2022 NBA Spring Journal

VOLUME LXII, NO. 3 | SPRING 2022

FEATURING NBA Biennial Elections, pg. 33

OFFICIAL PUBLICATION OF THE NATIONAL BAND ASSOCIATION

Iconic Legacy…Vision for the Future

VOLUME LXII, NO. 3 | SPRING 2022

Executive Committee/Project and Committee Chairs

2

An Introduction to Composer Kevin Wilt – Marc Decker

25

President’s Message

3

2022 Young Composer/Conductor Mentor Project Participants

30

First Vice President’s Message

5

Second Vice President’s Message

7

Immediate Past President’s Message

9

Mission Statement

10

National Band Association Biennial Elections • President Elect • Vice President • College/University Representatives • Elementary/Middle School/Junior High School Representatives • High School Representatives • At-Large Representatives

33 34 38 42 44 52 58

About the Academy of Wind and Percussion Arts

11

2022 NBA/Revelli Memorial Band Composition Contest

68

Past Presidents

12

2022 NBA Young Composers Jazz Composition Contest

69

Board of Directors 2020 - 2022

13

NBA Awards & Contests

14

2022 Merrill Jones Memorial Young Composers Band Composition Contest

70

To Tame the Unruly Classroom from the First Day – Gary Barton

15

2022 Alfred Music Publishing Young Band Composition Contest

71

Inside the NBA IDEA Committee

18

2022 NBA Programs of Excellence Blue Ribbon Awards

72

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

73

Using Large Ensemble Adjudicated Events as a Tool for Improving Our Ensembles — William Talley

22

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

To promote the excellence of band performance throughout the world

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

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

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

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

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

To promote pride and continued enthusiasm among band directors

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

To encourage quality students to pursue careers in music

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

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 Composers Jazz Composition Contest, Rich Stichler 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

G

reetings from the National Band Association! As we enter the final weeks of spring and head towards summer, I hope that each of you will find ways to rest and rejuvenate.

I am constantly reminded that we have the best jobs in the world – working with musicians of all ages to create experiences of a lifetime through band and band performance.

As this biennium comes to a close, we take this opportunity to thank Dr. Scott Tobias, our Immediate Past President, for his years of service to the NBA. As he rotates off of the Executive Committee, we are extremely grateful for his wisdom, guidance, and leadership over the past eight years. He led the NBA to develop and implement a robust website and continues to update it regularly, providing a platform to disseminate information and electronic resources quickly to the entire membership. I am certain that he will continue to serve the NBA in the future.

Next, we offer our utmost thanks to Second VicePresident Matt Temple, who is a fantastic colleague and a tremendous asset to the NBA. Matt’s service has been selfless

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throughout this biennium and I have enjoyed working closely with him on many projects and initiatives, including the NBA IDEA committee and the William P. Foster Project. Matt is an outstanding leader and we are a better organization, thanks to his contributions.

Third, we thank Dr. Linda Moorhouse for her extraordinary service to the National Band Association as our Executive Secretary for the past sixteen years. Linda kept this organization solvent both financially and structurally during the historic economic crisis and pandemic of the past two years. Her guiding wisdom and tireless efforts serve the membership day in and day out. Linda, we are so grateful to you!

We offer our sincerest thanks and farewell to Terri Daniels, the NBA Office Manager, who has announced her “retirement” from her position with the NBA at the end of this biennium. Terri is taking on an amazing leadership opportunity with a new program at the University of Illinois and we know she will knock it out of the park.

Terri, your dedication to the NBA has been amazing and we are so grateful for you!

REBECCA PHILLIPS

To all of the membership, you are the true backbone of the NBA. Thank you for allowing me to serve as your President over the past two years - it has been an honor and privilege.

The NBA Board, Division Continued on next page

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PRESIDENT’S MESSAGE

President's Message, cont.

Your opinion matters and the organization trusts you to carefully select the best possible leaders to guide this organization into the future ...

Chairs, State Chairs, and Project Chairs, along with all of their committee members, have worked constantly to better this organization and their service has been an inspiration to me. Many thanks to each of you! To all of the membership, you are the true backbone of the NBA. Thank you for allowing me to serve as your President over the past two years - it has been an honor and privilege. Your commitment to the NBA, the largest professional band organization in the world, is incredible!

Now, we congratulate Randall Coleman and welcome him as our new President of the National Band Association in the new biennium.

Randall has already made an amazing impact on our organization as our Second Vice-President and First Vice-President, establishing clear communication lines with Division and State Chairs, coordinating the voting procedures on several 4

constitutional proposals, advising the All-American D-Day Band coordinators, assisting in planning and executing the NBA 60th Anniversary Celebration, and many more projects. We thank him for what he has already accomplished on behalf of the membership and we know that his outstanding vision for the NBA will be an example for the new Executive Committee and the entire membership over the next two years. The NBA is in great hands!

I encourage you to visit the NBA website and help select the future leadership of your National Band Association.

Your opinion matters and the organization trusts you to carefully select the best possible leaders to guide this organization into the future – a future that embraces ALL current and future band directors. Thank you!

Dr. Rebecca Phillips President National Band Association Candidates and their bios are listed beginning on page 33.

NBA JOURNAL

FIRST VICE PRESIDENT’S MESSAGE

W

hew!

As we approach the end to the school year, we should all take time to celebrate the fact that “WE MADE IT!!”

Through the multitude of hurdles, the end of another challenging year is in reach.

For so many teachers I have spoken with, the one trait that continues to come to my mind is resiliency. Despite all the unimaginable difficulties that our profession has faced, so many of you never stopped searching for the best way to provide a quality music education experience for your students. As we turn the calendar toward a new school year, here’s hoping that all those major complications are in our rearview mirror.

We can learn from them, keep the good and move on from the bad and prepare for a new school year with anticipation and excitement…our students deserve nothing less. Our students will certainly be looking forward to the new school year, eager to find those things from our programs that provide them spaces and outlets to be comfortable, safe, and successful.

Even through the pandemic, your National Band Association has continued to work to provide opportunities and resources for our members.

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Our organization is so fortunate to have gained membership over the past two years, and to maintain a high level of financial security. With some of our major programs coming back this year, the NBA is pleased that all our resources and programs are back and working at a “full-speed ahead” pace. As always, I encourage you to visit our website under the “What We Offer” tab to make use of the multitude of projects and programs that NBA has to offer. These programs are there for all our membership and I hope you will take advantage of the incredible array of resources at your fingertips.

This spring also marks the end of the 2020-2022 biennium for the National Band Association. Allow me to take a moment to express my gratitude and admiration for our President, Dr. Rebecca Phillips. Becky has guided our organization through two very challenging years with her love for music and music learning, her incredible compassion for those in her care, and her amazing leadership skills. I am honored to have learned from her during her tenure and look forward to having her continued involvement as she begins her term as Past President.

RANDALL COLEMAN With great admiration, thank you, Dr. Phillips! With Becky moving to the office of past president, that means that we can also thank Dr. Scott Tobias for his incredible service to our profession and organization over the past eight years. Dedicating almost a decade to an organization is a tremendous investment and the mark that Scott leaves on our organization is certainly lasting. I am so fortunate to have been able to watch Scott in action over the past four years. His institutional knowledge of our organization is astonishing, and I have come to truly admire his ability to analyze a situation and formulate a solution that is best for all concerned. Thank Continued on next page

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FIRST VICE-PRESIDENT’S MESSAGE

First Vice-President's Message, cont.

With some of our major programs coming back this year, the NBA is pleased that all our resources and programs are back and working at a full-speed ahead pace. you and congratulations, Dr. Tobias! I have also had the great pleasure to work with Matt Temple as our 2nd VicePresident. Matt is an incredible team member and has been such a joy to get to know over these past two years. Matt is a thoughtful leader and brilliant teacher, and his work continues to be an asset to the NBA. Our organization is so very fortunate to have Dr. Linda Moorhouse as our Executive Secretary-Treasurer.

Linda is the “guiding light” for the NBA and does so much for us that many times goes unseen. Linda, along with our Office Manager Terri Daniels, keeps all our affairs in order and allows us to be able to continue the path forward.

Please be sure to thank both Linda and Terri when the opportunities arise.

As you will see, this edition 6

of the NBA Journal contains biographies from the candidates for the elected positions on our Executive Committee and Board of Directors. A tremendous thank you to our Past Presidents Nominating Committee for your excellent work with a remarkable slate of candidates.

Please take time to read the biographies and be sure to cast your vote for the future of our organization!

Lastly, thank you all for allowing me the professional honor and privilege of serving as your First Vice-President. I can vividly remember sitting in my office way back in 1982 and looking at my membership certificate after joining NBA as a first-year teacher. That firstyear teacher never imagined the path that would eventually lead me through the past four years serving an organization that means so much to us all. I am a much better teacher and person today thanks to those who have touched my life over the past four years as your 1st and 2nd Vice-President. I am forever grateful for the new friendships that have been forged during this time and stand firmly on the shoulders of my colleagues and friends since that long ago day in 1982 when I sat with that first membership certificate.

Now, as I embark on the great honor of serving you as the 30th

President of the National Band Association, I do so with the greatest humility, appreciation, and excitement. I will work hard every day, along with our new Executive Committee and Board of Directors, to give you and your students programs and resources that will provide your students with the greatest opportunities for success. Please do not hesitate to reach out to 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

A

s a band director, there have been countless times in my career when I have witnessed something so unexpected in rehearsal that I have thought to myself, “Did that really just happen?”

One of my favorite memories was on April Fool’s Day some years ago, when identical twin boys in my top band switched instruments. They played bassoon and tuba. Needless to say, it did not take me very long to sense that something was out of place. Trying to hold a bassoon properly, much less being able to play it whatsoever, is no easy task.

But immediately on the heels of me figuring it out, the entire clarinet section started playing our warm-up chorale on recorders. What a start to the rehearsal!

As this biennium comes to a close, I have that same distinct feeling now: “Did that really just happen?” In a conversation with our outgoing President, Rebecca Phillips, she referred to her tenure as the Pandemic Presidency. Indeed, it is eerie how closely this biennium coincided with the timing of the pandemic. What was truly amazing, however, was how our organization pivoted and adapted during this critical time. Even though we had to postpone some of our

contests and programs, the National Band Association remained highly active and effective as an organization.

One of the most significant accomplishments was our support of the aerosol research conducted by Colorado State University.

As a result of this research and other aerosol studies, the NBA was able to share important safety guidelines for rehearsals and performances.

ZOOM calls became commonplace for our organization, whether it was meeting with Division Chairs, State Chairs, or the Board of Directors. Even though we couldn’t meet in person for the General Membership Meeting at the Midwest Clinic in 2020, I found it quite comforting to see so many familiar faces online. And while the number of virtual calls for most of us is now few and far between, the Executive Committee continued to meet over Zoom throughout the entire biennium. It really is remarkable how much more connected we were with one another as a result of virtual calls.

The significant uptick in communication was one of the silver linings of the pandemic.

MATT TEMPLE In addition to the challenges presented by the pandemic, we witnessed an increased focus on issues surrounding race, diversity, and social justice. The killing of George Floyd in May of 2020 became a tipping point for increasing awareness worldwide. The NBA responded with the creation of the Inclusion, Diversity, Equity, and Awareness (IDEA) committee. As the only white male member of this committee, I particularly valued being able to hear the perspective of the other committee members. I found our work together to be very meaningful and impactful.

Our primary accomplishment was reviewing the entire Selective Music List (SML) Continued on next page

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SECOND VICE-PRESIDENT’S MESSAGE

Second Vice-President's Message, cont.

What was truly amazing, however, was how our organization pivoted and adapted during this critical time. for pieces that may have a questionable past and/or have problematic content for performers and audiences.

The IDEA committee identified 29 such pieces on the SML, which are now marked with an asterisk that is connected to the following statement: “The NBA IDEA Committee advises conductors to thoroughly study the background of the piece in order to make an informed decision before programming the work.” I am confident that the IDEA committee will continue to serve our organization well into the future.

As I reflect on this biennium, I am immensely grateful for the opportunities I had as the Second VicePresident and am looking forward to what happens in the next one. It was a distinct honor to work alongside the other members of the Executive Committee: President Rebecca Phillips, First Vice-President Randall Coleman, Past-President Scott Tobias, and Executive 8

Secretary-Treasurer Linda Moorhouse. Their unparalleled leadership, collective wisdom, and forward-thinking vision for the NBA is truly inspiring.

Terri Daniels, the NBA office manager, was in many of our meetings as well and is indispensable at keeping our organization on track. Lastly, I’d like to thank the many NBA members who served our organization in a wide variety of positions. We couldn’t have done it without you!

There were many times over the past two years when my job seemed like an insurmountable challenge. My involvement in the National Band Association was a meaningful counterbalance that helped ground me during the ever-changing landscape of the pandemic. The NBA has successfully navigated these troubling times and is moving into the next biennium with renewed purpose and vision.

We look forward to serving you and your program in whatever ways are needed. Best wishes!

Matt Temple

Second Vice-President National Band Association

NBA JOURNAL

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

G

reetings National Band Association.

It’s that time of the year when we find ourselves busy with end of the year concerts, exams, band banquets, and other such activities. And thankfully after a year of dealing with the COVID-19 pandemic, many of these activities are once again taking place. I hope you and your students have been able to enjoy a return to some form of normalcy in recent months and are eagerly making plans for the fall. At the same time, however, we must acknowledge that there is much work to do to re-establish our programs to their previous levels. This will not happen quickly. Instead, it will require patience and will be the result of many small steps. Most of us are probably familiar with the saying, “Rome wasn’t built in a day,” but the less familiar second half of that saying states, “but they were laying bricks every hour.” By following a similar plan of steady, consistent work, I have no doubt that we will be able to slowly reestablish that which we enjoyed prior to the pandemic.

As the NBA’s 2020-2022 biennium comes to a close so does my time as an officer and member of the Executive Committee. It has been a privilege and pleasure to serve the National Band Association these past eight years.

I have enjoyed the opportunity to meet and work with so many of you and to see the great things

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that are happening in band rooms across the nation.

The success of an organization such as ours is only possible through the combined efforts of many individuals. To the members of the Board of Directors, committee chairs and members, division chairs, and state chairs, thank you for your many contributions to the NBA. To Rebecca Phillips, congratulations on your successful term as President. The association is stronger as a result of your tireless work over the past two years. Thank you also to Randall Coleman and Matt Temple for your service on the Executive Committee. Additionally, best wishes to Randall as he moves into the role of President for the next biennium. The NBA will be in great hands under his leadership.

An individual who is not often seen but has done so much for the NBA is our office manager, Terri Daniels. Thank you, Terri, for the many hours you spend managing finances and keeping the affairs of the association in order. And of course, thank you to Linda Moorhouse who is more than just

The success of an organization such as ours is only possible through the combined efforts of many individuals.

SCOTT TOBIAS our Executive Secretary. In many ways, she is the National Band Association. Thank you, Linda, for your guidance, counsel, advice, and friendship.

And last, but certainly not least, thank you to all of you. Thank you for affording me the opportunity to serve the National Band Association. Thank you for the work you do on behalf of bands and band music. And thank you for the difference you continue to make in the lives of students and within your communities. The world is a richer place because of the work we all have a privilege to do each day.

Best wishes for an enjoyable summer!

Scott C. Tobias Immediate Past President National Band Association 9

NBA MISSION S TATEMENT

NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS

by Dr. William Moody | Revised in December 2009 The mission for directors of school bands is understood inherently by those who think of themselves more often as instrumental music teachers rather than simply as band directors. The basic objective of instrumental music education is that students will learn performance skills in order to understand musical language and to experience the joys of recreating music in the expressive medium of their choice. Music education should prepare students also for a fuller understanding and appreciation of the music they will be hearing the rest of their lives regardless of its style or venue. Efforts to address the National Standards for Music Education in band class by including music theory, music history, improvisation, and composition will help the students be better listeners in adulthood and will make better musicians of those who wish to pursue musical careers or practice music as an avocation in adult life.

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

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

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

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

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

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

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NBA JOURNAL

ABOUT AWAPA

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

T

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

Bruce Leek December 16, 2021

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

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NBA PAST PRESIDENTS

PAST PRESIDENTS OF THE NATIONAL BAND ASSOCIATION

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Al G. Wright 1960 - 1962 Honorary Life President

John Paynter 1962 - 1966 Honorary Life President

Edward W. Volz 1966 - 1968

William J. Moody 1968 - 1970

George S. Howard 1970 - 1974

F. Earl Dunn 1974 - 1976

William D. Revelli 1976 - 1978

W J Julian 1978 - 1980

Kenneth Bloomquist 1980 - 1982

James Neilson 1982 - 1984

James K. Copenhaver 1984 - 1986

James Croft 1986 - 1988

Frank B. Wickes 1988 - 1990

Edward S. Lisk 1990 - 1992

Robert E. Foster 1992 - 1994

John R. Bourgeois 1994 - 1996

James Keene 1996 - 1998

Thomas Fraschillo 1998 - 2000

Paula Crider 2000 - 2002

David Gregory 2002- 2004

Linda Moorhouse 2004- 2006

Bobby Adams 2006- 2008

Finley Hamilton 2008- 2009

John Culvahouse 2009- 2012

John M. Long 2010 Honorary President

Roy Holder 2012 - 2014

Richard Good 2014 - 2016

Scott Casagrande 2016 - 2018

Scott Tobias 2018 - 2020

NBA JOURNAL

NBA BOARD OF DIRECTORS 2020—2022

PRESIDENT Rebecca Phillips

Director of Bands Colorado State University Fort Collins, Colorado

FIRST VICEPRESIDENT Randall Coleman

Associate Director of Bands University of Alabama Tuscaloosa, Alabama

SECOND VICEPRESIDENT Matt Temple

Director of Bands New Trier High School Winnetka, Illinois

ELEMENTARY, MIDDLE SCHOOL & JUNIOR HIGH SCHOOL REPRESENTATIVES

KIM BAIN

Director of Bands Pizitz Middle School Vestavia Hills, Alabama

CHIP DE STEFANO

Director of Bands McCracken Middle School Skokie, Illinois

Director of Bands Del Webb Middle School Las Vegas, Nevada

MILITARY/PROF. BANDS LT. COL. DANIEL TOVEN

COMMUNITY BANDS MICHAEL BURCH-PESSES

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

Retired Music Educator Atlanta, Georgia

AT-LARGE REP. CRAIG AARHUS

Associate Director of Bands Mississippi State University Starkville, Mississippi

AT-LARGE REPRESENTATIVES

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

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

COL. JASON K. FETTIG

Director United States Marine Band Washington, D.C.

GARY GRIBBLE

Retired Music Educator Marietta, Georgia

ELIZABETH PETERSON

DAVID VANDERWALKER

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

BRIAN COVEY

Director of Bands Biloxi High School Biloxi, Mississippi

Director of Bands Lockport Township High School Lockport, Illinois

KRISTY DELL

CHAD KAMEI

Associate Director of Bands Gaither High School Tampa, Florida

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

Director of Bands Pacific University Forest Grove, Oregon

SUSAN WATERS

HIGH SCHOOL REPRESENTATIVES

TRAVIS COAKLEY

Director of Bands West Virginia University Morgantown, West Virginia

EXECUTIVE SECRETARY-TREASURER Linda R. Moorhouse

APPOINTED REPRESENTATIVES

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

TRACY LESLIE

IMMEDIATE PAST PRESIDENT Scott Tobias

Director of Bands Pearl City High School Honolulu, Hawaii

DIVISION CHAIRS

EASTERN ANDREW YOZVIAK

SOUTHERN COREY SPURLIN

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

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

COLLEGE / UNIVERSITY REPRESENTATIVE SOUTHWESTERN DUSTIN SEIFERT ARRIS GOLDEN

Associate Director of Bands Michigan State University East Lansing, Michigan

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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

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NBA NEWS

OF THE FOLLOWING AWARDS C AN BE FOUND ON OUR WEBSITE:

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

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

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

PEDAGOGY

TO TAME THE UNRULY CLASSROOM FROM THE FIRST DAY

M

GARY BARTON

any years ago, I attended a summer class at The VanderCook College of Music in Chicago. Our guest speaker one day was Jack Mercer, author of The Band Director’s Brain Bank (published by The Instrumentalist, 1970).

