member of the NBA Board of Directors, or sometimes by a local NBA member designated by an NBA officer. The "Certificate of Excellence" was designed not only as a recognition for NBA members but also one for non-members as well. It was an excellent recruiting means for the new organization as each non-member recipient received a letter of congratulations from the NBA President accompanied by a membership application. Since the "launching" of the Certificate project, thousands of "Certificates/Citations of Excellence" have been given to directors, both nationally and internationally. (Anecdote: Those who knew and worked with Al during the early NBA years said he never went anywhere to work unless he had access to a typewriter for his use during his "non-working" hours. He always had dozens of letters to write, and there were no computers. Each correspondence, whether as a Certificate of Excellence congratulatory letter or for some other NBA project, had to be individually written and individually addressed.)

The next major project for the NBA was the "Selective Music List," which was published initially as, and for the first few years was, a guide to help inexperienced directors build and improve their concert bands. In 1968, Maxine Lefever was appointed Executive SecretaryTreasurer of the NBA and

Al Wright Presenting Karl King with the AWAPA Award - November 1962

undertook the job of expanding the selective list into one that would be better defined and much more comprehensive. The music chosen to be included in this greatly expanded list came from titles found in music publications that graded and evaluated the quality of existing and newly published band music. Ms. Lefever typed (no computers yet) thousands of note cards which were in "press ready" condition. There was a file of several thousand cards arranged alphabetically by title, another file of thousands of cards by composers' names, and a third list of thousands of cards arranged by level of difficulty. This monumental task gave NBA members a publication containing several thousand titles and was published in hard copy until the mid 2000s. It is updated regularly and is in place today on the organization's website containing thousands of comprehensively categorized titles accessible to NBA members as part of their membership privileges. This Continued on next page

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NBA Historical Article, David Gregory, cont. publication is a document that firmly established the NBA as an organization committed to helping band directors and their bands...promoting the musical and educational significance of bands. A clean "lift-off" that still is in orbit... Dr. Wright believed that there should be an additional award for excellence in our profession, one that was based on a legacy of work, and one that would be considered a "super award." It could be given to band directors, composers or other individuals who deserved to be recognized for a body of significant and exceptional contributions to the furthering and excellence of bands and band music. Originally named The Academy of Wind and Percussive Arts, it soon became known as the NBA "AWAPA" award. Because it was the highest award presented by the organization, it became the "Oscar" of the National Band Association. The first "Oscar" was presented in 1961 to Dr. William D. Revelli, Director of Bands at the University of Michigan, and presentations have been made regularly to deserving recipients since that time...seventy-seven such recognitions over the sixtyyear history of the NBA. The National Band Association continued growing and providing services for the band profession for the next several years under presidents John Paynter, Edward W. Volz (Director of Bands at Syracuse University), and Dr. William J. Moody (Director of Bands at the University of Texas). Throughout those years hundreds of Certificates of Excellence were awarded. Dr. Wright never lessened in his efforts to publicize and mail out materials and recruit WI NT ER 2021

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for the organization. Mr. Paynter, through his national stature and reputation, continued writing about and promoting the NBA. Mr. Volz demonstrated, by precept, the NBA's support for all bands and band directors through his pioneering work at Syracuse University in 1966 when he opened membership in the university marching band for the first time to women (many of whom finished their Music Education degrees and became band directors). Dr. Moody, also a member of the NBA Board of Directors since its inception, worked tirelessly as an ambassador for the NBA, recruiting new members wherever he went and in whatever capacity he appeared. During his presidency he formulated ideas for and wrote the "NBA Mission Statement" as part of the organizational structure. Dr. Moody's revised statement of 2009 is the one currently serving as the NBA Statement. Finally, Mr. Dunn, editor of the NBA Journal for twelve of the first fourteen years of the organization's operation,

was diligent in his efforts to ensure that the NBA had a professional publication which would be of significance in the band world. Their work set the stage for the next chapter in the growth (another launch) of the National Band Association. There were other significant extensions of the work of the NBA (launches, if you will) during the early years. One action that had far-reaching positive effects for the NBA, and continues to do so today, took place during the second of the two-term presidency of Col. George S. Howard (1970-74) when it was decided that the 1st Vice President (then Earl Dunn) should automatically become President following the term of the sitting president. That practice remains in place today, thereby giving the 1st Vice President (PresidentElect) two years of training and experience prior to assuming the office of president. As the services of the NBA have become more involved and far-reaching in the four decades following that

John Paynter Presenting the AWAPA to Al Wright - 1969

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NBA Historical Article, David Gregory, cont. decision, this visionary practice helped mold the organization into a more streamlined, professional and service-oriented operation. Another example of the NBA reaching out to "promote the... significance of bands" occurred during John Paynter's presidency of 1962-64, when he asked then 1st Vice President Dr. David McCormick to meet with Dr. Mark Hindsley, Director of Bands at the University of Illinois, and schedule a state-wide meeting of Illinois band directors under the auspices of the National Band Association. Mr. Paynter and Dr. McCormick felt that a meeting at the University of Illinois, in the band rehearsal room, and presided over by Dr. Hindsley would lend added gravitas and important symbolism and significance to the meeting. A result of that meeting, one that had been the hope of the NBA officers, was the organization of a Band Division of the Illinois Music Educators Association, a division in which band directors were given increased authority over band festivals and competitions in their state...an act of monumental importance to the bands of Illinois. Yet another successful assisted launch... (Anecdote: Dr. McCormick told the story that during a break in that meeting he and a couple of his associates asked Chris Izzo, the highly recognized and well-respected Director of Bands at LaSalle-Peru Township High School, into the men's room for a session of "intense coaching of how to 'spontaneously' offer a motion to organize a state band organization." Mr. Izzo did his part, delivered his "spontaneous" offer of a motion to organize a state band organization, the motion passed, the movement gained momentum, and the Illinois Band Division was the end result...because of the NBA.)

The third example of farreaching and profound influence of the NBA during those early years of the organization was the NBA Summer Convention. At that time (the early1970s) there were very few, if any, summer opportunities for band directors to pursue professional growth activities other than summer band camps held at universities. Hundreds of band students attended these regional summer camps which were designed for their musical enjoyment and enrichment, as well as a recruiting vehicle for respective universities. Several states offered summer workshops and graduate classes for band directors, but there was no such event offered on the national level. The Texas Bandmasters Association had held state conventions each year since 1948, but those primarily were for directors in that state even though there were nationally recognized clinicians invited. President Earl Dunn saw the opportunity for the NBA to once again take the lead in "promoting the musical and educational significance of bands" through the organization of a national summer convention for NBA members. In order for this idea of a gathering of band directors in the summer to be successful it had to offer more than just a "band camp" experience. Mr. Dunn and the NBA Executive Committee worked long and hard to finalize the details of the first summer convention. A site was confirmed (Dr. Jimmie Howard Reynolds, Director of Bands at Iowa State University agreed to host the event), dates were set, performing groups were invited (concert, jazz and

marching bands), and the National Band Association's first National Convention was held on the campus of Iowa State University in Ames, Iowa, June 17-19, 1976. An unprecedented lift-off... (According to Mike Brashear, Executive Director of the Texas Bandmasters Association, the first TBA state conventions were "marching band clinics," designed to teach marching bands techniques, but quickly evolved into "new marching band music and marching techniques clinics." The first clinic was held September 2-4, 1948, at Alamo Heights High School in San Antonio. Every year since, the TBA convention has been held during the summer in San Antonio, and has for many years been a convention that offered comprehensive clinics, workshops, concerts and seminars for those in attendance.)

This 1976 national convention, the first of such gatherings in one form or another over the next 30 years, was unique in its design and purpose: a summer meeting on a national level designed for band directors as a professional growth experience, an opportunity to hear outstanding concert ensembles of NBA members ( junior high, high school, jazz, and community bands) during the summer, clinics and workshops on marching band show designs, a composers' forum (Karel Husa, Robert Jager, and Alfred Reed), a marching band exhibition with five high school bands participating, jazz and percussion clinics, and fiftytwo music industry and business exhibitors. The convention was an enormous success and was an action that placed the National Band Association firmly in the position of unquestioned leadership for bands, band music, and band directors in America. The "World's Largest Band Organization" now was poised to Continued on next page

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NBA Historical Article, David Gregory, cont. do even greater things that would lend further credence to this organization, one which started as an idea and was the shared vision of a few who committed themselves to realizing that goal. The NBA was a national leader in "promoting the musical and educational significance of bands," and our profession would be stronger as a result. If one were viewing the future of the National Band Association from the perspective of the conclusion of the enormously successful national convention in the summer of 1976, one might feel confident when quoting the lyrics of a popular song of years gone by..."The best is yet to come." End of Part One...

*Note: The information gathered for this article came from many sources and people. Because portions of archival documentation and records of the early years of the National Band Association were lost in hurricane Katrina, retrieval of comprehensive information was virtually impossible. 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.

SINCERE APPRECIATION IS EXPRESSED TO THE FOLLOWING PEOPLE AND SOURCES FOR THEIR CONTRIBUTIONS TO THE HISTORY OF THE EARLY YEARS OF THE NATIONAL BAND ASSOCIATION: Gary Barton Mike Brashear Scott Casagrande Paula Crider John Culvahouse Robert Foster Thomas Fraschillo Gerald Guilbeaux Roy Holder James Keene

Nikki Kehoe Ed Lisk David McCormick Linda Moorhouse Heath Nails Gladys Wright Al and Gladys Wright: The Music Makers: A Love Story with Music

PROGRAM HIGHLIGHTS FROM THE NBA NATIONAL CONVENTION, JUNE 17-19, 1976

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NBA Historical Article, David Gregory, cont. ~Program Highlights from the NBA National Convention, June 17 â&#x20AC;&#x201C; 19, 1976, cont.

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NBA Historical Article, David Gregory, cont. ~Program Highlights from the NBA National Convention, June 17 â&#x20AC;&#x201C; 19, 1976, cont.

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NBA Historical Article, David Gregory, cont. ~Program Highlights from the NBA National Convention, June 17 â&#x20AC;&#x201C; 19, 1976, cont.

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NBA Historical Article, David Gregory, cont. ~Program Highlights from the NBA National Convention, June 17 â&#x20AC;&#x201C; 19, 1976, cont.

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NBA NEWS

REDUCING BIOAEROSOL EMISSIONS AND EXPOSURES IN THE PERFORMING ARTS: A SCIENTIFIC ROADMAP FOR A SAFE RETURN FROM COVID-19

he National Band Association is one of the lead supporters in funding the research, Reducing Bioaerosol Emissions and Exposures in the Performing Arts: A Scientific Roadmap for a Safe Return from COVID19. Preliminary results were released periodically throughout Fall 2020, including phase one on Friday, 21 August 2020 and phase two on Wednesday, 2 December 2020. The final data will be collected in January 2021, followed by several publications of the final results made available to the public in two formats. First, the research team will write up several scientific articles for submission to appropriate peer reviewed engineering and medical journals. Second, the scientists will work in conjunction with music professionals to deliver the findings in terms usable by music directors and administrative entities of institutions in an opensource document available to the public. Links to these documents will be shared via the NBA website as they become available. One of the most important findings of this research, which has remained consistent throughout data collection, is that each individual emits incredibly different amounts of droplets and aerosols during the process of normal speaking, singing,

theatrical speaking, dancing, and performing on wind instruments. What this in turn indicates is that data collected on only one or two people per instrument may not give an accurate picture of overall droplet and aerosol distribution for that instrument. Hypothesizing that this might be the case, the Colorado State University (CSU) research team designed the study from the beginning to test a high number of subjects on each instrument in order to gain a more accurate and overall picture of aerosol and droplet dispersion for that instrument. Peer review will ultimately give final validity to this research. The research team also collected data on the efficacy of masks, which is useful in music rehearsal and performances. Through a series of tests to collect data when air is entering the nose and mouth through masks and when air is exiting the nose and mouth through masks an into a room, data clearly indicated that all masks are NOT created equal and the team was able to give specific data on masks from specific manufacturer products that prevented the widest variety of aerosol sizes from escaping or entering the body. Please visit an interactive website with data results from the mask testing at jv.colostate.edu/masktesting/.

Specifically for music, please note the results of the “Singers Masks” by selecting that button. It could be interpreted that a bell cover using the same technology could also be similarly effective if all conditions of “mask” sealing are the same. The CSU research team has indications from data that bell covers could be effective if made with proper materials and if the covers seal around the bell. There still seems to be conflicting information about the efficacy of masks with slits for wind players with regard to aerosol control. CSU researchers indicate that any masking that does not seal around the face will likely not be as effective. Data seems to indicate that social distancing remains the best way to control the issue of droplets. The link to the NBA sponsored CSU research study website is: smtd.colostate.edu/reducingbioaerosol-emissions-andexposures-in-the-performingarts/ Please feel free to share this website link with colleagues. The CSU research team will continue to update data as it becomes available.

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Scientific Roadmap for a Safe Return from COVID-19, cont. The National Band Association cannot assess acceptable risk for members and their constituents. However, along with the information provided above, this is a summary of what the data seems to be indicating:

• Current research indicates 6ft

minimum distancing when wearing masks and not playing instruments, whether outside or inside

• Data suggests that distancing

between performers should be significant when playing on aerosol producing instruments, whether outside or inside (e.g. 10-12 ft minimum spacing, side to side and front to back)

• Preliminary results suggest

that performers should stand in place while performing and avoid marching or unnecessary movement from one place to another

• Preliminary data indicates

that band performers should avoid singing in rehearsals, even to provide a musical example, whether outside or inside, unless an appropriate singers mask is being worn by everyone and other factors (outlined below) are being followed

• Data suggests that indoor

rehearsals should be short (e.g. 30 minutes) followed by breaks for a minimum of 3 air changes (the duration will depend on the HVAC system and volume of room)

• Current research found at

jv.colostate.edu/masktesting/ indicates the efficacy of different types, materials, and manufacturers of masks

• Bell covers could be effective

if made with proper materials and if the cover seals around the bell

• Masks with slits are showing conflicting results and more research is needed

To Review:

• Outside is better than inside • Fewer people in rehearsal is

better than more people in rehearsal, whether outside or inside

• Less time together in one

place is better than more time together in one place, whether outside or inside

• Farther distance between

people is better than a shorter distance, whether outside or inside

• When is doubt, safety first! • There is no such thing as “zero risk”

• The NBA is simply sharing

data provided by researchers. Stakeholders (administrators, teachers, parents, students, community members) must decide what risks are “acceptable”

• Data suggests that outdoor

rehearsals should be short (e.g. 30 minutes) followed by breaks for air to clear (e.g. 15 minutes)

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2020 MILITARY/PROFESSIONAL BANDS REPORT BY LT. COL. DANIEL F. TOVEN

he COVID-19 pandemic has affected all music organizations around the world in ways no one ever imagined. Leaders—educators, amateur and professional musicians, board members--have had to find new ways to make music and engage their audiences. Ronald Heifitz and Marty Linsky, in their book, “Leadership on the Line: Staying Alive Through the Dangers of Change,” refer to this type of experience as an “adaptive challenge.”1 Unlike technical challenges, which can be solved by using pre-existing knowledge and procedures, adaptive challenges must be solved through finding new ways, which involves experimentation and risk. The special bands of the U.S. Military have, like you, taken on this challenge and adapted to this new environment. By embracing technology in order to continue to engage audiences around the world and finding safe ways to continue to provide ceremonial support to our fallen service members and military and national leaders, military bands have continued to fulfill their mission throughout the pandemic. These adaptations will likely prove fruitful even once we have emerged from this current environment. Bands have learned how to engage audiences in the digital space, increasing their reach and spreading messages of pride and patriotism to people who might

never have encountered a military band. Even when in-person performances again become safe, digital engagement will likely remain as part of military bands’ mission set. Below are some of the ways that your military bands have met the current challenges. We hope that they provide hope and encouragement to you, just has the ways you have adapted and flourished have brought hope and inspiration to us. Throughout the unprecedented year that was 2020, The U.S. Army Band “Pershing’s Own” continued to provide musical support to the leadership of the United States, and in support of its mission to connect the Army to the American people. We began 2020 in much the same way as years past, with our annual Tuba-Euphonium Workshop featuring soloists from across the U.S., as well as international artists from South America and Europe. Over 400 tuba and euphonium students, professionals, and enthusiasts joined us in Brucker Hall, the home of Pershing’s Own in Arlington, Virginia, and many hundreds more enjoyed watching every recital, master class, and ensemble performance on our YouTube channel. February brought the world premiere of Baltimore-based composer Brian Balmages Continued on next page

Lieutenant Colonel Daniel Toven recently assumed duties as the Deputy Commander at The U.S. Army Band, “Pershing’s Own,” the Army’s premier musical organization. In addition to his duties as Deputy he serves as the Director of The U.S. Army Chorus and The U.S. Army Voices. A native of Union City, Pennsylvania, he holds a Bachelor of Science in Music Education and a Bachelor of Fine Arts in Trombone Performance from Indiana University of Pennsylvania, a Master of Music in Conducting from the Eastman School of Music, and a Master of Military Art and Science from the Command and General Staff College. Prior to this new assignment, Lt. Col. Toven served as the Deputy Commandant at the U.S. Army School of Music in Virginia Beach, VA. While assigned to the School of Music, he deployed to Kuwait, where he served as the Theater Music Liaison Officer for U.S. Army Central. In that role, he coordinated Army music support throughout the Middle East and leveraged those capabilities to support the U.S.’s strategic public diplomacy initiatives in the region. Other previous assignments include: Commander of The Army Ground Forces Band (Fort Bragg, NC), Army Forces Command Staff Bands Officer, Director of the U.S. Army Europe Soldiers’ Chorus (Heidelberg, Germany), and Director of the U.S. Army Soldiers’ Chorus (Washington D.C.). Lt. Col. Toven is a graduate of the Command and General Staff College, the Army Band Captains Career Course, the Adjutant General’s Basic Officer Course (President Benjamin Harrison Award), Officer Candidate School (Distinguished Military Graduate), and has earned the Basic Parachutist’s Badge. His military awards include the Meritorious Service Medal, the Army Commendation Medal, the Army Achievement Medal, the National Defense Service Medal, the Global War on Terrorism Expeditionary Medal, and the Global War on Terrorism Service Medal. Lt. Col. Toven is married to Dr. (Captain) Johnathan Taylor, DNP, of Rockingham, NC, an emergency nurse practitioner and commander of the Headquarters and Headquarters Detachment, 18th Field Hospital, U.S. Army Reserve.

