NBA Journal Volume LXII, NO. 2, Winter 2022

VOLUME LXII, NO. 2 | WINTER 2022

FEATURING Urban Light, by James M. David, NBA 60 th Anniversary Commission pg. 34

OFFICIAL PUBLICATION OF THE NATIONAL BAND ASSOCIATION

Iconic Legacy…Vision for the Future

VOLUME LXII, NO. 2 | WINTER 2022

Executive Committee/Project and Committee Chairs

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Rethinking The School Concert Presentation — Gary Barton

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President’s Message

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Remembering Kenneth Bloomquist — Kevin Niese

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First Vice President’s Message

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Second Vice President’s Message

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Immediate Past President’s Message

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And Overview of James M. David’s “Urban Light” — Scott Tobias

Imported from Japan: A look at Japanese Composers Composing for Band – by Christopher Heidenreich

Mission Statement

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A Conversation with Alfred L. Watkins, Part II – by Matt Temple

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About the Academy of Wind and Percussion Arts

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Special Thanks, COVID Research Team

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Past Presidents 11

To Be Of Service — David Gregory

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Board of Directors 2020 - 2022

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NBA Revelli Composition Contest Winners

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Why Band? Why Now? An Open Letter to Parents and Students – Brad Rogers

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2021 Midwest Clinic Reports Community and Adult Band Report Eastern Division Report North Central Division Report Southern Division Report Southwestern Division Report Western / Northwestern Division Reports

57 60 65 70 74 77 80 85 86 87

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

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NBA Hall of Fame Distinguished Conductors

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Bruce John Leek to be Inducted into AWAPA

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Roy Holder & Julian White Named Al & Gladys Wright Distinguished Legacy Award Winner

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Frank Ticheli’s “Lux Perpetua” Wins the 2021 William D. Revelli Composition Contest — Matthew McCutchen

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Midwest Meetings Minutes Financial Report Membership Report

Dr. William P. Foster Project Community Development Award Division Winners

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

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Photos at left are from the 2021 Midwest Clinic Cover Photo: Urban Light, a large-scale assemblage sculpture by Chris Burden located at the Wilshire Boulevard entrance to the Los Angeles County Museum of Art, and the inspiration for the 2021 NBA 60th Anniversary Commission.

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

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COMMITTEES & EDUCATIONAL PURPOSE

Educational Purposes OF THE NATIONAL BAND ASSOCIATION

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

To promote the excellence of band performance throughout the world

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

PROJECT AND COMMITTEE CHAIRS

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

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

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

Corporate Relations, Gary Smith 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 National Programs of Excellence, Myra Rhoden

To encourage quality students to pursue careers in music

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

NBA JOURNAL

PRESIDENT’S MESSAGE

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The leadership of the NBA is committed to you, our members, and colleagues.

reetings from the National Band Association! The winter edition of the NBA Journal is an incredible resource for band directors and continues to be one of the most relevant publications in our profession.

In addition to the numerous articles offering educational benefits to our readers, you will find documentation highlighting NBA’s service to the profession over the past year. This edition includes annual reports for 2021 from Division Chairs, State Chairs, and several project chairs. In addition, Matthew McCutchen introduces the 2021 Revelli winning composition by Frank Ticheli. The latest recipient of the Academy of Wind and Percussive Arts Award and the new Hall of Fame of Distinguished Conductors are all featured along with the Al & Gladys Wright Distinguished Legacy Award winners. We are excited to read part two of a fascinating interview with Alfred Watkins by Matthew Temple and an op-ed by Past President David Gregory on service to the profession.

We offer our sincerest thanks to the NBA Board of Directors, Division, State, Project, and

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Committee Chairs for their outstanding work in 2021 and we look forward to your service to the organization this spring. In addition, we thank Terri Daniels, the NBA office manager, for her wonderful work throughout the year. She, along with Linda Moorhouse, organized and implemented NBA’s beautiful 60th Anniversary Reception. Finally, thank you to the membership for your attendance at the 2021 General Membership Meeting. It was fantastic to see you.