On the subject of classroom discipline, Mr. Mercer said very simply, “I decided one day that I just wasn’t going to have discipline problems. Once I made that decision, no more problems.” Even though I had over a decade of experience at the time, this bit of wisdom transformed my teaching for the rest of my career. Some years after that, I experienced a sort of booster shot in this vein from Steve Pratt, Director of Bands at Indiana University.

While rehearsing a summer high school clinic band at IU, Steve, in his trademark soothing manner, said, “Good bands don’t talk. I know nothing about your bands at home, but good bands don’t talk.”

I believe the best way to maintain rehearsal or

classroom discipline, and I say discipline because we all know exactly what that word means, is to prevent it from ever getting out of control to begin with. While some of the issues to be discussed may help when dealing with an unruly classroom, getting that classroom back under control is a separate discussion. The decades-old adage that it’s easier to start hard and then lighten up later is a proven true concept. It doesn’t mean rude or harsh, it means heavily structured with high standards and clear expectations for conduct and for the classroom environment.

THE POWER OF THE FIRST DAY The most powerful day of any school year is the first day. Students, especially those new to the school, enter the building wondering what is new, what to expect.

The quietest day of the year for the cafeteria is the first day. Hallways will be more orderly because the students are distracted by the task of finding their classrooms. The beginning of every class is

Gary Barton retired from the La Porte, Texas Independent School District after thirtyseven 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 Vice-President of the National Band Association, he has written for numerous publications and has done clinics and presentations in sixteen states.

almost silent as the students anticipate what the teacher will be like and what will be the expectations. You are in total control on the first day; your only job is to maintain that control for the rest of the school year. Today you will establish the decorum Continued on next page

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PEDAGOGY

To Tame the Unruly Classroom from the First Day, Gary Barton, cont.

for entering your room, the seating procedures, and the expectations for opening class activities.

Seating should be defined.

The only time students might choose where to sit is the first day of beginning band. Placing the students’ names on the chairs or music stands will help to get the them ready to work quickly. They will see that you went to extra trouble to create an orderly and efficient rehearsal and that there is no time to waste. Establish a routine for the opening of class. Requiring the students to sit quietly after assembling instruments is good for the opening few weeks of beginning band. It’s also a great tool when trying to get an unruly class under control, but beyond these two reasons, it is a waste of valuable time. Teach proper warm-up exercises and be tenacious about their use.

Even the youngest students can begin warm-up shortly after entering the room. Write warm-up guidelines on the board. These can be certain lines from a book, specific scales, or lip slurs. During this brief time, you can take attendance and walk the room and monitor proper assembly, check equipment, look at reeds. When you begin the full band warm-up you will have saved at least three minutes.

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BEHAVIORS THAT TAKE ROOT

There are some very common behaviors that grow roots if they’re allowed to start.

Do your students speak out in rehearsal without raising their hands and waiting for your attention? And then, is the reason to interrupt rehearsal one that really needs to happen? I tell my students to ask themselves these questions before they raise their hands: Is it an emergency? Will it hinder the rehearsal if I don’t ask this? Does it involve the whole group or just me? Is it something that could easily be asked after rehearsal? These would be great rules for afterschool faculty meetings!

Do students stand and leave their seats without getting permission? At one time I worked in a district where, as a part of our classroom evaluation tool, there was an entry about students leaving their seats on their own. This was considered a negative on our appraisal. What would be some reasons to leave your seat during rehearsal? One would be equipment issues. I always wanted my woodwinds to bring their cases to their seats so they could be seated during assembly and while packing up the instrument. If you’d rather not have cases at the seats, then have them bring extra

reeds to their seats in case a problem occurs. Brass players have no reason to go back to their cases once class has started. Oiling valves should happen at the beginning of class before they play a note.

But what about the restroom? This is easy. Create a culture in which going to the restroom before class is expected. There isn’t enough time? My last school had a three-minute passing time.

Instead of requiring them to be in the room when the bell rang, I stood in the doorway where I had a line of sight into the room and the hallway at the same time. I told my students that I must see them in the hallway by the time the bell rang. This gave them a little more time for the restroom. Everyone’s building is different, but you must find a way around every obstacle.

Most classes are forty-five to ninety minutes long. Students manage to watch a two-hour movie, play games for hours, and ride school buses on trips for an hour and a half, all without going to the restroom.

“Accidental sounds” can be a problem, particularly with younger bands. Teach brass players to empty water without putting their lips in the mouthpiece and blowing Continued on next page

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PEDAGOGY

To Tame the Unruly Classroom from the First Day, Gary Barton, cont.

hard. They only need to lightly blow while emptying water; gravity does most of the job.

No instrument accidentally makes a sound. Only people can create a sound on an instrument. Percussionists have no valid reason for dropping things. If a college student can manage an entire rehearsal without dropping sticks and mallets, a seventh grader can do so as well.

I was fortunate to have very strong directors throughout my school years. I only remember orderly rehearsals with no focus being lost to individuals and unnecessary noises or distractions. I’ve been told that students are not the same today, but I find that when I go in to any classroom today whether it’s substituting or as a guest, students will gravitate toward high standards. I still visit school band rooms where students are attentive and focused for an entire rehearsal. When I’m asked how to eliminate a behavior in rehearsal, I always begin with, “Don’t let it start to begin with.” You must be more determined than the students when it comes to expectations and remember: You are most powerful on the first day!

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NBA NEWS

IDEA COMMITTEE

INSIDE THE NBA INCLUSIVITY, DIVERSITY, EQUITY AND AWARENESS COMMITTEE (IDEA): A LOOK AT THE PROCESS… INCLUSIVELY WRITTEN AND SUBMITTED BY THE MEMBERS OF THE IDEA COMMITTEE

T

he NBA Inclusivity, Diversity, Equity and Awareness (IDEA) Committee was formed by the NBA Executive Committee during the spring of 2021, and its membership represents a broad cross section of cultural backgrounds, experiential knowledge, intersections, and lived experiences.

Once formed, the IDEA Committee was given a series of goals and projects to explore:

• Have open conversations about inclusion, diversity, equity, and awareness within the National Band Association (NBA) and our profession at large • Offer guidance to NBA leadership as to how we move forward in best serving the membership and our profession • Provide webinars and clinics related to repertoire selection and topics pertaining to relevancy of band, with particular focus on 18

• The needs of new

teachers; and • The ever-present need for increased awareness of issues related to inclusion, diversity, equity in instrumental (band) music classrooms • Suggest changes to the Selective Music Lists by adding guidelines about music that might pose problems or interfere with our ability as teachers to create inclusive spaces for our students

THINK BEFORE YOU PROGRAM

In the 2021 NBA Winter Journal, the article titled Think Before You Program focused on the importance of discerning if a wind band piece should be taught and even programmed in a music concert. Normally, directors evaluate elements such as melody, harmony, rhythm, counterpoint, etc. In addition, the director should understand that pieces written can convey a message of cultural awareness, authentic language, and truth.

Arris Golden Michigan State University Elizabeth Peterson University of Illinois Ingrid Larragoity-Martin Skyline High School, Longmont, CO Joshua Johnson Traughber Junior High School, Oswego, IL Tremon Kizer University of Central Florida Matt Temple New Trier High School, Winnetka, IL

The article also expressed how over the past 200 years, a significant number of works have been written for wind band; and the composers who wrote these works should be commended and even celebrated for their contributions to the wind band. Over this period, numerous composers wrote works for different reasons while also adopting philosophies and ideologies on gender, race, equality, etc. Some of these different philosophies and ideologies may be reflected in the music they wrote.

These works can evoke a variety of emotions within our students, our audience NBA JOURNAL

NBA NEWS

Inside the IDEA Committee ... a Look at the Process

members, and ourselves.

The article provided a few examples of such works.

While everyone might have a different outlook towards each composition, directors are encouraged to research not only the composition, but the composer so that the director can discern if the piece is appropriate for the students, community, and audience members.

This article prompted the IDEA committee to research the Selective Music List (SML) and search for wind band works (not composers) that might evoke a negative response from students. The IDEA committee encourages directors to conduct their own research about whether or not a piece is appropriate to program. Directors are encouraged to consider whether or not material within a given piece may cause harm to the students’ emotional and mental well-being.

Finally, the IDEA committee recommends directors have honest conversations with students about a piece that is programmed especially if that piece can be problematic.

SOURCE MATERIAL

Some examples of tunes that may be deemed inappropriate are included below. As we researched the works on the SPRING 2022

SML, we noticed that many pieces contained source material that had controversial lyrics or titles. Some of the most popular source material centered around traditional American Folk Songs such as Dixie, Cindy, Shenandoah, and others.

Daniel Decatur Emmett is credited with writing Dixie, but many other people claimed to have composed Dixie, even during Emmett's lifetime.

Emmett was a white minstrel show writer and blackface player from Mount Vernon, Ohio. Dixie is the best-known song to have come out of blackface minstrelsy. Although not a folk song at its creation, Dixie has since entered the American folk vernacular.

The song likely cemented the word Dixie in the American vocabulary as a synonym for the Southern United States. Its lyrics tell the story of a freed black slave longing for the plantation of his birth. During the American Civil War, Dixie was adopted as the unofficial anthem of the Confederacy.

New versions appeared during wartime that more explicitly tied the song to the events of the Civil War. The song presented the point of view, common to minstrelsy at the time, that slavery was overall a positive institution.

Cindy, like Dixie, combines traditional musical elements of slaves and minstrelsy. One of the earliest versions of Cindy is found in Anne Virginia Culbertson's collection of Negro folktales where one of her characters, Tim, "sang a plantation song named 'Cindy Ann'." The lyrics are written with the intenion to mimic and mock the dialect of slaves who worked on plantations.

SELECTIVE MUSIC LIST

As we began discussing the list of composers and titles on the Selective Music List, we realized we needed a fair, streamlined, and researched process with which to comb through the content found in each piece. We divided the grade levels amongst us and began researching the pieces and marking any piece containing content which could be problematic to students or an audience and should be further researched before programming. The committee felt it was important to focus on the repertoire only and not on the beliefs or lives of the composers, therefore avoiding any sort of bias or personal beliefs. Our work was based on historical background and facts, providing each marked piece with researched material and explanation. We were not looking to cancel or remove the composition 19

NBA NEWS

Inside the IDEA Committee ... a Look at the Process

from the canon, but to build awareness for the historical content found within them and the emotions the piece might evoke due to its historical content.

From the entire Selective Music List we identified and labeled with an asterisk 29 pieces of potentially problematic repertoire.

The following statement is what we developed to accompany the asterisk: “The NBA IDEA Committee advises conductors to

thoroughly study the background of the piece in order to make an informed decision before programming the work.”

VIEW SELECTIVE MUSIC LIST We felt this statement follows a comprehensive musicianship approach to programming and will only serve as a guide post to encourage further research. As music educators, conductors and leaders it is our responsibility to provide our students/ensembles/audiences with complete knowledge of

what we cultivate for their experience.

Directors are expected to research the historical background of pieces marked with an asterisk on their own. The IDEA committee considers this research a critical part of the score study process and strongly encourages directors to share the findings of their research with the performers in a way that appropriately increases everyone’s understanding.

With the instant availability of information online, it is crucial that directors know Continued on next page

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NBA NEWS

Inside the IDEA Committee ... a Look at the Process

the background of pieces before they program them with performers at any age level. In many instances, it is possible for anyone to discover controversial information regarding a particular piece or composer within seconds on the internet.

NEXT STEPS

By identifying pieces that could be problematic or hurtful to some individuals, the NBA IDEA committee feels that this is one step in the right direction toward a more inclusive band room.

The National Band Association has a rich and long history. In order to continue to meet the needs of a changing society, provide resources for all teachers, and mentoring to younger directors, the IDEA committee believes that this work is important – in fact, essential to the larger mission of the NBA. Other organizations like the Midwest Clinic, the Iowa Bandmasters and Illinois Music Educators Association are actively sharing more Diversity and Equity presentations.

with NBA and different directors to explore what it means to be diverse in today’s music education world and will feature a panel presentation on the topic at their conference in May 2022. The Illinois Music Educators Association hosted many clinics (January 2022) that promoted diversity including the following topics: women as composers and conductors, decolonizing the band room, culturally responsive teaching, anti-racist approaches to teaching music, being an ally, trans youth in school music, diversifying your repertoire and implicit bias.

In a recent conversation with composer Grace Baugher Dunlap, she said directors should program their concerts and then ask themselves if there is diversity in the age of the composers and any living composers on the program.

According to Ms. Baugher, “The music we program should create a space for our students and our audience to reflect and – to focus on the human experience.”

This past year the Midwest Clinic featured 14 clinic sessions that promoted Inclusion and Diversity in the ensemble room. The Iowa Bandmasters Association led

by Mary Crandell is partnering SPRING 2022

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PERSPECTIVE

USING LARGE ENSEMBLE ADJUDICATED EVENTS AS A TOOL FOR IMPROVING OUR ENSEMBLES WILLIAM TALLEY

L

arge ensemble adjudicated events have been a staple of the secondary school band experience since the early 1900s. When utilized properly these events can lead to the improvement of our ensembles and the individuals in our ensembles.

They can also serve to make us better directors by encouraging us to explore new rehearsal techniques to refine our performances.

However, these outcomes only occur when these events are effectively adjudicated and when they are given the appropriate focus by band directors. If the goal of adjudicated events is to make us and our ensembles better, it is imperative that we focus on using these events as tools to do so, rather than using the ratings we receive to define the overall success of ourselves and our programs.

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superior rating defined my success as a band director.

This was a choice that I consciously made. When I got the job in the school district that I served in for most of my career, there had already been a streak of more than 30 years of consecutive superior ratings in grade 6 literature at the state’s concert festival events.

This streak was well-known by virtually the entire school community and the other band directors in the district, and I did not want to be the first director in that many years to get a II.

William Talley is the Director of Bands at Ohio University, where he directs the wind symphony and teaches graduate and undergraduate courses in conducting and wind literature.

Dr. Talley received his

Doctor of Musical Arts degree from the Eastman School of Music in Rochester, NY.

But what do those festival ratings mean, and are we using them to better our programs or to satisfy our own egos?

Prior to attending Eastman and receiving

Association, and he was the recipient of

DEFINING SUCCESS

In most states the rating scale for large group concert performances is as follows.

I: Superior II: Excellent III. Good (Average) IV. Below Average V. Poor

For most of my years in secondary education the

But this is not the unspoken rating system that band

a Master’s degree from the University of South Carolina, Talley taught for 15 years in Asheville, NC. He served as the president of the Western North Carolina Bandmasters' many awards and recognitions in teaching during his tenure at Asheville High School.

directors use amongst themselves. For many directors a rating of a II is a failure, and a rating of a III is abysmal. Having high standards is important, but what are we teaching our Continued on next page

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PERSPECTIVE

Using Large Ensemble Adjudicated Events ..., William Talley, cont. students by suggesting that a superior rating is the only outcome that reflects the successful accomplishment of our goals? This year’s festival or MPA season represented the first time in almost 3 years that some programs have been able to enter these events. For schools in areas that were heavily impacted by the pandemic, the mere fact that they were able to make it to these events to perform is a success. While we realize this as directors, some districts have addressed this issue by making it easier for bands to receive a superior rating. In such cases judges may have been asked to ‘go easy’ on the participating ensembles because we are emerging from the pandemic. The problem with this approach is that the standard for a superior performance becomes a moving target. In my home state of NC, the Bandmasters Association has worked fastidiously for years to create a rubric by which bands are adjudicated, with the hope of being very consistent in matching ratings with the performance aspects of ensembles. If we compromise those standards to reflect the difficulties of the times, then we put ourselves in the position of having to do so at other times to reflect the difficulties that some programs may face during normal times, SPRING 2022

whether those issues are related to the lack of resources or the lack of administrative or community support. Since there is no real way to do this, we should hold firm to the standards that have been set, and let individual programs determine what success means for them. If a II is truly an excellent rating, then it should be celebrated as such, and the judges commentary should confirm the reasons for the excellent rating, while providing suggestions for further improvement.

(I should note that this issue may be slightly different for adjudicated marching band events, which may alter the scoring system for all participating bands early in the season to keep the scores from being artificially low, as bands work to improve their shows of a period of weeks. It is possible for a band’s progress to be deemed superior at a given point in the season, with the understanding that the same show should get better as the season progresses)

JUDGING FOR SUCCESS The adjudication of large ensemble events is a crucial part of the continued improvement of secondary school ensembles. How judges go about adjudicating is just as

important as the ratings that they provide. A correct rating with insufficient commentary or notes can be just as harmful as an incorrect rating. Judges should go beyond providing a mere play-by-play of the events that are occurring during a performance. Even the most uninformed director can listen to the recording of their performance and determine that the intonation, balance and articulation are problematic. What they may not know is how to correct those issues. This is where the judges’ commentary can be particularly helpful. This makes judging more difficult, but it is an absolute necessity.

Far too many ratings of III and IV are given without effective explanations and strategies for improvement. Simply stating the problems does not help directors and students correct them, but providing suggested alternate fingerings or shared rehearsal techniques can offer feedback that can result in substantive changes in band rooms for years to come.

THE RATING While it is true that continued superior ratings over an extended period of time is indicative of a band program that exhibits excellence in teaching and learning, those ratings cannot be the sole Continued on next page

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PERSPECTIVE

Using Large Ensemble Adjudicated Events ..., William Talley, cont.

indicator of a successful program. Each year there are many bands from small school districts that do not participate in large ensemble adjudicated events, because there is no advantage in doing so. Participating in these events and receiving a rating of III or less would be viewed as a failure for many of them, and if the judges’ feedback does not provide strategies for improvement, their only takeaway may be that their teaching is ineffective. This is not helpful for directors or their programs. A better scenario would be to participate in these events with the goal of improving our ensembles and getting excellent feedback, rather than just receiving the coveted superior rating. This would require some reprogramming of ourselves, as performers and

colleagues of one another, but it would ultimately lead to the improvement of more of our ensembles.

Remember that we are the ones that decide how important large ensemble adjudicated events are. Our students, communities, and administrators will generally support us and take our word for how accurately our ratings reflect on the success of our programs. Even when I was in the high-pressure situation of continuing the multiyear streak of superior ratings, I would not have lost my job if we received and excellent or even an average rating. All of the pressure that I felt was applied by me and (to a lesser degree) my band director colleagues. I do believe that we should strive to reach our highest possible potential for

each performance, and if we do that the result for many of us will be a superior rating.

However, it is important for us to remember that the ratings that we receive, no matter what they are, only reflect our progress towards achieving a part of the goals that we have for our programs. Ultimately, we have a responsibility of fostering an atmosphere of continued improvement for our students and our ensembles, as we work to reach our goals and refine our teaching practices.

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INTERVIEW

AN INTRODUCTION TO COMPOSER KEVIN WILT

K

MARC DECKER

evin Wilt (b. 1984) composes music that balances sophistication with accessibility and experimentation with craftsmanship. He recently composed AutoBonn for Michael Francis and The Florida Orchestra in honor of Beethoven’s 250th birthday.