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2020 Military/Professional Bands Report, cont. powerful new work, “Love and Light.” Commissioned by Army 1st Lt. Elizabeth Elliot, who also conducted the premiere, the work was written in memory of Elizabeth’s daughter Madison, who was born without a heartbeat in November 2018. It is easy to think a piece like this would primarily be about loss, but Balmages’s work is more than that: it is a poignant piece about finding comfort through the power of music. In December, the piece was named as the winner of the NBA’s William D. Revelli Composition Contest. The American Trombone Workshop took its prominent place in the month of March, with four days of masterclasses, competitions, and concerts. This would end up being the last public concert before the global pandemic shutdown traditional performances. As we saw performing ensembles and venues shuttered all across the globe, the Army Band shifted its mission to the digital space with a series of small group performances streamed online (while adhering to CDC guidelines on social distancing). After converting our 400-seat performing space in Brucker Hall to a full time video production studio, Pershing’s Own produced three original concerts each week from mid-March through July. We kept producing new content weekly through our holiday festival in December. This initiative, titled “United We Stand: Music to Connect Us,” allowed us to show the American people that through times of crisis, the Army still answers the call to duty in many different ways, and to hopefully provide some joy and inspiration to those at home. By the end of the year, the United We WI NT ER 2021

Stand initiative reached over 22 million people on Facebook. In addition to live concert broadcasts, members of Pershing’s Own embarked on a remarkable education outreach project. As music teachers across the country looked for content to connect with their students, members of Pershing’s Own produced over 180 unique YouTube videos for beginner musicians, and over 80 videos for advanced musicians. Over 40 different members of Pershing’s Own contributed to the effort, which is still being utilized by music educators across the country. The knowledge gained in shifting to exclusively online content allowed us to expand on our annual offerings like the 1812 Overture concert and our American Holiday Festival. December’s holiday festival featured four separate performances of a wide variety of holiday music, and allowed us to perform (virtually) beside an impressive list of special guests: Arturo Sandoval, Pedrito Martinez, Rhiannon Giddens, Gregory Porter, Train, and America’s Got Talent alums the Silhouettes and Voices of Service. While all of our virtual offerings progressed, members of The U.S. Army Band’s ceremonial element continued to carry out their solemn duty by providing musical honors in services in Arlington National Cemetery, and in ceremonies at the Tomb of the Unknown Soldier. The United States Army Field Band’s mission to connect America with its Army, honor veterans, and celebrate our country was challenged like no other time in the unit’s history. Much like other arts

organizations and other serviceoriented industries, the Field Band responded to the pandemic with creativity and initiative. While nothing can ever replace live performances, the Field Band was able to garner unprecedented reach over the last nine months, connecting with new and different audiences throughout the country and around the world through online and broadcast productions and social media products. The year began with local performances by many of the unit’s ensembles to include the Concert Band, Soldiers’ Chorus, Jazz Ambassadors, and Six-String Soldiers. The Jazz Ambassadors performed for and provided educational clinics at multiple festivals at the beginning of the year to include the National Jazz Festival in Philadelphia, while the Six-String Soldiers deepened its connection with the country music industry by participating at Country Radio Seminar in Nashville for the second consecutive year. At the beginning of March, the Concert Band and Soldiers’ Chorus began its Spring Tour in Pittsburgh at the historic Soldiers & Sailors Memorial Hall & Museum. The Band and Chorus performed three more times during the tour – in Sandusky, Cleveland, and Richmond - when just two hours prior to the group’s anticipated and “sold-out” show at the Palladium in Carmel, IN, Indiana’s governor cancelled all indoor performances - specifically mentioning The Field Band’s performance - due to the threat posed by the COVID-19 virus. Field Band members, audience members, and venue staffs had to be protected. The rest of the tour was cancelled, including highly anticipated performances at Continued on next page

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2020 Military/Professional Bands Report, cont. Notre Dame University, Chicago’s famed Symphony Center, and a performance at the University of Minnesota. In all, more than 100 performances would subsequently be cancelled across the country. “America’s Big Band,” the Jazz Ambassadors, never left home base. The operations and tour planning group began the tedious task of cancelling venues, hotels, and all the accompanying logistics. Understanding that it is at times of challenge and crisis that people need art and connection most, the Field Band set plans in motion to quickly pivot from live to virtual productions, transforming its facilities into a makeshift broadcast studio. Just about one week after the Band and Chorus returned home, beginning March 20, the Field Band began producing daily online broadcasts on Facebook Live and YouTube. In all, the Field Band’s “We Stand Ready” broadcasts would produce over 320 daily video productions over the next nine plus months that was viewed by an immense digital audience of around 36M people, while gaining over 89K followers on its various platforms. The Band’s efforts to keep people connected to their Army and to provide hope during the pandemic was featured on many news outlets to include: CBS Evening News with Norah O’Donnell, CBS Weekend News, Fox News, the Associated Press, NBC Nightly News with Lester Holt, CNN Headline News, Inside Edition, and many more. During the period from March to December, the Field Band reached a media audience of 92.3M people, providing positive stories about the Army and our country when people

needed them the most. See the AP News story here: apnews.com/article/b8eb2f62efbf9a32abf32d7d51f1b113 While unable to perform live during national holidays, the Field Band’s ensembles were featured virtually for Memorial Day on the National Memorial Day Concert on PBS and the Today Show on NBC; for Independence Day, the Band’s virtual products were featured in Philadelphia, Detroit, Boston, and on CNN, as well as multiple local television markets around the country. The Field Band reached another milestone in August when Navova Records released the Concert Band and Soldiers’ Chorus recording Soundtrack of the American Soldier. Recorded in the Fall of 2018 at Skywalker Sound with multiple awardwinning engineer Leslie Ann Jones and produced by the Grammynominated Dan Merceruio, the album was monitored and recorded in Immersive Dolby Atmos (5.1.4), Surround (5.1) and Stereo, and features music of American films and video games that celebrate stories of service; it also features two commissions by film composers Laura Karpman and Joshua Moshier. Information about the recording process can be found in this Mix Magazine feature: mixonline.com/recording/ profiles/soundtrack-of-theamerican-soldier The Field Band finished the year with a holiday season unlike any other. The Band created a series of holiday video productions which included “Salute to the Season” featuring one-shot holiday

favorites, garnering almost 560K view on Facebook alone; its “We Stand Ready” Holiday Special, broadcast on its Facebook page; and in partnership with We Are the Mighty production company, a holiday special hosted by actor Joe Mantegna and broadcast on Fox Business Channel, Fox Nation, and other digital platforms, for an audience of over 2.2M people. In 2021, the Field Band will celebrate its 75th Anniversary and looks forward to continuing their industry-leading virtual music programming and gradual transition to live performances, as conditions allow, including collaborating with former and new partners, and hopefully culminating with celebrating both the Field Band’s and the Midwest Band and Orchestra Clinic’s 75th anniversary in December. armyfieldband.com “The President’s Own” United States Marine Band continued its primary mission of Presidential support with roughly 150 performances at the Executive Mansion. Though the COVID-19 pandemic impacted many White House events, highlights included the Governor’s Dinner, an Independence Day celebration on the South Lawn, the nomination and confirmation announcements of Justice Amy Coney Barrett, the National Christmas Tree Lighting, and 28 additional holiday commitments between Thanksgiving and Christmas. Many adjustments were made to mitigate exposure risk to the virus while still being able to meet the diverse mission of the Marine Continued on next page

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2020 Military/Professional Bands Report, cont. Band. These mitigations were numerous and varied including, distancing, changes to ensemble size and instrumentation, use of only masked musicians inside the White House (e.g. strings and combo personnel,) new arrangements for these reduced ensembles, rigorous and consistent sanitation procedures, adjusted rehearsal requirements to allow for aerosol dispersal, additional air filtration systems in rehearsal spaces, and more. We are pleased to report that these procedures have been effective and that as of the writing of this report, none of our members have contracted the virus as a result of their work in the Marine Band. While the pandemic greatly impacted how we accomplished our mission, the work of the Marine Band has not only continued, but has reached even more people through our virtual concerts, virtual clinics, virtual masterclasses, and many other initiatives in addition to the inperson music-making for the President of the United States, Commandant of the Marine Corps, and at Arlington National Cemetery. Before the onset of the pandemic, our Winter/Spring Concert Series began with our annual Sousa Season Opener as well as a special gala concert at the Strathmore Music Center featuring guest conductor JoAnn Falletta, guest soloist Timothy McAllister, and guest composers Jennifer Higdon, Kenneth Fuchs, and Jack Gallagher. Additionally, the Marine Big Band was able to honor a jazz WI NT ER 2021

legend with an inspired tribute entitled Celebrating Bird: 100 Years of Charlie Parker. After this concert, the COVID-19 shutdown ensued. The Marine Band responded immediately by initiating virtual clinic and masterclass outreach to teachers and students across the country as well as producing numerous specialty collage videos to include the works of Holst, Grainger, Sousa, and a special collaboration with the Japan Ground Self-Defense Force Central Band on Hands Across the Seas. These videos released at the beginning of the pandemic totaled more than 300,000 views on YouTube and reached hundreds of thousands more on Facebook. In lieu of our traditional summer series on the steps of the U.S. Capitol, we initiated a virtual summer concert series called Live from 8th and I. This series featured twice-a-week evening performances, a total of 20 unique programs, using small socially-distanced ensembles in Sousa Hall. These live-streamed performances reached over 67,000 patrons. The Marine Band marked Memorial Day by producing a special video of Taps performed at war memorials across Washington D.C. This one video reached 2.8 million viewers on Facebook. Additionally, the organization produced new concert videos for Veterans Day, filmed safely at the National Museum of the Marine Corps, and for the holidays filmed at the Wolf Trap Center or the Performing Arts. In the fall, we continued weekly live-streamed socially-distanced

chamber music concerts from Sousa Hall and presented Beethoven’s 3rd and 7th symphonies in unique and rarely-heard chamber ensemble arrangements for the Library of Congress. Additionally, we shifted our full attention to meet the needs of the thousands of school districts across the country teaching music virtually. This massive educational outreach initiative created hundreds of in-person interactions with members of the Marine Band at each grade level from kindergarten through the university level. The method of interaction varied from produced videos with lesson plans and follow-up Q&As to sectional and large group clinics, masterclasses and lectures. Between the virtual educational outreach at the onset of the pandemic, and extensive initiative this fall, we presented nearly 1,500 interactive sessions reaching nearly 40,000 students and teachers digitally in-person. The Marine Band continued its ongoing recording project: The Complete Marches of John Philip Sousa but postponed the release of the seventh and final volume due to the pandemic. To date, these recordings, which document the performance practice of “The President’s Own” in sound and in free score and part files, have been downloaded two million times. In partner with our educational outreach, the Marine Band continues to increase its presence through online and social media initiatives. One of its most popular and successful programs continues Continued on next page

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2020 Military/Professional Bands Report, cont. to be the Sousa’s March Mania competition. Last year roughly 900 schools registered with approximately 90,000 students participating. Furthermore, our YouTube viewership increased to 9.5 million and 19,000 subscribers – up from 6.8 million and 12,000 just last year. As we look ahead to 2021, our planning is filled with a gradual return to normalcy when it is safe to do so for the public and our musicians. More information on our many video offerings and audio downloads can be found at: marineband.marines.mil The United States Navy Band, based at the historic Washington Navy Yard in Washington, D.C., performed more than 837 times in 2020, representing the Navy to people across the United States. With 182 people, the Navy Band is the headquarters command for 11 Navy bands, connecting the nation and Navy to audiences worldwide. 2020 was dominated by the worldwide COVID-19 pandemic. In March, Navy bands ceased public performances in the interest of both musician and audience safety. Bands continued to participate in ceremonies and military functions, abiding by health and safety protocols to prevent the spread of COVID-19. Additionally, after working with Navy public health officials to develop guidelines to safely perform indoors, Navy bands engaged in virtual outreach with live online masterclasses and performance videos. The Navy Band performed 34 public concerts and participated 64

in 692 ceremonies and military functions, for more than 350,000 people. On the national concert tour in February, the band performed for nearly 300,000 people across six states, showcasing the Navy to areas where Americans are not regularly exposed to Sailors at work. Increasing its online presence in light of worldwide events, the Navy Band released 159 videos, viewed 129 million times. With 1.3 million followers, the Navy Band became the most followed military band in the world. Dedicated to education, the band performed 111 programs in support of its “Music in the Schools” initiative, reaching more than 25,000 students. In January, the Navy Band hosted the 42nd International Saxophone Symposium, the nation’s largest annual saxophone conference. More than 500 performers from around the world participated in the event, which was attended by more than 2,000. The symposium featured performances by saxophone quartets from 20 colleges and universities, in addition to world-class guest artists Otis Murphy, Asya Fateyeva, Brad Leali. The Navy Band regularly provides support to the president and senior government and military officials. Significant 2020 events include the White House Governor’s Ball, the White House Independence Day Celebration, Chief of Naval Operations State Dinner in honor of Australia and numerous vice president holiday receptions. Other notable concerts from 2020 include Concerts on the Avenue, Kennedy Center Memorial Day Celebration and the Midwest

Clinic International Band and Orchestra Conference. Based in Annapolis, Maryland, the United States Naval Academy Band has been providing music for the Brigade of Midshipmen and surrounding communities since 1852. In 2020, the band performed 241 engagements for more than 580,000 people; highlights include live performances for the Naval Academy’s Commissioning Ceremonies and Induction Day, and a joint concert with the U.S. Coast Guard Academy Concert Band. Notable funeral support was provided for two Midshipmen and the 23rd Chief of Naval Operations, Adm. Carlisle Trost. Virtual performances include masterclasses for the Sea Cadet Corps and Howard University, and concert productions that reached a global audience including a summer concert series, Naval Academy Founder’s Day, Veterans Day, and the annual Holiday by the Bay Concert. The Navy’s nine fleet bands supported both in-person and virtual ceremonies, public concerts and community outreach events across the globe. Prior to COVID-19 safety protocols, Navy fleet musicians participated in 379 live performances including U.S. 7th Fleet Spring Patrol, and the Texas Music Educators Association Conference. Navy musicians then rapidly transitioned to producing and releasing virtual content, including 170 videos viewed more than 5.5 million times, to continue to support the Navy’s mission worldwide. While supporting the Navy’s international partnerbuilding mission, Navy musicians produced virtual performances in coordination with embassies across Europe, Africa, and the

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2020 Military/Professional Bands Report, cont. Indo-Pacific region including the countries of Nigeria, the Philippines, New Zealand, Japan, Israel, and Romania. At home, Navy musicians supported 10 virtual Fleet and Navy Weeks across the country with virtual performances, interviews, and masterclasses with local students. Additionally Navy musicians were featured in the Navy’s virtual recruiting YouTube series Sailor Vs. and performed at the commemoration of the 75th anniversary of World War II’s end aboard the Battleship Missouri Memorial in Pearl Harbor, Hawaii. navyband.navy.mil The United States Air Force Band, based at Joint Base Anacostia-Bolling in Washington D.C., presented over 1,000 performances and 600 military ceremonies and functions in 2020. Over 300 thousand people attended these performances, with an additional 171 million reached online and through broadcast media outlets. Before the onset of COVID-19, the Concert Band performed two Guest Artist Series concerts. The first featured crossover classical/ jazz pianist Aaron Diehl and the second added the Singing Sergeants and featured New Yorkbased actress/singer Samantha Massell. The Airmen of Note also performed two concerts as part of their annual Jazz Heritage Series. The first concert featured American jazz saxophonist and composer Chris Potter, while jazz guitarist Peter Bernstein headlined the second concert. In addition to the performances in Washington D.C., several ensembles traveled throughout the country during the first quarter: WI NT ER 2021

Celtic Aire, the Band’s Celtic and folk ensemble, performed at the North Texas Irish Festival in Dallas; the Singing Sergeants toured California for six days, performing in Fullerton, Anaheim, Disneyland, Edwards Air Force Base, and Lancaster; the Airmen of Note traveled to San Antonio to perform at the Texas Music Educators Association convention; two drummers from the Ceremonial Brass appeared with a Joint Service color team at Super Bowl LIV (NFL) in Miami, Florida; finally, Max Impact’s Technical Sgt. Nalani Quintello traveled to Florida to sing the national anthem at the 62nd Daytona 500 (NASCAR). With the onset of COVID-19 restrictions, the Band sought new and innovative methods to connect with the American public. The first project partnered Band members with students from across the country to provide mentorship and collaboratively record 189 duet videos. The Airmen of Note partnered with military musicians from six other nations to record I’ll be Seeing You, a timely and fitting message to an isolated world that reached over 3.8 million viewers. Max Impact later released a video featuring God Bless America, a tribute to first responders, that reached over 1 million viewers. For Memorial Day, Ceremonial Brass trumpeter, Technical Sgt. Jason Covey performed Taps in an innovative drone video, reaching 7 million viewers through national media. Leading up to the July 4th holiday, the Singing Sergeants partnered with the country a capella group Home Free and country music superstar Lee Greenwood to record God Bless the U.S.A. The video went viral, attracted national media attention, and reached a record 53 million

viewers. The July 4th holiday saw the first physical assembly of the Band’s musicians in months. In partnership with Washington Performing Arts and National Harbor, “A Tribute to the American Spirit” was recorded to honor veterans, highlight American resiliency, and celebrate Independence Day. The online performance, hosted by Washington NBC 4 news anchor Aaron Gilchrist, featured American violinist and conductor Joshua Bell, bass opera singer Soloman Howard and soprano Larisa Martinez. Separately, a White House event titled “Salute to America” featured vocalist Technical Sgt. Nadia Sosnoski. In November, Veterans Day brought a partnership with MGM National Harbor to present “A Salute to Service: Honoring America’s Heroes.” The online concert, viewed by over 500 thousand viewers, featured country superstars Chris Janson and Kellie Pickler, was hosted by ESPN’s Malika Andrews and backed up by Max Impact. During the holidays, the Band partnered again with MGM National Harbor to present “Season of Hope.” The online concert featured Broadway stars Megan Hilty and Christopher Jackson, and progressive hip-hop artist Christylez Bacon. The performance featured holiday favorites with the Concert Band and Singing Sergeants and has garnered over 1.6 million online views. The Air Force Strings also supported twenty-six Joint Service holiday receptions at the White House, where they provided holiday music to over 9,200 distinguished guests. 65

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COMMUNITY BANDS DURING COVID-19 BY MICHAEL BURCH-PESSES The COVID-19 virus has hit our country hard, and everyone, including the band community, is striving to protect themselves and their loved ones from the virus. For band directors and playing musicians the job is especially difficult. The basic measures many of us are taking to protect ourselves include:

• Wearing masks when we’re

away from home • Washing our hands frequently • Maintaining a 6-foot distance from each other • Staying home if we have any symptoms of COVID-19 Some businesses and stores are requiring masks, taking people’s temperatures as they arrive, and recommending that they wash their hands or use hand sanitizer. So how does this apply to bands? Many bands have had to suspend activities because their rehearsal and performance spaces - schools and churches - are now closed to them. However, other bands are still meeting, and the precautions they’re taking include wearing their masks before and after rehearsal, providing hand sanitizer, and taking temperatures at the door. Some also are using bell covers. Some bands in warmer climates have held outdoor rehearsals and performances, but these will no longer be possible as the weather

gets colder. This is pushing bands toward virtual concerts, and we can expect to see more of those during the upcoming months. I’ve spoken to two well-known band organizations to see how their members are faring, and the answers are encouraging. The Association of Concert Bands (ACB) is a vibrant organization: • 613 member bands • 1292 total members • 26 Corporate Members • Ireland bands are also ACB members, and Canadian bands have joined as well • Individual and corporate members come from Canada, Ireland, Australia, and Germany The ACB has received many encouraging stories from community bands who are performing as a full group or in smaller ensembles. Some have performed in parks, some in school parking lots, some in town squares - essentially in whatever venue is large enough to accommodate 6 feet of space between players. One especially inventive band met in a church parking lot with the conductor standing in the bed of a pickup truck. Numerous ACB member bands have written about their situations:

Michael Burch-Pesses is Director of Bands at Pacific University in Forest Grove, Oregon, where he conducts the Wind Ensemble and Jazz Band, and teaches courses in conducting and music education. He enjoyed a distinguished career as a bandmaster in the United States Navy before arriving at Pacific University. During his Navy career he served as Leader of the Naval Academy Band in Annapolis, Maryland, Assistant Leader of the Navy Band in Washington, DC, and Director of the Commodores, the Navy’s official jazz ensemble. Dr. Burch-Pesses also is the Conductor and Musical Director of the award-winning Oregon Symphonic Band, Oregon’s premier community band. In 2006 the band performed at the prestigious Midwest Clinic, and in 2007 the John Philip Sousa Foundation awarded the band the Sudler Silver Scroll, recognizing them as one of the outstanding community bands in the nation. Dr. Burch-Pesses is the author of “Canadian Band Music: A Qualitative Guide to Canadian Composers and Their Works for Band,” and is a regular contributor to the “Teaching Music Through Performance in Band” series. He also is a Conn-Selmer Educational Clinician.