This spring, the NBA will move into another historic election season. New members of the Executive Committee and the Board of Trustees will be voted on by the membership in April and May. In addition, President Elect Randall Coleman will be contacting members with requests to serve as Division, State, Project, and Committee chairs for the new biennium. If you are interested in serving the NBA or have questions regarding these opportunities, now is the time to contact Randall Coleman.

There is no need to wait to be asked. Often, the best way to help our profession evolve is to get involved by volunteering your time. We encourage you to reach out to Randall Coleman

REBECCA PHILLIPS at: randall-coleman@utc.edu. In addition, you are welcome to contact me and ask questions about various opportunities at Rebecca.Phillips@colostate.edu.

We know you and your ensembles are busy preparing for festival performances, spring tours, convention performances, community band concerts, and other wonderful events. The leadership of the NBA is committed to you, our members, and colleagues.

I am honored and humbled to serve as your President.

Please contact me if you have questions or thoughts as we work together to continue building the finest band organization in the world!

Dr. Rebecca Phillips President National Band Association 3

FIRST VICE–PRESIDENT’S MESSAGE

We are living and working through difficult and challenging times, and it is exciting to see how the profession we love so much is moving forward.

RANDALL COLEMAN

M

idwest 2021 is now a memory for us all. I often wonder if other professions have an event like the Midwest that is so eagerly anticipated by those in the profession. I know that the Midwest is special to so many of us not just because of the professional development that is available to us…but it is the relationships that we have built over the years…in large part due to the Midwest Clinic… that we are able to renew and energize during the week in Chicago. I am also certain that the fact that MUSIC is central to the Midwest “theme” has much to do with the special aura that surrounds the entire city for those of us fortunate enough to be able to be there IN PERSON this year. Those relationships we have built

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are so special to us all and to be able to say hello and to reminisce about those special “Midwest Memories” make it such an amazing time. It was so good to be able to finally celebrate our National Band Association’s 60th Anniversary with you. Even though it was delayed by a year, our time together celebrating the NBA’s storied past and incredible future was so enlightening.

Thank you all to those who were able to attend and help us “raise a toast” to the next 60 years!

Much of the General Business meeting was dedicated to announcing some well-deserved honors and awards. Congratulations to Frank Ticheli for his work “Lux Perpetua” as it won the NBA Revelli Composition Contest. We were also honored to be able to hear Frank’s incredible new work performed by the US Army Field Band with Dr. Ticheli conducting. On that same concert, was the premiere of James David’s new work “Urban Light” which was commissioned by the National

Band Association to celebrate our 60th anniversary. I hope you will check out both pieces if you weren’t able to hear them at Midwest. Three very special conductors were introduced at our General Meeting as the newest inductees into the National Band Association’s Hall of Fame of Distinguished Conductors. These gentlemen are so very deserving of this honor and have all played a role as mentor and friend to so many, myself at the top of the list! Congratulations to Col. Lowell Graham, Professor Joe Hermann, and Professor Don Wilcox, who will all be officially inducted into the Hall of Fame this coming February. Each of you has such a legacy in our profession and this honor is so richly deserved. Our great friend, conductor, composer, historian and “music history guru” Loras John Schissel was also recognized as the most recent inductee into the Academy of Wind and Percussion Arts. The “AWAPA” is considered our profession’s equivalent of the Oscar and is awarded to those who have made significant contributions to bands.

Continued on next page NBA JOURNAL

FIRST VICE–PRESIDENT’S MESSAGE

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

The National Band Association is forever indebted to our first President, Dr. Al Wright, who, along with his wife Dr. Gladys Wright, has endowed the Al and Gladys Wright Distinguished Legacy Award. This award is present to those who have made life-long and significant contributions to the profession through achievement in leadership, teaching, mentorship, and service. This year’s winners are NBA Past President Roy Holder and Dr. Julian White, Director of Bands, Florida A&M University (retired). I am certain you will see more about all our award winners elsewhere in the Journal. One of the most special things that our organization does for our members and our profession is the recognition of those who mean so much to us.