He was a recent resident at the Millay Colony for the Arts, and winner of the Music Teachers National Association Commission in Florida. He won the Fresh Squeezed Opera Call for Scores with his chamber opera, Prix Fixe, and the Musical Chairs Chamber Ensemble Composer Search.

He was awarded a grant by the Atlantic Coast Conference Band Directors Association to create Urban Impressions, a multi-movement work for large wind ensemble. He was a finalist for the ASCAP/CBDNA Frederick Fennel Prize, the Symphony Number One Call for Scores III, the Hartford Opera Theater Call for Scores, and the American Prize in orchestra, band, and chamber music categories.

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He is equally at home composing for film and television, earning him a Michigan Emmy® Award Nomination for Best Musical Composition. Kevin holds degrees from Michigan State University (D.M.A. and M.M.) and Wayne State University (B.M.). He is Associate Professor of Music, Composerin-Residence, and Chair of the Florida Atlantic University Department of Music in Boca Raton.

COMPOSITIONAL PROCESS "My process has evolved throughout the years and I think of it in phases. In the first phase I’m focused on general concepts such as the character of the piece and its key characteristics. I start by creating a document with bullet points where I can write down free form ideas. The kinds of things I include can be potential titles, form, duration, difficulty, instrumentation, tonal centers, and key influences. By the time the process is complete I have an idea of the framework and notes to draw from.

Marc Decker is an Associate Professor of Music and Associate Director of Bands/ Director of Athletic Bands at Florida Atlantic University where his primary duties include directing the Marching Owls, ‘Parliament Sound’ Pep Band, and Symphony Band. He holds a BME from the University of Illinois and both an MA and DMA from the University of Iowa. Decker has previously held teaching and conducting positions at South Haven High School in Michigan, Gettysburg College, American University, and Northwestern Oklahoma State University. He is an active arranger, drill writer, guest conductor, and adjudicator, and is currently serving as President of the Florida College Music Educators Association.

The next thing, which is still part of the first phase, is to sketch a general timeline on a piece of paper with notes. The horizontal axis is a timeline with notches every 30-seconds.

The vertical axis can either

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INTERVIEW

An Introduction to Composer Kevin Wilt, Marc Decker, cont.

be intensity or score order, which helps me brainstorm orchestration. If something is for strings it’s down low and for flutes it’s up top. I only know if the chart is referencing intensity or orchestration because every day I’m working on it. Looking at a sketch months or years later, I can’t usually figure out what it means or even what piece it’s for. This is because the sketch is meant to help me make decisions before I put musical ideas on paper.

The first phase is the process of conceptualizing the work before writing down notes. Choosing a note is a very specific decision, and that has to come later. The general decision making of sketches allows me to learn about the piece so I can look at proportions. For instance, determining how much to build up to an idea and how long to wind down after reaching the climax. This allows me to respond to what I’m seeing and balance in different ways. The first phase of my compositional process allows the piece to take its own shape and is helpful in bringing things together.

The second phase starts when I grab 12’’x18’’ staff paper and write down musical ideas. Every day I try to write one minute of uninterrupted music. It could be a rhythm, 26

chord progression, or melody, but should not be connected to what was done the previous day. The idea is that by the end of a week I have at least seven minutes of material to draw from. Eventually I’ll have enough to make decisions about which ideas are permanent, and that’s when I switch to notation software.

The third phase is determining which ideas I’m going to commit to. I work in short score with a grand staff for every family of instruments and a few blank staves to move things around.

One important concept for this phase is borrowed from oil painting. That’s to keep the paint wet and workable as long as possible. For this reason, I write out chunks of music and work on them independently. I might write notes to myself in the short score about instrumentation, but I don’t want to stop the process to write that out. Over time, the more complete I make that short score the faster I can orchestrate, edit, and finish the piece. The final phase is the orchestration and editing of parts.

I want to take a moment to talk about procrastination because so many composers, including myself, struggle with it. When I wake up every day

I don’t jump out of bed and think to myself, “I can’t wait to start composing!”. There are so many other things I could be doing and it’s sometimes hard to get motivated to sit down in the chair and compose. But, I want to compose because if I’m not doing it regularly I don’t feel right and have a hard time enjoying the rest of my day. So, I spend a lot of time thinking about my process to become more efficient and to learn where I get stuck. For me it’s switching gears to my third phase, determining what material will have a permanent place in the piece.

That sense of permanence causes a lot of composers to shut down and the way I’m able to overcome it is by generating as much material as possible during my second phase, so there is more to draw from. If you have more uninterrupted concepts on paper, it isn’t as daunting to commit to some ideas and discard others. Where a lot of composers slam on the breaks is when they write one note at a time, and then decide if that want to keep it. Composing that way would take forever to get anything done.

The important thing to acknowledge about procrastination is that it’s about fear. Fear that something might fail, but also that

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INTERVIEW

An Introduction to Composer Kevin Wilt, Marc Decker, cont.

something could succeed more than we anticipate and we don’t know how to handle that. Composers inside the creative moment shouldn’t fear failure, because if something is bad we are going to fix it before handing it off. So, I often remind myself that something may not be good today, but it will be better tomorrow."

STYLE AND INFLUENCES

"I got into composing because I was inspired by John Williams and film music in general. I grew up taking piano lessons, but focused mostly on popular songs and didn’t do much classical repertoire except for playing percussion in my high school wind ensemble.

I started my undergraduate composition degree wanting to do film scores and my music reflects this influence in both its lush scoring and accessibility. My first exposure to contemporary composers who didn’t write for film was during my undergraduate degree. I remember being in a theory class listening to John Adams Harmonielehre and it was one of the first pieces I heard by a living composer whose feet were firmly planted in the classical world but didn’t write for film. I was drawn to this piece because it pulled me in, had a lush orchestration, and made sense to me.

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I’m drawn to those who write for large ensemble and whose music feels like an evolution of an older tradition.

A few of my influences include Christopher Rouse, Michael Gandolfi, Stephen Stucky, Christopher Theofanidis, John Adams, John Corigliano, Andrew Norman, Jennifer Higdon, and Joan Tower. These are composers who when you listen to their music it pulls you in and it sounds fresh, but also feels familiar. You should be able to put their works on the same concert as Beethoven and it should sound new while not existing in a completely different world. That balance is the kind of new music I enjoy and is reflected in my works."

SELECTED WORKS FOR BANDS To hear recordings please visit kevinwilt.com River of Grass (2018) • Length: 7 minutes • Difficulty: Grade 3 • Premiere: The Florida Atlantic University Wind Ensemble, Kyle Prescott, conductor Note: "River of Grass is a soundscape for concert band, commissioned by a consortium of band programs local to the Everglades. The primary goal of this piece is to allow

younger musicians to recreate sounds found in their backyard.

Including the clicking of sawgrass, the growling of alligators, the back and forth chatter of insects, and the trills of owls. These sounds are draped over several moods, from the dangerous to the serene."

Imagined Adventures: March of the West River (2020) • Length: 4 minutes • Difficulty: Grade 5 • Premiere: The Florida Atlantic University Wind Ensemble, Kyle Prescott, conductor Note: "March of the West River is the third in a series of pieces called Imagined Adventures; short, programmatic works based on childhood fantasies. This piece suggests the timeless childhood game of “Army” as played by rambunctious pre-adolescents on the streets and backyards of a typical suburban neighborhood called “West River Estates.”

Although it contains martial, march-like elements, they are filtered through the energy and innocence of kids. Not only are these adventures about childhood fantasies, but for me, they are also about composer fantasies. Writing these pieces allows me to play in a film music-inspired sandbox I might Continued on next page

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INTERVIEW

An Introduction to Composer Kevin Wilt, Marc Decker, cont.

otherwise not get to do."

Concerto for Saxophone Quartet, Winds, and Percussion (2014) • Length: 24 minutes • Difficulty: Grade 4.5 ensemble, advanced/ professional quartet • Premiere: h2 Quartet and the University of Oklahoma Wind Symphony, Dr. William Wakefield, conductor Note: "Concerto for Saxophone Quartet, Winds, and Percussion is a three-movement work based on a single melodic line.

This line serves as the theme in the opening movement’s theme and variations, as the blueprint for developments in the second movement, and as a template for the harmonic language in the finale. Although there are moments of individual solos throughout the concerto, I have largely treated the saxophone quartet as a single, multitimbral soloist, calling upon tight ensemble playing."

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Song of the Phoenix (2011) • Length: 11 minutes • Difficulty: Grade 6 • Wind Ensemble Premiere: Michigan State University Wind Symphony, Dr. Kevin Sedatole, director, 2011 • Orchestral Reading: Detroit Symphony Orchestra, Leonard Slatkin, conductor, 2010

Note: "Song of the Phoenix is a symphonic poem that is approached on two metaphoric fronts. One suggests the story of the phoenix bird itself. In the myth, the bird dies in a bright flash of fire, and is then reborn from the ashes it created. The other metaphor is one of urban renewal. Too often we see structures that are torn down in order to quickly build new, usually less interesting buildings in their place. Renovation and preservation have fallen too far down on the list of priorities when it comes to rebuilding our city skylines. My goal with this work is to remind listeners that renewal and renovation can go hand in hand. Buildings can be created from the materials and structures that were there before, adding a historical richness to their modern functionality."

ADVICE FOR CONDUCTORS PERFORMING YOUR WORKS

"One of the things specific to my music is the importance of precision and finding the groove.

“Groove” is a buzz word that many composers use when they describe their music, but to me it refers to something very specific.

A groove isn’t something that just starts and stops. It’s a collection of musical ideas that coalesce and organically grow or dissolve out of something. In order to

establish it, the ensemble needs to sit back in the pocket of the groove and not play on the front of the note. Rhythms need to be treated with precision, but the group should be relaxed as if they are a jazz ensemble. I encourage any conductor who is struggling with precision in my music to approach it this way."

THOUGHTS ON COMPOSING FOR WIND BAND

"Writing music in the band tradition is a great opportunity for a composer.

The advantage is numbers, because there are so many bands throughout the country all hungry for new music. This creates the potential to gain a lot of traction as a composer, hearing your music performed and receiving commissions.

But, it can be a double-edge sword, because when pieces gain traction quickly and every band is programming the newest work, composers try to chase the same thing.

This new repertoire turbulence leads to composers wanting to write music that sounds like whatever is trending instead of establishing their own style.

This is especially true of composers who have never written music in the band tradition. What most of these composers do – because they are human – is they listen to the most popular pieces that we

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INTERVIEW

An Introduction to Composer Kevin Wilt, Marc Decker, cont.

are all looking at and try to get their work to achieve the same success. But, I don’t believe that’s what most band directors want who are eager to play new music by composers with a unique voice. What would be better for the repertoire is for composers to resist these trends and establish their own style.

This would help evolve band repertoire and allow us to find more great composers."

UPCOMING WORKS

"I’m currently working on a few different compositions including the score to a film called “The Hitman” written and directed by a local law enforcement officer, and an orchestral work for the Midway Symphony Orchestra in Texas. Most recently though I’ve been focused on a work for two percussionists and chamber orchestra called, “What the Eyes Speak”. It is meant to address the overlooked prevalence of depression, and how it interferes with our ability to see the good in the world. Like Ives “Unanswered Question”, one performing force wrestles with its reaction to the repeated stimuli of the other. The goal of this piece is to illustrate and illuminate the internal battles that mute our engagement with the world, while reminding us that, despite our struggles, there is always beauty to be found."

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2022 YOUNG COMPOSER/CONDUCTOR MENTOR PROJECT PARTICIPANTS: HENRY DICKSON Composer TYLER EHRLICH Conductor BENJAMIN POUNCEY Conductor CEON RUMPHS Conductor TREVOR SMITH Composer MICHAEL STANDARD Conductor

CONDUCTORS TYLER EHRLICH This fall, Tyler Ehrlich will begin serving as a doctoral teaching assistant in Wind Conducting at The University of Texas at Austin. In this role, he will assist with the conducting and administration of the university’s concerts bands, athletic bands, conducting courses, and the New Music Ensemble.

Ehrlich previously lived in Atlanta, Georgia, where he served as a conductor and educator at the secondary and collegiate levels. For three years, he served on the faculty of Emory University, where he conducted the Wind Ensemble. While at Emory, Ehrlich premiered multiple student compositions and collaborated with faculty soloists. Additionally, Ehrlich taught band, music technology, and International Baccalaureate music courses at Decatur High School and Centennial High School in the metro-Atlanta area.

The Centennial Bands received their first national performance invitation as a guest ensemble for the 2020 Music For All National Chamber Music Festival. Ehrlich has received the National Band Association Citation of Excellence for his work with the Atlanta Wind Symphony. He has conducted the group at the 75th annual Midwest Band and Orchestra Clinic in December 2021 and the Georgia Music Educators In-Service Conference in January 2020.

Ehrlich has presented on music technology and pedagogy at the Midwest Clinic, the World Association of Symphonic Bands and Ensembles International Conference, the College Band Directors National Association National Conference, and the Georgia Music Educators In-Service Conference. Ehrlich has a Master of Music degree from the University of Georgia, and a Bachelor of Arts degree summa cum laude from Cornell University.

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NBA NEWS

2022 YCCMP Participants, cont.

Conductors, cont.

BENJAMIN POUNCEY Benjamin Pouncey, a native of Columbia, South Carolina, is currently pursuing a Master of Music in wind conducting from Colorado State University. As a graduate teaching assistant, Pouncey serves as guest conductor of the Colorado State Wind Symphony, Symphonic Band, and Concert Band, and assists with the Colorado State Marching Band, Presidential Pep Band, and the Rampage Basketball Band.

Pouncey most recently served as Director of Bands at Ashley Ridge High School (Summerville, South Carolina) where he directed the Wind Ensemble, Symphonic Band, Marching Band, and Jazz Band, as well as oversaw the Winter Guard program. Prior to Ashley Ridge, he was co-Director of Bands at DuBose Middle School (Summerville) where he was the 2013 Rookie Teacher of the Year. The DuBose Symphonic Band was a featured ensemble at the 2018 South Carolina Music Educators Conference.

An alumnus of The Cadets Drum and Bugle Corps, Pouncey served as the corps’s drum major from 2009 to 2011 and was a member of the trumpet section in 2007 and 2008. He was the recipient of the 2011 DCI Jim Jones Leadership Award.

Pouncey graduated Magna Cum Laude in 2012 from the University of South Carolina where he earned a Bachelor of Music Education. He participated in the Wind Ensemble’s 2011 recording for the NAXOS label, under the direction of Dr. Scott Weiss, and he was a member of the 2012 National Concert Tour in China.

CEON RUMPHS Ceon Rumphs is a candidate for the Master of Music degree in Wind Conducting at Baylor University where he studies with Dr. Eric Wilson and serves as a Graduate Teaching Assistant for the Baylor Bands. He also holds the Bachelor of Music Education degree from Baylor University (2016) and was a Distinguished Honors Program Graduate, earning an “Outstanding” designation for his undergraduate thesis defense. At Baylor, Rumphs’s primary responsibilities are to guest conduct the Baylor Wind Ensemble, Baylor Symphonic Band, and Baylor Concert Band. He serves as a graduate staff assistant for the Golden Wave Marching Band and as a teaching assistant for the undergraduate conducting courses. As an undergraduate, he was a two-year Drum Major for the Golden Wave Marching Band.

Prior to graduate study, Rumphs was the Assistant Director of Bands at Benbrook Middle-High School (Fort Worth, Texas). He directed all aspects of the Middle School Band Program and assisted with all aspects of the High School Band Program. The Benbrook Bands have received multiple Superior ratings at contest, and, under his assistance, the Marching Band appeared at multiple finals competitions at various 4A High School Marching Band Contests in the metroplex.

Rumphs has participated in conducting symposia across the country and has studied with such distinguished conducting pedagogues as Jerry Junkin, Craig Kirchoff, Allan McMurray, Kevin Sedatole, and Mallory Thompson.

Additionally, Rumphs continues to study saxophone at Baylor under the tutelage Dr. Michael Jacobson and is a regular performer in the Baylor Wind Ensemble.

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2022 YCCMP Participants, cont.

COMPOSERS HENRY DICKSON Henry Dickson strives to compose works that capture and amplify experiences that cannot be communicated in words. With an unapologetic lyricism, energy, and candor, his music seeks to explore ethereal and visceral worlds in a sincere, invigorating manner. He hopes his work can build communities by bringing people together and connecting emotionally with listeners. His orchestra work Uncharted was selected to be performed by the University Philharmonia Orchestra at the University of Michigan in 2020. In addition to composition, Dickson plays clarinet and also enjoys conducting, computer science, and teaching organic chemistry. Dickson is currently pursuing the Bachelor of Music in Composition from the University of Michigan, where he is studying with Michael Daugherty. He is also grateful to have studied with and been mentored by Bright Sheng, Roshanne Etezady and Jules Pegram.

TREVOR SMITH As a composer and percussionist in the new music community, Smith advocates for work that begins from a frame of raw gesture and physicality. He writes and performs music that both engages and challenges the listener, and is interested in surprising others with uncanny, unnatural processes, often balanced with moments of simplicity or meditation. This approach allows for rich phenomenological experiences, asking us abandon expectations and give both listeners and artists a foundation to access authentic, visceral reactions that can be used to reflect on oneself or spark discourse around larger societal issues. Smith’s deepest influences originate in his exposure to local punk rock scenes, contemporary percussion, and creative processes borrowed from the visual arts.

Smith recently graduated with a DMA in Composition from Michigan State University where he studied with Lyn Goeringer, Ricardo Lorenz, and Alexis Bacon. He is also pursuing music theory research regarding musical-visual ekphrasis and interdisciplinary research that addresses contemporary performance on popular digital platforms. He is currently based in East Lansing, Michigan.

MICHAEL STANDARD Michael Standard is an American composer and percussionist living in Tampa, Florida. His music for band, orchestra, and chamber ensembles has been performed in the United States in New York, Los Angeles, Atlanta, and Tampa, as well as internationally in Canada, China, and Malaysia. His recent projects have included an original electronic work for Ya La’Ford’s installation at the Indianapolis 500 and a recording of David Liptak’s Concerto for Piano and Percussion Orchestra. Recent festival performances include the Brancaleoni International Music Festival, Mostly Modern Festival, and the Electroacoustic Barn Dance. He has received grants from the Arts Council of Hillsborough County (Tampa), the Gobioff Foundation, and Art on the Beltline (Atlanta) to support his work. His mentors include Baljinder Sekhon, Paul Reller, Robert Scott Thompson, Nickitas Demos, Robert McCormick, Stuart Gerber, Charles Settle, and Matt Ward.

Standard is a co-founder of the Homegrown New Music Ensemble, a nonprofit organization specializing in creative placemaking and artistic partnerships. He is on faculty at the University of Tampa.