“We haven’t been performing, but we will start again. We had to submit a plan with how we will determine who will be at rehearsal and we will keep a logbook that is accessible to the venue. We will have to clean the area with disinfecting wipes (including bathrooms) when we arrive and before we leave, and we need to bring our own chairs and stands.”

“Our band is allowed back in the venue

in the fall, but the room is too small for us. The venue is thinking about whether or not we can use a bigger room, subject to scheduling of others and cleaning. They want to keep the rooms empty for several hours before the next group goes in.” Continued on next page

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Community Bands Report, cont.

“Our band can go back to our venue between now and January but they are raising the rental fee to make up for lost revenue (or maybe to discourage us from coming back??) and we don't know that we can afford it after no summer concerts.” “No public school in our state is allowing outside groups, so we lost our rehearsal space. The area churches have all said we cannot come there until after they start ‘social activities’ and see how that goes first. This will be discussed again in March 2021.” “We aren't thinking about going back until 2021. All of our fall and Christmas concerts are usually in senior centers or churches, so they won't be happening. With no upcoming concerts to worry about, there is no need to think about putting our members at risk.” “We need to submit a very detailed plan in order to go back again and, just like the plans for schools, there are some things that are impossible to do, so we don't know yet.” “We are back rehearsing, in a gym/ parking lot/field and we are 10-12 feet apart, there are anywhere from 6-12 of us so instrumentation isn't great, hearing each other is difficult, but we are together, and we are going to play a concert at a venue yet to be determined in September. It may just be sight reading and we may or may not continue after that.” “We have our own space that we control, so we are having small ensembles meet when they can and we just have a schedule. So, we don't have to worry about just once a week. If the flute section wants to meet at 9am on Wednesday, they can.” “We are rehearsing with a small number of us in a member’s back yard. We'll take it from there.”

You can see each band has had to create their own solutions, depending on the resources available to them. ACB also has instituted a WI NT ER 2021

series of forums entitled “ACB Connects!,” which discuss the impact that COVID-19 presents, staying connected with one another, and how to stay safe while coping with the virus. One such forum showed how the West Point Band performed in an ingenious way for their 2020 graduation ceremonies as a full ensemble, surrounded by Plexiglas shields and using microphones and a mixing board for proper balance. An especially bright spot this year was the selection of two ACB member bands to receive The American Prize, a prestigious competition in the performing arts. The Boulder Concert Band, Marilyn Kroner, conductor, won first place; and the Allentown Band, Ronald Demkee, conductor, won third place. The Allentown Band also received a Special Judges "Honored Artist" in the 2019 Ernst Bacon Award for the Performance of American Music for "championing the music of Morton Gould." Also honored by the American Prize committee was the Westchester Symphonic Winds of Tarrytown NY, Curt Ebersole, conductor. Hearty congratulations to all on these stellar achievements! I also spoke with Irene Cohen, president of the Board of Directors of The New Horizons International Music Association (NHIMA) and Dr. Roy Ernst, of the Eastman School of Music and Founder of New Horizons, to find how their members are coping with the virus. New Horizons Music provides an entry point to music making for adults of any age, including those with no musical experience and those

who once were active in school music programs but have been inactive for a long period. New Horizons bands are international in their membership, and exist in Australia, Canada, England, Ireland, Italy, the Netherlands, New Zealand, and the United States. NHIMA is the umbrella organization of about 180-192 New Horizons groups with an estimated 10,000-12,000 players worldwide. NHIMA runs separate programming for New Horizons players with a NHIMA membership (1100-1200 members). Membership in NHIMA currently is somewhat lower than in the past, perhaps because the pandemic has caused some member bands to not report recently. Some New Horizons bands are very small, and some, as large as 250 members, are affiliated with a university. Because virtual connectivity makes it easier to connect with others, NHIMA is planning to hold virtual membership events to recruit new members. During the pandemic New Horizons bands have faced the same challenges as ACB member bands, but continue to support music making in inventive, non-contact ways. Because New Horizons members consider band to be their social circle, they have begun offering virtual classes to other bands, who then rolled out their own classes to share what they were doing. One band interviewed their own members, some of whom have played for more than half a century, and made the interviews available Continued on next page

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Community Bands Report, cont. to other New Horizons bands. Further, NHIMA, as an umbrella organization, decided to offer all directors virtual get togethers to share ideas about programming, member recruitment, and ways to help each other. They have received enthusiastic support from throughout the organization, including shared virtual rehearsals, pictures, and poems from New Horizons bands. NHIMA band camps, currently in hiatus, normally are held all over the world with as many as ten camps per year including those in California, Oregon, New York, Georgia, Florida, and Ohio in the United States alone. These camps are sponsored by local bands who take on the responsibility of hosting the campers, and all the camp conductors are New Horizons conductors. Dr. Ernst is still active as a conductor in these camps and plays in two New Horizons bands where he lives in Tampa, Florida. At least two New Horizons bands, the Ringgold Band of Laureldale, PA, Jim Seidel, conductor; and the Hot Springs Community Band, of Hot Springs, AR, Craig Hamilton, conductor, actually sponsor New Horizons bands in their locality. Recently, doctoral student Naomi Raymond interviewed numerous New Horizons band members as part of her thesis. Participants cited music as a positive contribution to their lives primarily by mentioning the joy and serenity of listening to and performing music. Some examples include: 68

“It just touches my soul. I don’t know how else to put it.” “It brings a centeredness to your life.” “It calms me down. It eliminates stress.” “It adds something even if you have a wonderful life.” “The biggest joy in life to me is being able to play a musical instrument.” “It’s just something I absolutely couldn’t live without.” “I can’t quite picture my life without doing this.” These quotes and many others demonstrate that New Horizons band members hold a deep appreciation for music and the joy it brings to their lives.

Clinic Board of Directors has invited three community bands to perform in 2021: The Atlanta Wind Symphony from Roswell, GA, David Kehler, conductor; The Fairfax Wind Symphony from Springfield, VA, Stan Schoonover, conductor; and the Eastern Wind Symphony from Hillsborough, NJ, Todd Nichols, conductor. I close with a thank-you to COL Bryan Shelburne, US Army (Retired), who so diligently served as the NBA Community Bands Representative for a decade before entrusting me with this role. As a retired Navy bandmaster, I’m encouraged by the thought that the Army thinks the Navy can do the job. Warmest wishes to all; stay safe.

Many other community bands deserve mention, among them: The Dallas Winds, Jerry Junkin, conductor, continues its tradition of music making at the highest level; The Brass Band of Battle Creek is acknowledged as one of the finest brass bands in the world; The Virginia Grand Military Band, Loras John Schissel, conductor, boasts many former military musicians in the Washington, DC area; and many more too numerous to mention. All are coping with COVID-19 using a mix of the strategies above, based on their resources. Although the in-person Midwest Clinic was cancelled in 2020 and presented only virtual activities this past December, The Midwest NBA JOURNAL

NBA NEWS

SOUTHERN DIVISION BY COREY SPURLIN, DIVISON CHAIR ALABAMA

JON BUBBETT, CHAIR State Bandmaster Association website: myamea.org/aba State Music Educators website: myamea.org Noteworthy state news, events, and activities Membership continues to increase as we are striving to have a more visible presence in the state. We are planning to have a Conducting Symposium (hopefully) in the spring of 2022! This event would target preservice teachers as well as offer clinics and conducting feedback to other band directors as well! We have also added several highly respected and veteran teachers to our roster of those willing to mentor teachers early in their career! Projects involving NBA Project Grant money We were fortunate enough to have a booth at the Alabama Music Educators Association annual in- service conference this past January. We are also planning on having a virtual booth at that same conference in January of 2021. NBA citations/awards given in state this past year; recruiting efforts Lauren Beardon Alabama Special Needs All Star Drum Ensemble Birmingham , AL

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Dr. Thomas Lukowicz University of North Alabama Low Brass Studio Florence, AL Craig Cagle Mortimer Jordan High School Symphonic Band Birmingham, AL Kim Bain Pizitiz Middle School Symphonic Band Vestavia Hills, AL Lori Hart Wicksburg High School Symphonic Band Wicksburg, AL Theo Vernon Grissom High School Symphonic Band I Huntsville, AL Keith Anderson James Clemmons High School Percussion Ensemble Madison, AL Missy Lindley Albertville Middle School Advanced Band Albertville, AL Michael Guzman Tuscaloosa County High School Wind Ensemble Tuscaloosa, AL Dr. Mark Walker Troy University Symphony Band Troy, AL Jenny Merritt Discovery Middle School Madison, AL Matthew Chambless Simmons Middle School Hoover, AL

FLORIDA

TREMON KIZER, CHAIR State Bandmaster Association website: fba.flmusiced.org State Music Educators website fmea.org Noteworthy state news, events, and activities H.B. Plant High School Jazz Ensemble was invited to perform at the 2021 Florida Music Educator State Conference. In addition, H.B. Plant Wind Ensemble and Jazz Band was a Commended winner through the Foundation of Music Educator Mark of Excellence Program. The Miami Arts Studio @ Zelda Glazer Concert Jazz Band, under the direction of Erich Rivero, was a state commended winner through the Foundation of Music Educator Mark of Excellence Program. The LaVilla School of the Arts Wind Ensemble, under the direction of Ann Adams Valle, performed at the Southern division NBA/CBDNA conference in Natchitoches, Louisiana on February 20, 2020. The LaVilla School of the Arts Jazz Ensemble, under the direction of Christopher Banks, performed at the Midwest clinic December 19, 2019.

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Southern Division, Corey Spurlin, Division Chair cont.

Florida, cont. Projects involving NBA Project Grant money Margaret Flood, coordinator of Music Education at Florida Southern College, hosted the Frost Young Women Conductorsâ&#x20AC;&#x2122; Symposium.

GEORGIA

MATTHEW PRICE, CHAIR State Music Educators website: gmea.org Noteworthy state news, events, and activities With the COVID-19 Pandemic affecting all of us and changing and challenging us every day, we have tried to present a supportive posture to current and prospective members. We have started a state newsletter that strives to provide all pertinent NBA information to our members. It also strives to provide inspiration by allowing our members a platform to continue to share ideas and information. According to the NBA website, our membership has grown to 132 members. We continue to try to find ways to be a light to our colleagues during these dark times. We have followed through with the initiative to identify master teachers who can provide their insights and expertise to our members as we continue to navigate these very difficult and uncharted waters. They are: Middle School Dr. Andrew Poor South Forsyth Middle School APoor@ forsyth.k12.ga.us 678-778-6944 Frank McKinney Retired franklincmckinney@gmail.com 706-4870645 Matthew Price Flat Rock Middle School price.matthew@mail.fcboe.org 404-272-4429

High School David Vandewalker Coordinator of Performing Arts (Retired) Fulton County Schools Executive Director, Feierabend Association of Music Education; ConnSelmer Educational Clinician; Artistic Director and Conductor, Georgia Wind Symphony; Music Director and Principal Conductor, Metropolitan Atlanta Youth Wind Ensemble; Member, American Bandmasters Association; Davidwvandewalker@gmail.com 678462-2741 Erik Mason Buford High School outlandos74@yahoo.com 770-367-2243 Ryan Dukes Habersham Central High School rdukes@habershamschools.com 706-318-4344 Lee Newman Norcross High School Lee.Newman@gcpsk12.org 770-326-8066 NBA citations/awards given in state this past year; recruiting efforts We have honored and are planning to honor the following Georgia Ensembles along with their conductors at various virtual and live performances throughout the Southeast by awarding the Citation of Excellence for their acceptance to perform at some of the Southeastâ&#x20AC;&#x2122;s finest conferences/clinics. 2019-2020 MIDFEST Trickum Middle School Symphonic Winds, Robert Davidson & Jessie Matthews Webb Bridge Middle School 8th Grade Symphonic Band, Kirk Stroud & Matthew Crisman Ebenezer Middle School Eagle Winds, Kenza Murray & Lisa McDonald 2019-2020 SEUS MS CLINIC North Habersham Middle School, Emery Warnock

2019-2020 JANFEST Kennesaw Mountain High School Wind Symphony, Michael Huebner & Corey Futrell Collins Hill High School Wind Symphony, Jeremy Lumpkin & Bryan Daniels Heritage High School Wind Ensemble, Blair Callaway 2019-2020 GMEA Dutchtown High School Wind Symphony, Wolson Gustama & Jeffrey Hughley North Cobb High School Wind Symphony, Sheldon Frazier & Scott Pannell Pope High School Wind Symphony, Bo Sodders & Josh Rudolph Heritage High School Wind Ensemble, Blair Callaway Taylor Road Middle School Symphonic Band, Brandon Soloff & Angela Reynolds Milton High School Wind Ensemble, Chris Shumick Atlanta Wind Symphony, David Kehler & Chris Shumick Awtrey Middle School Symphonic Band, Tara Melvin & Stephen Cagle Maybry Middle School 7th and 8th Grade Band, Jill Barnocki & Stephen Fields 2019-2020 SEUS HS CLINIC Decatur High School Wind Ensemble, Rob Truan 2019-2020 University of Alabama HS Honor Band Clinic Collins Hill High School Wind Symphony, Jeremy Lumpkin & Bryan Daniels 2020-2021 East Cobb Middle School Symphonic Band, Gregory Denson and Valarie Stoney: 2020 University of Georgia Midfest Honor Band Clinic, December 12, 2020

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Southern Division, Corey Spurlin, Division Chair cont.

Georgia cont. Flat Rock Middle School Symphonic Band, Matthew D. Price, Director: 2020 University of Georgia Midfest Honor Band Clinic, December 12, 2020 and the 2021 Georgia Music Educators Associations In-Service Conference, January 30, 2021. South Forsyth Middle School Symphonic Ban, Andrew. F. Poor and Nate Hughes, Directors: 2020 University Of Georgia Midfest Honor Band Clinic, December 12, 2020 Central-Carroll High School Symphonic Band, Neil Ruby and Courtney Zhorela, Directors: 2021 UGA Janfest and 2021 SEUS High School Honor Band Clinic, January 23, 2021 Trickum Middle School Symphonic Band. Robert Davidson and Jessie Matthews, Directors: 2021 Georgia Music Educators In-Service Conference, January 30, 2021. Dutchtown High School Wind Ensemble, Wolson Gustama and Jeffrey D. Hughley, Directors: 2021 UGA Janfest, January 23, 2021; 2021 SEUS High School Honor Band Clinic, February 6, 2021; 2021 University of South Carolina Honor Band Clinic, February 14, 2021 Norcross High School Wind Symphony, Lee Newman, Maria Phillips, Corey Fair, Directors: 2021 Georgia Music Educators In-Service Conference, January 30, 2021. Walton High School Wind Symphony, John Palmer and Georgia, cont. Chris Johns, Directors: 2021 Georgia Music Educators In-Service Conference, January 30, 2021. Woodland High School Wind Symphony, Michael Kobito and Holly Maldonado, Directors: 2021 UGA Janfest, January 23, 2021. We also are using our state newsletter as a recruiting tool with links to join embedded within the newsletter.

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KENTUCKY

AMY ACKLIN, CHAIR State Music Educators website: kmea.org Noteworthy state news, events, and activities None to report at this time. Projects involving NBA Project Grant money None to report at this time. NBA citations/awards given in state this past year; recruiting efforts Six recipients earned the NBA Citation at the 2020 KY Music Educators Association Professional Development Conference. Many congrats to the following programs: B. Michael Caudill Middle School Band, Ben Walker Crosby Middle School Band, Joe Stiver Lafayette Wind Symphony, Chuck Smith Owensboro Middle School Symphonic Band, Jason Smith University of Louisville Wind Symphony, Frederick Speck Western Kentucky University Wind Ensemble, Gary Schallert

LOUISIANA

JEFFREY MATHEWS, CHAIR State Bandmaster Association website: labandmasters.org State Music Educators website: lmeamusic.org Noteworthy state news, events, and activities Northwestern State University hosted the CBDNA/NBA Southern Division Conference in February. Most festivals and assessments were canceled due to COVID The Louisiana Music Educators Association Conference will be held virtually in November.

LMEA was extremely pleased to be able to hold a virtual state solo and ensemble assessment. Outstanding soloists in brass, woodwinds, and percussion will perform at the virtual state conference. Marching band was extremely limited and all competitions and contests were canceled.

MISSISSIPPI

ELVA KAY LANCE, CHAIR State Bandmaster Association website: msbandmasters.com State Music Educators website: msmea.org Noteworthy state news, events, and activities The American Bandmasters Association 86th Annual Convention was hosted on March 4-7, 2020 by NBA members and master teachers, Susan and Mohammed Schuman from Ocean Springs, MS. The Ocean Springs High School Wind Ensemble (Mohammed Schuman, conductor) and the Mississippi State University Wind Ensemble, (Elva Kaye Lance, conductor) were featured in concert at the ABA Convention. NBA member, Dr. Craig Aarhus, has been named to serve as the coordinator of social media for the NBA. He has led numerous virtual meetings with high school students to encourage their consideration of music as a career choice. Projects involving NBA Project Grant money The National Band Association hosted a concert band symposium at Biloxi High School, hosted by Travis Coakley, on January 17-18,2020. Guest conductors and clinicians for the event included university faculty from the region and Conn Selmer clinician and NBA State Chair, Joel Denton, from Chattanooga, TN. Activities and sessions included rehearsals with the guest conductors and masterclasses led by university area faculty. NBA citations/awards given in state this past year; recruiting efforts Continued on next page

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Southern Division, Corey Spurlin, Division Chair cont. Mississippi, cont. "Is A Career in Music Education Right for You?" handout was prepared from materials found on the NBA and NAfME website and distributed to students participating in multiple clinics throughout the state. To help inform band directors about the NBA, a newsletter has been established and will be emailed each semester to all band directors in the state association. Highlights of the Fall newsletter featured information about the NBA and benefits of membership, in addition to a special feature article by former NBA President, Dr. David Gregory.

NORTH CAROLINA

RODNEY WORKMAN, CHAIR State Bandmaster Association website: ncbandmasters.org State Music Educators website: ncmea.net Noteworthy state news, events, and activities Most of our state is still virtual so we have had very few band activities of any kind. Even our collegiate bands have stopped rehearsing as a result of Coronavirus outbreaks in the UNC-System. A few collegiate groups did get to have fall concerts of small ensembles but our public schools have had no marching band events and no concerts this fall at all. Professional Development for Directors Scott Tobias (Immediate Past President of NBA) provided staff development to NC Directors November 2nd in an effort to educate directors on how to speak to their administrators and advocate for the safe return of band events during the pandemic. The two largest school districts in North Carolina have forbidden band rehearsals for the rest of the year and those directors were in need of resources from the different studies and surveys that have been done. We deeply appreciate Dr. Tobias giving up his time to provide that information. Professional Development for Collegiate Members The collegiate members of NBA from

Appalachian State have asked other seasoned NBA members from within the state to do a series of monthly zoom talks on different topics. We will be offering a series of discussions this year that will be open to all collegiate members across the state and geared towards those members and 1st year teachers that are members as well. All of the guest will be members of NBA in North Carolina. Projects involving NBA Project Grant money None. NBA citations/awards given in state this past year; recruiting efforts Citations of Excellence Renee Todd, Ligon Middle School: The Ligon Jazz Band performed at Midwest last December and the Ligon Wind Ensemble was selected to perform at the Music For All National Concert Band Festival last March. Todd Ebert, Cuthbertson High School: The Blue Note Winds from CHS were selected to perform at the MFA National Concert Band Festival last March. Recruiting Efforts We are up to 69 members. This is better but not where I think we can be. Not having an in person MEA Conference this fall is hurting of course. I have reached out to collegiate music education faculty and band directors about joining NBA and advertising to their students to join NBA. I have noticed a new member or two from different music ed programs in the state. I have also emailed each district chair in NC to send information about NBA and saw new members join in the weeks after that information went out. If we get to have our All State Clinic we are going to have an NBA meeting and dinner during the clinic weekend. When we get to have our conference in person next fall we are planning to start an NBA Sunday night dinner as well as a way to get NBA members together to meet and socialize. We are also going to begin sponsoring a clinic at our NCMEA Conference each year featuring a member of our State Chapter. I am also planning to start an NBA Facebook page for NC Directors as a place to post information and celebrate our award winners and the activities of our members.