Congratulations, one and all!

As we look forward to the spring and summer of 2022, one of the NBA’s most significant projects will take place in June 2022. The NBA Young Composer and Conductor Mentoring Project is planned to take place in Washington D.C. with the United States Air Force Band as our primary ensemble. We look forward to hosting the young composers and conductors for several days of clinics, connections, and concerts in our nation’s capital with one of the most incredible wind bands as our host. I would encourage you to also look at the recently updated Selective Music List on the NBA website.

The SML committee and our IDEA committee have both worked diligently to prepare this professional document

for our members. Please take advantage of all the information contained on the list.

It is my honor to serve the National Band Association.

Please feel free to reach out to me at any time if I can ever be of assistance to you or your program. Midwest also reminds me that we are all standing “on the shoulders of giants” as we work to move our profession forward into new and at many times uncharted waters. We are living and working through difficult and challenging times, and it is exciting to see how the profession we love so much is moving forward. Thank you for the opportunity to serve the organization and you, our members.

Randall Coleman First Vice-President National Band Association

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.

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SECOND VICE–PRESIDENT’S MESSAGE

Though the excitement of celebrating the 60th anniversary is now behind us, there is much to look forward to ...

MATT TEMPLE

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s I write this message, it is snowing heavily in Chicago and the temperature has dropped considerably.

This stands in stark contrast to the weather that we experienced at the Midwest Clinic in December.

In case you couldn’t attend this year, it was unseasonably warm then. Being the Midwesterner that I am, I found myself habitually taking my coat, hat, and gloves with me each time I left the hotel only to discover that I was woefully overdressed. Though the weather was an unexpected change, everything else about the Midwest Clinic felt familiar and comforting to me.

It was such a joy to see so many of you again and even more so, to meet some of you in person for the first time! The 75th Midwest Clinic included everything that I had hoped it would: connecting with dear friends and colleagues, hearing amazing ensembles, attending great clinics, and

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celebrating the 60th anniversary of the National Band Association.

The U.S. Army Field Band gave an extraordinary performance of James David’s Urban Light, which was commissioned by the NBA for our 60th anniversary. We hope to hear more performances of his thrilling and accessible piece in the future.

The Past President’s panel on Wednesday afternoon was both enlightening and inspiring.

Organized by immediate Past President Scott Tobias and President Rebecca Phillips, the panel of nine discussed the 60th anniversary of the NBA in three sections: past, present, and future. As a member of the IDEA committee, I particularly appreciated Rick Good’s comments regarding the future of our organization and the need for us to actively diversify our membership. And even though we fully believed that the panel might run over on time, all of the Presidents were incredibly succinct in their comments. No one could have predicted that!

I was impressed and, in some ways, relieved to see multiple clinic sessions on issues of diversity, equity, and inclusion.

A personal highlight for me was getting to hear fellow IDEA committee member, Dr. Ingrid Larragoity-Martin, present her “Shop Talk” session. With so many new terms being

used in diversity conversations, I appreciated her concise definitions. She also identified different levels of diversity awareness that exist within each of us and encouraged us to explore ways in which we could grow.

Lastly, she shared strategies for selecting diverse music using a cultural lens. These are vital discussions and understandings for all of us to have as we navigate the ever-changing landscapes in our classes and communities.

After not being able to gather in person last year, it felt really good to come together as a full group at the general membership meeting on Thursday afternoon. If you have not attended one before, I’d like to personally invite you to join us the next time you are at Midwest! I am always awe-struck by the number of icons in our profession that are all in the same room at the same time. It was truly special to have Gladys Wright join us for the presentation of the Al and Gladys Wright Distinguished Legacy Award to Dr. Julian White and Roy Holder.