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NATIONAL BAND ASSOCIATION

BIENNIAL ELECTIONS CANDIDATES

PRESIDENT – ELECT Jason Fettig (MD) Dustin Seifert (NM)

VICE PRESIDENT Shelby Chipman (FL) Matt Temple (IL)

COLLEGE/UNIVERSITY REPRESENTATIVE Arris Golden (MI) Tim Rhea (TX)

ELEMENTARY/MIDDLE/ JUNIOR HIGH SCHOOL REPRESENTATIVES Amanda Allen (IL) Mary Crandell (IA) Chip De Stefano (IL) Gregory Denson (GA) Rob Foster (KS) Tiffany Hitz (VA) Tracey Leslie (NV) Susan Waters (TN)

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HIGH SCHOOL REPRESENTATIVES Brian Covey (IL) Wolson Gustama (GA) Jerrell Horton (AL) Chad Kamei (HI) Kevin Knight (TX) Bobby Lambert (SC) Ed Protzman (OH) Kevin Shira (MS)

AT-LARGE REPRESENTATIVES Craig Aarhus (MS) Sara Baumann (ND) Lowell Graham (TX) Mark Heidel (IA) Diane Koutsulis (NV) Jim Little (TX) Matt McCutchen (FL) Don Schofield (MD) Corey Spurlin (AL) Kerry Taylor (TX)

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NBA NEWS – BIENNIAL ELECTIONS

JASON FETTIG (MD) NOMINEE, PRESIDENT–ELECT COLONEL JASON K. FETTIG is the 28th Director of “The President’s Own” United States Marine Band. He joined in 1997 as a clarinetist and soon became a frequently featured soloist with both the band and the Marine Chamber Orchestra. After serving four years in the organization, he was selected as an Assistant Director, and he conducted his first concert with the Marine Band Aug. 1, 2001. He was commissioned a first lieutenant in July 2002, promoted to captain in August 2003, and became the band’s Executive Officer the following year. He was promoted to major in August 2007 and to lieutenant colonel in July 2014, one week before assuming leadership of “The President’s Own.” He was promoted to his present rank in August 2017 in the Roosevelt Room

by President Donald J. Trump.

He is the third Director of “The President’s Own” to be promoted to colonel in a White House ceremony.

As Director, Col. Fettig is the music adviser to the White House and regularly conducts the Marine Band and Marine Chamber Orchestra at the Executive Mansion. He led the musical program for the Inaugurations of President Donald Trump and 34

President Joseph Biden and the State Funeral of George H.W. Bush. He also serves as music director of Washington, D.C.’s historic Gridiron Club, a position held by every Marine Band Director since John Philip Sousa.

During his time as Director, Col. Fettig has led the band for numerous major national events both at the White House and throughout the country. He conducted national broadcast performances for the 200th Anniversary of the Star Spangled Banner at Ft. McHenry in Baltimore, three Independence Day specials from the White House, a live Veterans Day performance with the Mormon Tabernacle Choir in Salt Lake City, and an appearance on the David Letterman Show at the invitation of Michelle Obama in New York.

He has also conducted the Band and Chamber Orchestra live on NBC’s Today Show and on PBS’ “In Performance at the White House.”

Fettig leads frequent concerts throughout the Washington, D.C., area and across the country during the band’s annual national tour.

He has regularly collaborated in performance with world- class artists across a wide range of genres, from pianist Jean-Yves Thibaudet and clarinetist Ricardo

Morales, to pop superstars Jennifer Lopez and Lady Gaga. In May 2019, Col. Fettig led the Marine Band on its first international appearance since 2001 with multiple performances and broadcasts throughout Japan.

Live performances by the Marine Band under his direction are often heard on National Public Radio and he has twice partnered with the National Symphony Orchestra and their Music Director Gianandrea Noseda for special joint performances at the Kennedy Center for the Performing Arts.

Fettig has continued to bring renowned guest conductors to the podium of “The President’s Own,” including JoAnn Falletta, Bramwell Tovey and John Williams.

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Jason Fettig, President-Elect, cont.

the All-Star Orchestra conducted

by Gerard Schwarz, won an Emmy at the 62nd Annual New York Emmy Awards for a program entitled “New England Spirit.”

Fettig also represented the Marine Corps at the White House when military bands were awarded the National Medal of Arts by President Donald Trump in 2019.

Throughout his career with the Marine Band, Col. Fettig has been deeply committed to music education and has taken an active role in the evolution and expansion of the many educational initiatives of “The President’s Own.” He began an interactive Young People’s Concert series in 2006 and authored, hosted, and conducted this popular annual event until 2015. He has made a priority of maintaining a significant mentorship presence in schools during the band’s annual national concert tours, and during the COVID-19 pandemic, he spearheaded a remarkable virtual expansion of the band’s online educational resources, performances and productions, an effort that has directly reached over 100,000 students so far.

Included in these innovative new programs is a video series entitled the “Digital Rehearsal Hall,” which provides viewers across the globe a behind-the-scenes view into the working rehearsal process of the Marine Band. Fettig has served as a clinician or guest conductor at over forty universities SPRING 2022

and colleges. He often teaches at international conducting symposia, and he has appeared as conductor for numerous national honor band and All-State festivals around the country, leading both bands and orchestras.

In 2014, shortly after assuming command of the Marine Band, Col. Fettig launched an ambitious project to re-record all of the marches of John Philip Sousa and provide free performance and educational materials online to schools and ensembles worldwide.

In addition to his focus on preserving and celebrating historic band repertoire and performance practice, Col. Fettig remains a fervent advocate for contemporary American music, and has exponentially increased the Marine Band’s leadership in bringing new music into the canon. During his tenure on the podium of the Marine Band, Fettig has commissioned and/or conducted the world premieres of nearly three dozen works, including substantial new pieces

by James Stephenson, Jacob Bancks, Jennifer Higdon, David Rakowski, Narong Prangcharoen, Peter Boyer, Zhou Tian, Jessica Meyer, Michael Gilbertson, Dominick DiOrio, Donald Grantham, Zhou Tian, and Jonathan Leshnoff.

Col. Fettig is a 1993 graduate of Manchester Central High School in New Hampshire and holds

two bachelor’s degrees from the University of Massachusetts, Amherst in both clarinet performance (1997) and music education (1998), and a master’s degree in orchestral conducting from the University of Maryland, College Park (2005). He studied clarinet with Michael Sussman and David Martins, and his principal conducting teachers were Malcolm W. Rowell and James Ross.

Additionally, Col. Fettig received instruction from several other renowned conductors, including Osmo Vänskä and Otto Werner Mueller.

In 2014, he was elected as a member of the prestigious American Bandmasters Association, and serves on the board of directors for several national organizations, including the John Philip Sousa Foundation and The National Band Association.

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DUSTIN SEIFERT (NM) NOMINEE, PRESIDENT–ELECT DUSTIN D. SEIFERT, a native of Lancaster, Ohio, is Chair of the Department of Music and Director of Bands at Eastern New Mexico University (ENMU).

Mr. Seifert received the Bachelor of Music Education summa cum laude, from The University of Akron and the Master of Music Education with an emphasis in instrumental conducting from the University of Illinois where he was the recipient of the Guy M. Duker Award.

His mentors include Richard L. Cass, Michael R. Golemo, Robert D. Jorgensen, Tucker R. Jolly, James F. Keene, Gary E. Smith, Mark E. Moore, and Deborah A. Confredo.

In addition to his administrative duties as Chair of the Department of Music, Mr. Seifert is also responsible for the operation and organization of a comprehensive undergraduate instrumental program. Dustin conducts the Wind Symphony, Symphonic Band, and Greyhound Sound Marching Band, and teaches applied euphonium and tuba. Mr. Seifert leads courses in low brass teaching 36

techniques, techniques of marching band, band and wind ensemble history and repertoire, secondary instrumental methods, and beginning and advanced conducting. The ENMU Bands offer several important outreach events annually including the Green and Silver Classic Marching Band Festival, Hound For A Day marching band immersion event for high school students, and the ENMU Band Director Workshop “The New Mexico Thing”.

Widely honored as a Music Educator and conductor, Mr. Seifert was elected to membership in the prestigious American Bandmasters Association in 2022.

He received the "Spirit of Eastern Award" in 2004 acknowledging outstanding contributions, dedication and loyalty to ENMU over a sustained period. He was the 2005 recipient of ENMU's Presidential Award for Excellence in Teaching. Dustin has been recognized as a Distinguished Alumnus in Music Education by The University of Akron School of Music and as Music Educator of the Year by the New Mexico Music Educators Association.

Prior to his appointment at ENMU, Mr. Seifert served as Assistant Director of Bands at Iowa

State University (ISU). At ISU, he conducted the University Band and Musical Pit Orchestra, designed drill for and rehearsed the Sudler Trophy winning ISU Cyclone Football Varsity Marching Band, taught low brass methods, applied low brass, and courses in music education.

Dustin is a member of the New Mexico Music Educators Association, National Band Association, National Association for Music Education, College Band Directors National Association, Texas Music Educators Association, Kappa Delta Pi Education Honorary, and Pi Kappa Lambda Music Honorary. He is an honorary member of national honorary band fraternities Kappa Kappa Psi and Tau Beta Sigma, Phi Mu Alpha Sinfonia, and Phi Beta

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Dustin Seifert, President–Elect, cont.

Mu International Bandmasters Fraternity.

Mr. Seifert was appointed to the New Mexico Music Commission in August of 2020 by Governor Michelle Lujan Grisham. He currently serves as Southwest Division Chair for the National Band Association, Executive Secretary for the Southeast New Mexico Music Educators Association, is a member of the Collegiate Advisory Council of National Association for Music Education, and served as Music Director of the Clovis (NM) Community Band for eight seasons. He is a Past President of New Mexico Music Educators Association.

Dustin is an active clinician, guest conductor, and adjudicator throughout the region, state, and nation. He has conducted honor bands in Alaska, Iowa, Mississippi, New Mexico, Ohio, Oklahoma, and Texas. When not musicing, Dustin and his family are very involved in numerous community service projects. Mr. Seifert is not above taking a pie in the face to benefit an ENMU student organization or the United Way of Eastern New Mexico. He resides in Portales, New Mexico with his wife, Meredith, son, Stratton, and daughter, Sawyer Jean.

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SHELBY CHIPMAN (FL) NOMINEE, VICE-PRESIDENT DR. SHELBY RAWN CHIPMAN professor of music at Florida A&M University (FAMU) in Tallahassee. His responsibilities in the Department of Music include teaching Instrumental Music Education, Conducting, and assisting with coordinating student recitals and student teachers.

Additionally, he serves as director of the Marching and Pep Bands, Wind Symphony, Symphonic Band, and String Ensemble.

He is a native of Miami, where he graduated from Miami Northwestern Senior High. He received his Bachelor of Science degrees in Computer Science and Music Education from Florida A&M University, where he was conducting student of the late Dr. William P. Foster and Dr. Julian E. White. Professor Chipman completed his master’s degree in music education at the University of Illinois and received his PhD in music education from Florida State University (FSU), where he studied with Dr. Bentley Shellahamer. Dr. Chipman’s dissertation was “A Survey of Perceptions of At-Risk Students by Secondary School Band Directors.” He continues to present research on educator challenges with teaching in urban school districts.

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Prior to his appointment at FAMU, he taught music in the Miami-Dade County Public School system for 10 years. His band program at Miami Central High School developed into one of the finest band programs in the country. As much as a teacher as he was a musician, Dr. Chipman was named Teacher of the Year during the 1993-94 school year.

Under his leadership the Rocket Marching band performed in the 1993, 1995, and 1997 King Orange Jamboree Parades, 1993 Heritage Festival (New Orleans), 1990-96 FAMU’s Homecoming Festivals (Tallahassee, FL) 1992-97 MLK Parades & Festival (St. Petersburg, FL), 1997 Macy’s Day Parade (New York City), and numerous other marching events. The Miami Central High School Symphonic Band performed at the prestigious Bands of America National Concert Festival in Indianapolis, IN. During his tenure in MiamiDade County Public Schools, he served as district secretary, chairman, ethics, all state, and the executive board of Florida Bandmasters Association.

Dr. Chipman is a member of Kappa Kappa Psi Band Fraternity, Phi Mu Alpha Sinfonia Music Fraternity, Kappa Alpha Psi Fraternity, Music Educators

National Conference (MENC), Florida Music Educators Association (FMEA), Florida Bandmasters Association (FBA), College Band Directors National Conference (CBDNA), Florida Music Education Association (FMEA) Multicultural Network, and Bethel AME Church (Tallahassee). He has coordinated numerous band festivals and had the pleasure of working with James Croft, James, Keene, Andre Thomas, Jim Sparks, Gary Green, Anthony Maiello, Alex Jimenez, and Eugene Corporon, who represent some of the finest conductors in the world. In addition to working with these outstanding conductors, Dr. Chipman has presented music education and conducting clinics on several public school and college campuses, as well as given lectures at the FMEA conference, TMEA in San Antonio, Texas, and the Midwest Band & Orchestra Clinic in Chicago, Illinois.

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Shelby Chipman, Vice-President, cont.

Dr. Chipman currently serves as President of the Florida Music Education Association and he is an active adjudicator and clinician throughout the Southeastern United States. He also serves as music director/ conductor of the Tallahassee Big Bend Community Orchestra.

The Florida A&M University Wind Symphony and Symphonic Bands perform regularly on campus during the fall and spring semesters as well as at divisional, national, and professional music conferences. Under his direction, wind symphony has performed at the Florida Music Educators Association Conference in Tampa,

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Florida, Carnegie Hall, New York City, and has been invited to perform at the Kennedy Center in Washington, DC. Dr. Chipman has published numerous articles and completed research in the areas of instrumental conducting, atrisk student success and the student teaching experience. His Dissertation focused on “A Survey of Perceptions of At-Risk Students

by Florida Secondary School Band Directors.” He has also published articles in the Florida Music Director on Band Director Success and will be featured in the fall publication of the Historically

Black Colleges and Universities (HBCU) Band Director Marching Band Digest.

Dr. Chipman is married to Detrick LaShawn, a fourth grade teacher at Kate Sullivan Elementary School (Tallahassee) and together they have one son, Israel Armenian Chipman, who is in his final year as student at Leon high school in Tallahassee.

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MATT TEMPLE (IL) NOMINEE, VICE-PRESIDENT MATT TEMPLE was appointed Director of Bands at New Trier High School in Winnetka, Illinois, in 2007. Under Mr. Temple’s direction, the New Trier Symphonic Wind Ensemble has performed at the Midwest Clinic, Music for All National Concert Band Festival, Illinois Music Education Conference, University of Illinois Superstate Festival, and Chicagoland Invitational Concert Band Festival. They have also performed in the Sydney Opera House, Carnegie Hall, Symphony Center in Chicago, and throughout Italy. Additionally, the Symphonic Wind Ensemble has performed with soloists from the Chicago Symphony Orchestra, including Stephen Williamson (Principal Clarinet), Chris Martin (Principal Trumpet), and Tage Larsen (Trumpet). The New Trier wind ensembles have produced ten years of CD recordings mastered

by Mark Custom Recording. In 2014, the New Trier band program was an inaugural national winner of the “Blue Ribbon Award” for Programs of Excellence presented by the National Band Association.

Mr. Temple is currently serving on the Executive Committee of the National Band Association as the Second Vice-President. He has served three previous terms on

the NBA Board of Directors as the North Central Division Chair and as a High School Representative.

During this biennium, he was humbled to be a member of the newly formed Inclusion-DiversityEquity-Awareness (IDEA) committee. As an outgrowth of this work, Mr. Temple conducted an extensive interview with Alfred Watkins about his experiences and perspectives as a Black band director, which appeared in two parts in the NBA Journal. As the former committee chair for the NBA Programs of Excellence Award, he coordinated the evaluation and selection of the winners from 2016-2020. In 2017 and 2020, Mr. Temple hosted an NBA Conducting Workshop at New Trier High School for music education students from universities throughout Illinois.

The New Trier Symphonic Wind Ensemble has performed previously at the NBA Band Director Workshop, and Mr. Temple has presented two sessions at the same workshop.

As a contributing editor for The Instrumentalist magazine, Mr. Temple has authored many articles over the past decade and has also served on the Advisory Committee for NAfME’s Music Educators Journal. He has received the NBA

Citation of Excellence multiple times, and in 2015, Mr. Temple was recognized by his colleagues with the Outstanding Chicagoland Music Educator Award. He is Past President and a founding member of the Illinois committee for Comprehensive Musicianship through Performance (CMP).

Additionally, Mr. Temple has presented sessions on music selection, score study, studentcentered instruction, and innovative band curriculum at multiple universities, state music conferences, and twice at the Midwest Clinic. During the pandemic, he was invited to present several webinars. Mr. Temple frequently serves as a clinician and guest conductor throughout the U.S. Mr. Temple is a strong advocate of new music. He has commissioned multiple composers through his participation in the Consortium for the Advancement of Wind Literature, including Continued on next page

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Matt Temple, Vice-President, cont.

Michael Markowski, Ryan George, Jonathan Newman, Roshanne Etezady, Jess Turner, and Wataru Hokoyama. He also has been involved in consortiums that have commissioned Jim Stephenson, James David, Reena Esmail, Jennifer Jolley, Eric Whitacre, David Gillingham, James Curnow, Mark Camphouse, Kimberly Archer, and Shawn Okpebholo.

Just prior to the stay-at-home order in 2020, New Trier hosted a visit from composer Omar Thomas.

Subsequently, Mr. Temple wrote the article, “Promoting Social Justice through Of Our New Day Begun by Omar Thomas,” which appeared in the summer 2020 NBA

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Journal.

Mr. Temple earned his bachelor’s degree in music education from the University of Illinois at Urbana-Champaign, a master’s in conducting from Eastern Illinois University, and an additional master’s in educational leadership from Aurora University.

Prior to his appointment at New Trier, Mr. Temple served as the Fine Arts Chair at Waubonsie Valley High School in Aurora, Illinois, from 2000-2007, and as the music director at Flora High School from 1994-1998.

Mr. Temple was elected to the prestigious American Bandmasters

Association in 2017 and is also an elected member of the American School Band Directors Association and the honorary society, Phi Beta Mu. Other professional memberships include the Illinois Music Educators Association, National Association for Music Education, and National Band Association.

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COLLEGE/UNIVERSITY REPRESENTATIVE NOMINEES have become standards in the middle school band repertoire: “Kitsune: The Fox Spirits,” by Brian Balmages (2009), “The Machine Awakes” for young band and electronics by Steven Bryant (2012), “Freight Train,” by Pierre LaPlante (2013), and “The Cave Your Fear” by Michael Markowski (2014).

ARRIS GOLDEN (MI) NOMINEE, COLLEGE/UNIVERSITY REPRESENTATIVE

DR. ARRIS GOLDEN is the Assistant Director of Bands and Associate Director of the Spartan Marching Band at Michigan State University. In this capacity, Dr. Golden teaches courses in conducting, marching band techniques, conducts the Spartan Youth Wind Symphony, is coordinator of the MSU Performing Arts Camps, and assists with all aspects of the athletic band program. Before joining the faculty at Michigan State University, Dr. Golden was a member of the conducting faculty at the University of North Carolina at Chapel Hill, where she served as the Assistant Director of University Bands.

Prior to her collegiate appointments, Dr. Golden had a distinguished 18-year teaching career in the public schools of North Carolina. In her last public school assignment, Dr. Golden conducted the premiere of four commissioned works that 42

Dr. Golden maintains an active schedule with engagements throughout the United States and internationally as a guest conductor, clinician, and adjudicator. Dr. Golden has also shared presentations at the Midwest Band and Orchestra Clinic, Michigan Music Conference, the North Carolina Music Educators Conference, and the Virginia Music Educators Conference based in her research interests: undergraduate music education preparation, conductor decision-making, repertoire selection and programming, and the student teaching and mentorship experience. Dr. Golden has worked with a number of notable composers in the preparation and performance of their works for the wind band medium. Recent and future artistic collaborations include Brian Balmages, David Biedenbender, Tyler S. Grant, Peter Meechan, Aaron Perinne, Alex Shapiro, Erika Svanoe, and Omar Thomas. Dr. Golden’s professional affiliations include the College Band Directors National Association and the

National Band Association; she also serves on Board of Directors of National Band Association and as a Co-Chairperson of the National Band Association’s IDEA Committee.

Dr. Golden holds degrees from the University of North Carolina at Chapel Hill and the University of North Carolina at Greensboro.