SOUTH CAROLINA VINCE CLAYTON, CHAIR

State Bandmaster Association website: bandlink.org State Music Educators website: scmea.net Noteworthy state news, events, and activities Greetings from South Carolina! This is my first year as our State Chair, and I want to first acknowledge and thank my predecessor, Connie Grantham for her leadership for the past 6 years as our NBA State Chair. She has been a mover and shaker in South Carolina for many years, including our SCBDA President, and has done a great service to instrumental music education in South Carolina. As all of our NBA members have experienced, the last several months of COVID 19 has made this a very challenging time to be a band director. New and innovative techniques have been introduced; most notably virtual meetings, rehearsals, and performances. Band members at the University of South Carolina for example, have even had the opportunity to have mock auditions with members of the premier military bands in Washington, DC. The South Carolina Band Directors Association has modified all of the events for their students for this school year. President Chaz Paxton has leaded the way for a Virtual State Marching Band Experience, where directors may submit videos and receive feedback from professional evaluators in the areas of music, visual, percussion, and/or color guard. The All State/Region Band auditions will now be virtual, with hopes of having face to face clinics later in the spring. Our Solo and Ensemble Festival will also be virtual. Our State Concert Performance Assessment is scheduled with hopes that this can be also be safe in late spring. The SCMEA Conference is virtual as well. The band division is hosting virtual clinics and performances each month throughout the school year. Hopefully, bands will approach a sense of normality before too much longer, but Continued on next page

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Southern Division, Corey Spurlin, Division Chair cont. South Carolina, cont. in the meantime, let me express how impressed I am with how our directors have risen to the occasion. We will come out of this stronger and better. NBA citations/awards given in state this past year; recruiting efforts We are excited to report that our NBA membership has increased by 48% during the last 12 months!

TENNESSEE

JOEL DENTON, CHAIR State Bandmaster Association website tennesseebandmasters.org

activities as well. Our state leaders have created an opportunity to create virtual auditions for Regional and All State Ensemble selection so our students may continue to receive the honor even with the loss of the events. Special effort is being placed on creating virtual Regional Solo and Ensemble events. NBA citations/awards given in state this past year; recruiting efforts We had planned to present several citations at our 2020 State MEA Conference, but, due to COVID and the cancellation of our event for 2020 and 2021, we will present these and others at our next in-person conference.

State Music Educators website tnmea.org Noteworthy state news, events, and activities The Dobyns-Bennett Symphonic Band will be featured at this year's virtual Midwest Clinic. We have many mentoring programs in our state. There are two Past Presidents of NBA living in the Knoxville area and our State Chair lives in the Chattanooga Area. There are also several districts being awarded grants from the Country Music Association Foundation which provides funding for Music Side by Side Coach Visits and Professional Development Opportunities. Many of our directors are getting fantastic support from experienced and successful retired directors. Due to COVID, many other plans were affected, reduced, or canceled. Projects involving NBA Project Grant money All 2020-2021 NBA plans have been cancelled as districts are being extremely cautious about the use of facilities and guests in their buildings. Many of the mentoring efforts will be done virtually as are the Professional Development sessions. Our State MEA Conference was cancelled in April 2020 and the in person conference is cancelled for 2021. Sadly, this has affected many of our regional

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VIRGINIA

TIFFANY HITZ, CHAIR State Bandmaster Association website vboda.org State Music Educators website vmea.com Noteworthy state news, events, and activities The following Virginia Bands were scheduled to participate in the 2020 National Concert Band Festival: Featured Bands: South Lakes H.S. Wind Ensemble, Reston, VA; Grayson Fore W.T. Woodson H.S. Wind Ensemble, Fairfax, VA; Aaron Morgan

since Virginia has hosted an event and we are hopeful to get this off the ground. NBA citations/awards given in state this past year; recruiting efforts Citations of Excellence were presented to the following groups and directors for their performances at the 2019 VMEA Convention: Blacksburg Middle School Symphonic Band, Harry Farmer Thomas Jefferson High School for Science and Technology, Adam Foreman West Springfield HS Symphonic Band, Eric Hoang

WEST VIRGINIA

ADAM DALTON, CHAIR State Bandmaster Association website: wvbandmasters.org State Music Educators website: wvmea.org Noteworthy state news, events, and activities Many of the schools in our state turned to virtual opportunities including virtual marching band competitions and concerts. Marshall University offered a virtual Middle School Honor Band in lieu of the in-person festival. Projects involving NBA Project Grant money None to report this fall NBA citations/awards given in state this past year; recruiting efforts None to report this fall

Invited Bands: Justice H.S. Wind Ensemble, Falls Church, VA; Brian Thomas Lake Braddock Secondary School Symphonic Band, Burke, VA; Michael Luley Projects involving NBA Project Grant money None at this time, but discussion has begun to plan a symposium during the 2021-22 school year. It has been a few years

NBA NEWS

EASTERN DIVISION ANDY YOZVIAK, DIVISION CHAIR CONNECTICUT

MICHAEL BOWLES, CHAIR State Bandmaster Association website: cmea.org State Music Educators website: cmea.org Noteworthy state news, events, and activities Due to COVID-19 all fall festival were cancelled for in person. Several marching bands competed in virtual competitions. Students still are able to audition for honor bands and all state ensembles in a virtual format. Projects involving NBA Project Grant money NBA was set to host an event at All-State in the Spring which was cancelled. We have been reaching out to members to keep spreading the word about the NBA NBA citations/awards given in state this past year; recruiting efforts No awards were presented this year. Personal communications have been done to recruit members. The state MEA is working hard to ensure music education can continue in the pandemic.

Bands in the state of Delaware have been in strict hybrid settings (no more than 8-10 musicians in a room/15-20 feet apart) or online settings. This has all but eliminated clinics/festivals, etc. During the summer the University of Delaware Marching Band student leadership staff held 11 peer to peer leadership sessions with high school band leadership members. This was quite successful and will be continued in the future. The 2020 DMEA State Arts Conference was held on October 9th in a virtual setting. The conference has always been a professional development day as opposed to a full conference with concerts, etc. Projects involving NBA Project Grant money None NBA citations/awards given in state this past year; recruiting efforts An email from the state chair was sent out to the DMEA leadership but clearly it fell short. At the time of this report I have scheduled a second email for just before the holidays with the inclusion of extending a Zoom gathering for all interested--a mental health check in at the very least.

DELAWARE

HEIDI SARVER, CHAIR State Bandmaster Association website: delawaremea.org State Music Educators website: delawaremea.org Noteworthy state news, events, and activities

MAINE

ROB SKROCKI, CHAIR State Bandmaster Association website mebda.org State Music Educators website mainemmea.org

Noteworthy state news, events, and activities Maine continues to work toward an AllState festival and educator's conference. Projects involving NBA Project Grant money Preliminary discussions have begun among some New England state chairs on beginning a band clinic for the smaller New England states. The clinic would comprise a master conductor and instrument- specific seminars. NBA citations/awards given in state this past year; recruiting efforts Recruiting efforts are planned through the annual All-State conference that in slated for late spring 2021. Several directors have expressed interest in NBA and I feel that Maine has the potential to really benefit from the NBA's programs.

MASSACHUSETTS IAN FLINT, CHAIR

State Bandmaster Association website: miccamusic.org State Music Educators website: massmea.org Noteworthy state news, events, and activities MMEA festivals will be run virtually this year including virtual auditions and virtual festivals. The Massachusetts Instrumental and Choral Conductors Association (MICCA) in partnership with the Boston Symphony Orchestra is providing virtual clinics to all students and staff in Massachusetts. Music educators across the state continue to work toward providing a high level of instruction during the time of

COVID.

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Eastern Division, Andy Yokviak, Division Chair cont.

Massachusetts cont.

Projects involving NBA Project Grant money The state of Massachusetts is looking to partner with other New England states to provide opportunities for rehearsal symposiums and conducting clinics in the future.

NEW JERSEY

CHRIS WILHJELM, CHAIR State Bandmaster Association website: njbandassociation.org State Music Educators website: njmea.org Noteworthy state news, events, and activities Two upcoming events sponsored by Region 1, North Jersey Music Educators, and Region 2, Central Jersey Music Educators. Region 1 will be sponsoring Master Classes with musicians from two outstanding community bands, The New Jersey Wind Symphony and the Hanover Wind Symphony in January. Details may be found at njmea.org when they become available. The Central Jersey Music Educators will be hosting a virtual clinic with Richard and Cheryl Floyd on December 5th. CJMEA is offering this PD opportunity for FREE to all those in New Jersey's music education community. The topics will focus on band instruction, but all are welcome. Please use this link to see more information on session topics and to register: cjmea. org/professional- development.html. Also, for some more information, please see this announcement: cjmea.org/ uploads/3/6/2/4/36241876/floyd_poster.pdf NBA citations/awards given in state this past year; recruiting efforts Direct email was sent to scores of notable band directors in the state in the effort to boost membership.

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NEW YORK

ROBIN LINABERRY, CHAIR State Bandmaster Association website: nysbda.org State Music Educators website: nyssma.org Noteworthy state news, events, and activities As I write this year’s report, I am careful to acknowledge the challenges, stresses and radical changes facing each teacher. Band programs – like all schools, businesses, travel, relationships, and all other aspects of ‘normal’ living – are currently being reinvented every day and every week. It’s no surprise (nor can it be a disappointment) that my plea for news yielded a comparatively small number of responses. I contacted all members, and county MEA Presidents, who helped by forwarding my letters to non-member band directors in their respective areas. The county presidents are certainly as overwhelmed as anyone else, and yet they were willing to help; on behalf of NBA, I’d like to thank those colleagues for their kindness … I’ll offer a special shout-out to OCMEA (Oswego County) president Robert Dumas for the most prompt and thorough reply in our whole state. I did manage to hear from almost every general geographic region of the state, so although these news- briefs are surely incomplete, I think these snippets will assemble a good snapshot of Band activities in New York, and will demonstrate just a few of the many innovative ways our professionals are adapting to the 'new normal', always with an eye on the quality of music for their students and communities: The New York State Band Directors Association (NYSBDA) Summer Virtual Conference (Mon-Tues,August 1718) provided a motivational slate of offerings for Band Directors. Participants from NY and beyond numbered in the hundreds, viewing relevant and inspirational sessions in the Zoom platform. Highlights included a keynote speech (“A Conversation About Race in Music Education”) by Dr. William Lake Jr, Associate Director of Bands for the Crane School of Music, and sessions by Mark Brenner (Band

Director’s Toolbox); Jeffrey Dunn & Lauren Rudzinskas (Distanced Duets: Resources and Technology); Kris Gilbert (Composition Games in the Instrumental Classroom); Dr. Eric Laprade (Compelling and Relevant Programming for the 21st Century); Scott Cannan (Compiling A Virtual Band Recording); Meghan Cabral (How Can We Flip the Band Room?); Daniel Fabricius (It’s Not Only Rhythm: Teaching Percussionists Better Musicianship); Laura Johnson (Including Student-Selected Repertoire); and many more, including a full committee presentation on “The Future of Ensembles in the COVID-19 Era.” Kudos to organizers Holly McCoy, Jackie Kovacs, and the entire team of NYSBDA professionals under the guidance of Michael Cordaro, President. NYSBDA continues its ongoing record of exemplary service to Bands, music students, and Band Directors. Besides its regional Clinics, Workshops, and Professional Development opportunities, NYSBDA has worked to fashion an innovative virtual version of its “Honor Bands,” offering superlative musical opportunities for high school, middle school, and Jazz band students. NYSBDA Updates can be found at: https://www.nysbda.org/ For more details about the unique plan for a virtual experience, https://www.nysbda. org/nysbda-honor-bands/ The New York State School Music Association’s NYSSMA Cyber Summit (still in the future at the time of this writing) is scheduled for December 3-4-5, and its recorded sessions will remain available through February 21st 2021. The brochure is available here: nyssma. org/wpcontent/uploads/2020/10/2020NYSSMA-Cyber-Summit-Brochure.pdf. The Conference itself is an unrivaled professional development event for the state’s music teachers but -- specifically while COVID-restrictions disallow largeensemble performances -- organizers have worked carefully to provide an “All-State” experience for our state’s finest performers. In New York, the Conference typically showcases the talents of more than 900 highly-select

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Eastern Division, Andy Yokviak, Division Chair cont.

New York, cont. student musicians in eight outstanding ensembles, led by world-class guest conductors. The Bands would include the All-State Jazz Ensemble, All-State Wind Ensemble, All-State Symphonic Band, and with even more of New York’s very best Wind & Percussion players, the All-State Symphony Orchestra. This year’s experience will be assembled from individual recordings, which will then be edited into a conglomerated audio-video Concert to be broadcast. Along the way, our All-State students will attend Zoom sessions where they will receive well-developed guidance from select Clinicians. In addition, Ed Chiarello (NYSSMA’s 2nd VP) has spearheaded the redesign of New York’s highly- regarded Solo & Small Ensemble Adjudication Festival which, for the first time ever, will be based on audio/video recordings. Although ‘different,’ this new virtual method means that our band students will not lose the opportunity to have their musical achievements heard and evaluated by adjudicators in the spring of 2021. As a part of their Cyber Summit, NYSSMA will also shine a spotlight on other exceptional students: 1. The 25th Annual Student Electronic Music Composition Showcase provides an online Concert forum(8pm, December 3rd) to debut the work of eleven fantastic young composers. Special congratulations as well to their mentor teachers: Dr. Frank Doyle (Northport), Austin Day (Sleepy Hollow), Erica Boyer (Onteora HS, Boiceville), Eric Albinder (West Islip), and Joe Owens (Mineola). 2. The 22nd Annual Young Composers and Songwriters Competition Showcase Concert (9am, Dec5th) features eleven performances of songs and other compositions for solo instruments, chamber groups and full ensembles. Special kudos to mentor Music Educators Dr. Stephen Shewan (Williamsville), Erica Boyer (Onteora), Charles DuChateau (Tuckahoe), John Catoliato (Edgemont HS), Kathleen Coletta-Feldman (Horace Greeley HS), Dr. Frank Doyle (Northport), Brian Zeller (Red Hook), Jared Miller (Special Music School, NYC),

Mark Lewis (Ithaca HS), Elizabeth McFarland (Niskayuna), Eric Albinder (West Islip). The New York State Field Band Conference (NYSFBC) has remained active, and inventive; as with other organizations, the driving principle has been to provide opportunities to Band students, safely and in spite of COVID-19. Several notable events in the past months include: 1. The NYSFBC released a Virtual Band video of Billy Joel's "New York State of Mind" to celebratetheir scheduled championship day on Sunday, November 1st. Over 300 students from 42 member marching bands across New York State submitted videos to perform as part of the 2020 NYS Field Band Conference Virtual Band. The project was directed by NYSFBC President Casey Vanderstouw, arrangement was created by Dr. R Ward Miller, percussion arranging by Dr. Jeff Grant, colorguard design by Shannon Spaulding, audio engineering by Ron Keck, video editing by Cody Slade & Tristan Hall. Special congratulations also to Gregory Harris, Vestal HS Bands, who will assume leadership as President-Elect of NYSFBC. 2. The NYSFBC also hosted a virtual Individual and Ensemble competition for students across New York State. Over 150 performers submitted solo and small ensemble performance for adjudication in the areas of Wind, Percussion and Visual performance. 3. And from Joe Stork, Band Director in the Corning-Painted Post Schools, “This past fall, we were lucky enough to be able to hold our two annual marching band shows, the 'Crystal City Competition' and 'Bandtoberfest'. Through a virtual format, we were able to involve even more bands than ever and include some other ensembles. Bands had the option of how they wanted to present their programs; Pennsylvania Bands were able to do a field show with drill, while other groups combined recordings of their students playing, had a video standstill performance or used videos from last year. These two events featured hundreds of young performers and was viewed by nearly 5,000 spectators. Students

interacted using the chat function of YouTube Live and were able to cheer each other on, as well as ask question to other students and their staffs. We are glad to continue to work hard to provide our students, and the students of other programs, legitimate performance opportunities. MUSIC MATERS!!!” Participating bands included Athens (PA), Corning-Painted Post, Elmira High School, Hilton, Jordan Elbridge, Rochester City Schools, Skyliners Drum and Bugle Corps, The All In Brass Band, UnionEndicott High School, University at Buffalo, Wellsboro (PA), Williamson (PA), White Sabers Drum and Bugle Corps, Vestal High School. The virtual broadcasts featured championship performances from the 2019 season, punctuated by director interviews, inspiring narration, fundraising efforts, the opportunity for chat-based “shout outs” to each band, and some especially moving tributes to the outgoing Seniors in the groups. In lieu of a PA voice, “Well done, bands … well done!” tributes to the outgoing Seniors in the groups. In lieu of a PA voice, “Well done, bands … well done!” 4. Michael Miller, Auburn HS Director of Bands, notes that the Auburn HS "Vanguard" Marching Band & the Jordan-Elbridge HS Marching Eagles both participated in the US Bands virtual-NYS Championships, and each earned a 1st Place rating: Vanguard in the Creative Division, and J-E in Marching Band-Division 1. These schools are members of the CayugaOnondaga BOCES, made of primarily rural and small-city school districts. Congratulations to those students and their Directors! We’re pleased to highlight a novel and productive project, which will be a perfect vehicle to engage the students across all COVID-restrictions: "The Owego Free Academy Band members and their director, Lindsey Williams, have commissioned Dr. Dana Wilson to write a new work for concert band. The OFA Band members were inspired to seek the commission after their research revealed that past OFA teachers (including Philip Paul Bliss) and Student Teachers (including Frank Battisti!) were active in commissioning and

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Eastern Division, Andy Yokviak, Division Chair cont.