The 60th anniversary reception that immediately followed was a resounding success. As a member of the Executive Committee, I am well aware of the many hours of planning that went into the event.

Please send a note of thanks to President Rebecca Phillips and Executive Secretary Linda Continued on next page

NBA JOURNAL

SECOND VICE-PRESIDENT’S MESSAGE

Second Vice–President’s Message, Matt Temple, cont.

Moorhouse for their thoughtful and detailed organization of the reception. And don’t forget our amazing NBA office manager, Terri Daniels, who is always at work behind the scenes to keep our entire organization moving forward!

Though the excitement of celebrating the 60th anniversary is now behind us, there is much to look forward to this year and beyond. All the NBA composition contests are back online, along with the Programs of Excellence Awards and the Young Composer and Young Conductor Mentor Project. Please reach out to your colleagues and encourage them to apply for these wonderful opportunities. The Programs of Excellence award, in particular, is a total program award that is open to middle schools and high schools, regardless of whether the director is currently an NBA member or not. As always, information regarding any of these programs can be easily accessed via the NBA website.

In closing, I hope that 2022 brings you unexpected blessings and joyful moments both professionally and personally.

In spite of the challenges that continue to exist, there is much to be grateful for. Please remember the wholly positive difference you have made in the lives of so many musicians, especially during these difficult times. As always, the National Band Association is here to support you and serve you.

Please let us know how we can help!

Matt Temple Second Vice-President National Band Association WI NT ER 2022

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

thrive regardless of what those challenges may be.

If there is one thing we’ve learned during the past two years (and there have been many things we have learned!), it’s how to adapt. I recently saw a post on social media that compared teaching to the television show Chopped. For those of you who have seen this show on Food Network, I think you may find some truth contained within the humor. The post went something like this:

SCOTT TOBIAS

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reetings, National Band Association. I probably speak for many of you when I say how great it was to see everyone in person again at the 2021 Midwest Clinic. While the wonders of technology have allowed us to keep in touch throughout the pandemic, nothing quite substitutes for actually being together in person. Gathering with colleagues, visiting with friends, enjoying live concerts, and even “meeting at the tree” were all welcome occurrences after a lengthy absence.

As we enter the new year, my wish for all of us is that we continue to find opportunities to connect with each other, to make music with our students, and to share it with our communities in whatever form that may take.

We will undoubtedly continue to face challenges related to the pandemic, but I remain optimistic that together we will be able to

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“A degree in education is like going to culinary school. You learn the basics, a few cool party tricks, and by the end you can cook a gourmet meal. Teaching, however, is like waking up every day on an episode of Chopped where the ingredients are completely random, you’re expected to do something amazing with whatever you’re handed, while people watch and provide a running commentary…and occasionally something catches fire.”

Almost all of us can probably identify times in our careers when this felt true – even before the pandemic. And in those times, our ability to adapt and to find creative solutions made it possible to succeed despite the circumstances. It has been this same ability that has allowed us to weather the recent storm and will continue to serve us well as we move forward.

myriad of projects, initiatives, and advocacy. We thank all of those individuals who have contributed so much over the years and are reminded that it is each of our responsibilities to continue their work as we look ahead to the next 60 years and beyond.

Thank you for what you have done, are doing, and continue to do on behalf of your students and communities. Our world is richer because of your efforts. Best wishes for the year ahead.

Scott C. Tobias Immediate Past President National Band Association

If there is one thing we’ve learned during the past two years (and there have been many things we have learned!), it’s how to adapt.

While in Chicago we took time to celebrate the 60th anniversary of the National Band Association.