She completed the Doctor of Musical Arts in wind conducting from Michigan State University as a 2014 recipient of a Michigan State University Distinguished Fellowship.

TIMOTHY RHEA (TX) NOMINEE, COLLEGE/UNIVERSITY REPRESENTATIVE

DR. TIMOTHY B. RHEA is Director of Bands and Music Activities at Texas A&M University. As Director of Bands, he leads the university band program, serves as conductor of the University Wind Symphony, and coordinates the nationally famous “Fightin’ Texas Aggie Band.” As Director of Music Activities, he administratively oversees the activities of the jazz, Continued on next page

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orchestra, and choral programs.

Dr. Rhea is currently in his twenty-ninth year at Texas A&M University.

Dr. Rhea grew up in the music programs of the Texas public schools. He earned the Bachelor of Music Education with honors from the University of Arkansas as a private conducting student of Eldon Janzen. He earned the Master of Music in Conducting from Texas Tech University where he studied with the late James Sudduth. Dr. Rhea earned the Doctor of Musical Arts in Conducting and Composition from the University of Houston. In 1999, he was awarded the Texas Outstanding Young Bandmaster of the Year from Phi Beta Mu. In December of 2000, Dr. Ray Bowen, former President of Texas A&M University, presented Dr. Rhea with the President’s Meritorious Service Award to Texas A&M University. He more recently oversaw the planning and construction of the new Texas A&M University Music Activities Center, which opened in 2019.

In this facility, the Dr. Timothy B. Rhea Concert Rehearsal Hall was named in his honor. In the spring of 2020, he received the Association of Former Students Distinguished Achievement Award in Administration from Texas A&M University.

Dr. Rhea was named conductor of the Texas A&M Wind Symphony SPRING 2022

in 1995. During his tenure at Texas A&M University, Dr. Rhea has conducted the Wind Symphony for conventions of the Texas Music Educators Association (seven times), the College Band Directors National Association (two times), the Midwest International Band & Orchestra Clinic in Chicago, the Western International Band Clinic in Seattle, and the American Bandmasters Association (2009 convention host), as well as in settings such as New York’s Carnegie Hall, the Meyerson Symphony Center of Dallas and the Wortham Center of Houston, and on concert tours that have taken the band throughout the state of Texas. During five European tours Dr. Rhea has conducted the Wind Symphony during performances in Ireland, England, Austria, Germany, Italy, and the Czech Republic. Under his direction, the Wind Symphony has released several internationally distributed recordings with Mark Records of New York. In addition to conducting, Rhea maintains a very successful career as an arranger and composer. His output of compositions and arrangements numbers over 300, with over 50 publications.

Dr. Rhea’s tenure with the Texas Aggie Band has included performances throughout the United States. In addition to the Presidential Inaugural Parade in Washington DC and the Texas Governor’s Inaugural in Austin,

Aggie Band bowl appearances have included the Holiday, Cotton, Sugar, Independence, Chick-fil-A, Liberty, Texas, Music City, Gator, Belk and Alamo. Dr. Rhea has served as the music arranger and a drill designer for the Aggie Band for almost 30 years. The Aggie Band was a recipient of the Sudler Trophy from the John Philip Sousa Foundation during Dr. Rhea’s association with the organization.

Dr. Rhea maintains an internationally active schedule as conductor, clinician, and adjudicator having appeared throughout the United States, Europe and Australia. He is former President of the American Bandmasters Association, is currently Vice President/Secretary and a member of the Executive Board of The John Philip Sousa Foundation, and was formerly on the Board of Directors of the National Band Association.

Dr. Rhea additionally holds memberships and positions in numerous professionally related organizations.

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ELEMENTARY/MIDDLE SCHOOL/JUNIOR HIGH SCHOOL REPRESENTATIVE NOMINEES

AMANDA ALLEN (IL) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

AMANDA J. ALLEN is the Director of Bands at Monticello Middle School and Assistant Marching Band Director at Monticello High School. Located in Central Illinois about 30 minutes outside of Champaign-Urbana, the Monticello School district is in a rural setting and has about 1700 students enrolled in the entire K-12 district.

Under the direction of Amanda Allen, the Monticello Middle School Band program has flourished and boasts three grade level concert bands with additional auditioned extra curricular symphonic band and jazz band. In the spring of 2020, the Symphonic Band participated in the International Music Education Summit Virtual Band Festival. The MMS Symphonic Band has performed numerous times at the prestigious University of Illinois SuperState Band 44

Festival, Metro East Concert Band Festival in O’Fallon, IL, the Prairie State Middle School Concert Band Festival in Naperville, IL, and the Illinois State University Concert Band Festival. The Monticello Middle School Symphonic Band was designated a 2018 State Level Winner in the National Wind Band Honors Competition from the Foundation for Music Education.

Mrs. Allen and the Monticello Middle School Band program were awarded the Women Band Directors International Magna Cum Laude Award as an outstanding middle school band program in a small-sized school setting. Additionally, during Mrs. Allen's tenure at Monticello, her ensembles have performed twice at the Illinois Music Educators Convention (2012 Jazz Ensemble,and 2015 Eighth Grade Band). The Monticello Middle School Jazz Band regularly performs at jazz festivals throughout Illinois and has also performed at the Illinois School Board Association Conference in Chicago, IL. Monticello Middle School Bands consistently receive “Best of Day” honors at the Illinois Elementary School Association Organizational Band Contest.

Mrs. Allen enjoys the opportunity to contribute to the continued growth of her former middle school students as an assistant director of the Monticello Marching Sages. The Marching Sages were class AA Champions of

the University of Illinois Marching Band Invitational in both 2016 and 2017, and were awarded the Governor’s trophy for top band in class A-AAA in 2017 and 2019. The Marching Sages have regularly placed in class A competition in the Bands of America St. Louis Super Regional for the past several years.

From 2018-2020, Mrs. Allen served on the National Band Association Board of Directors as a middle school representative.

Mrs. Allen has presented on topics related to middle school band pedagogy at the Illinois Music Education Association Convention and has served as a guest speaker at the University of Illinois National Band Association Student Organization meetings. Mrs. Allen has been a guest conductor at both concert band and jazz festivals throughout Illinois and also at Illinois Summer Youth Music Concert Band camps at the University of Illinois.

Amanda Allen received both Bachelor of Music Education and Master of Music Education degrees from the University of Illinois at Urbana-Champaign and was a saxophone student of Debra Richtmeyer. Mrs. Allen is a member of the American School Band Directors Association, National Band Association, Illinois Music Educators Association, and Women Band Directors International.

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MARY CRANDELL (IA) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

A graduate of the University of South Dakota (Bachelor of Ars and Master of Music), Mary Crandell started her instrumental music career in Le Center, Minnesota, and Clear Lake, Iowa, before her tenure began at Waukee Middle School, also in Iowa, from 2004 to present. She was the first woman to serve as Jazz Educators of Iowa President and she also created the Middle School Jazz Combo Workshop, an annual event for middle school jazz students in the state. Crandell serves in leadership roles for the Iowa Bandmasters Association, where she is currently the President-Elect and State Historian. Mary frequently guest conducts honor band festivals throughout Iowa and Nebraska.

The Waukee Middle School (WMS) Concert Bands have consistently earned first place or runner-up in the annual Adventureland Junior High SPRING 2022

Festival of Bands, Adventureland Park, Altoona, Iowa. WMS Jazz Bands have earned consistent division I or I+ ratings at district jazz festivals, and in 2011, was chosen to perform at the Iowa Bandmasters Annual Conference.

Crandell co-presented sessions on “Embedding Jazz Into the Beginning Band Program” at state conferences and at the 2015 National Association for Music Education Conference in Nashville, Tennessee. An article printed in the August 2017 School Band & Orchestra Publication (SBO) featured band rehearsal techniques utilized in the WMS band program. Mary co-presented “Rehearsal Techniques for Middle School Concert Bands” at the state and national levels utilizing these rehearsal techniques.

Crandell collaborated with three additional Iowa band directors on an extensive jazz education presentation, “Part One: Nuts and Bolts of Teaching Beginning Jazz Band: How to Select, Setup and Rehearse,” and “Part Two: Nuts and Bolts of Teaching Beginning Jazz Improvisation: Multiple Approaches to Fit Your Objectives,” at the 2019 Iowa Bandmasters Association Annual Conference. The WMS Jazz Combo was the demonstration group for that session and was chosen to perform a lobby concert at the conference. The WMS Jazz Combo was also featured in a session at the Talented and Gifted Annual State Conference

in the fall of 2019, entitled, “Unexpected Connections: Gifted Learners and Jazz Ensemble,” which demonstrated how young jazz musicians make meaningful connections across varying approaches, while using the jazz combo format and improvisation as the vehicle.

Crandell strives to create an environment of purposeful learning in which students enhance their musical performance to the best of their capabilities while enjoying the music-making process together.

She co-authored and published Building from the Ground Up: A Successful Blueprint for Band Programs (C.L. Barnhouse Company), which manifested from seventeen years of collaborative teaching incorporating the importance of what we do, how we do it, and most importantly, why.

Most recently, she co-presented a teaching session at the 2021 International Midwest Band and Orchestra Conference under the same title. Crandell is a mentor teacher and a member of the Iowa Bandmasters Association, Jazz Educators of Iowa, Jazz Education Network, National Education Association, Iowa Music Education Association, Iowa Alliance for Arts Education, Women Band Directors International, International Trombone Association, Waukee Education Association, PEO, and is a ten-year Veteran of the Army National Guard.

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Crandell’s daily life thrives on her passion and drive for teaching music through the band experience. Her passion for inspiring young students to engage their creativity through the arts is exemplified through her first two published books: Little Miss Mary Discovers Music Outside Her Window (ISBN: 9781499022179) and Little Miss Mary Discovers the Piano (ISBN:9781503580008). When she is not teaching or writing, she enjoys yoga, exploring eclectic venues with friends, playing trombone, and spending time with her husband, Myron Peterson, also a music educator and trombonist.

CHIP DE STEFANO (IL) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

CHIP DE STEFANO received both his Bachelor of Music in Trombone Performance and Master of Music Education Degrees from Northwestern University. While at Northwestern, he studied conducting with John P. Paynter, Steve Peterson, and 46

Don Owens, trombone with Frank Crisafulli and Art Linsner, and music education with Bennett Reimer, Donald Casey, Jim Kjelland, and Peter Webster.

Mr. De Stefano is currently in his 26th year as Director of Bands at McCracken Middle School in Skokie, Illinois. Under his direction, the McCracken Middle School Symphonic Band has received first division ratings at all district and state organization contests of the Illinois Grade School Music Association (IGSMA) and has made multiple appearances at the Illinois Music Educators Association (ILMEA) All-State Conference, University of Illinois Superstate Concert Band Festival, CBDNA-NBA North Central Division Conference, and NAfME North Central Division Conference. In 2006 and 2013 the Symphonic Band received an invitation to present a concert at the Midwest Clinic: An International Band and Orchestra Conference. In December of 2006, the John Philip Sousa Foundation awarded the McCracken Symphonic Band the prestigious Sudler Silver Cup. Mr. De Stefano has had chapters published by GIA Publications in Foundations: The Fundamental Elements for Building a Successful Middle School Band Program, Teaching Music Through Performance in Middle School Band, and Whatsoever Things...

The Life and Teachings of John P. Paynter. Chorales and Beyond, co-authored with Timothy Loest and Kevin Lepper is published

by FJH Music. His professional affiliations include the Illinois Music Educators Association, Illinois Grade School Music Association, the National Band Association (Board of Directors, Middle School Representative), All-Illinois Junior Band (Board of Directors), Phi Mu Alpha Sinfonia, and he was recently honored with membership in the American Bandmasters Association.

Mr. De Stefano is active nationally as a clinician, guest conductor, and adjudicator. He’s conducted honor bands, festivals and camps in Singapore, Florida, Georgia, Indiana, Kentucky, Maryland, Michigan (scheduled), Missouri, Nebraska, Nevada, New Hampshire, New Jersey, Ohio, Tennessee, Virginia, Wisconsin, and throughout Illinois. In addition, he has presented conference sessions at the Midwest Clinic (2008, 2021, 2022 scheduled), ILMEA All-State Conference (2003, 2005, 2008, 2016), Iowa Bandmasters Conference (2010), Nebraska Music Educators Association State Conference (2011), New England Band Director Institute (2016), Arkansas Tech University Band Director Workshop (2013), NBA/ IGSMA Band Director Workshop (2014, 2015, 2016, 2018, 2020, 2021), Illinois State University

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Band Director Workshop (2012, 2019) and DuPage County Music Clinic (2009, 2014, 2021). Mr. De Stefano is a recipient of twentytwo National Band Association Citations of Excellence. He was awarded the Chicagoland Outstanding Music Educator Award in 2001, the IGSMA Barbara Buehlmann Young Conductor Award in 2004, the IGSMA Cloyd Meyers Memorial Award in 2011, and the Skokie Award for Artistic Excellence in 2016.

GREGORY DENSON (GA) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

GREGORY L. DENSON is presently the Director of Bands at East Cobb Middle School in Marietta, GA. A native of Morven, Georgia, Denson holds a Bachelor of Music from Morehouse College, a Master of Music Education with certification from The Florida State University, and a Doctor of Philosophy in Music Education from Georgia State University.

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Denson has studied with David Morrow, Uzee Brown, Andre Thomas, Richard Clary, Clifford Madsen, Steve Kelly, Kimberly VanWeelden, Pat Meighan, and Gholnescar Muhammad.

Dr. Denson began his teaching career at D. M. Therrell High School in Atlanta. While at Therrell students participated in the Georgia Music Educators Association Large Group Performance Evaluation, performed in numerous college homecoming parades, participated in The University of Georgia JanFest Clinic, and a host of community and civic events. Dr. Denson also served as the CoDirector of the Atlanta Public Schools Superintendent Jazz Ensemble and served as the LEAD Band Teacher for the Atlanta Public Schools.

The East Cobb Middle School band program has grown from 120 students to 480+ in 3 years and is quickly establishing a reputation of musical excellence.

The students at East Cobb MS participate in 5 large ensembles; 8th Grade Honors, 8th Grade Concert, 7th Grade Symphonic, 7th Grade Concert, 6th Grade Honors and Jazz Band. Students also participate in a host of student led chamber ensembles. While at East Cobb, the Honors Band has been selected as a guest band at the University of Georgia Midfest Honor Clinic. Students have been

selected to participate in District XII Honor Band, Georgia AllState Band, University of Georgia MidFest Honor Band Clinic, Auburn MS Honor Band, ConnSelmer Youth Band of Atlanta, and the Georgia Youth Symphony Orchestra.

Dr. Denson has presented clinics at the Midwest Clinic, GMEA State In-Service Conference and a host of professional development sessions in Cobb County, Fulton County, Atlanta Public Schools, and Clayton County Schools, as well as sessions in conjunction with the Woodruff Arts Center. He is a Conn Selmer VIP and currently serves as the Chair of the Georgia Music Educators Association Diversity, Equity, Inclusion and Access Committee.

Dr. Denson is active as an adjudicator, guest conductor and clinician and currently plays alto saxophone as a member of the Cobb Wind Symphony.

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middle school students (Bugler’s Holiday) have performed with the Lawrence City Band and the Manhattan Municipal Band. This summer, the LTMS 8th grade euphonium students (Rolling Thunder) will be featured soloists with the Manhattan Municipal Band on one of their concerts.

ROBERT FOSTER (KS) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

ROBERT E. FOSTER, JR. is in his 17th year as Director of Bands at Lexington Trails Middle School in De Soto, Kansas and in his 29th year of teaching. Prior to this position, he was Associate Director of Bands and Coordinator of Instrumental Music Education at Tennessee Tech University, Director of Bands at Haskell Indian Nations University, Associate Director of Bands at Texas Christian University, InterimAssociate Director of Bands at the University of Maryland, and was the 5th-12th band director for the Eudora, Kansas public schools.

As band director at Lexington Trails Middle School and Starside Elementary School, he directs three concert bands, two jazz bands, pep band, and the 5th grade beginner band. His bands have consistently received superior ratings throughout his career. He earned a reputation as a master teacher. His double-tonguing 48

Foster has served the National Band Association as the Representative for the state of Kansas and is currently on the Foster Project Southwestern Division Committee. He was recognized in 2019 by N.B.A and the Music Education Alliance, Dr. William Patrick Foster Project “Award of Excellence Division Winner” which recognizes outstanding title 1 school band programs. In 2017, Foster was selected by the School Band and Orchestra magazine as a “Top Music Educators” 50 Directors Who Make A Difference. Foster was chosen by his colleagues in 2011 as the Northeast Kansas MidLevel Band Director of the Year.

He was recognized by the De Soto Unified School District #232 and was the first educator to receive the “Making a Difference Award”.

He has also won the “Teacher Inspiration Award” and has twice been recognized as “Teacher of the Year” for Lexington Trails Middle School.

Foster has a number of published compositions and articles. He has recently published

several middle school articles in The Instrumentalist magazine: April 2020, Building Range in Middle School Musicians and February 2022, Double Tonguing with Middle School Bands.

Klavier Publishing company, has published his book on the life and career of his father, Memoirs of a Legendary Band Director based on the life of Robert E. Foster. The Bandworld magazine published his articles Revive Your Audience and “Parading Bands: First Impressions are Everything.

Foster is also published with GIA Publications in the wind repertoire collection: Teaching Musicianship Through Performance in Band.

He wrote the chapters on Walter Hartley’s Concerto for TwentyThree Winds; Ottorino Respighi’s Huntingtower Ballad, and Girolamo Frescobaldi’s Toccata.

As a composer, Mr. Foster has written numerous original works and arrangements for bands at all levels. He has published band compositions with Wingert-Jones Publications, Ludwig Masters, and Curnow Music. The majority of these band publications are grade .5 – 3. In addition to writing works for concert band, Foster has written over 110 pep band and marching band charts, numerous arrangements for brass bands, small ensembles and solos.

Robert E. Foster, Jr. currently serves on the Executive Board for the Kansas John Philip Sousa Mid-

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Level Honor Band. This is the “allstate” band in Kansas for students, 6th-9th grade. Over the course of ten years, Foster created and operated Foster Family Festivals.

This company managed a very successful music festival at a water park in Kansas City, Kansas. He also started and oversees the USD #232 Summer Music Camp for beginner and middle school students and the district’s MidLevel Instrumental Solo and Ensemble Festival.

Mr. Foster has presented clinics at the Kansas Bandmasters Association convention, Texas Music Educators Association convention, and the Maryland Music Educators conference. He also served as guest conductor or adjudicator in Kansas, Missouri, Texas, New Mexico, Virginia, Maryland, New Jersey, Mississippi, Pennsylvania, Nevada, Oklahoma, Tennessee, and Kentucky.

Additionally, on multiple occasions he has appeared as a guest lecturer in music education at Kansas State University.

Mr. Foster has been involved with the “brass band movement” in Kansas and was a tutor and conductor for the Fountain City Brass Band’s Youth Academy program for many years. He is passionate about helping his students and encourages his middle school brass and percussion students to play in these wonderful ensembles.

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Additionally, in 2008 he founded and is the artistic director for the De Soto Brass Band which presents three programs a year and consists of professional musicians from the Kansas City area and his all-state students.

Robert E. Foster, Jr. received a bachelor of Music Education Degree from the University of Kansas in 1991 and was a three year letterman for the varsity Football Team. He was the deep snapper and handled all snaps for the punts and field goals. He received the University of Kansas “Special Teams Player of the Year Award” in 1986. Additional recognitions include Playboy magazine’s Anson Scholar Academic All Big-8 Football Team, Lee-Jean’s Academic All Big-8 Team, and the Philips 66 Academic All Big-8 Team. In 1988, Foster signed a free agent contract with the N.F.L’s Atlanta Falcon Football franchise.