New York, cont. composing. Students will learn about composing and commissioning with Professors Wilson and Battisti, and a digital premiere of the piece will be released in honor of Mr. Battisti's 90th birthday." Congratulations to Mrs. Williams, Professors Wilson and Battisti, and all the band students at OFA. Community Bands have largely stayed on hiatus during the recent months, with some attempts at sociallydistanced rehearsals, virtual recording collaborations, a revised focus on smaller sub-set chamber ensembles, and other endeavors. Extra care must be considered, of course, because the ‘slightly older’ average age of the members! But, they are as fervent as ever about their love of music and, collectively, adult band members are looking forward to resuming normal activities. Additional Good News will come out over the next few months - many students, teachers and schools will be honored with NBA Citations of Excellence. I want to thank (already) the many teachers who have responded so far to help recognize those who earned prestigious acceptances and achievements; while some were disrupted by COVID, we want to be sure to highlight them in the coming months. Identifying those deserving individuals is a collaborative effort requiring communication, and I appreciate our NYS colleagues’ responses. Thanks (to-date) to: Meggan Olds (Susquehanna Valley HS); Kelly Bullis (Roscoe Central School); Lily Ianaconi (President, Franklin County MEA); Tim Savage (Canton HS and the North Country); Liza MacDougall-Grethel (Birdlebough HS, Phoenix); Lisa Klein (Union-Endicott HS). I’m sure others will roll in after this report is submitted. A note to our colleagues from other places: the NYSSMA website (nyssma. org) also includes a “Latest Jobs” list on its main page. We invite you to consider joining us in a wonderful place for Bands. Projects involving NBA Project Grant money None to-date this year NBA citations/awards given in state this past year; recruiting efforts

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Citations/Awards: none given this Spring. With continuous support of outstanding NYS colleagues, we’ve got a collective plan in place (detailed above) to increase the frequency and visibility of our state's deserving award-winners. Regarding Recruitment: I sent several notes to New York’s NBA members, giving them the task of encouraging colleagues and especially the young, upcoming Band Directors to consider joining the largest professional organization for Bands in the world. Last year I collected the contact information for the MEA presidents of all 62 counties in the state, and I made contact specifically to ask them to share NBA information with the band colleagues in their regions. This year, I added a special contact limited *only* to college/university Band Directors. I noted that our extremely low-cost Student membership fee offers a remarkable opportunity to students. I challenged post-secondary directors to encourage their students to take advantage of the $5 fee, and even to personally give the gift of NBA membership to their students. Especially during this unprecedented time, we should note the losses in professional development terms as well: Young band directors have lost podiumtime to learn, shape, refine, and apply the traditional pedagogical strategies that we know will yield successes for band students. Similarly, some of the most effective and influential learning experiences (that of observing stellar Clinicians, Guest Conductors and Presenters) are, in most cases, simply not available right now. For college seniors, the Student Teaching experience has been entirely disrupted or, at least, is not currently providing the same experience-based training that band directors have had for decades.

membership can provide many of the missing ingredients until we return to liveteaching, full ensemble normalcy. With regard to student memberships, I’d like to offer congratulations to The College of St. Rose (Band Director, Dr. Robert Hansbrough): St. Rose currently has the largest number of Student Members among New York’s colleges and universities. As we notice student membership numbers continue to grow, I’ll be excited to report the list of colleges showing outstanding growth. I continue to speak about NBA at all of the events where I encounter colleagues (guest-conducting, clinics, meetings, concerts, etc.) but, of course, “live” encounters changed radically after the COVID restrictions began in March. Our current NYS Membership report: On the date of this writing, New York has 57 Active NBA members, up slightly since last year, and double the membership number of three years ago. Although we see a steady increase, I’ll continue working to increase membership, and I’d like to look into finding ways to pair NBA membership with that of our sister organization in New York. I’m proud of this state and its Band programs in schools, colleges and communities. Also, a search of the membership roster tells me that NY has 99 members when the “inactive” descriptor is clicked. I contacted those inactive members to jog their memories about renewing membership, and I’ll follow up with another contact after allowing some time for this year’s renewal numbers to flatten out. I hope to ask inactive members some revealing questions about their status.

And for college juniors and sophomores, the integrated “observation/ participation” practicum experiences have been greatly altered, disrupted, delayed or eliminated altogether. Therefore, we should recognize the many ways by which NBA Membership can assist the professional development trajectory for the next generation of outstanding band educators. At only $5(!!), the student

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Eastern Division, Andy Yokviak, Division Chair cont.

PENNSYLVANIA

DAVID ROMINES, CHAIR

Noteworthy state news, events, and activities Scott R. Sheehan (Hollidaysburg Area Senior High School was elected as the NAfME National President for 2020-2022. The West Chester University Incomparable Golden Rams Marching Band will be presenting virtual performances during the Philadelphia, Chicago and Nashville Holiday Parades this fall. The West Chester University Wind Ensemble will present a virtual performance during the 2021 PMEA State Conference. NBA citations/awards given in state this past year; recruiting efforts Central Bucks High School East, Jason Morehouse, director Bethel Park HS, Chad Thompson, director Pennfield Middle School, Chris Thompson, director Susquehanna University, Eric Hinton, director North Hills High School Band, Len Lavelle and Lucas Beaver.

RHODE ISLAND ERIC MELLEY, CHAIR

State Music Educators website rimea.org Noteworthy state news, events, and activities Like many places, bands in Rhode Island look very different from the norm. Many schools are in hybrid models or bands are suspended altogether.

Projects involving NBA Project Grant money N/A NBA citations/awards given in state this past year; recruiting efforts At the beginning of the fall, the chair reached out to all current and past state members of the NBA to stoke interest in the Association's offerings. Additional outreach efforts have continued over the last several months, targeting collegiate directors and a number of secondary directors who have not been members in the past. Understandably, there has been little response, as many teachers are managing increased and changed workloads. As prospects for normalcy improve, the chair will increase efforts to lend support and expand membership.

VERMONT

ROB SKROCKI, CHAIR State Music Educators website vmea.org Noteworthy state news, events, and activities Vermont is working hard to make their all-state festivals a possibility. Vermont schools are partnering closely with collegiate groups and local non-profits to consistently provide students with an opportunity to hear and attend high level performances, especially in the area of jazz. Projects involving NBA Project Grant money Preliminary discussions have begun among some New England state chairs on beginning a band clinic for the smaller New England states. The clinic would comprise a master conductor and instrument- specific seminars. NBA citations/awards given in state this past year; recruiting efforts N/A

Preliminary discussions have begun among some New England state chairs and composer Roger Cichy on beginning a band clinic for the smaller New England states. The clinic would comprise a master conductor and instrument-specific seminars.

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NORTH CENTRAL DIVISION MARK HEIDEL, DIVISION CHAIR ILLINOIS

WAYNE GORDON, CHAIR State Bandmaster Association website: Nationalbandassociation.org State Music Educators website ilmea.org Noteworthy state news, events, and activities Like band programs across the nation, Illinois directors continue to do their very best for students under trying circumstances. Public schools currently operate in a range of teaching formats from fully remote to hybrid, and as of the writing of this report there is a strong move for all schools to move back to fully remote teaching due to surging cases of Covid-19. All major festivals, conferences, and competitions were cancelled during the fall. Since our focus as teachers has shifted from ensemble to individual musical development, it seems fitting to focus our Illinois report on some exceptional individuals worthy of praise. Tom Bracy has been named Executive Director of the People’s Music School, a completely free music school focused solely on Chicago’s underserved children. Tom is the former Executive Director of the Merit School of Music and National CEO of the Harmony Project. The People’s Music School currently serves over 850 students at four different sites. Hailing from 50 different zip codes, 90% of the students are underrepresented minorities and 100% graduate from high school and attend college. Chip De Stefano (McCracken Middle School) hosted the 7th annual 2020

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Band Director Workshop on November 3rd. The workshop was held virtually this year and included a wide array of clinicians including: Linda Moorhouse, Alfred Watkins, Erica Neidlinger, Daniel Morrison, Christopher Bill, Robert Herrings, and Chip De Stefano. The BDW is sponsored by the NBA and the Illinois Grade School Music Association (IGSMA). Chip is also the co-author of a new FJH method book “Chorales and Beyond” published by FJH. David Morrison (Prospect High School, retired) authored a new book published by Kjos entitled “The Band Whisperer: A Practical Guide to Making Beautiful Music”. Dr. Stephen Peterson (University of Illinois) reported a busy Fall that divided U of I band musicians into 24 chamber groups of anywhere from 4 to 20 players. For many students, their socially distanced chamber group was the only face to face meeting they encountered during the first semester. The Marching Illini met virtually to rehearse both music and movement, and to discuss leadership, diversity, equity and inclusion among other topics. Don Stinson (Joliet Township Central High School) received a 2020 Educator Award from Yale University in October. The award, sponsored by the Yale Office of Undergraduate Admissions, recognizes educators from around the world who inspire and support their students to perform at high levels and to achieve excellence. Don also had a book picked up for publication by GIA which is currently titled “Teaching Music to Low-Income and Underserved Students: High Needs, Monumental Successes.” The book is currently under editing and will be available in the spring.

INDIANA

MICKEY STISHER, CHAIR State Bandmaster Association website: indianabandmasters.org State Music Educators website : imeamusic.org Noteworthy state news, events, and activities 2020 marked what would have been the 23rd consecutive year the NBA has sponsored the Indiana All- Star Marching Band performance at the Indianapolis 500 Festival Parade. Due to COVID-19 the parade was cancelled. We look forward to presenting the 23rd Indiana All-Star Band at the 2021 parade! The band is comprised of members from schools across the state of Indiana and a selected high school drumline. Director and Coordinator for the band is Mickey Stisher, NBA State Chair and Retired Director of Music at La Porte High School. A special thank you goes to Music Travel Consultants for their assistance in planning and co-sponsoring this annual event! The band looks forward to its 23rd annual performance in 2021! The 2021 Indiana Bandmasters Association All-State Band concert will be performed virtually on March 28, 2021, and will be available on YouTube. The 2021 Indiana Music Educators Association Honor Band is currently planning for an in-person event in Indianapolis on May 21 & 22, 2021. The 2021 Indiana Jazz Educators All-State High School Jazz Band will be directed by Bob Lark, Professor of Jazz Studies at DePaul University. The 2021 Junior All-State Jazz Band will be Continued on next page

North Central Division, Mark Heidel, Division Chair cont. Indiana, cont. directed by Mark Eifler, Castle High School Band Director. Indianapolis on May 20-22, 2021. IJEA is currently planning for an inperson event information.

a newly designed online format. The ensembles were seated on Saturday, October 24th with 53 musicians of NBA members selected and will receive the NBA Outstanding Musician Award.

Dr. Al G. Wright (1916-2020) - The National Band Association is saddened to announce the passing of one of the greats in the band profession, Dr. Al G. Wright. Dr. Wright grew up in Michigan and attended the University of Miami (FL), where he earned bachelor’s and master’s degrees in music. He taught band and orchestra at Miami Senior High School from 1938-1954.

Special recognition has been extended to NBA Student Members, Sierra Craig (NBA) and Mackenna Janz (NBA) from Davenport Central High School.

Wright became director of the Purdue All-American Marching Band in 1954 and served for 27 years until his retirement in 1981. He introduced a number of innovations to the Purdue band program and was responsible for significantly expanding the band’s reach beyond football, including several performances at Radio City Music Hall and international trips to Europe, South America, and Japan. Dr. Wright was the first President of the National Band Association and was an Honorary Life President of our organization. He was inducted into the NBA Hall of Fame of Distinguished Band Conductors in 1986. Dr. Wright was 104 years old. We extend our deepest sympathy to his wife, Gladys, as well as his family and friends.

IOWA

THAD DRISKELL, CHAIR State Bandmaster Association website: bandmasters.org State Music Educators website: iamea.org Noteworthy state news, events, and activities Conferences The Iowa Music Educators Association Conference was held on Saturday, November 21 as a virtual conference. All-State Music Festival Auditions for the All-State Band, Chorus, and Orchestra were conducted via video recordings submitted and audited in

Due to the COVID-19 coronavirus pandemic, the 2020 All-State Music Festival was canceled. The Iowa All-State Band Chair is Thad Driskell (NBA), Director of Bands at Cedar Rapids Jefferson High School. Chris Ewan (NBA), Director of Bands at Ames High School, Jason Heeren, Director of Bands at Johnston High School, and Brian Zeglis, Band Director at Davenport Central High School, serve on the All-State Team. The Iowa Bandmasters Association Conference will be held May 13, 14, and 15 at the Marriott Hotel Downtown in Des Moines, Iowa. Jeana Larson (NBA) serves as President-Elect of the Iowa Bandmasters Association. Congratulations to Jayson Gerth, IBA Past-President, for organizing and facilitating an outstanding virtual conference in May. Monthly Virtual Meeting and Social. During this time of COVID-19, the NBAIowa membership has been meeting to discuss the latest guidance from aerosol emission studies, protocols focusing on student safety, instructional design and student experience for our music classes in-person, virtual, and hybrid settings as well as navigating scheduling and advocacy. From these conversations, we have expanded to scheduled monthly virtual meeting and social to discuss issues of the moment, celebrate successes, and welcome guest speakers. In November, we welcomed Dr. Rebecca Phillips (NBA), President of the National Band Association and Director of Bands at Colorado State University and Director of Bands at Colorado State University. It was a pleasure visit with Dr. Phillips about her background and those that inspired her passion for music and Band. We discussed the Aerosol Emission studies conducted at Colorado State University and initiatives of the NBA including the North American Band Survey. We closed the conversation discussing how music

making and music education is being shaped in the moment and opportunities ahead to reflect, reset, and shape opportunities for students in the future. Scheduled guests include: December - Dr. Peter L. Boonshaft, Director of Education for KHS America, is the author of the critically acclaimed best-selling books Teaching Music with Passion, Teaching Music with Purpose, and Teaching Music with Promise. January – Mr. Barry L. Houser, Associate Director of Bands, Director of the Marching Illini, and Director of Athletic Bands at the University of Illinois February – Dr. Travis Cross, Professor of Music at the University of California Los Angeles and Department Chair of Music March – Mr. James P. Stephens, Director of Advocacy and Educational Resources at Music for All Congratulations to Josh Waymire (NBA) and the West Des Moines Valley High School Marchmasters for earning a Division I Superior Rating at the 2020 IHSMA State Marching Band Festival. Congratulations to Dr. Eric Bush (NBA), Director of The University of Iowa Hawkeye Marching Band and Christian Carichner, Director of the Iowa State University Cyclone Marching Band and Javan Shields (NBA), Assistant Director of Bands at Iowa State University for serving as exemplary models for protocols to rehearse and perform virtually and inperson as marching ensembles during the pandemic. Congratulations to Dr. Mark Heidel (NBA), Director of Bands at The University of Iowa and North Central Division Chair, Eric Bush (NBA), Joshua Neuenschwander (NBA), and the Graduate Assistants for leading 25 University of Iowa Chamber Ensembles through rehearsals and video recording project through the semester. NBA citations/awards given in state this past year; recruiting efforts Our focus is to engage dialogue and collaboration among our Iowa members reflective of a broader national conversation provided through the

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North Central Division, Mark Heidel, Division Chair cont. Iowa, cont. National Band Association. We intend to promote the many opportunities available through the NBA and awards celebrating the accomplishments of our NBA-Iowa students, directors, supporters, and programs. We intend to seek opportunities for activity and promoting the National Band Association as an extension of activity of the Iowa Bandmasters Association, Iowa Music Educators Association, and our six District Bandmasters Associations. Student memberships of $5 are being “gifted” by current members to promote the National Band Association and future directors in the field of music education. Follow us on Twitter at National BandIowa@NBAIowa.

MICHIGAN

MARY K. SCHNEIDER, CHAIR State Bandmaster Association website: msboa.org State Music Educators website: mmeamichigan.org Noteworthy state news, events, and activities All 16 Districts in Michigan were able to hold their 2020 festivals--Solo & Ensemble events, and well as district-sponsored Band and Orchestra Festivals--as all took place by the beginning of March. However, the annual state-level events, including the Michigan Youth Arts Festival, which occur later in the spring were all canceled this year due to the pandemic. Several MSBOA districts in Michigan sponsor their own marching band festivals each fall. Due to COVID restriction, this fall the festivals were held in a different format---video taped performances were submitted to a panel of adjudicators for comments and feedback. Andrea Mack, band director in Manistee, was selected as the state's teacher of the year for 20192020. Projects involving NBA Project Grant money None that I am aware of, but planning for this possibility in the future.

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NBA citations/awards given in state this past year; recruiting efforts I was surprised to see that so few college students taking advantage of the student membership. So I've targeted collegiate membership as an initial area to focus on in my state, since we have a wealth of universities with strong band traditions. Band directors throughout the state are nominated by their peers for the state's "Teacher of the Year" award. I reached out to each of the three finalist after they were announced this week to offer my congratulations and entice them to become members of NBA.

MINNESOTA PAUL KILE, CHAIR

State Bandmaster Association website: mbda.org/index.php

State Music Educators website mmea.org Noteworthy state news, events, and activities This year NBA-Minnesota is making efforts to grow its membership and create a more vibrant and active NBA presence in Minnesota. NBA-MN hosted its first ever zoom meeting on November 5, featuring special guest Dr. Richard Mark Heidel, Director of Bands at the University of Iowa. Dr. Heidel spoke eloquently and passionately about NBA and the benefits of membership and then shared pearls of wisdom on the topic ‘Top 10 Comments I’ve Made When Working With School Bands and Recommendations for Remedy’. This was the first in a series of NBA-MN zoom meetings with a focus on professional development for directors. Next in the series will be a session on conducting led by Dr. Emily Threinen, Director of Bands at the University of Minnesota. Instead of the traditional lecture presentation, the session will follow more of a 'fitness class workout' model with all participants engaged in conducting workouts.

NEBRASKA

BRIAN ALBER, CHAIR State Bandmaster Association website: nsbma.org State Music Educators website: nmeanebraska.site-ym.com Noteworthy state news, events, and activities The 2020 Nebraska Music Educators State Convention will be held remotely throughout the Fall semester due to COVID-19. Ensembles selected to perform at the convention will have the option of delivering their performance remotely, or postpone their live performance to the 2021 convention. The Nebraska State Bandmasters Association (NSBA) was pleased to welcome Ray Cramer as the guest conductor for the Nebraska Intercollegiate Band in March of 2020. While COVID-19 has impacted numerous organizations throughout the state, some ensembles have organized chamber ensemble performances. The Nebraska Wind Symphony, under the direction of Dr. Joshua Kearney, has organized a fall concert featuring the works of Druschetzy, Mackey, Ticheli, Giroux, Zare, Panella, and Giovanni Santos. The Nebraska Wind Symphony (NWS) is an adult community band serving Omaha and the surrounding areas. Approximately 74 musicians from a wide variety of vocational backgrounds perform in this ensemble. Each year the NWS traditionally performs three formal concerts, a 4th of July outdoor concert, and several other concerts. Continuing as Nebraska’s oldest professional music organization is the Lincoln Municipal Band, conducted by Bob Krueger and Terry Rush. The Lincoln Municipal Band is Nebraska’s only professional wind ensemble, performing since 1911 throughout the summer months. The Lincoln Municipal Band completed a Summer Pops Series, where patrons were able to enjoy the concerts from their automobiles. The 43rd Army Band of the Nebraska Army National Guard, continues the proud tradition of military band programs. Steeped in Nebraska military history, the 43rd Army Band indirectly dates back to 1884. Continued on next page

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North Central Division, Mark Heidel, Division Chair cont. Nebraska, cont. NBA citations/awards given in state this past year; recruiting efforts Dr. Duane Bierman (UNK Wind Ensemble) Brandi Kawula (Lewis and Clark 8th Grade Symphonic Band) Jonathan Jaworski (Ashland-Greenwood Senior High Concert Band) Dr. Michele Bluford (Elkhorn South High School Wind Ensemble) Pete Madsen (UNO Jazz Ensemble)

NORTH DAKOTA

WARREN OLFERT, CHAIR State Music Educators website ndmea.org Noteworthy state news, events, and activities Most clinics and festivals have been shut down since March because of the COVID-19 crisis. In August, NDNBA organized a town meeting on Zoom to provide a forum for discussion, encouragement and sharing of information. Projects involving NBA Project Grant money No events due to COVID-19. We have not explored Project Grant Money in the past. It's my hope to address this in the future when things reopen. NBA citations/awards given in state this past year; recruiting efforts This past year, we gave out the Allegro Award (Sarah Harlow, Grand Forks), the Distinguished Service Award (Chris Harvey, Hazen), Jazz Educator of the Year (Mark Herold, Bismarck), and the Citation of Excellence (Leslie Barney, Minot). Regarding recruiting for NBA in North Dakota, the state actually utilizes the state chapter of NBA as a conduit for All-State eligibility and coordination. As a result, the membership at the state level is high relative to the number of participating band directors in the state. That said, the state is looking for additional ways of increasing membership of those less engaged in state activities. This is an ongoing initiative that we hope to improve over the next two to five years.