Since its founding in 1960, the NBA has striven to support bands and band music through a NBA JOURNAL

NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS

by Dr. William Moody | Revised in December 2009

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

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

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

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

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

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

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

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A B O U T AWA PA

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

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

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

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

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

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

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

AWAPA RECIPIENTS LISTED BY DATE AND YEAR OF PRESENTATION

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William D. Revelli November 25, 1961

Jan Molenaar July 11, 1974

Vincent Persichetti December 16, 1981

Warren Benson December 14, 1988

Russell Hammond December 14, 1999

James Croft April 16, 2011

Karl L. King November 10, 1962

Frederick Fennell August 3, 1975

Clare Grundman December 15, 1982

John Bourgeois December 14, 1988

William F. Ludwig December 14, 1999

Paula Crider December 15, 2011

Harold D. Bachman January 9, 1965

Harry Mortimer August 3, 1975

Morton Gould December 15, 1982

Donald Hunsberger December 19, 1990

John M. Long December 20, 2001

Mark Kelly December 15, 2011

Glenn Cliffe Bainum February 21, 1965

George S. Howard December 16, 1976

Karel Husa December 15, 1982

Edgar Gangware December 19, 1991

Raoul Camus December 19, 2002

Bobby Adams December 19, 2013

Al G. Wright March 7, 1969

Mark Hindsley March 2, 1978

Harry Begian December 14, 1983

W J Julian December 16, 1992

Paul Bierley June 14, 2003

Richard Floyd December 18, 2014

Harry Guggenheim August 18, 1969

Howard Hanson December 13, 1978

Francis McBeth December 12, 1984

Geoffrey Brand December 20, 1995

William J. Moody December 18, 2003

Edward Lisk December 17, 2015

Paul V. Yoder December 18, 1969

James Neilson December 13, 1978

Normal Dello Joio December 12, 1984

Harvey Phillips December 21, 1995

Earl Dunn December 16, 2004

Linda R. Moorhouse December 15, 2016

Toshio Akiyama December 13, 1970

Vaclav Nelhybel December 13, 1978

J. Clifton Williams December 18, 1984

Richard Strange December 20, 1995

Victor Zajec December 16, 2004

Thomas V. Fraschillo December 21, 2017

Richard Franko Goldman July 23, 1971

Leonard Falcone December 12, 1979

Frank W. Erickson December 17, 1986

L. Howard Nicar, Jr. October 16, 1996

James T. Rohner December 15, 2005

John Whitwell December 20, 2018

John Paynter March 5, 1972

Alfred Reed December 12, 1979

Neil A. Kjos December 17, 1986

Kenneth Bloomquist December 18, 1996

Frank Battisti December 21, 2006

Richard Crain December 19, 2019

Roger A. Nixon July 12, 1972

Arnald Gabriel December 16, 1980

Merle Evans December 20, 1986

H. Robert Reynolds December 18, 1996

David Whitwell December 20, 2007

Loras John Schissel December 15, 2020

Traugott Rohner February 11, 1973

Nilo Hovey December 16, 1980

Hugh E. McMillen December 17, 1986

Elizabeth Ludwig Fennell December 17, 1997

Frank B. Wickes December 18, 2008

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

NBA JOURNAL

NBA PAST PRESIDENTS

PAST PRESIDENTS OF THE NATIONAL BAND ASSOCIATION

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Al G. Wright 1960 - 1962 Honorary Life President