Foster received his Masters of Science Degree from the University of Illinois in 1992. He has also completed graduate work at the University of North Texas and the University of Kansas.

His mentors and conducting professors include Robert E. Foster, James F. Keene, Eugene Corporon, and Joseph W. Hermann.

TIFFANY HITZ (VA) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

TIFFANY HITZ is Director of Bands, Music Department Chair, and Co-Lead Mentor at Rachel Carson Middle School in Fairfax County, VA. She received her Bachelor of Music in Music Education from Virginia Commonwealth University and her Master of Music in Music Education from Boston University.

Mrs. Hitz maintains an active schedule as a clinician, guest conductor, and adjudicator throughout the United States, and has been teaching in Fairfax County, VA since 2001, where she recently completed a tenure as Secondary Fine and Performing Arts Coach for their Teacher Induction Program, Great Beginnings: The Next Generation.

A member of the Virginia Music Educators Association, Mrs. Hitz is currently on the state’s New Music Grading Committee and Conference Registration Staff and

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chairs the Assessment Adjudicator Training committee for the Virginia Band and Orchestra Directors Association. She is also a member of Women Band Directors International and has been published in and served as the Elementary Editor of their official journal, Woman Conductor.

Mrs. Hitz received the Outstanding Music Education Alumni Award from VCU School of the Arts in 2018. She is an inducted member of Phi Beta Mu International Bandmasters Fraternity and American School Band Directors Association, and was previously recognized by the School Band and Orchestra Magazine as one of the “Fifty Directors Who Make a Difference”. She is a National Board Certified Teacher and previous nominee for the Grammy Music Educator Award. Mrs. Hitz currently serves as the Virginia State Chair of the National Band Association and the administrator for the Dr. William P. Foster Music Education Alliance “Award of Excellence”.

Mrs. Hitz continues to teach privately and perform as a hornist, and is a regular member of the Fairfax Wind Symphony. She spends her summers teaching at music camps including UNCG’s Summer Music Camp, the University of Maine’s Summer Youth Music Camp, and the Middle School Concert Band Camp at the Music for All Summer Symposium.

Methods.

TRACY LESLIE (NV) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

Dr. Tracy Leslie was invited to join the faculty, to create and build the instrumental music education program at Del Webb Middle School in Henderson, Nevada upon the school’s opening in 2005.

Her work with the Del Webb Bands followed the development of highly successful music programs at Thurman White Middle School in Henderson, Nevada and Roy Martin Middle School in Las Vegas, Nevada. As Director of Bands, she is responsible for an extensive instrumental program consisting of 300 plus students with five successful concert bands. Tracy Leslie was awarded an Outstanding Teaching Award in 2005-06 by The Clark County School District for her effective classroom leadership.

Dr. Leslie has served as an adjunct Instructor of Music Education at the University of Nevada, Las Vegas, teaching undergraduate classes in Instrumental Music Education Methods and Woodwind

As a recognized and respected wind band pedagogue, Dr. Leslie has been invited to conduct and perform clinics throughout numerous states in America, including California, Nevada, Arizona, Texas, Alabama, Indiana, and Louisiana and internationally in Japan. During her 27-year tenure as a music educator and conductor in the Clark County School District, ensembles under the direction of Dr. Leslie have consistently received Superior ratings and critical acclaim from adjudicators and colleagues nationally.

Tracy Leslie has been highly active in commissioning new works and transcriptions for advanced middle school bands, including recent publications Piccadilly by Erik Satie, Chernomor’s March by Mikhail Glinka, and The Nightingale

by Peter I. Tchaikovsky edited and orchestrated expressly for her by Col. John R. Bourgeois (RET) Director Emeritus of The United States Marine Band “The President’s Own”. Additionally, Dr. Leslie commissioned the David Holsinger composition Fanfare for the Glorious Naycart (anagram for Tracy Ann) for the Clark County School District Honor Band.

Dr. Leslie is active as an adjudicator for concert and marching bands throughout the West. She serves as Assistant

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Producer for the annual Holiday Bowl National Pageant of Bands in San Diego, California. Dr. Leslie currently serves as Assistant Producer and Continuity Editor for the UNLV Wind Orchestra Recording Series published by Klavier Music Productions of Boca Raton, Florida. Her most recent publications with the UNLV Wind Orchestra series include Grammy listed recordings Concerto for Marienthal (K11178), Marquee Mojo (K11185), Lost Vegas (K11195), Ventanas (K11199), The Return (K11217), 24K Gould (K11222), Quaternity (K11223), and the soon to be released Espresso Express. Dr. Leslie was the CoFounder and Head Instructor for the UNLV Leadership Team Clinic, and she founded and administered the UNLV Desert Winds Summer Music Camp.

Tracy Leslie received a Bachelor of Music Education Degree and a Master of Music Education Degree from the University of Nevada, Las Vegas in 1993 and 1997 respectively and graduated Cum Laude. She was awarded the Outstanding Music Education Graduate Award from the UNLV School of Music in 1993. Dr. Leslie received a Doctorate of Musical Arts Degree in Wind Band Conducting at UNLV in 2008, having studied conducting with Thomas Leslie, Takayoshi Suzuki, and Dr. Harry Begian.

In June of 2020, Dr. Leslie was elected to a third term (2020SPRING 2022

2022 biennium) on the Board of Directors of the National Band Association as a Middle School Representative. She also served as the Nevada State Representative from August 2016 until July 2020.

Dr. Leslie is an active advocate for music education maintaining current membership status in the National Band Association, National Association for Music Education, Nevada Music Education Association, Southern Nevada Band Association, and the Nevada Education Association.

Tracy Leslie co-hosted the 2001 National Convention of the prestigious American Bandmasters Association.

SUSAN WATERS (TN) NOMINEE, ELEMENTARY/ MIDDLE/JUNIOR HIGH SCHOOL REPRESENTATIVE

A native of Nashville, Tennessee SUSAN WATERS is in her 35th year of Instrumental Music Education and is currently the Director of Bands at Oliver Middle School in Nashville, Tennessee. She is a

graduate of Middle Tennessee State University and Western Kentucky University and her professional affiliations include: Tennessee Music Educators Association, Tennessee Bandmasters Association, American School Band Directors Association, Delta Omicron, NAfME, and Phi Beta Mu International Bandmasters Fraternity, Middle Tennessee School Band and Orchestra Association where she currently serves as Executive Secretary.

The Oliver Middle School Band Program is in its 17th year of existence. The program has grown from a population of 1 ensemble with only 7 band students on opening day in August of 2004 to its current membership of almost 400 students which represents over 40% of the overall school population. Ms. Waters was named the first Oliver Middle School “Teacher of the Year” and received a $1000 grant to enhance her rapidly growing program. The Oliver Band Program has received nothing less than superior ratings at every regional, state and national concert festivals in which they have performed.

They are a sixteen-time recipient of the Tennessee Bandmasters Association Sweepstakes Award, and have performed twice at the Schermerhorn Symphony Center as part of the CMA All-Stars concert. The Oliver Band program has been selected 3 times to present a concert at the Tennessee

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Music Education Association Conference. In 2010 the band performed at the Tennessee Bandmasters Hall of Fame concert, which was the first time a middle school band was given the honor of performing for that prestigious event. In February of 2012 and 2018 the Wind Ensemble performed for the CBDNA/NBA Conference. The Oliver Middle School Band has received national recognition hosting several composers and top educators in professional development, clinic and concert settings. In 2019 the Oliver Middle School Band program was named as a national winner of the Programs of Excellence Blue Ribbon Award by the National Band Association.

The national publication “School Band and Orchestra” published their 10th Anniversary edition in July 2008 with an article entitled “Making Band the Thing to Do” profiling Ms. Waters, her successful teaching practices, and the keys to her highly successful Oliver Band Program.

Ms. Waters has twice presented at the International Mid-West Band and Orchestra Conference. She has also developed professional development clinics on a variety of topics including: Beginning Band recruiting, Making the Transition to High School Band and Concert Etiquette in the Curriculum. Ms. Waters is frequently sought after as a professional development clinician and guest conductor 52

across the United States and has been awarded the National Band Association’s Citation of Excellence four times. In addition to her responsibilities as Director of Bands at Oliver, she serves as content lead for the district and a “side by side” coach for young and emerging band directors. Ms. Waters has also been recognized by the Country Music Association as a Teacher of Excellence four times.

HIGH SCHOOL REPRESENTATIVE NOMINEES

BRIAN COVEY (IL) NOMINEE, HIGH SCHOOL REPRESENTATIVE

Brian Covey is the Visual and Performing Arts Chairman, in addition to serving as Director of Bands at Lockport Township High School in Lockport, Illinois. Mr. Covey was appointed Director in 2003 after serving two years as Associate Director of Bands. While maintaining the Department, he conducts the Wind Symphony and

the Freshman concert ensemble in addition to overseeing the athletic performance ensembles. Prior to joining Lockport High School, Mr. Covey attended the University of Illinois Urbana-Champaign where he earned a Bachelor of Music Education degree, a Master of Music Education degree at VanderCook College of Music in Chicago, and an additional Master’s degree in Educational Administration from The University of St. Francis in Joliet, Illinois.

Under his direction, the concert ensembles at Lockport Township High School have performed at numerous competitions and festivals throughout the state and country, consistently receiving Superior ratings. The Wind Symphony has become a nationally respected ensemble with performance highlights including the Illinois Superstate Festival at the University of Illinois (every year since 2004), the National Association for Music Education National Conference (2008), the Illinois Music Education Conference (2001, 2010, 2022), The Music for All National Concert Band Festival (2006, 2008, 2016, 2018), The World Association for Symphonic Bands and Ensembles International Conference (2009), and The Midwest International Band and Orchestra Clinic (2008, 2013, 2021). The Wind Symphony has been named a Mark of Excellence National Wind Band

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Honors National Winner (2010, 2013, 2016, 2020) and in 2008 was awarded the John Philip Sousa Foundation Sudler Flag of Honor.

Mr. Covey has served as an adjudicator and clinician for many local and regional schools.

He holds numerous Citations of Excellence from the National Band Association where he serves as a High School Representative on the Board of Directors, been awarded the “Chicagoland Educator of the Year”, the “Mildred Jackson Lockport Township High School Teacher of the Year Award,” and was highlighted in School Band and Orchestra Magazine. He is a member of the prestigious American Bandmasters Association, Kappa Delta Pi Honor Society, Phi Beta Mu International Bandmasters Fraternity, American School Band Directors Association, and is the Illinois Music Education Association State Band Division President.

WOLSON GUSTAMA (GA) NOMINEE, HIGH SCHOOL REPRESENTATIVE

WOLSON GUSTAMA currently serves as the Director of Bands for Dutchtown High School. In his role, Gustama oversees nearly 170 students in several ensembles, including the Dutchtown High School Wind Symphony, Symphonic Band, Concert Band, the “Sound of Dutchtown” Marching Band, Jazz Band, and numerous chamber ensembles.

Under his leadership, the band has been invited to a number of prestigious events including the Georgia Music Educators Association (GMEA) In-Service Conference, the University of Georgia January Festival “Janfest”, the Southeastern United States Concert Band Clinic (SEUS) at Troy University, the Music for All Southeastern Regional Concert Festival at Georgia State University and the University of South Carolina Honor Band Clinic. Prior to joining Dutchtown High School, Gustama served as the assistant director of bands at Stephenson

High School in Stone Mountain, Georgia. He holds a Bachelor of Arts in Music Education from Bethune-Cookman University, a Master of Music in Music Education from Florida State University and an Educational Specialist Degree (EdS) from Piedmont College. As a trumpeter, Gustama performs with the Cobb Wind Symphony in Marietta, Georgia. He holds memberships with the Georgia Music Educators Association (GMEA), National Band Association (NBA), Phi Beta Mu, International Bandmaster’s Association and the National Association for Music Educators (NAFME). Gustama is a native of Brooklyn, New York, and currently resides in McDonough, Georgia.

JERELL HORTON (AL) NOMINEE, HIGH SCHOOL REPRESENTATIVE

JERELL HORTON has been the band director at Vestavia Hills High School (Vestavia Hills, Alabama) since 2006. He is a graduate of Samford University.

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Vestavia Hills High School, he served as assistant director at Pizitz Middle School and Vestavia Hills High School.

While at Vestavia Hills, the bands have consistently earned superior rating at district and state concert band festivals as well as the ABDA festival. The Vestavia Hills Wind Ensemble performed at the 2011 Alabama Music Educators Conference, and the Music For All National Concert Band Festival in 2013. The Vestavia Hills High School Rebel Marching Band performed in the 2010 London New Year’s Day Parade in London, England and the 2018 St. Patrick’s Day Parade in Dublin, Ireland.

The Vestavia Hills High School band was awarded the National Program of Excellence Southern Division Blue Ribbon Award presented by the National Band Association.

Mr. Horton has served as an honor band clinician within the states of Alabama, Tennessee, Mississippi, and Georgia. He is also on staff for the Auburn Summer Marching and Leadership camp and the Music For All Summer Symposium. Mr. Horton a National Board Certified teacher and was named to SBO Magazine’s 2014 list of 50 Directors “Who Make a Difference.” Mr. Horton was honored to serve on 2017 Music for All Tournament of Roses teaching staff and is delighted to serve once again on the 2020 staff.

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He is married to Monica Horton (also an educator) and they have three children, Madina Jaimes, Israel, and Chism.

CHADWICK KAMEI (HI) NOMINEE, HIGH SCHOOL REPRESENTATIVE

CHADWICK KAMEI is the Director of Bands, Fine Arts Department Head, and Learning Center Coordinator at Pearl City High School in Pearl City, Hawaii.

He joined the staff in 2005 and was appointed to Director of Bands in 2006. His duties include supervising all aspects of the band program as well as conducting the Symphonic Winds and the Concert Band. Each year, as the Learning Center Coordinator, Mr. Kamei organizes the Oahu Marching Band Festival, the Uta Matsuri (Japanese Song Festival), the Pearl City Complex Festival, and the Hawaii Wind Band Festivals (Middle and High School).

Under his direction, the Pearl City Marching Band has

received numerous awards in Oahu’s annual competitions and festivals. In 2018 they performed at the Philadelphia Thanksgiving Day Parade in Philadelphia, PA after being selected through a rigorous screening process. The marching band has also traveled internationally under Mr. Kamei’s direction. Past appearances includes Beijing, China (2007) and London, England (2011).

Known as one of the premier concert programs in Hawaii, the Pearl City High School Symphonic Winds consistently achieves Division 1 ratings at the annual OBDA Parade of Bands. The Symphonic Winds also travels regularly and has performed at the 28th (2016) and 21st (2009) Hamamatsu Festival in Hamamatsu, Japan. Domestically, the band has performed in a joint concert with the Troy University Symphony Band in Troy, Alabama (2013) to celebrate the accomplishments of Dr. John M. Long.

In 2014, Mr. Kamei founded the University of Hawaii West Oahu University Band. He is on faculty as a lecturer and band director.

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University of Texas Rio Grande Valley. He has earned the following degrees: Bachelor of Music Education, Master of Education in Educational Leadership. He has also earned a professional certificate in Executive Leadership from Cornell University.

membership and repertoire.

Mr. Kamei received his Bachelors of Education in Music and his Masters in Arts in Music Education from the University of Hawaii. He is currently pursuing his Doctor of Musical Arts in Music Education from Boston University.

Mr. Kamei was elected as a High School Representative for the National Band Association 2018-2022 (two terms). He is also holds memberships in the American School Band Directors Association, National Association for Music Education, National Band Association, Hawaii Music Educators Association, and the Oahu Band Directors Association.

Mr. Kamei is a Legion Laureate of the John Philip Sousa Legion of Honor and in 2016 was elected to membership in the prestigious American Bandmasters Association, considered to be one of the highest honors given in the wind band profession.

KEVIN KNIGHT (TX) NOMINEE, HIGH SCHOOL REPRESENTATIVE

KEVIN KNIGHT is the Director of Bands for the Crosby Independent School District, located just northeast of Houston, TX. In this administrative and teaching role, he serves as the head director for the district band program, working with all bands throughout Crosby ISD. Mr. Knight arranges many musical pieces and charts all drills performed by the Crosby Cougar Marching Band. Under Mr. Knight’s leadership, the Crosby High School Band program has earned several state and national honors and repeat advancements.

Some of these include the TMEA State Honor Band Finals, the UIL State Marching Contest, performing at the Midwest Clinic, receiving the Sudler Flag of Honor, and being named a Program of Excellence by the National Band Association.

Mr. Knight is a proud graduate of Florida State University and the

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In 2019, Mr. Knight was named the Texas Young Bandmaster of the Year by Phi Beta Mu, Alpha Chapter. He is also a 2021 inductee into Phi Beta Mu, International Bandmasters Fraternity.

Mr. Knight serves on the Sousa Foundation’s Sudler Flag committee, the NBA Selective Music List committee, and the Public Relations committee for Phi Beta Mu Alpha Chapter.

Mr. Knight holds memberships in the Texas Music Educators Association, the Texas Bandmasters Association, the Texas Music Adjudicators Association, the National Band Association, and Kappa Kappa Psi National Honorary Band Fraternity. He is an active adjudicator, guest conductor and clinician across the state of Texas.

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BOBBY LAMBERT (SC) NOMINEE, HIGH SCHOOL REPRESENTATIVE

BOBBY LAMBERT is Director of Bands at Wando High School in Mount Pleasant, South Carolina.

Originally from Cherokee, North Carolina, Mr. Lambert attended Western Carolina University to obtain his Bachelors Degree in music education and then the University of Massachusetts to receive a graduate assistantship and a Masters of Music Degree in saxophone performance.

From 2001 until 2013, Mr. Lambert was the assistant band director at Marian Catholic High School in Chicago Heights, Illinois where he enjoyed great success in both the marching and concert arena. The marching band was a consistent finalist at the Bands of America Grand National Championships and a repeat winner of the 2A National Championship. At the state level, the band continued its winning streak as the Class Champion for the State of Illinois Marching

Band Championship begun in 1980. Under his direction, the Concert Band at Marian found great success in performance assessment: consistently receiving superior ratings and being named overall champion at The State of the Art Catholic Concert Band Festival, and class champion at The Illinois State University Concert Competition and The University of Illinois Superstate Concert Festival.

In 2005, he founded the school-wide leadership program at Marian, designing the curriculum and coordinating its implementation to over 1200 students with over 50 faculty members. Drawn from the world of business, finance, and psychology, the Leadership Program curriculum gives every student practical experience with communication skills, group dynamics, and ethical leadership.

Since 1997, Mr. Lambert has directed student leadership camps around the country. In 2013, Mr. Lambert headed the inaugural Bands of America Drum Major Institute at Ball State University as part of the BOA Summer Symposium. This contemporary camp brings the most experienced staff and the latest information to student leaders from across the country. Over 1000 high school students participate in various leadership programs with Mr. Lambert each summer.

In addition to serving as consultant with several programs across the country, Mr. Lambert has worked with the All-American Marching Band sponsored by the U.S. Army and the Bands of America Tournament of Roses Marching Band. He has also served as guest conductor for honor bands in Virginia and Illinois.

Mr. Lambert’s professional affiliations include MENC and Phi Mu Alpha. He has been honored with an induction to the Marian Catholic Fine Arts Hall of Fame in 2013 and voted a Chicagoland Outstanding Music Educator in 2009. He now lives in South Carolina with his wife Alysia, who is a choral director and their daughters, Maria Katherine and Olivia Claire.

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Clinic.