OHIO

EDWARD PROTZMAN, CHAIR State Bandmaster Association website omea-ohio.org State Music Educators website omea-ohio.org Noteworthy state news, events, and activities Ensembles Selected to Perform at the January 2021 Ohio Music Education Association Virtual Professional Development Conference: Capital University Junior Winds – Ryan Alexis Kent Wind Ensemble – Wendy Matthews Lake High School Symphonic Winds – Jared Cooey Licking Heights Wind Ensemble – Meg Beavers Perrysburg High School Wind Ensemble – Scott Schleuter The Central Ohio Brass Band – Jessica Sneeringer The Ohio State University Wind Symphony – Russel Mikkelson Wadsworth High School Wind Ensemble – Dana Hire Westerville Community Concert Band – Lawrence Klabunde William Mason High School Symphonic Band – Avious Jackson Gahanna Lincoln Jazz Band I – Kelly Shellhammer Kings High School Jazz Band – Joe Polen Notable Events The Cincinnati Regional Concert Band Festival sponsored by Music for All and Yamaha hosted over 40 concert bands on March 7th, 2020. At this event, all bands performed a 20-30 minute concert and received a 30-minute clinic. The list of performing bands included ensembles from Ohio, Kentucky, Michigan, Kansas, and North Carolina. Clinicians for 2020 included: Jim, Daughters, Micah Ewing,

Cheryl Floyd, Richard Floyd, Wendy Higdon, Gary Hill, Bobby Lambert, Russ Mikkelson, and Joseph Parisi. Awards and Honors The Centerville Jazz Band from Centerville High School, under the direction of Brandon Barrometti, has been selected to perform at the 2021 Macy's Thanksgiving Day Parade in New York City. The band was originally scheduled to perform in the 2020 parade, but due to COVID restrictions, the parade deferred all bands to 2021.

SOUTH DAKOTA

KEVIN KESSLER, CHAIR State Bandmaster Association website sdbandmasters.org State Music Educators website sdmea.net Noteworthy state news, events, and activities Activity severely curtailed during the current calendar year due to COVID-19 NBA citations/awards given in state this past year; recruiting efforts Recruiting efforts have been concentrated on current collegiate students in hope of building a base of future full members. Colleges around the state are contacted by me and encouraged to promote NBA to their music education majors.

WISCONSIN KRISTEN KIRCH, CHAIR State Bandmaster Association website: sites.google.com/view/ wisconsinbandmasters State Music Educators website wsmamusic.org Noteworthy state news, events, and activities The board of directors for the National Band Association Wisconsin Chapter is usually very busy at this time of year planning the annual January convention. We are choosing students for the honor

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North Central Division, Mark Heidel, Division Chair cont. Wisconsin, cont. bands, selecting guest bands, planning sessions for the directors, preparing the new music reading session, the director’s luncheon and, of course, the “afterglow.” In June, we made the difficult decision to cancel the 2021 convention and instead offer free monthly webinars to our members and any directors in the state who are interested. Our first webinar was in September and was a relaxed discussion about “Teaching During the COVID 19 Pandemic - What works, what doesn’t?” We did not have one in October in order to promote the Wisconsin School Music Association Virtual Convention, but we just had one on November 14 called “Putting the E in Ensemble” which featured composer Alex Shapiro and UW Whitewater director, Dr. Glenn Hayes discussing their new curriculum. Our webinar is planned for December 12 and will feature a discussion with Colonel Lowell Graham, Col. USAF (ret), Ohio, Dr. Joe Hermann (formerly of Tennessee Tech University-retired) and Dr. Linda Moorhouse, currently at the University of Illinois. We are attempting to serve and support directors in our state the best that we can during this difficult and stressful time of teaching. Projects involving NBA Project Grant money When we have received grants, we would usually use them to help fund our annual convention. NBA citations/awards given in state this past year; recruiting efforts We give numerous NBA Citations of Excellence to Groups and Directors who are part of our annual convention.

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SOUTHWESTERN DIVISION DUSTIN SEIFERT, DIVISION CHAIR ARKANSAS

TIMOTHY OLIVER, CHAIR State Bandmaster Association website: asboa.org State Music Educators website arkmea.org Noteworthy state news, events, and activities Like in many states, the current pandemic has had a significant impact on many band programs in Arkansas. Despite restrictions and viral mitigations, band programs in our state continue to move forward. NBA member Julia Reynolds who also serves as the Executive Director of the Arkansas School Band and Orchestra Association, has worked tirelessly with various government, health, and safety agencies in our state on policies and procedures during this pandemic. She has overseen significant and successful adaptations to large ensemble assessments and honor band auditions at the region and state levels. Our band colleagues in our state owe Ms. Reynolds a profound debt of gratitude for her service. Arkansas marching bands participated in several events during the fall 2020 season. The Russellville High School Marching Band, led by NBA Member Dewayne Dove and assisted by NBA Member Scott Johnson, performed at the 2020 ASBOA Region IX Marching Assessment and earned superior ratings. The Star City High School Marching band, led by NBA Member Brian York recently participated in the 2020 ASBOA Region III Marching Assessment and the ASBOA State Marching Assessment. At the collegiate level, NBA member Shaun Popp led the Henderson State University Marching Band in a series of outdoor and online

performances to engage students and the community despite not having a football season. The Arkansas State University Band Program, led in part by NBA Members Tim Oliver and Sarah Labovitz, instituted several innovative plans this fall. All concert bands were reimagined. Students chose from among six different project options. Some projects met in-person; others were virtual. The project options were Chamber Ensembles of 5 or fewer performers; Composition, Composers, and Commissions - an introduction to composing for winds and percussion; Masterworks for Wind Bands (1900 – 1951); Repertoire Exploration (Grades .5-3); Virtual Holiday Concert; and Wind Band History from 1597 to 1897. In addition, the Sound of the Natural State Marching Band performed in the stands for multiple home football games before the university moved to virtual instruction. A new virtual event called "The Band Director Brunch" offered directors from 4 different states the opportunity to share ideas and strategies for rehearsals and performances, especially during the pandemic. Projects involving NBA Project Grant money I am not aware of any projects in Arkansas that involved NBA Project Grant Money. NBA citations/awards given in state this past year; recruiting efforts Our state membership is up slightly from the previous year. One item we have been highlighting is the NBA student membership in an effort to tout the benefits of the NBA to pre-service teachers. Hopefully, these students will matriculate into regular NBA in the future.

NBA NEWS

Southwestern Division, Dustin Seifert, Division Chair cont.

COLORADO

SHERIDAN LOYD, CHAIR State Bandmaster Association website: coloradobandmasters.org State Music Educators website: cmeaonline.org/ Noteworthy state news, events, and activities This year, Colorado has faced many challenges due to COVID-19. Many districts have remained in remote learning throughout most of the fall, with others moving fully online in recent weeks. However, the state was able to host events before the onset of COVID-19, and hopes to hold events later in 2021. In December 2019 the Colorado State University High School Honor Band welcomed Dr. James Spinazzola as guest clinician and over 200 high school students to campus. The CSU Marching Band was the state of Colorado’s university representative in the 2019 Denver virtual parade of lights. In January 2020 Colorado State University was the featured collegiate band at the Colorado Music Educators Association Convention. Many collegiate and regional honor bands across the state in Spring 2020 and early 2021 have been cancelled due to COVID-19 concerns and restrictions. The Colorado Bandmasters Association State High School Concert Band Festival was cancelled in April 2020, although many bands were able to participate in the regional festivals. The Colorado Bandmasters Association was able to hold its Middle School Regional Concert Band Festivals in early Spring 2020. The Colorado Bandmasters Association successfully held its annual summer convention virtually this year on July 1617, 2020, with Dr. Paula Crider, Chip De Stefano, and Colonel Thomas Palmatier headlining. Colorado’s competitive marching band season was cancelled in July, although some marching bands were able to perform in various capacities during the fall, ranging from stand-still shows to full-

length field shows with drill. The Colorado Music Educators Association Convention will be held virtually from January 28-30, 2021. Headliners include Scott Lang, David Rickels, and Yo Goto. Due to CMEA’s move to a virtual conference, the Colorado All-State Jazz Band will not perform a concert. Students are still able to audition, and those accepted will have the opportunity to participate in a Zoom meeting with a renowned jazz musician. The University of Colorado is holding a virtual honor band on February 26-27, 2021, for middle and high school students, involving streamed university concerts, zoom masterclasses with college high school students, involving streamed university concerts, zoom masterclasses with college professors, student performances and other online breakout sessions. The 70th Annual Colorado All-State Bands Concert is tentatively scheduled for March 25-27, 2021, hosted by the University of Northern Colorado. The All-State Symphonic Band will be guest conducted by Dr. Russell Mikkelson, and the Concert Band by Dr. David Fullmer. Projects involving NBA Project Grant money Colorado State University is leading one of the three major aerosol arts studies in the United States with initial results published in August 2020, the second set of results scheduled for December 2020, and final results scheduled to be published January 2021. With the continuation of COVID-19 concerns, there have not been many opportunities to plan in-person NBA initiatives. As a member of the Colorado Bandmasters Association State Board, I plan to approach the CBA leadership about developing a partnership with the NBA, and suggest the possibility of co- hosting an event for collegiate students and/or secondary school directors. NBA citations/awards given in state this past year; recruiting efforts Our current Colorado membership includes many college students, which

shows promise that these members will continue their membership in the National Band Association when they enter the field as professionals. I hope to expand the membership to other colleges and universities across the state, in addition to promoting the benefits of the NBA to current band directors.

KANSAS

MATTHEW SMITH, CHAIR State Bandmaster Association website: kansasbandmasters.com State Music Educators website: ksmea.org Noteworthy state news, events, and activities The following bands performed at our annual Kansas Music Educators Association In-Service Workshop (February 27-March 1) Crossroads Wind Symphony (Paul Popiel, conductor) McPherson College Concert Band (Kyle Hopkins, conductor) Olathe Frontier Trail MS 8th Grade Band (Sara Smitko, conductor) Blue Valley West HS Symphonic Band (Spencer Merryfield, conductor) Blue Valley HS Symphonic Band (Paul Bessetti, conductor) Olathe South HS Wind Ensemble (Chad Coughlin, conductor) Olathe Northwest HS Band Raven Winds (Galen Whisman, conductor) Washburn University Wind Ensemble (John Thomas Seddon, conductor) Lawrence HS Wind Ensemble (Mike Jones, conductor) Andover HS Symphonic Band (Ray Linville, conductor)

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Southwestern Division, Dustin Seifert, Division Chair cont.

Kansas, cont. Sterling High School received the KSHSAA 2019-2020 Performing Arts School of Excellence award. It was presented by KSHSAA to the arts staff of Sterling High School at their HS Choir Concert on Nov. 2. Sterling High School is the only KS school to be a finalist for the award every year since the award began three years ago. University of Kansas Hosted our annual Prairie Winds Festival with over 100 high school participants. KUWE World Premiere of The Moon Dreams Still (Kip Haaheim) Wind Ensemble version premiere of Tintagel (Arnold Bax, trans. Cliff Colnot) KUWE World Premiere of A Midwestern Suite (Tom Davoren) KUWE World Premiere of Max Q (Ben Justis) The KU Bands played a large role in hosting the 2020 Virtual Music Midwestern Music Camp, which hosted live Zoom masterclasses, Webinars, and pre-recorded content for over 1900 students in the United States and six foreign countries. Utilizing mitigation techniques as recommended by the latest scientific recommendations, the KU Bands performed in over 10 live-streamed concerts and recitals during the fall semester

MISSOURI

BRAD SNOW, CHAIR State Bandmaster Association website: missouribandmasters.org State Music Educators website: mmea.net Noteworthy state news, events, and activities Missouri Music Educators Association: MMEA Mentoring Conference – September 27-28

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MMEA Virtual In-Service Workshop – January 27-February 3 Missouri Bandmasters Association MBA Summer Convention – June 20-23 Missouri State University: Even in the midst of the COVID-19 pandemic, the MSU Bands continue to find ways to move forward safely and effectively to serve our students, faculty, alumni, family, and friends. HYBRID COVID CURRICULUM This fall we have featured a hybrid curriculum of zoom guests and inperson rehearsals with the concert bands program. Featured guests include: Col. Jason Fettig (Conductor/Music Director, USMC Presidents Own) Elise Shope-Henry (Second Flute, LA Philharmonic) Amanda Swain, (Principal Bassoon, Houston Grand Opera) Claire Ross (Section Horn, USMC President's Own) Stuart Stephenson (Principal Trumpet, Atlanta Symphony Orchestra) Rob Knopper (Section Percussion, NY Metropolitan Opera) David Binder (Second Trombone, Detroit Symphony Orchestra) Lauren Geist (Clarinet, US Navy Band) Dr. Jeremy Earnhart (President/CEO, Music for All)

We started livestreaming our normal Friday rehearsals and will continue this practice through the spring semester as possible. Concert Livestreams @ 7:30pm – Check our website: missouristate.edu/band for updated link information. • Tuesday, November 17, 2020 • Tuesday, December 1, 2020 • Tuesday, March 2, 2021 • Sunday, April 25, 2021 Springfield Youth Wind Ensemble We are holding auditions for the 5th season of the Springfield Youth Wind Ensemble. Visit: missouristate.edu/Band/ springfield-youth-wind-ensemble.htm MSU Conducting Workshop 5th annual MSU Conducting Workshop, February 6, 2021. This year's guest conductor will be Jack Delaney, Director of Bands at Southern Methodist University and feature an all chamber music workshop. Marching Arts Master Classes Chris Church – DCI / WGI / BOA Judge – August 27 Lindsey Vento – The Academy program coordinator Steve Vento – Vento Music and Visual Designs Melissa Gustafson Hinds – O’Fallon Township High School Ozarko Marching Contest – October 10, 2017

Dr. Kevin Sedatole (Director of Bands, Michigan State University)

Missouri State Veterans Concert – November 5, 2017

Richard Floyd (Retired Director of Music for Texas UIL) Cheryl Floyd (retired Director of Bands, Hill Country Middle School)

Pride Band Performance Series • September 3 • September 24 • November 5 • November 14

Dr. John Pasquale (Director of the Michigan Marching Band)

All State Band Preparation Clinic – February 6

Robert Myers (Former Director of Bands - Flower Mound HS) Wind Ensemble Friday Rehearsal Livestream:

Southeast Missouri State University: Pop Up Pep Band Concert – October 2, 2020 Continued on next page

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Southwestern Division, Dustin Seifert, Division Chair cont. Missouri, cont. Symphony Orchestra Gala Concert – ALL BEETHOVEN, Guest Artist Liesl Schoenberger Doty, Violin – October 13 and 15, 2020 SEMO Jazz Ensemble – PRESS REWIND – October 15, 2020 Pop Up Pep Band Concert – October 16, 2020 Fall Percussion Ensemble Concert – October 22, 2020 Marching Band Open Rehearsal – October 23, 2020 Southeast Wind Symphony – Chamber Music Concert – October 27, 2020 Marching Band Grand Finale – October 30, 2020

Noteworthy state news, events, and activities. Supplemental Report: East Central College: We opened our season with an outdoor performance of small ensemble literature on October 2nd and 4th (in collaboration with our theater department). This was both our Concert and Jazz Band. We live streamed both Concert and Jazz Band on October 20th. We will record Concert (small ensemble) and Jazz Band on December 7th and drop the recording as a viewing party on December 8th

SEMO Music Major for a Day – November 9, 2020 and February 15, 2021

We have a MSHSAA festival and Palen Band Day planned for the spring but I highly doubt either happen.

Big Band Christmas Jukebox – November 13, 2020 Southeast Wind Symphony – Chamber Music Concert II – November 17, 2020

We are going to host our Jazz Clinic outside on April 29th and 30th (coupled with a performance by our Jazz Band April 29th and the Adam Maness Trio April 30th.

Holiday Percussion Concert – November, 21, 2020 Opera: The Marriage of Figaro – January 29 and 31, 2021 Wind Symphony – Winter Concert – March 2, 2021 Symphony Orchestra, Mozart and More, March 9, 2021 Percussion Ensemble Theater Concert, March 23, 2021 SEMO Jazz Ensembles – BEING BASIE – April 13, 2021 Symphony Orchestra “The Lark Ascending” – April 26, 2021 Opera: Scenes, May 2, 2021 Southeast Wind Symphony – Spring Concert – May 4, 2021 More events at semo.edu/music/events Washington University will be producing an end of the semester virtual “performance” consisting of short recordings made by the students

and assembled into an audio/visual presentation. The Wind Ensemble, Jazz Band, Symphony Orchestra and Choirs will all have something on the website. Virtual “performances” can be viewed at music. wustl.edu

We plan to still host our Pop's Concert outside on May 7th (but might add dates to that as it is the only Concert Band performance of the semester). We host this event outside annually and prior to last year have averaged an audience of about 850. Missouri Baptist University: Even though our football games have been moved to the Spring Semester, the MBU PEP BAND has been playing “PopUp” Concerts around the campus. The performances are 20 minutes in length. Student body and musicians seem to like it. Full length Pop, Funk, and Rock and Roll pieces Missouri, cont. plus the fight song. The MBU CONCERT BAND has been divided into 8 chamber ensembles ranging from trios to sextets. Each group meets twice per week. Coachings are weekly. Each chamber group will have performed twice on our Friday Student Recitals by the end of the semester.

NEW MEXICO

FRANK SLIFE, CHAIR State Bandmaster Association website: snbanv.org State Music Educators website: nmeamusic.org Noteworthy state news, events, and activities NMEA continues with virtual solo/ ensemble contests in November and April; NMEA continues with All- State in the spring of 2021; Nevada and Arizona will be joining forces for a joint professional development opportunity in January entitled "Connecting through Music", featuring guest clinicians Tim Lautzenheiser and Elisa Janson-Jones. Projects involving NBA Project Grant money As we continue to deal with 100% virtual learning here in the Southwest, new and diverse teaching strategies abound. Music educators are implementing numerous platforms including Smartmusic, Soundtrap, GoReact, Musictheory.net, Canvas, and much more. Numerous band programs, including ours at Las Vegas Academy of the Arts, have produced and shared virtual concerts as a way of continuing to collaborate, interact, and share musical performances with each other and our communities. Additionally, numerous band programs are bringing in musical guests to our virtual classrooms to share their musical expertise with our students. Conductors, composers, applied college music faculties, even international performers have been very generous sharing their time and expertise with band students of all ages. Music education must, and can go on with continuing commitment and creativity. We look forward to seeing our students face to face very soon. In the meantime, we carry on! NBA citations/awards given in state this past year; recruiting efforts Rancho High School, Clint Williams, Director: Dr. William Foster Award of Excellence, NBA Citation of Excellence award winner.

It has been a positive semester with music….creative.

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Southwestern Division, Dustin Seifert, Division Chair cont.

TEXAS JIM LITTLE, CHAIR State Bandmaster Association website: texasbandmasters.org State Music Educators website: tmea.org Noteworthy state news, events, and activities Texas NBA Membership November 1, 2019 107. Texas NBA Membership November 1, 2020 160 (Net Gain of 53) Programs of Excellence Blue Ribbon Award: Six of seven National Winners were Texas bands directed by NBA members. Dr. William P. Foster Project: Two Southwestern Division winners were Texas bands directed by NBA members. One of those bands was named as the National Winner. Two National Winners of the 2020 Mark of Excellence (Foundation For Music Education) were Texas bands directed by NBA members Projects involving NBA Project Grant money NBA Exhibit at Texas Music Educators Clinic-Convention in February NBA citations/awards given in state this past year; recruiting efforts No citations were awarded in 2020. The NBA in Texas, our state newsletter, is published quarterly and distributed to all members via email. More than 6,000 active and retired band directors, school district Fine Arts Supervisors, and others associated with the Band Division of Texas Music Educators Association and Texas Bandmasters Association received multiple emails with information about NBA and copies of The NBA in Texas.

WESTERN / NORTHWESTERN DIVISIONS DIANE KOUTSULIS AND JOHN MILLER, DIVISION CHAIRS ARIZONA

CHAD NICHOLSON, CHAIR State Bandmaster Association website: aboda.org/site State Music Educators website: azmea.org Noteworthy state news, events, and activities Through the fall, the Arizona Band and Orchestra Directors Association has provided an outstanding professional development series for our teachers. The "Lunch and Learn" series has provided an online session every Saturday throughout the fall, hosting guest speakers that include college directors, high school directors from across the country, leadership speakers, and other outstanding guests. The UA Pride of Arizona Virtual Band Day was held on October 24, 2020; as a free online event, it drew in well over 400 students and directors from the region. Instruction was provided by directors, professionals from the marching arts, as well as university applied faculty, all in support of Arizona music educators and ensembles.