John Paynter 1962 - 1966 Honorary Life President

Edward W. Volz 1966 - 1968

William J. Moody 1968 - 1970

George S. Howard 1970 - 1974

F. Earl Dunn 1974 - 1976

William D. Revelli 1976 - 1978

W J Julian 1978 - 1980

Kenneth Bloomquist 1980 - 1982

James Neilson 1982 - 1984

James K. Copenhaver 1984 - 1986

James Croft 1986 - 1988

Frank B. Wickes 1988 - 1990

Edward S. Lisk 1990 - 1992

Robert E. Foster 1992 - 1994

John R. Bourgeois 1994 - 1996

James Keene 1996 - 1998

Thomas Fraschillo 1998 - 2000

Paula Crider 2000 - 2002

David Gregory 2002- 2004

Linda Moorhouse 2004- 2006

Bobby Adams 2006- 2008

Finley Hamilton 2008- 2009

John Culvahouse 2009- 2012

John M. Long 2010 Honorary President

Roy Holder 2012 - 2014

Richard Good 2014 - 2016

Scott Casagrande 2016 - 2018

Scott Tobias 2018 - 2020 11

NBA BOARD OF DIRECTORS 2020— ­ 2022

PRESIDENT Rebecca Phillips

Director of Bands Colorado State University Fort Collins, Colorado

FIRST VICEPRESIDENT Randall Coleman

Associate Director of Bands University of Alabama Tuscaloosa, Alabama

SECOND VICEPRESIDENT Matt Temple

Director of Bands New Trier High School Winnetka, Illinois

ELEMENTARY, MIDDLE SCHOOL & JUNIOR HIGH SCHOOL REPRESENTATIVES

KIM BAIN

Director of Bands Pizitz Middle School Vestavia Hills, Alabama

CHIP DE STEFANO

Director of Bands McCracken Middle School Skokie, Illinois

Director of Bands Del Webb Middle School Las Vegas, Nevada

MILITARY/PROF. BANDS LT. COL. DANIEL TOVEN

COMMUNITY BANDS MICHAEL BURCH-PESSES

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

Retired Music Educator Atlanta, Georgia

AT-LARGE REP. CRAIG AARHUS

Associate Director of Bands Mississippi State University Starkville, Mississippi

AT-LARGE REPRESENTATIVES

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

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

COL. JASON K. FETTIG

Director United States Marine Band Washington, D.C.

GARY GRIBBLE

Retired Music Educator Marietta, Georgia

ELIZABETH PETERSON

DAVID VANDERWALKER

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

BRIAN COVEY

Director of Bands Biloxi High School Biloxi, Mississippi

Director of Bands Lockport Township High School Lockport, Illinois

KRISTY DELL

CHAD KAMEI

Associate Director of Bands Gaither High School Tampa, Florida

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

Director of Bands Pacific University Forest Grove, Oregon

SUSAN WATERS

HIGH SCHOOL REPRESENTATIVES

TRAVIS COAKLEY

Director of Bands West Virginia University Morgantown, West Virginia

EXECUTIVE SECRETARY-TREASURER Linda R. Moorhouse

APPOINTED REPRESENTATIVES

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

TRACY LESLIE

IMMEDIATE PAST PRESIDENT Scott Tobias

Director of Bands Pearl City High School Honolulu, Hawaii

DIVISION CHAIRS

EASTERN ANDREW YOZVIAK

SOUTHERN COREY SPURLIN

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

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

COLLEGE / UNIVERSITY REPRESENTATIVE SOUTHWESTERN DUSTIN SEIFERT ARRIS GOLDEN

Associate Director of Bands Michigan State University East Lansing, Michigan

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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