EDWARD PROTZMAN (OH) NOMINEE, HIGH SCHOOL REPRESENTATIVE

Edward F. Protzman is the Director of Bands at William Mason High School in Mason, Ohio, where he directs multiple concert bands, including the Mason High School Wind Symphony. He is an active member of the National Association for Music Education, the Ohio Music Educators Association, and the World Association for Symphonic Bands and Ensembles.

He currently serves as the Ohio State Chairperson for the National Band Association. His ensembles have performed at music educator conferences in Ohio, Kansas, and Pennsylvania and the Music for All National Concert Band Festival in Indianapolis, Indiana. In 2021 The Mason Wind Symphony was selected as a National Winner as part of The Foundation for Music Education’s National Wind Band Honors Program. This December, the Mason Wind Symphony will perform at the 76th Midwest West International Band and Orchestra SPRING 2022

Protzman is the 2019 winner of the George N. Parks Leadership in Music Education Award presented by the National Association for Music Education and Music for All. As a clinician and educator, he has worked with groups across the United States and Canada. His education includes a Bachelor of Arts in Music from Kutztown University, Kutztown PA, a Bachelor of Music in Music Education from Moravian College Bethlehem, Pennsylvania, a Master of Music in Wind Conducting from West Chester University, West Chester, Pennsylvania, and a Graduate Diploma in Wind Conducting from the University of Calgary in Alberta, Canada.

He is currently a candidate for the Doctorate of Music Education Degree at Liberty University, Lynchburg, Virginia.

KEVIN SHIRA (MS) NOMINEE, HIGH SCHOOL REPRESENTATIVE

KEVIN SHIRA is currently in his fifth year on staff at Ocean

Springs High School (Ocean Springs, Mississippi) serving in his first year as the Director of Bands.

His teaching responsibilities include directing the Blue-Grey Pride marching band, conducting the OSHS Wind Symphony, and assistant instructor to the double reeds at Ocean Springs Upper Elementary.

Prior to joining Ocean Springs High School, Shira spent two years as the Assistant Director of Bands for the Pass Christian School District. His concert ensembles earned consistent superior ratings both at local and state evaluations.

In the Fall of 2016, he assisted the award-winning Pride of the Pass Marching Band as they won the Class 4A silver medal, placing first in music.

Shira attended Colonial Forge High School in his hometown of Stafford, Virginia. He earned his Bachelor of Music Education at the University of Southern Mississippi, where he was actively involved in promoting the School of Music. At USM, Shira performed with the Symphonic Winds, Symphony Orchestra and in numerous chamber ensembles under the direction of Dr. Mohamad Schuman, Dr. Jay Dean, and Dr. Kimberly Woolly.

Shira was a four-year drum major of the Pride of Mississippi, leading them in performance at the 84th annual Macy's Thanksgiving Day Parade, the 2011 Conference USA

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championship Game, and several other bowl game appearances. In 2019, Shira received a Master of Music Education degree at William Carey University (Hattiesburg, Mississippi) studying with Dr. Wes Dykes and Dr. Jeremy Morgan. In December 2019, he was awarded the prestigious A.E. McClain Outstanding Young Band Director Award from the Mississippi Bandmasters Association. In his first year as Director of Bands at Ocean Springs High School, the Wind Symphony performed at the 2022 Tri-States Honor Band Weekend on the campus of the University Tennessee-Chattanooga.

This fall, the Ocean Springs High School Wind Symphony will perform at the 2022 Western International Band Clinic in Seattle, Washington.

Shira is a member of the National Band Association, the National Association for Music Education, the Mississippi Bandmasters Association, and the Gulf Coast Band Directors Association. He is an active clinician around the state of Mississippi and currently serves as Camp Coordinator for the University of Southern Mississippi's All South Drum Major and Guard Camp. Shira currently lives in Pascagoula Mississippi with his husband, Patrick, and their dog, Benji.

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CRAIG AARHUS (MS) NOMINEE, AT-LARGE REPRESENTATIVE

DR. CRAIG AARHUS is Associate Director of Bands and Associate Professor of Music at Mississippi State University. At MSU, he co-directs the Famous Maroon Band and basketball pep bands, conducts Wind Ensemble "B," the Concert Band, and Campus Band, and teaches Conducting and Brass Techniques in the Department of Music. He also currently serves as the area coordinator for Music Education in the department. As a member of the band faculty, Dr. Aarhus has been part of a team that has helped lead the band program to unprecedented growth, making it currently one of the largest bands in the Southeast.

A native of Alabama, Dr. Aarhus received his Bachelor of Music Education degree from Auburn University and his Master of Arts and Doctor of Musical Arts degrees

in Conducting from The University of Iowa. While at Iowa, he was the recipient of the prestigious Iowa Performance Fellowship and was a conducting student of Dr. Myron Welch. He also served as a graduate conductor for all of the concert bands, arranged music and wrote drill for the Hawkeye Marching Band, and was co-director of the Iowa Pep Band.

During this time, he was also the director of the Southeast Iowa Concert Band at Iowa Wesleyan College for one year. Prior to his appointment at MSU, Dr. Aarhus was a successful high school and middle band director in the public schools of Lanett, Tallassee, and Mobile, Alabama.

Dr. Aarhus has been involved in the National Band Association for several years as the State Chair for Mississippi (20092012), Southern Division Chair (2012-2016), and as the College/ University Representative (201618). Currently, he serves as an appointed member of the Board of Directors, helping with social media for the organization.

Additionally, he is a member of several professional organizations including the College Band Directors National Association, Pi Kappa Lambda, Phi Mu Alpha, Tau Beta Sigma and the Mississippi Bandmasters Association. He is also the Past-President of the Delta Chapter of Phi Beta Mu International Bandmasters Fraternity and recently completed a ten year tenure as a Governor

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for the Southeast District of Kappa Kappa Psi. Dr. Aarhus has been an adjudicator and clinician throughout the Southeast, Midwest, and in Canada, and is a contributing author to five volumes of the popular Teaching Music Through Performance in Band series.

The Southeast District of Kappa Kappa Psi recently named their "Outstanding Director/Sponsor" Award after Dr. Aarhus. Other honors and awards include the A. Frank Martin Award from Kappa Kappa Psi for excellence in fraternity service (2017), the Clyde Muse Service Award from the MSU College of Education (2015) and the selection to the George Duke Humphrey Faculty Leadership Program (2015). In 2010 and 2011, he was a recipient of the “StatePride” Award for excellence in teaching, research, and service.

He has been a clinician/instructor at the Smith-Walbridge Drum Major Clinics for 18 years, and in that capacity had the opportunity to teach hundreds of high school and college drum majors from across the country. He and his family reside in Starkville and are members of First Presbyterian Church, where he has served as Music Director since 2007.

SARA BAUMANN (ND) NOMINEE, AT-LARGE REPRESENTATIVE

SARA BAUMANN is a graduate of North Dakota State University where she earned a Bachelor of Science Degree in Music Education. She completed a master’s degree in Conducting from the American Band College at Southern Oregon University.

Mrs. Baumann is currently in her 20th year as director of bands at Mandan Middle School in Mandan, North Dakota. Under her direction, Mandan Middle School Bands have consistently earned superior ratings in all areas of performance including concert band, jazz band, and solo and ensemble festivals. Her students often represent the largest number of students from any one school in the Junior High All State Band.

The Mandan Middle School Band has been selected twice to be a featured performing group at the North Dakota Music Educators InService Conference.

Mrs. Baumann has served as a guest conductor, adjudicator, and

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clinician throughout the region.

She is the Past-President of the North Dakota Music Educators Association, and a board member of NDNBA. She serves as comanager of the ND JH All-State Band Festival and was recently appointed as an Associate Member of the International Music Camp Corporation. She was a recipient of the NDNBA Allegro Band Award in 2008. In December 2017, Mrs. Baumann was awarded the School Band and Orchestra Magazine’s “50 Directors Who Make a Difference” from North Dakota. She was a recipient of the NDNBA Citation of Excellence Award in 2018. She is a member of NAfME, NBA, and Phi Beta Mu Honor Fraternity.

She enjoys performing with the Bismarck-Mandan Wind Ensemble and the Missouri River Community Band. Her husband, Jon, is the Director of Bands at Mandan High School in Mandan, ND. They have two children, Nora and Jacob.

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LOWELL GRAHAM (TX) NOMINEE, AT-LARGE REPRESENTATIVE

A native of Greeley, Colorado, LOWELL E. GRAHAM was named Music Director for the Greeley Philharmonic Orchestra (GPO) in 2021. He previously served as Professor of Music holding the Abraham Chavez Professorship in Music at The University of Texas at El Paso (UTEP) from 2002 to 2021.

While at UTEP he served as Chair of the Department of Music from 2002-2014 and then as Director of Orchestral Activities and Professor of Conducting from 2010 – 2021.

He is now Professor Emeritus in Music for UTEP. Graham enjoys a distinguished career conducting ensembles in many musical media, including the Green Bay Symphony Orchestra, the Virginia Symphony, the Spokane Symphony, the Valdosta Symphony Orchestra, the El Paso Symphony Orchestra, the American Promenade Orchestra, the Chamber Music Palm Beach Chamber 60

Orchestra, the Westsachsisches Symphonieorchester, the Mormon Tabernacle Choir, Banda Sinfonica do Estado de Sao Paulo, Orquestra de Sopros Brasileira, Banda Sinfonica de la Provincia de Cordoba – Argentina, Banda Municipal de Musica de Bilbao – Espana, Banda Municipal de Barcelona – Espana, the National Symphonic Winds, the National Chamber Players, the Avatar Brass Ensemble and the Denver Brass. In 2006 he was named the “Director Honorifico Anual” for the Orquesta Sinfonica Nacional de Paraguay. He has held numerous conducting positions to include that of the Commander and Conductor of the United States Air Force's premier musical organization in Washington, DC. As a USAF Colonel, he became the senior ranking musician in the Department of Defense.

He is a graduate of the University of Northern Colorado where he received a Bachelor of Arts degree in music education in 1970 and a Master of Arts degree in performance the following year. In 1977 he became the first person to be awarded the Doctor of Musical Arts degree in orchestral conducting from The Catholic University of America in Washington, D.C. Graham has initiated many important media projects for American Public Radio and other broadcasting organizations, as

well as live telecast/web cast concerts and video productions on which his credits include those of conductor, writer, and musical producer. He is a frequent guest on radio talk shows and performed on NBC’s “Today Show” for five consecutive years on Independence Day. In March 1995, he was honored with membership in the prestigious American Bandmasters Association (ABA), the professional association of master conductors and musicians.

Membership is considered the highest honor achievable by American bandsmen; it recognizes outstanding achievement in the field of concert bands. In 2014 he was named as the President and CEO of the John Philip Sousa Foundation. In 2018 he became the 81st President of ABA. In February 1996, he was inducted into the University of Northern Colorado School of Music “Hall of Honor.” This distinction was bestowed on only 18 alumni and faculty who have achieved greatness as musician, educators, and humanitarians in the school’s first 100 years. He received The Catholic University of America’s 1998 Alumni Achievement Award in the field of Music. This award, which is presented annually by the Board of Governors Alumni Association, recognized his accomplishments, and honored him for his life’s work. In 1999 he received the

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University of Northern Colorado Alumni Association Honored Alumni Award in the category of “Contributions to Music.”

In 2001, he was the recipient of the Award of Distinction for Contributions to Music Education from the Illinois Music Educators Association. The two previous recipients were Sir Georg Solti and the Chicago Symphony Orchestra and Merle J. Isaac. In 2003 he was the recipient of the Phi Beta Mu International Outstanding Bandmaster Award. In 2008, he was honored by the American School Band Directors Association with the A. Austin Harding Award for “making significant and lasting contributions to the school band movement.” In 2013 the University of Northern Colorado Graduate School honored him with the “Century of Scholars Award” in performance representing excellence and achievement in the previous 100 years of the Graduate School. He was inducted into the “Hall of Fame” for the Texas Bandmasters Association in 2019. Graham actively serves as an Educational Clinician for Conn-Selmer Education Division and was inducted into the ConnSelmer “Hall of Fame” in 2021.

Additionally, in 2021 he was named to the National Band Association’s “Hall of Fame for Distinguished Conductors.”

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Telarc, Klavier, Mark, Altissimo and Wilson -- that have been recognized for both their artistic and sonic excellence. These recordings have been recognized in Stereophile’s “Records to DieFor” list, The Absolute Sound’s “The Super Disc List,” as well as one having won a Grammy.

MARK HEIDEL (IA) NOMINEE, AT-LARGE REPRESENTATIVE

Richard Mark Heidel is Director of Bands and Professor of Music in the School of Music at the University of Iowa where he conducts the Iowa Symphony Band, teaches graduate courses in conducting and band literature, guides the graduate band conducting program, and oversees all aspects of the University of Iowa band program. Ensembles under Dr. Heidel’s direction have performed at national, regional, and state conferences including those of the College Band Directors National Association, Music Educators National Conference, Iowa Bandmasters

Association, Wisconsin Music Educators Association, Illinois Music Educators Association, and National Band AssociationWisconsin Chapter. He has also led concert tours to the Republic of Ireland and the United Kingdom as well as throughout the Midwest.

A native of Texas, Dr. Heidel holds the Bachelor of Music Education and Master of Music in Conducting from Texas Tech University in Lubbock, Texas as well as the Doctor of Education in Music Education from the University of Illinois at Urbana-Champaign.

His principal teachers include James F. Keene, James Sudduth, Gary Smith, Keith Bearden, Donald Schleicher, John Grashel, Eunice Boardman, Richard Tolley, and Michael Ewald. Prior to his appointment to the University of Iowa faculty in 2008, Dr. Heidel served as Director of Bands at the University of Wisconsin-Eau Claire, Shippensburg University of Pennsylvania, and as a teaching assistant in the School of Music at the University of Illinois. In addition to his university teaching experiences, Heidel taught in Texas for nine years serving as Director of Bands at Muleshoe High School, Levelland High School, and Monterey High School in Lubbock.

Dr. Heidel has been distinguished with memberships in numerous national and international honor societies and fraternities including Phi

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Mu Alpha Sinfonia, Pi Kappa Lambda, Kappa Kappa Psi, Phi Eta Sigma, Phi Kappa Phi, Kappa Delta Pi, Pi Nu Epsilon, and Golden Key. He was the recipient of the Outstanding Musician award at Texas Tech University in both 1985 and 1986, and in 1997, he received the A. A. Harding award at the University of Illinois for the "highest possible achievement, service, and devotion to the University Bands." In 2002, Dr. Heidel was named to the "Who's Who Among America's Teachers," and in 2003 and 2010 he received the Citation of Excellence from the Wisconsin Chapter of the National Band Association. In 2005, he was initiated into Sigma Alpha Iota as a National Arts Associate, and in 2008, he was elected to membership into the prestigious American Bandmasters Association. Dr. Heidel received the Collegiate Teaching Award from the UI College of Liberal Arts and Sciences in 2012, and a Citation of Excellence from the National Band Association in 2016.

Dr. Heidel has presented clinics and workshops at state music conferences and universities in Florida, Georgia, Illinois, Iowa, Michigan, Minnesota, Missouri, New Mexico, Ohio, Pennsylvania, South Dakota, West Virginia, Wisconsin, and Wyoming, and he has appeared as guest conductor and clinician in more than 35 states, Washington, D.C., and the Canadian provinces of Ontario and Manitoba. In 2003, Heidel 62

served as an adjudicator for the Limerick International Marching Band Competition and the 100th St. Patrick’s Day Festival in Dublin, Ireland. Dr. Heidel was the conductor of the Asia Pacific Activities Conference APAC Band in Hanoi, Vietnam in 2016, and conductor of the Association of Music in International Schools High School Honor Band in Salzburg, Austria in 2019. Heidel has three commercial compact discs to his credit including Martyrs for the Faith featuring Kenneth Tse, saxophone with the Iowa Symphony Band released by MSR Classics in 2012, TRADITION featuring live performances of the Iowa Symphony Band released

by Equilibrium in 2017, and The Voxman Project: Chamber Music of O’Riordan, Weill, and Milhaud released by Crystal Records in 2021.

His summer teaching experiences include serving as a faculty member of the Shell Lake Arts Center (WI), Texas Tech University Band and Orchestra Camp, Illinois Summer Youth Music Program, and the International Music Camp. His list of publications includes more than 30 articles in the National Band Association Journal, Teaching Music, Teaching Music Through Performance in Band, Illinois Music Educator, and Iowa Music Educator. Dr. Heidel currently serves on the Board of Directors of the National Band Association

and American Bandmasters Association, is the State of Iowa Representative for the College Band Directors National Association, and is Past President of the Big Ten Band Directors Association.

DIANE KOUTSULIS (NV) NOMINEE, AT-LARGE REPRESENTATIVE

DIANE KOUTSULIS is the recently retired Director of Bands and Arts Department Chair at Green Valley High School.

Originally from Chicago, Diane taught in the Clark County School District for 35 years. She received a Bachelor of Arts Degree in Music from Western Illinois University, studying with Christopher Izzo.

After teaching junior high band in Oswego, Illinois, for three years, she went on to complete the Masters of Music Education degree at Louisiana State University in Baton Rouge, Louisiana, where she studied with Frank Wickes.

During her tenure in Las Vegas, Diane has built fine band

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programs and music departments at both Las Vegas High School (1982-91) and Green Valley High School (1991-2017). Her groups have consistently garnered recognition for fine performances and she has served as both guest clinician and conductor at various conferences and honor bands throughout the United States. Diane was named the 1999 Nevada Teacher of the Year and received the 1999 Milken Family Foundation National Educator Award. A member of the Clark County School District Teacher Hall of Fame, in March of 2003, she was inducted into the Nevada State Education Hall of Fame. In 2004, the Green Valley High School Symphonic Band performed at the Midwest Clinic in Chicago, IL. In 2005 and 2010, the Symphonic Band performed at Carnegie Hall in New York City. The Green Valley High School Marching Band performed in the 2010 Macy’s Thanksgiving Day Parade in New York City, as well as the 2009 and 1993 Presidential Inaugural Parades. Diane is a member of the National Band Association (NBA) as well as holding memberships in the National Association for Music Education (NAfME), College Band Directors National Association (CBDNA) and Phi Beta Mu. Diane is very honored to be a member of the prestigious American Bandmasters Association (ABA) since 2015, and was recently awarded the John Philip Sousa Foundation Legion of Honor.

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(1986-1989), and Liberal, Kansas (1989-2006) where he was Director of Bands at Liberal High School and Coordinator of Instrumental Music for USD 480, followed by five years as LHS Assistant Principal and three years as high school principal until his retirement in 2006.

JIM LITTLE (TX) NOMINEE, AT-LARGE REPRESENTATIVE

JIM LITTLE is a 1966 graduate of Eastern New Mexico University where he earned a Bachelor of Music Education degree, and a 1970 graduate of the University of South Florida where he earned a Masters Degree in Music Education. He has also completed extensive studies in Educational Supervision and Administration at West Texas State University.

Following his graduation from Eastern New Mexico University, Mr. Little enlisted in the United States Air Force and served as a trumpet player and bugler with the 589th USAF Band in Amarillo AFB, Texas and MacDill AFB, Florida.

Mr. Little began his teaching career as a band director in Stanley, North Carolina at Stanley High School and East Gaston High School (a consolidation of Stanley and Mt. Holly high schools), followed by head director positions at Bovina, Texas (19761980), Perryton, Texas (19801986), Colorado Springs, Colorado

Mr. Little first joined NBA while serving as a USAF Bandsman.

During his membership he has served as a state chair for 23 years in North Carolina and Texas.