CALIFORNIA

JERMIE ARNOLD, CHAIR State Bandmaster Association website: cbda.org

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State Music Educators website calmusiced.com Noteworthy state news, events, and activities Sadly, due to COVID-19 California has been completely virtual. While many of my colleagues are helping students connect virtually with composers and conductors, all of us long for the opportunity to return to our normal performance schedules. Projects involving NBA Project Grant money Jermie Arnold has a project underway that received an NBA Grant. COVID-19 has pushed pause on this project. NBA citations/awards given in state this past year; recruiting efforts None this fall

HAWAII

ADAM KEHL, CHAIR State Music Educators website: hawaiimea.org Noteworthy state news, events, and activities Currently, the vast majority of programs are utilizing online only education models. Concerts, marching and concert festivals, travel, etc. has mostly been cancelled since March. A sample of band events in Hawaii prior to the shutdown: Congratulations to Michael Nakasone Continued on next page

NBA NEWS

Western / Northwestern Divisions, Diane Koutsulis & John Miller, Division Chairs cont. Hawaii, cont. for his induction into the NBA Hall of Fame of Distinguished Conductors. Kamehameha Schools Kapalama Warrior Marching Band represented the state as they marched in the Tournament of Roses Parade on January 1. OBDA successfully hosted middle school and high school select honor bands with conductors Robert Sheldon and Jeffery Boeckman. Kamehameha Schools Hawaii hosted the well attended Kamehameha Band Festival for MS/HS programs on Hawai’i island with clinicians Larry Gookin and Adam Kehl. The annual Central District Band Festival on Oahu was another great success. The week-long event featured honor bands, clinics, and festival performances with clinicians Robert Meunier and Thomas Bingham. The University of Hawaii Wind Ensemble traveled to Kauai to perform the premiere of the wind band version of the Symphony of Hawaiian Birds in conjunction with wildlife conservation organizations.Performances of the work on Maui and at the CBDNA West/ Northwest regional conference were cancelled due to COVID. We will be working towards increasing NBA involvement statewide and expanding our membership, especially to new and future educators.

IDAHO

JOE TORNELLO, CHAIR State Bandmaster Association website: idahobandmasters.org State Music Educators website: idahomusiced.org NBA citations/awards given in state this past year; recruiting efforts I am in the process of reaching out to the various state institutions that offer Music Ed. I plan to meet virtually with each of these schools to educate folks on what NBA can offer them. I'm also working to solidify a group of master teachers for mentoring those teachers that are already

in the field. My hope is that by targeting the younger educators we'll be able to build a larger membership within the state for many years to come.

MONTANA

KEVIN GRIGGS, CHAIR State Bandmaster Association website bandmasters.net State Music Educators website mtmusiced.com/ Noteworthy state news, events, and activities As with every other program in the country, Montana bands are doing their best to maintain music instruction in the face of the COVID-19 pandemic. Some are faced with hybrid instruction models and others are dividing their groups into smaller "chamber" type ensembles to make better use of social distancing in their rehearsal spaces. We hope for a quick end to the pandemic and a return to making music in a more effective way.

NEVADA

DAVID MACCABEE, CHAIR State Bandmaster Association website:

snbanv.org

students, the Nevada All- State Festival for 2021 will be a virtual event for our students this coming spring. NBA citations/awards given in state this past year; recruiting efforts NBA William Foster Award - Rancho High School, Clint Williams, Director NBA Citation of Excellence Awards Rancho High School Clarinet Choir, Clint Williams, Director

OREGON

TODD ZIMBELMAN, CHAIR State Bandmaster Association website oregonbda.org State Music Educators website: oregonmusic.org Noteworthy state news, events, and activities The Oregon Band Director's Association continues to commission new works for band. As an ongoing yearly project alternating between middle school and high school levels, OBDA is currently working with Chris Pilsner for a new grade 4 work for high school band that was scheduled to be performed at the 2021 All-State weekend (which has been canceled). We hope to premier the work at our state conference in 2022. oregonbda. org/commission-project.html

State Music Educators website:

nmeamusic.org

Noteworthy state news, events, and activities NMEA is partnering with the Arizona Music Educators Association to put on a virtual professional development in January 2021! The conference’s theme is “Connecting Through Music,” and will feature Dr. Tim Lautzenheiser and Elisa Janson-Jones as keynote speakers. Clinicians and exhibitors from both Nevada and Arizona will be present. Additionally, NMEA is excited to offer this year’s Solo & Ensemble Festival as a virtual event. NMEA is allowing students to choose which semester they wish to participate in, Fall and Spring. Continuing with our efforts to provide quality musical experiences for our

UTAH

NATE SEAMONS, CHAIR State Bandmaster Association website: Facebook.com/ UtahBandmastersAssociation State Music Educators website umea.us Noteworthy state news, events, and activities The Utah Bandmasters clinic is a 3-hour clinic with master clinicians from around the country. This clinic is planned conveniently the night before our UMEA conference. To attend the bandmasters clinic, teachers and college students must Continued on next page

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Western / Northwestern Divisions, Diane Koutsulis & John Miller, Division Chair cont. Utah, cont. sign up for the National Band Association as members. This year the Bandmasters will co-host the event with UMEA virtually due to COVID-19.

Mountain Ridge JH: Richard

COVID-19 Marching Band Report: The UMEA Marching Band circuit was one of the only circuits in the country that had a full season of marching band competitions during COVID-19. The judging panel was reduced from 6 to 4. The stadiums were cleaned and sanitized between groups and classes. Tickets were sold to only a few bands at a time. Spectators cleared the stands between each group, and the stadium was cleaned before the next group. There is no evidence that there was COVID spread at any of the events to date.

2019 HS State Concert Band Festival. Straight 1s no minus Citation of Excellence

Projects involving NBA Project Grant money None NBA citations/awards given in state this past year; recruiting efforts Utah Bandmasters Awards 2020, National Award or Major conference. Citation of Excellence Brek Mangelson: UMEA Conference

Bateman Vista Heights MS: Paul Lemen Willowcreek MS: David Faires

Corner Canyon: Randall Clark Skyridge: Howard Summers Green Canyon: Randall Beach Bountiful: Danny Turnblom Farmington: Brek Mangelson American Fork: Nate Seamons Timpview: Jared Hearld Woodscross: Todd Campbell Tooele: Orien Landis 2019 HS Jazz Band Festival: Straight 1s no minus including SR Outstanding Jazz Educator Award

Howard Summers: UMEA Conference

American Fork HS: Nate Seamons

Dr. Tom Keck: UMEA Conference

Corner Canyon HS: Randall Clark

Scott Hagen: CBDNA Conference Lance Major: Music Federation call for tapes, Commended award (only school outside of TX)

Park City High School: Chris Taylor

Dave Faires: Music Federation National jazz award (1 of 2 in the nation) MS State Concert Band Festival Straight 1s no minus including SR Citation of Excellence Central Davis Jr: Christine Wolf American Fork Jr: Lance Major Farmington Jr: Heath Wolf MS State Jazz Festival Straight 1s no minus including SR Outstanding Jazz Educator Award Farmington MS: Heath Wolf Lakridge MS: Kandis Taylor Millcreek JH: Chad King

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Marching Band Championships NBA Award for Marching Excellence 2018 HS State Champions: 1A: Spanish Fork: Clint Roberts 2A: Lehi High School: Brian Parker 3A: Lone Peak: Curt McKendrick 4A: Green Canyon: Randall Beach 5A: American Fork: Nate Seamons 2019 HS Marching Band State Champions 3A: Grantsville: Don McGuire 4A: Green Canyon: Randall Beach 5A: Farmington: Brek Mangelson 6A: American Fork: Orien Landis Recruiting Efforts: The annual Utah Bandmasters conference remains our best recruiting tool. Additionally, Snow College started a bandmasters club on campus and has linked the membership to membership in NBA. Snow College student, Dylan Hansen is working with Dr. Nate Seamons and Dr. Rebecca Phillips exploring ways to expand NBA into college chapters.

WASHINGTON DANH PHAM, CHAIR

State Bandmaster Association website: wmea.org State Music Educators website: wmea.org Noteworthy state news, events, and activities The following WA wind ensembles and jazz bands were accepted to perform at the 2021 National Association for Music Education Biennial Northwest Convention (Spokane, WA): Centennial Middle School Falconiers Brian Vaughn, Director Inglewood MS Wind Ensemble Erin Keeton-Howard, Director Ferris HS Wind Ensemble Ben Brueggemeier, Director Union HS Wind Ensemble Adam Morrell, Director (Union HS's Percussion Ensemble was also selected to perform) Washington State University Symphonic Wind Ensemble Danh Pham, Director Decatur HS Jazz Band Jeff Chang, Director Manson School District Jazz Band Mathew Brown, Director Central Washington University Jazz Ensemble Chris Bruya, Director Washington State University Jazz Big Band I Greg Yasinitsky, Director The educational convention combines musicians and educators from all across country, including members from the states of Washington, Oregon, Idaho, Montana, Alaska, and Wyoming. Because of COVID-19, the convention will be held in a virtual format, however, no performances will take place. These ensembles are recognized for their incredible work, and are being congratulated for being selected for this prestigious event!

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Western / Northwestern Divisions, Diane Koutsulis & John Miller, Division Chairs cont.

Washington, cont. Projects involving NBA Project Grant money As it stands currently within the State of WA, schools are open, however, NO bands or choirs are permitted to perform or rehearse on any school grounds. This is in accordance with the Washington State Office of Superintendent of Public Instruction (OPSI). Many teachers are using various strategies to commence with band instruction in virtual formats using several platforms such as zoom, google meet, etc. A petition is circulating around on the state on various public forums to permit the State of WA to implement safety guidelines outlined for music in the NFHS/ NAfME clinical study on aerosols. It reads: "Change the State's School Reopening Guidance Now to Allow Safe Singing and Music Playing! This petition urges Governor Inslee to allow our students to continue to receive a well-rounded education and change Washington State's school reopening guidance to allow safe singing and music playing based on the NFHS / NAfME Fall 2020 Guidance for Music Education. Dear Governor Inslee; Beginning in the spring months and continuing through the summer of 2020, leaders in our arts organizations with the assistance of scientists and researchers at the University of Colorado and the University of Maryland conducted an aerosol study of virus spread and transmission while performing instruments and singing that outline a clear path for limited and safe music instruction in face to face settings should phased reopening of schools be possible. These findings are synthesized in the document from the National Federation of High Schools (NFHS) and the National Association for Music Education (NAfME), co-sponsors of the study: Fall 2020 Guidance for Music Education. However, Washington state's guidance does not reflect these findings, and prohibits singing and performing on wind instruments. This disconnect is hurting our instrumental and choral students in communities

where schools are beginning to open up. The Washington Music Educators Association has been flooded with concerns and requests for action. We have heard stories of jobs lost, teachers reassigned, plans for reopening made and suddenly dashed, and concerns voiced without knowledge of where to turn. Educators, community members, and our students are concerned for future of music education and the arts in Washington State. Music and the arts are a basic human and educational right uplifted in the ESSA (Every Student Succeeds Act â&#x20AC;&#x201C; 2015), in Arts Advocacy statements published on the OSPI website, in our Washington State graduation requirements, and as a cornerstone of SEL (Social Emotional Learning). Music and the arts uplift and guide the human spirit â&#x20AC;&#x201C; something desperately needed during the COVID-19 Pandemic. We request is that the decision makers on the Reopening Washington Schools Workgroup use and reference the specific guidance in the NFHS / NAfME document, as opposed to generalized statements that performing on wind instruments or singing are unsafe. This document clearly lines out how to proceed with music instruction safely and effectively once our schools reopen and face to face instruction returns." NBA citations/awards given in state this past year; recruiting efforts 2019-20 Dr. William P. Foster Project Award of Excellence A.C.. Davis High School Yakima, WA Brian Beck, Director

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NBA BOARD OF DIRECTORS MEETING VIRTUAL MEETING SUNDAY, DECEMBER 13, 2020 5:00 PM - 6:30 PM (CENTRAL TIME) PRESIDENT REBECCA PHILLIPS, PRESIDING President Rebecca Phillips called the meeting to order at 7:31 pm. MEMBERS IN ATTENDANCE: Kim Bain (Elementary/Middle/Junior High School Representative), Chip De Stefano (Elementary/Middle/Junior High School Representative), Tracy Leslie (Elementary/Middle/Junior High School Representative), Susan Waters (Elementary/Middle/Junior High School Representative), Travis Coakley (High School Representative), Brian Covey (High School Representative), Kristy Dell (High School Representative), Chad Kamei (High School Representative), Arris Golden (College-University Representative), Shelby Chipman (At-Large Representative), Gary Gribble (At-Large Representative), Elizabeth Peterson (At-Large Representative), Alfred Watkins (At-Large Representative), David Vandewalker (AtLarge Representative), Craig Aarhus (At-Large Representative), Alfred Watkins (At-Large Representative), Lt. Col. Daniel Toven (Military Bands Representative), Michael Burch-Pesses (Community Band Representative), Steve Trull (Music Industry Representative), Andrew Yozviak (Eastern Division Chair), Corey Spurlin (Southern Division Chair), Mark Heidel (North Central Division), Dustin Seifert (Southwestern Division Representative), Diane Koutsulis (Western/Northwestern Division Co-Chair), John Miller (Western/Northwestern Division Co-Chair), Myra Rhoden (Programs of Excellence Chair), Heath Nails (Awards Chair), Erich Rivero (Jazz Chair), Susan Creasap (NBA Foundation), Matt Talbert (Research Chair), Rebecca Phillips (President), Randall Coleman (First Vice-President), Matt Temple (Second Vice-President), Scott Tobias (Immediate Past President), and Linda R. Moorhouse (Secretary-Treasurer). MEMBERSHIP REPORT: Linda Moorhouse reported membership has increased more than two hundred people this year and was at 2130 members as of December 11. More people have joined or renewed since then. See the 2020 report in the 2021 Winter issue of the NBA Journal for more information. FINANCIAL REPORT: Linda Moorhouse reported there is a balance of $69,869.97 as of November 30, 2020 in the NBA account. See the 2020 financial report in the 2021 Winter issue of the NBA Journal for more information. NBA Foundation: Sue Creasap reported there has been no activity at this time with the NBA Foundation. NBA MENTOR PROJECT: Sue Creasap shared that there are over 30 mentor/mentee pairings working together at this time. If anyone is interested in serving as a mentor, please contact Sue. DIVISION AND STATE REPORT: Randall Coleman thanked the Division Chairs (Andrew Yozviak, Corey Spurlin, Mark Heidel, Dustin Seifert, John Miller and Diane Koutsulis) for their work this year. See the full report of division and state activities in the 2021 Winter issue of the NBA Journal. MUSIC INDUSTRY: Steve Trull reported this past year has been worse than the aftermath of 911 in terms of activity within the music industry and band programs. As we look to the return of band programs to a regular physical mode of teaching, we hope this return will help the industries come back as well. Trull stated concern for those school programs which are not able to be proactive about their visibility within the community to express their needs. He concluded his remarks by stating the industry is committed to service and positive outcomes as we look to a future after the pandemic. MILITARY-PROFESSIONAL BANDS: Daniel Toven reported all service bands have been attempting to fulfill the mission of engaging the American public in virtual space. Events such as the Air Force Band Independence Day concert, Marine Band chamber series, Army Band American Holiday Day Festival, etc., are successful examples of this. It is interesting to note that each military service branch has executed this in a unique way. A number of military bands have been attempting to assist with online education, from beginning band to techniques for advanced musicians. These videos are available through each military band’s website. These groups are also collecting solo repertoire for all-state audition material in order to provide recordings for students to use in their preparation of the music. Outside of musical endeavors, military music personnel across the services have been called to do non-musical things, like temperature checks, for instance. Toven reported this is “unchartered territory for us, but we are making the best of it.” Please see the full report in the 2021 Winter NBA Journal. COMMUNITY AND ADULT BANDS: Michael Burch-Pesses gave a brief overview of his report, including updates which are affecting all organizations. The New Horizons community eliminated their minimum age limit; it is no longer 50 years of age. All community bands are challenged right now with space limitations since many public schools have either reduced rehearsal space capacity, or closed rehearsal spaces. Even with this challenge, many bands are finding a way to rehearse. Overall, community bands are not as active as before the pandemic, but they are looking forward to returning to normal activity soon. Please see the full report in the 2021 Winter NBA Journal. JAZZ COMPOSITION CONTEST: Erich Rivero reported the suspension of entries for the Young Jazz Composer Composition Contest until July 2021. No entries were collected in 2020. The Jazz committee is working on expanding the current music list for Jazz, which contains primarily swing music at this time. REVELLI, MERRILL JONES, AND YOUNG BAND COMPOSITION CONTESTS: President Phillips reported that all committees have worked judiciously this fall to select winners for this year. The announcement of the winners for each contest will be made on Tuesday evening at the NBA General Membership Virtual Meeting.

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PROGRAMS OF EXCELLENCE BLUE RIBBON AWARDS: Myra Rhoden reported three schools were chosen as Division Winners for this year. From the Eastern division: North Hills High School, Len Lavelle and Lucas Beaver, Directors (Pittsburgh, Pennsylvania); from the Southern division: LaVilla School of the Arts, Dr. Ann Adams-Valle, Thomas Flynn, and Christopher Banks, Directors (Jacksonville, Florida); and from the Northwestern Division: West Salem High School, Todd Zimbelman, Director (Salem, Oregon). The announcement of the National Winners will take place on Tuesday evening at the NBA General Membership Virtual Meeting. Rhoden thanked Melinda McKenzie Hall for her assistance in compiling applicant materials. She also thanked Matt Temple for his support and guidance, and she thanked the Board members who are involved in this project for their help in the selection process. YOUNG COMPOSER/YOUNG CONDUCTOR MENTOR PROJECT: Linda Moorhouse reported the 2021 project will be postponed until June 2022 due to the COVID-19 pandemic. The event will take place in Washington, D.C. with the United States Air Force Band and their conductor/commander Col. Don Schofield as hosts. Application information will be posted to the NBA website in September 2021. STATE USE OF NBA SELECTIVE MUSIC LISTS: Randall Coleman reported he has been working with a committee to determine the best way to set up a system for states to use the NBA lists through online access to the NBA website. Once this has been determined and implemented, he will make the information available to all states and divisions. STUDENT GROUPS COMMITTEE: Matt Talbert reported a working group has been meeting to determine the best way for schools to create their own “student chapters” of NBA student members. NBA cannot formally adopt student chapters due to tax and liability issues. Many colleges and universities have their own guidelines for student organizations, which these groups should follow. As part of a final report, Talbert’s committee drafted an official statement that will be posted on the NBA website about student member groups. President Phillips asked Arris Golden if she could find out where “NBA student group” interest is across the nation’s colleges and universities. NBA JOURNAL: Matt Talbert reported he is accepting both trade and peer reviewed articles at this time. Please send any articles to him. ALL-AMERICAN D-DAY BAND: Scott Tobias shared how NBA and the company, Historic Programs, have been working together to partner to reinvent the “All-American Band.” Historic Programs reached out to NBA a year ago to seek a partnership. The band would represent the United States as part of the 2022 D-Day Memorials in France, and Col. (ret.) Tim Holtan will serve as director of the group. NBA agreed to support and publicize the event and is looking for sponsorships to help offset the costs for students from underserved areas of the country. More information will be forthcoming as we move through 2021. NORTH AMERICAN BAND SURVEY REPORT: President Phillips gave a brief overview of the survey, which is a joint initiative between the American Bandmasters Association, the College Band Directors National Association, the National Band Association, and the National Federation of State High School Associations (NFHS). The survey collected information about curricular and programming models that are being used in band programs this fall during the COVID-19 environment. The survey is an outcome of the studies on COVID-19 and aerosol transmission from researchers at Colorado State University and the University of Colorado-Boulder. AWARDS REPORT: Awards Chair Heath Nails reported there were 147 Citations of Excellence given in 18 states this year. Please see the full report in the 2021 Winter issue of the NBA Journal. OLD BUSINESS JAMES DAVID COMMISSION: President Phillips reported composer James David will have the 60th anniversary commission ready for a performance at the 2021 Midwest Clinic, which we all hope will host live band concerts. SPECIAL 60TH ANNIVERSARY LOGO AND PIN REDESIGN: President Phillips shared that the logo for NBA’s 60th anniversary has been completed and is in use right now. A design revision of the NBA pin is also in discussion with hope of distributing new pins to NBA members at the 2021 Midwest Clinic. 2021 MIDWEST CLINIC EVENTS: Carrying over from what Scott Tobias began in his term as president, President Phillips reported she is working to secure a 60th anniversary print edition of the Selective Music Lists, a “Best of” edition of the NBA Journal, and a 60th Anniversary Gala reception at the 2021 Midwest Clinic. A series of articles on the history of NBA are already being prepared for the NBA Journal by past president David Gregory. SOCIAL MEDIA: Craig Aarhus gave a brief report of the continued activity in our social media platforms. Activity has increased over the year. He also reminded the Board to continue to send information for the social media sites. The more we post, the more traffic we have on our sites. NEW BUSINESS CONSTITUTION UPDATES: Randal Coleman shared with the Board there will be a few items to update in the Constitution which will be sent to the Board this spring for their approval. If approved, they will be sent to the membership for their vote. NEW DISTINGUISHED LEGACY AWARD IN HONOR OF AL AND GLADYS WRIGHT: Linda Moorhouse reported that Gladys Wright has gifted $50,000 to the NBA Foundation for the establishment of a new award, the “Al and Gladys Wright Distinguished Legacy Award.” This gift is in honor of her husband, NBA founder and first President, Al G. Wright. This will be an annual award where the winner will be announced at the NBA General Membership Meeting in December. The award will be presented to individuals with at least 30 years of experience: the leaders, mentors, and master teachers in our profession. Any interest accrued from the gift will be used toward a physical award of recognition, in addition to other projects which support mentorship in our organization. Two other organizations will receive the same gift from Gladys Wright: the Sousa Foundation and ASBDA. The 2020 Al and Gladys Wright Distinguished Legacy Award winner will be announced on Tuesday evening at the NBA General Membership Virtual Meeting.