NBA JOURNAL

NBA NEWS

OF THE NBA/WILLIAM D. REVELLI MEMORIAL BAND C OMPOSITION C ONTEST 1977

Jerome Sorczek – Variations for Band

1999

Donald Grantham – Southern Harmony

1978

No Award Given

2000

1979

Harry Bulow – Textures

David Kechley – Restless Birds Before the Dark Moon

1980

Byron Tatte – Between Worlds

2001

Joseph Spaniola – Escapade

1981

David Gillingham – Concerto for Bass Trombone and Band

2002

Dean Roush – Illuminations

1982

No Award Given

1983

Gregory Youtz – Scherzo for a Bitter Moon

2004

1984

Arthur Gottschalk – Concerto for Wind and Percussion Orchestra

Joseph Turrin – Illuminations for Solo Trombone and Wind Symphony

2005

Philip Sparke – Music of the Spheres

1985

Michael Colgrass – Winds of Nagual

2006

Frank Ticheli – Symphony No. 2

1986

No Award Given

2007

Steven Bryant – Radiant Joy

1987

Anthony Iannaccone – Apparitions for Symphonic Band

2008

Steven Bryant – Suite Dreams

2009

John Mackey – Aurora Awakes

1988

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

2010

Steven Bryant – Ecstatic Waters

1989

Gordon Ring – Concerto for Piano, Winds and Percussion

1990

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

1991

Mark Camphouse – To Build a Fire

1992

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

1993

James Syler – The Hound of Heaven

1994

Jeffrey Hass – Lost in the Funhouse

1995

Donald Grantham – Bum’s Rush

1996

Walter Mays – Dreamcatcher

1997

Warren Benson – The Drums of Summer

1998

Donald Grantham – Fantasy Variations

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

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

Michael Schelle – The End of the World

2013

Oliver Waespi – Audivi Media Nocte

2014

Wayne Oquin – Affirmation

2015 (tie) Paul Dooley – Masks and Machines John Mackey – Wine-Dark Sea 2016

Philip Sparke – A Colour Symphony

2017

James Stephenson – Symphony No. 2, “Voices”

2018

Wayne Oquin – Song for Silent Voices

2019

Omar Thomas – Come Sunday

2020

Brian Balmages – Love and Light

2021

Frank Ticheli – Lux Perpetua 13

NBA NEWS

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

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

WINNERS OF THE NBA YOUN G C OMPOSERS JAZZ C OMPOSITION C ONTEST 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021

Susame Watanabe – Duodecim Brendon McMullin – Sal y Pimienta David von Kampen – Hodie Christus Natus Est Sean Nelson – Every Possible History of the Universe Jessika Smith – Cyan Thread Cassio Vianna – April Song No Award Given Matt Horanzy – Init 1 Jorge Machain – Por Ahora (For Now) Postponed due to Covid-19 No Award Given

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

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

NBA HALL OF FAME OF DISTIN GUISHED C ONDUCTORS — INSTALL ATION DATES

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Col. Harold Bachman Mr. Glenn C. Bainum Cmdr.

Charles Brendler Capt. Howard Bronson Mr. Herbert L. Clarke Mr. Patrick Conway Dr. Henry Fillmore Mr. Patrick Gilmore Mr. Edwin F. Goldman Dr. Austin A. Harding Mr. Karl L. King Col. Sam Loboda Mr. A. R. McAllister Mr. Arthur Pryor Capt. William H. Santelmann Dr. Frank Simon Mr. John Philip Sousa Mr. Dale C. Harris Dr. James Neilson Dr. William D. Revelli Col. George S. Howard Dr. Merle Evans

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

Mr. Kenneth Bloomquist Dr. James Croft Col. Hal Gibson Mr. Robert E. Foster Mr. Edward S. Lisk Dr. Donald E. McGinnis Mr. Ray E. Cramer Dr. William J. Moody Mr. Frank B. Wickes Dr. Bobby Adams Dr. Paula Crider Dr. Thomas V. Fraschillo Mr. John Paynter Mr. Robert D. Jorgensen Dr. Richard E. Strange Dr. David Gregory Mr. Michael Nakasone Col. Lowell Graham Mr. Joseph Hermann Mr. Don Wilcox

NBA JOURNAL

NBA NEWS

2021 NBA HALL OF FAME OF DIS TINGUISHED CONDUCTORS C OL. LOWELL E. GRAHAM, JOSEPH HERMANN , & DON WILC OX

C OL. LOWELL E. GRAHAM A native of Greeley, Colorado, Dr. Lowell E. Graham recently retired as the Director of Orchestral Activities and Professor of Conducting at the University of Texas at El Paso (UTEP). From 2002-2014 he served as Chair of the Department of Music. He has held numerous conducting positions including that of the Commander and Conductor of the United States Air Force Band in Washington, DC. As a USAF Colonel, he became the senior ranking musician in the Department of Defense.