He currently serves as Texas State Chair of NBA, having been appointed to that position in 2015.

He also served as the Organizer for the NBA National High School Honors Band, conducted by Colonel Arnald Gabriel, in 1982, and was assistant director of the National Jamboree Boy Scout Band in 1985 and 1989.

In addition to his service to NBA, Mr. Little has been a member of the trumpet section of the Lake Country Symphonic Band (Mineola) since 2011, and also serves as a bugler with Taps for Veterans, Bugles Across America, and the East Texas Patriot Guard Riders.

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several semesters

MATTHEW MCCUTCHEN (FL) NOMINEE, AT-LARGE REPRESENTATIVE

MATTHEW MCCUTCHEN has served on the University of South Florida (USF) Music Faculty since 2009, first as the Director of Athletic Bands for nine years, and now as Director of Bands since 2018. His responsibilities at USF include conducting the Wind Ensemble and teaching graduate and undergraduate courses in Conducting, Wind Band Literature, and Music Education.

McCutchen earned a PhD in Music Education with an emphasis in Instrumental Conducting from Florida State University, a Master of Music in Conducting from Virginia Commonwealth University, and a Bachelor of Music Education degree from Furman University. Prior to coming to USF he taught middle school in Georgia, high school in Virginia, and served as an adjunct instructor at Virginia Commonwealth University for

McCutchen is active as a guest conductor, and clinician. He is the Artistic Director and Conductor of the Florida Wind Band, and the Founder and Conductor of the Bay Area Youth (BAY) Winds, which features many of the finest high school musicians throughout the Tampa Area.

He has been published in the National Band Association’s NBA Journal, the 7th and 8th editions and the “Solos with Wind Band Accompaniment” editions of the Teaching Music Through Performance in Band series, The Instrumentalist magazine, VMEA Notes, and the Florida Music Director. He is the Chair of the National Band Association’s William D. Revelli Memorial Band Composition Contest Committee, is a member of the John Philip Sousa Foundation Legion of Honor Selection Committee, and holds memberships in numerous national and statewide professional organizations.

In March 2022, McCutchen received the prestigious honor of membership in the American Bandmasters Association (ABA), the professional association of master conductors and musicians.

ABA membership is considered the highest honor achievable by American bandsmen; it recognizes outstanding achievement in the field of concert bands.

DON SCHOFIELD (MD) NOMINEE, AT-LARGE REPRESENTATIVE

COLONEL DON SCHOFIELD is the Commander and Conductor of The United States Air Force Band in Washington, DC. He is responsible for all activities of this 184-member unit including equipping, training and deploying Airmen musicians to perform nearly 1,600 missions each year at locations such as The White House, Arlington National Cemetery, the Kennedy Center, and venues throughout the world for the President of the United States, world leaders, and dignitaries.

Colonel Schofield was born in Atlanta, Georgia and received his Bachelor’s Degree in Music Education from the University of Georgia, his Master’s Degree in Instrumental Conducting from Louisiana State University, and his Doctorate of Musical Arts in Music Education from Boston University. Prior to receiving his commission at Officer Training

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At-Large Representatives, cont.

School in 1997, Colonel Schofield taught at Hardaway High School in Columbus, Georgia and Effingham County High School in Springfield, Georgia where he led a 275-member comprehensive band program to national and regional recognition. His previous commands include the United States Air Forces in Europe Band in Germany, the United States Air Force Academy Band at the United States Air Force Academy in Colorado, the Band of the Air Force Reserve at Robins Air Force Base, Georgia, and the Band of MidAmerica at Scott Air Force Base, Illinois. Colonel Schofield also served as the Deputy Commander, 11th Operations Group at Joint Base Andrews, and the Director of Operations for The United States Air Force Band in Washington, D.C. In 2007, he led the United States Air Force Central Command Band, where he planned and led overseas performances for United States and coalition forces in Iraq, Afghanistan, Saudi Arabia, Oman, Africa, Kyrgyzstan, the United Arab Emirates, Qatar, Kuwait, and Bahrain in direct support of combat operations IRAQI FREEDOM and ENDURING FREEDOM. Colonel Schofield has conducted military bands, professional orchestras, and school bands throughout the United States, Puerto Rico, Belgium, the Czech Republic, Estonia, France, Germany, Luxembourg, Poland, SPRING 2022

Sweden, and Ukraine. An advocate for new music, he has commissioned and premiered 41 works for wind band, orchestra, and choir from such composers as Eric Whitacre, Jim David, Kevin Day, Stephen Bryant, James Stephenson, Kim Archer, Jim Barnes, Shawn Okpebholo, and Johan de Meij. During the COVID pandemic, Colonel Schofield continued public and educational concerts with The United States Air Force Band by conducting and producing more that 300 broadcast and video products to connect with audiences worldwide, to include interactive educational livestream broadcasts viewed by more than 200,000 students. He has led international performances with artists such as Joshua Bell, Frank Tichelli, Dianne Shuur, Kid Rock, Little Big Town, Wycliffe Gordon, Kelly Pickler, Lee Greenwood, Chris Daughtry, the Mormon Tabernacle Choir, Christopher Jackson, Lonestar, Wynonna Judd, Amy Grant, Take 6, Diamond Rio, the Miracles, Gordon Goodwin, Allen Vizzutti, Megan Hilty, and Yuri Mynenko. Colonel Schofield has been recognized by the National Academy of Television Arts and Sciences as a two-time Emmy Award Top Four Finalist for his musical leadership during internationally broadcast productions at the Grand Ole Opry.

Colonel Schofield’s leadership has been recognized by the United States Air Force by being

named the United States Air Forces in Europe’s Public Affairs Communication Excellence Field Grade Officer of the Year, the United States Air Force Academy’s Public Affairs Field Grade Officer of the Year, the Air Force Reserve Command’s Public Affairs Field Grade Officer of the Year, Air Mobility Command’s Band Officer of the Year, and Air Force Materiel Command’s Band Officer of the Year. Under his command, the United States Air Forces in Europe Band was named the winner of the 2017 Brigadier General Dalton Award for the Best Public Affairs Unit in the United States Air Force. In 2021, The USAF Band was awarded the Telley Award for the Most Viral Video in the World, reaching more than 200 million views with a broadcast recording featuring Lee Greenwood and Home Free. Colonel Schofield’s contributions resulted in The United States Air Force Band, the United States Air Force Academy Band, and the Band of Mid-America being awarded the Colonel George S. Howard Citation of Musical Excellence for military concert bands.

Candidate bios continued on next page

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At-Large Representatives, cont.

Dr. Spurlin is also a member of Phi Beta Mu International Band Fraternity and CBDNA, for which he has served on the athletic band committee for five years.

COREY SPURLIN (AL) NOMINEE, AT-LARGE REPRESENTATIVE

DR. COREY SPURLIN serves as Associate Director of Bands, Marching Band Director, and Professor of Music at Auburn University. In addition to his leadership of the athletic band program at Auburn, he conducts the Concert Band, is associate conductor of the Auburn Symphonic Winds, and teaches courses in undergraduate and graduate conducting, wind band literature, and graduate instrumental leadership. For the past six years, Dr. Spurlin has served as the Southern Division Chair for the National Band Association, and previously served for seven years as the NBA state chair for Alabama.

As NBA Southern Division Chair, he has administered NBA’s responsibilities for three NBA/CBDNA southern division conferences. He has also served on additional NBA ad hoc committees to address collegiate chapters and marching band citation awards.

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In addition to his work at Auburn and for professional organizations, Dr. Spurlin is active throughout the U.S. as a conducting and marching band clinician and adjudicator. He has conducted the Alabama AllState Blue Band; collegiate honor bands at the University of Georgia (JanFest), West Virginia University, and Southern Illinois University; and he served as a marching band adjudicator for the University of Illinois, University of Missouri, Washington State University, BYU, Eastern New Mexico University, and for UIL Texas State Finals.

He has served as a guest lecturer and/or conductor at the University of Oklahoma, University of West Virginia, Georgia State University, Ohio State University, University of Alabama Birmingham, University of Texas Wesleyan, University of Texas at Arlington, Eastern New Mexico University, and the University of Akron.

He is published in six volumes of Teaching Music Through Performance in Band, twice in the National Band Association Journal, and he is a contributing author for the marching band textbook The System by Gary Smith. He has presented twelve times at the CBDNA Athletic Band Symposium, co-presented at the Midwest

Clinic, presented twice for the Reach Through Music series, and was as a feature guest for Music for All Lunchtime Chats. In addition, he serves as the head drill design clinician and lecturer at the Smith Walbridge Camps at Eastern Illinois University.

Prior to his appointment at Auburn, Dr. Spurlin received the Doctor of Musical Arts degree in wind conducting from Louisiana State University, where he studied with Frank B. Wickes, and the Master of Arts and Bachelor of Science degrees in music education from the University of Alabama. He served as a Graduate Assistant for the Band Department at LSU where he assisted with the Tiger Marching Band and “Bengal Brass” Pep Band. In addition, he was Graduate Associate Conductor of the LSU Wind Ensemble, Symphonic Winds, and Symphonic Band. Previously, he served as a Graduate Teaching Assistant at the University of Alabama where, in 2002-2003, he was Acting Assistant Director for the Marching Band and conductor of the Alabama Symphonic Band. In addition, he served as conductor of the Alabama Men’s Basketball Band for six years. Before pursuing his advanced degrees, Dr. Spurlin was Director of Bands at Tuscaloosa County High School in Northport, Alabama and Tuscaloosa Middle School in Tuscaloosa, Alabama.

Candidate bios continued on next page

NBA JOURNAL

NBA NEWS – BIENNIAL ELECTIONS

At-Large Representatives, cont.

KERRY TAYLOR (TX) NOMINEE, AT-LARGE REPRESENTATIVE

KERRY TAYLOR currently serves as Director of Bands for Westlake High School-Eanes ISD and Fine Arts Director of Eanes ISD. Mr. Taylor is in his 40th year as a band director in Texas public schools. He holds a Bachelor of Music Education degree and a Master of Music degree from the University of Texas at Austin.

Under Mr. Taylor's direction, the Westlake Band has won or placed highly in numerous concert band and marching festivals, including 32 consecutive UIL Sweepstakes Awards. The Westlake Wind Ensemble has performed twice at the Midwest Clinic in Chicago, four times in Carnegie Hall and once each for the American Bandmasters Association and the World Association of Symphonic Bands and Ensembles. In 1999, the John Philip Sousa Foundation presented the Westlake Band with the “Sudler Flag of Honor” for excellence in concert band and, in 2011, the “Sudler Shield” for SPRING 2022

marching band excellence. The Westlake Chaparral Marching Band has performed twice (2003 and 2017) in the Tournament of Roses Parade in Pasadena.

In 2017, the Westlake program was recognized by Phi Beta Mu International Band Fraternity as a “Program of Distinction” and in 2022 the program was named the Texas Bandmasters Association “Program of Distinction.”

Mr. Taylor is active as a clinician and adjudicator in Texas and across the US. He is the current President of the American Bandmasters Association and is a Past-President of the Texas Music Educators Association. He has been recognized by the University Interscholastic League with the Sponsor of Excellence Award, the John Philip Sousa Foundation as a Legion of Honor Laureate and the Texas Bandmasters Association with the Meritorious Achievement Award for Outstanding Contribution to Music Education. He and his wife Valerie, a long-time educator in Eanes ISD and a current PhD candidate in Curriculum and Instruction at the University of Texas, are the proud parents of two sons; Brian, a DMA candidate at Michigan State University and Sean, a recent graduate of the University of Dallas currently working as an Design Architect in Austin and his wife Sarah, a graduate in Marketing of the University of WisconsinMilwaukee.

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NBA NEWS

2022 FORTY-SIXTH ANNUAL

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

REQUIREMENTS:

ENTRY MATERIALS:

AWARD

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

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

FORMS & MATERIALS

ENTRY DEADLINE:

November 1, 2022

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

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

Arris Golden Michigan State University

Jason Nam Indiana University

Marcellus Brown Boise State University (ID)

Jennifer Hamilton Red Mountain High School (AZ)

Sue Samuels Furman University (SC)

Catherine Sinon Bushman St. Cloud State University (MN)

Chadwick Kamei

Shanti Simon University of Oklahoma

Colonel Jason Fettig United States Marine Band (DC)

Tremon Kizer University of Central Florida

Diane Koutsulis Retired (NV)

John Thomson Roosevelt University (IL)

Pearl City High School (HI)

CONTEST RULES & PAST WINNERS:

nationalbandassociation.org/composition-contests 68

NBA JOURNAL

NBA NEWS

2022 NATIONAL BAND ASSOCIATION

Young Composers Jazz Composition Contest WHO MAY ENTER:

REQUIREMENTS:

ENTRY MATERIALS:

ENTRY DEADLINE:

AWARD:

COMMITTEE CHAIR:

Anyone who was born on or after July 1, 1992 (29 years of age or younger)

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

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

July 15, 2022

$1,000.00 plus a performance by a premier military jazz ensemble during the Midwest International Band & Orchestra Clinic Rich Stichler | richard-stichler@utc.edu | Submission via email SPONSORED BY UNIVERSITY OF FLORIDA

SPRING 2022

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NBA NEWS

2022 MERRILL JONES MEMORIAL YOUNG COMPOSERS BAND COMPOSITION CONTEST

for

GRADE III/IV CONCERT BAND WHO MAY ENTER:

Anyone 40 years of age or younger (birthdate on or before November 1, 1982)

REQUIREMENTS:

A work for concert band with no restrictions as to style or form.

Compositions must be for GRADE III/IV CONCERT BAND and must not exceed eight (8) minutes in length.

ENTRY MATERIALS:

AWARD

Full score, MP3 audio file, and entry form

$2,000

FORMS & MATERIALS

ENTRY DEADLINE:

Dr. Paul Popiel at ppopiel@ku.edu | Attn: NBA/Merrill Jones Contest

November 1, 2022

NBA/MERRILL JONES MEMORIAL COMPOSITION CONTEST COMMITTEE Paul Popiel, University of Kansas, Chair LCDR Kelly Cartwright U.S. Navy Fleet Band Activities

Sarah Labovitz Arkansas State University

Scott Pierson Yelm High School (WA)

Chris Chapman Central Michigan University

Nan Moore Retired (KY)

Mickey Stisher Retired (IN)

Brooke Johnson Miami University (OH)

Charles Page Valley View High School (AR)

Brian Walden Old Dominion University

CONTEST RULES & PAST WINNERS:

nationalbandassociation.org/composition-contests 70

NBA JOURNAL

NBA NEWS

2022 NBA/ALFRED MUSIC PUBLISHING YOUNG BAND COMPOSITION CONTEST The winning composition will be recognized at the NBA General Membership Meeting at the 2022 Midwest Clinic, will appear in the NBA Journal and will be announced through the NBA Facebook Page. The winning composition will be considered for publication in Alfred Music’s premiere Young Symphonic Band Series (or other appropriate series) as part of an upcoming catalog. If it is accepted for publication, a $2,000 advance on future royalties will be awarded once the piece is brought to market. See contest rules for more information.

WHO MAY ENTER:

Anyone

A Grade II or III concert band work that is accessible to young bands

REQUIREMENTS:

ENTRY MATERIALS:

FORMS & MATERIALS

ENTRY DEADLINE:

Full score (PDF) Recording (MP3) of specified instrumentation Entry form: bit.ly/nbayoungband

July 1, 2022

NBA/ALFRED MUSIC PUBLISHING YOUNG BAND COMPOSITION CONTEST COMMITTEE Audrey Murphy, Chair | nbayoungbandcontest@gmail.com 770-296-2354

CONTEST RULES & PAST WINNERS:

nationalbandassociation.org/composition-contests SPRING 2022

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NBA NEWS

2022 NATIONAL BAND ASSOCIATION PROGRAMS OF EXCELLENCE BLUE RIBBON AWARDS A National Award Recognizing High Levels of Program Excellence in Bands and Band Music

The National Band Association is dedicated to the attainment of a high level of excellence for bands and band music. The NBA Programs of Excellence Blue Ribbon Award recognizes quality programs of all levels. Band programs and their educators are honored regionally and nationally through this exciting standards-based initiative.

The National Band Association recognizes the significant challenges directors and their programs have faced over the past two to three years. The 2022 application has been adjusted to accommodate the virtual, hybrid, and in-person teaching environments present throughout the country. Throughout this application, any use of the phrase “normal school year” indicates that applicants can submit materials from the most recent in-person years.

All high school, junior high school, and middle school bands and their conductors are eligible for this award, regardless of membership in the NBA. All applicants are strongly encouraged to join their national organization. Applying band directors need to be in the head director position at their school for at least four years at the high school level, or three years at the middle school level.

WHO MAY ENTER:

Schools that have previously received a deferral of any kind must wait two years before re-applying. Schools that have previously received a Division Award only will automatically be considered for the National Award if re-applying within 2-5 years. Schools that choose to re-apply must re-submit all required application materials, updated with recordings and activities that have taken place since the last application.

ENTRY DEADLINE:

REQUIREMENTS:

July 15, 2022 All application materials should be submitted through Google Drive.

PLEASE CLICK HERE FOR SUBMISSION GUIDELINES.

Documents should be submitted as PDF files ONLY. Recordings should be submitted as MP3 files ONLY. ENTRY MATERIALS:

PLEASE CLICK HERE FOR COMPLETE LIST OF ENTRY MATERIALS.

PLEASE REVIEW COMPLETE GUIDELINES & REQUIREMENTS:

nationalbandassociation.org/awards-recognition 72

NBA JOURNAL

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

T

BY MATTHEW TALBERT

he difference between a peer- reviewed research article and the articles traditionally published in the NBA Journal is best described as a difference in the vetting process and source material.

To have an article appear as “peer-reviewed” in the NBA Journal means recognized researchers and scholars in the field of music/music education will read, evaluate, and then recommend whether or not an article should be published, revised or rejected.

This process is widely recognized as an indicator of quality scholarship in a particular discipline or field.

Other names for these types of articles are “scholarly” or “refereed.”

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

SPRING 2022

article is most often written as a continuation of ideas presented in previous articles, with the motivation drawn from combining the findings of those previous articles and the author’s own experiences, experiments, or observations.

In building the article in this way, the validity of the information is heightened beyond the traditional 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 peer-review process, the an author’s article now has a final layer of review (for accuracy) utilizing other experts within the same subject matter.

THE TRADITIONAL RESEARCH LAYOUT AND VALUE OF THE RESEARCH ARTICLE Dr. Russell Gavin, former chair of NBA’s Research (and Editorial) committees, shares his thoughts on the layout and value of these types of articles: A number of peer-reviewed

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 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 Continued on next page

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SUBMITTING PEER-REVIEWED RESEARCH

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

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

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

Oftentimes this is the place where practical ideas will be most clearly expressed; however, taking in the entire 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 74

investigation is of paramount importance in all areas of music and education, and the NBA is proud to present this new avenue for such exploration and thought.

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

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

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

manuscript.

D. Style Guide: Manuscripts should conform to one of the following style manuals: (1) Publication Manual of the American Psychological Association (7th edition, 2019), (2) The Chicago Manual of Style(17th edition, 2017), or (3) A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 9th edition, revised by Wayne C. Booth, Gregory Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff, 2018).

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

F. Ethical Requirements: It is the author’s responsibility to ensure that no copyright issues Continued on next page

NBA JOURNAL

SUBMITTING PEER-REVIEWED RESEARCH

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

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 peer- reviewed article? Email Research Chair Matthew Talbert at

talbertm@ohio.edu

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 87.

Articles are published at the discretion of the editor and may appear in a later journal edition.

SUBMISSIONS: TALBERTM@OHIO.EDU SPRING 2022

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