NBA JOURNAL

NBA NEWS

UPDATE ON DIVISION CHANGES: Randall Coleman reported we are combining the Western and Northwestern Divisions right now using two CoChairs, Diane Koutsulis (Nevada) and John Miller (Utah). OTHER: Alfred Watkins shared his concerns for our organization to find a new normal in regard to how we recognize and promote music written for bands. We currently have music on our Selective Music Lists which are offensive to people of color. Watkins reminded the Board to be mindful of the pain that has happened recently in the African American community. He encouraged the Board to seek conversations now about this problem so we may work toward a positive outcome sooner, rather than later. FINAL REMARKS: President Phillips thanked the Board for their work this year and asked for any suggestions that may help NBA or the profession move forward during this time. She then encouraged everyone to attend the General Membership Virtual Meeting on Tuesday night.

NBA GENERAL MEMBERSHIP MEETING VIRTUAL MEETING TUESDAY, DECEMBER 18, 2020 7:00 PM - 8:00 PM (CENTRAL TIME) PRESIDENT REBECCA PHILLIPS, PRESIDING

Meeting adjourned at 6:30 pm (Central Time). President Rebecca Phillips called the meeting to order at 7:00 pm. She then introduced the past presidents who were in attendance (virtually): James Keene, Thomas Fraschillo, David Gregory, Linda Moorhouse, John Culvahouse, Roy Holder, Richard Good, Scott Casagrande, and Scott Tobias. FINANCIAL AND MEMBERSHIP REPORT: Linda Moorhouse reported there is $69,869.97 in the NBA account as of November 30, 2020. Membership has increased more than two hundred members as compared to this time last year. As of December 11, we had 2130 active members. YOUNG COMPOSER/YOUNG CONDUCTOR MENTOR PROJECT: Linda Moorhouse reported the 2021 project will be postponed to June 2022 due to the pandemic. The next event will take place in Washington, D.C. with hosts Col. Don Schofield and the United States Air Force Band. Application information for both composers and conductors will be posted to the NBA website in September 2021. NBA/ALFRED YOUNG BAND COMPOSITION CONTEST: Audrey Murphy and Alfred Publications representative Chris Bernotas announced that this year’s winner is The Lighthouse Keeps Watch by Brooke Pierson. Pierson holds a Bachelor of Arts in Music Education from Michigan State University and is currently Chair of the Fine Arts Department at the Washtenaw International High School and Middle Academy (Ypsilanti, Michigan). He teaches orchestra, band, music history, music culture, and music composition, and has held this position since the school’s inception in 2011. NBA/MERRILL JONES COMPOSITION CONTEST: Merrill Jones Composition Contest committee member Christopher Chapman shared that this biennial contest is designed to promote quality compositions for younger bands. He then announced the winner of the 2020 Merrill Jones Composition Contest is A Midwestern Suite by Tom Davoren. Davoren is a composer and band director with a growing international reputation. His music for bands has been premiered, recorded and commissioned the world over by artists including the United States Marine Band, Central Band of the Royal Air Force, Brass Band of Battle Creek, Cory Band, and several prominent solo musicians. He holds bachelor’s and master’s degrees in composition from the Cardiff University School of Music. In 2009-10 he was awarded a research scholarship from the Arts and Humanities Research Council and the Welsh Livery Guild Composition Award. Davoren was also a BASCA British Composer Award nominee in 2011, a prizewinner at the EBBA European Composers Competition 2012, and the recipient of a Harvey Phillips Award for excellence in composition in 2014. NBA WILLIAM D. REVELLI COMPOSITION CONTEST: Matt McCutchen reported there were 35 submissions for the 2020 contest. He then reported the committee selected Brian Balmages’ Love and Light as the winner of the 2020 William D. Revelli Composition Contest. Balmages is an award-winning composer and conductor whose music has been performed throughout the world with commissions ranging from elementary schools to professional orchestras. He is a recipient of the prestigious A. Austin Harding Award from the American School Band Directors Association, and in 2016 was awarded the James Madison University Distinguished Alumni Award from the School of Visual and Performing Arts (the first year the award was given). He received his bachelor’s degree in music from James Madison University and his master’s degree from the University of Miami in Florida. Balmages currently serves as Director of Instrumental Publications for The FJH Music Company and Assistant Director of Bands and Orchestras at Towson University (Maryland). NORTH AMERICAN BAND SURVEY REPORT: President Phillips gave a brief overview of the survey, which is joint initiative between the American Bandmasters Association, the College Band Directors National Association, the National Band Association, and the National Federation of State High School Associations (NFHS). The survey collected information about curricular and programming models that are being used in band programs this fall during this COVID-19 environment, and is an outcome of the studies on COVID-19 and aerosol transmission from researchers at Colorado State University and the University of Colorado-Boulder. PROGRAMS OF EXCELLENCE BLUE RIBBON AWARDS: Randall Coleman and Myra Rhoden reported three schools were chosen as Division Winners for this year: from the Eastern division: North Hills High School, Len Lavelle and Lucas Beaver, directors (Pittsburgh, Pennsylvania); from the Southern

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NBA NEWS

division: LaVilla School of the Arts, Dr. Ann Adams-Valle, Thomas Flynn, and Christopher Banks, directors (Jacksonville, Florida); and from the Northwestern division: West Salem High School, Todd Zimbelman, director (Salem, Oregon). They then reported two schools were selected as National Winners for this year: LaVilla School of the Arts in Jacksonville, Florida, Dr. Ann Adams-Valle, Thomas Flynn, and Christopher Banks, directors; and West Salem High School in Salem, Oregon, Todd Zimbelman, director. The next event will take applications in 2022. CITATIONS OF EXCELLENCE FOR NBA MEMBER MIDWEST PERFORMERS: Matt Temple recognized three NBA members who had been selected to perform at the 2020 Midwest Clinic: Brian Covey, Lockport Township High School Wind Symphony, Lockport, Illinois (High School Band); Alexander Kaminsky, Vandercook College of Music Symphonic Band, Chicago, Illinois (Collegiate Band); and Stan Schoonover, Fairfax Wind Symphony, Springfield, Virginia (Adult Community Band). They will be sent Citations of Excellence. ALL-AMERICAN D-DAY BAND: Scott Tobias gave a brief overview of how NBA and Historic Programs have been working together to partner to reinvent the “All-American Band.” Historic Programs reached out to him a year ago, when he was NBA President. The All-American Band would represent the United States as part of the 2022 D-Day Memorials in France. Col. (ret.) Tim Holtan will serve as the director of the group. NBA agreed to support and publicize the event and is looking for sponsorships to help offset the costs for students from underserved parts of the country. More information will be forthcoming through NBA email and our website. NEW DISTINGUISHED LEGACY AWARD IN HONOR OF AL AND GLADYS WRIGHT: Linda Moorhouse shared that Gladys Wright has gifted $50,000 to the NBA Foundation for the establishment of a new award, the “Al and Gladys Wright Distinguished Legacy Award.” This gift is in honor of her husband, NBA founder and first President, Al G. Wright. This will be an annual award announced at the NBA General Membership Meeting in December. The award honors individuals with at least 30 years of experience: the leaders, mentors, and master teachers in our profession. She then announced that the inaugural winner of the 2020 Al and Gladys Wright Distinguished Legacy Award is Retired Col. Hal J. Gibson. Col. Gibson had an extraordinary career with the U.S. Army Bands, and is Conductor Emeritus of the U.S. Army Field Band. He also taught at Columbus State University for 16 years, and has an endowed professorship and a rehearsal hall named for him in the Columbus State University Schwob School of Music. Gibson is now retired and living in Florida with his wife, Marie. LIBRARY OF CONGRESS ARCHIVES: President Phillips reported that Loras Schissel was to give a short presentation on the Library of Congress Archives, and how to contribute to them at this time. Schissel was unable to join the virtual meeting due to personal matters. ACADEMY OF WIND AND PERCUSSIVE ARTS AWARD: Richard Floyd reported there will be no presentation of AWAPA materials for last year’s 2019 recipient and inductee, Craig Kirchhoff. This event will take place next year at the NBA General Membership Meeting at the Midwest Clinic in December 2021. He then announced the 2020 recipient, and the next person to be inducted into the Academy of Wind and Percussion Arts, is Mr. Loras John Schissel. Schissel will be presented with the AWAPA materials next year along with Kirchhoff. Schissel is the music director and conductor of both the Virginia Grand Military Band, of which he is the founder, and the Cleveland Orchestra’s Blossom Festival Band. He has travelled throughout the United States, Europe, and Asia conducting orchestras, bands, and choral ensembles in a broad range of musical styles and varied programs. He is a senior musicologist at the Library of Congress and a leading authority on the music of Percy Aldridge Grainger, Aaron Copland, Leonard Bernstein, and former Boston Symphony Orchestra conductor Serge Koussevitzky. He is also an authority on the music of John Philip Sousa and Karl King, and serves as a commentator on the Voice of America and for the United States Information Service. CLOSING REMARKS: President Phillips thanked the members of the association for the good work they have done and continue to do, especially during a most difficult year dealing with the effects of COVID-19. She wished everyone well as we all look forward to a better year in 2021. Meeting adjourned at 8:00 pm (Central Time). — Respectfully submitted by Linda R. Moorhouse

NBA JOURNAL

NBA FINANCE REPORT 2019—2020

Revenue Membership Dues Membership Dues From Website……………………........................................72,994.34 Membership Dues from checks/cash/money orders......................................1,020.00 Corporate Membership...............................................................................5,000.00 Institutional Membership paid by cash/check/moneyorder...........................1,725.00 Refund of Membership dues paid...................................................................-50.45 Total Membership Dues.............................................................................$80,688.89 Application Fees Programs of Excellence Blue Ribbon Award Application Fee............................300.00 Hall Of Fame Nomination Fee.....................................................................2,400.00 Total Application Fees..................................................................................$2,700.00 Divisions /States Georgia.....................................................................................................1, 000.00 Total Divisions / States..................................................................................$1,000.00 Service/Fee Revenue.................................................................................................560.33 Interest Earned (Chase)................................................................................................6.71 Total Revenue ..................................................................................................$84,955.93 Expenditures Administrative Expenses NBA Office................................................................................................13,815.03 Website/Technology....................................................................................2,501.22 Total Administrative Expenses....................................................................$16,316.25 Programs / Contests / Awards Awards-AWAPA...............................................................................................69.23 Award- Distinguished Service Award...............................................................206.00 Awards-Programs of Excellence Blue Ribbon Award.....................................2,284.03 Young Composer / Young Conductor Mentor Project.....................................2,608.44 Contests-William D. Revelli Composition Contest..........................................5,000.00 Total Programs / Contests / Awards.............................................................$10,167.70 Projects Grants-Booth..............................................................................................2,395.01 Grants-Division...........................................................................................2,000.00 Grants-Symposium......................................................................................1,420.77 Total Projects...............................................................................................$5,815.78 NBA Journals..............................................................................................9,222.56 The Instrumentalist...................................................................................14,061.00 The Midwest Clinic....................................................................................16,495.05 Charitable Contributions.............................................................................5,000.00 Total Expenditures...........................................................................................$77,078.34 Net Operating Revenue.......................................................................................$7,877.59 Net Revenue.......................................................................................................$7,877.59 Chase 11/30/2020....................$69,869.97

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Chase 11/29/2019....................$61,992.38

9595

NBA MEMBERSHIP REPORT

2020 NBA Membership Report (one day snapshot â&#x20AC;&#x201C; as of 12-11-20)

Eastern Division 2015 2016 CT 4 12 DE 4 7 MA 22 19 MD 26 23 ME 2 2 NH 6 6 NJ 14 13 NY 36 31 PA 63 67 RI 4 6 VT 0 0 Div. Total 181 186

2017 5 7 9 31 2 12 18 37 52 11 0 184

2018 6 5 14 32 1 13 19 41 69 8 0 208

2019 7 6 19 31 1 11 19 58 70 9 1 232

2020 11 5 17 34 2 11 24 57 78 18 1 258

North Central Division 2015 2016 IA 15 18 IL 117 124 IN 50 49 MI 20 12 MN 18 20 ND 48 55 NE 11 7 OH 30 33 SD 7 6 WI 116 149 Div. Total 431 473

2017 23 138 32 20 21 67 12 26 5 140 484

2018 25 231 45 20 28 60 16 31 10 141 607

2019 31 244 43 22 26 63 17 37 11 62 656

2020 40 206 47 25 42 60 16 48 11 161 656

Northwestern Division 2015 2016 AK 4 5 ID 3 4 MT 4 3 OR 5 9 WA 7 13 WY 0 0 Div. Total 23 34

2017 2 3 1 9 32 0 47

2018 4 5 3 26 29 0 67

2019 2 5 4 13 24 1 49

2020 2 7 3 20 27 1 60

Southern Division 2015 2016 AL 73 74 DC 1 2 FL 58 54 GA 115 117 KY 23 31 LA 10 21 MS 40 47 NC 21 23 SC 30 28 TN 22 18 VA 83 78 WV 4 13 Div. Total 480 506

2017 69 2 50 101 22 14 28 26 25 27 65 17 446

2018 75 2 65 129 33 14 28 34 32 30 58 12 512

2019 106 2 69 127 37 14 33 49 31 33 69 18 588

2020 101 2 76 132 34 16 50 75 48 36 59 22 651

Southwestern Division 2015 2016 AR 6 8 CO 13 27 KS 8 7 MO 15 15 NM 9 6 OK 4 6 TX 41 56 Div. Total 96 125

2017 10 27 8 16 10 5 50 126

2018 16 32 14 14 16 6 72 170

2019 14 28 16 14 13 5 110 200

2020 20 29 21 16 18 7 162 273

Western Division 2015 2016 AZ 17 16 CA 21 24 HI 5 6 NV 2 5 UT 25 35 Div. Total 70 86

2017 13 37 7 6 61 124

2018 15 60 10 14 91 190

2019 17 48 12 6 107 190

2020 17 52 11 20 113 213

International Division 2015 Australia 2 Canada 4 United Kingdom 3 Germany 1 Japan 2 Luxembourg Norway 2 Netherlands China 1 Taiwan Colombia Overseas Mil. 1 Div. Total 16

2017 0 6 0 1 2 1 2 1 1

2018 1 4 1 0 2 1 2 1 2 1

2019 1 4 1 1 2 1 4 1 0 1

1 12

1 16

1 17

2020 5 3 2 0 2 0 2 2 0 0 1 2 19

2015 1297

2016 1422

2017 1427

2018 1770

2019 1932

2020 2130

Breakdown 2018 Individual 1081 Institutional 13 Corporate 26 Retired 84 Student 489 Life 62 Past Presidents 15 Total 1770

2019 1165 14 27 104 545 62 15 1932

2020 1277 18 20 114 626 62 13 2130

YEAR NBA Totals

2016 0 4 0 1 2 1 2

Top Ten States 2019 2020 IL 244 IL 206 WI 162 TX 162 GA 127 WI 161 TX 110 GA 132 UT 107 UT 113 AL 106 AL 101 PA 70 PA 77 FL 69 FL 76 VA 69 NC 75 ND 63 ND 60

NBA JOURNAL

SUBMITTING PEER-REVIEWED RESEARCH

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

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.”

heightened beyond the traditional 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.

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

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 what actually happened in the

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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:

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).

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. Continued on next page

SUBMITTING PEER-REVIEWD RESEARCH

How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont. Oftentimes this is the place where practical ideas will be most clearly expressed; however, taking in the entire 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 Peer-Review 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. C. Cover Page: To ensure 98

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 (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).

submitted, it is the author’s responsibility to provide 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?

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Email Research Chair Matthew Talbert at talbertm@ohio.edu

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Note: Authors may not combine and/or mix styles within a single manuscript

organization for bands, dedicated to

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

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Give a friend a NBA Membership! MEMBERSHIP APPLICATION FOR MEMBERSHIP OR RENEWAL NBA Application for Membership or Renewal

Print and mail to complete your membership registration––the mailing address is at the bottom of this form. You will receive an email receipt once we have received your form and entered you into the system. Your membership is one year from the point you join or renew. You will be noti昀ed of dues renewals via email. First Name: ___________________________ Last name: __________________________________________ Member Number (if known) _________ Is this a o New Membership or o Renewal? (check one) Membership Type (select from below) o Individual $55 o Retired �� Instrumentalist �� o Institutional $75 o Student $5 (online NBA Journal plus Instrumentalist) o International $75 o Corporate $500

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*Note: Membership will be listed under the “First/Last Name” as written in the above section. School or Institution Name: __________________________________________________________________ Address: __________________________________________________________________________________ City: _______________________________________State/Province: _________________________________ Zip/Postal Code: __________________________ Country: _________________________________________ Work Phone: (______) ____________________ Web Page Address: www. ____________________________ Silver NBA pin: ____ check if you’d like to purchase a pin for $7 All members will receive access to an online version of the NBA Journal. Members will be noti昀ed of its availability by email. Hard copies of the printed NBA Journal issues are sent to all members, except students. What are your primary areas of involvement with bands? (Select all that apply) o Elementary o Military o Jr. High/Middle School o Community o Sr. High School o Retired o College/University o Performing Musician Total amount enclosed: $ __________ Make check or money order out to: National Band Association

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Mail to: The National Band Association �� reet �� Email: �� NBA JOURNAL

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DURING A GLOBAL PANDEMIC

100

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