Graham is a graduate of the University of Northern Colorado where he received both a Bachelor of Arts degree in music education and a Master of Arts degree in performance. 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. 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 2018 he served as the 81st President of ABA. In 2014 he was named as the President and CEO of the John Philip Sousa Foundation.

Graham is the recipient of numerous awards and honors including the University of Northern Colorado School of Music “Hall of Honor,” the Catholic University of America’s 1998 Alumni Achievement Award in the field of Music, and the Award of Distinction for Contributions to Music Education from the Illinois Music Educators Association.

In 2003 he was the recipient of the Phi Beta Mu International Outstanding Bandmaster Award, and 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.”

Graham has released recordings on six labels — Naxos, 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.

JOSEPH HERMANN Joseph Hermann is Director of Bands Emeritus at Tennessee Technological University in Cookeville, Tennessee, where he served for 28 years. Under his leadership the Tennessee Tech Bands grew to a level of national prominence, over 25 new pieces were premiered, and the wind and percussion program became an influential force for bands in the Southeast. Graduates of Tech and past members of the TTU Bands are leading educators, performers in the premiere military bands, and orchestras, and composers, arrangers, recording engineers, and music business directors across the nation.

Before his appointment at Tennessee Tech in 1989, Hermann Continued on next page

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NBA NEWS

2021 NBA Hall of Fame of Distinguished Conductors, cont. was a director at the University of Arizona, Indiana University, and East Tennessee State University.

His secondary school teaching includes directing the Dowling High School Band, West Des Moines, Iowa, and supervising the Des Moines Catholic Instrumental Music Program. In addition, he served briefly as the Educational Director for Bands of America and McCormick’s Enterprises.

Hermann has presented clinics, workshops, and has conducted in over thirty states, in Canada, and throughout Japan. His symphonic bands have been featured ensembles at state, regional and national conventions, and recordings of his ensembles have been issued as reference for music educators nationwide. Hermann has been a career-long member of CBDNA, NAfME, NBA, the Tennessee Bandmasters Association, has served as the editor for the New Music Reviews for the Tennessee Musician, and is a past board member of the Tennessee Music Educators Association. In 1996, Hermann was elected to the prestigious American Bandmasters Association, served as a member of its Board of Directors, and in 2009, Hermann functioned as the 72nd President of the ABA, served as the Chair of its Board of Directors, and currently works as Chair of the ABA Foundation.

He is a member of Phi Beta Mu, a past President of the PAC-10 Band Directors Association, a past Province Governor for Phi Mu Alpha Sinfonia, and holds National Honorary membership in Kappa Kappa Psi and Tau Beta Sigma. He is an Associate Member of ASBDA. He is the recipient of 16

the KKΨ Distinguished Service to Music Medal in Conducting and the TBΣ Paula Crider Outstanding Band Director awards. In 2015, Hermann was inducted into the Tennessee Bandmasters Hall of Fame.

DON WILC OX When Don Wilcox retired as Director of Bands Emeritus from West Virginia University in the summer of 2005, he had guided the growth and development of the University’s band program for 34 years. During this time the WVU Wind Symphony performed numerous special concerts for regional and national conventions of the ABA, CBDNA, MENC, and WASBE, and toured nationally. Additionally, the WVU Mountaineer Marching Band was named the 1997 recipient of the Sudler Trophy.

Wilcox is the recipient of numerous awards and recognitions, including: West Virginia University’s Outstanding Teacher Award, the 1993 Golden Apple Outstanding Faculty Award, and the Heebink Award for Outstanding Service to the university and the state. He has received special citations from four Governors for his

contributions to the state of West Virginia and at WVU’s 2008 commencement he was awarded the University’s highest honor when he was inducted into the Order of Vandalia.

Wilcox is a Past President of the American Bandmasters Association and has served on the Board of Directors of both the ABA and the John Philip Sousa Foundation. He was chosen for the Great Teachers Seminar and was the first teacher to be named Distinguished Fine Arts Alumnus of California State University at Long Beach. Wilcox is the recipient of the Sudler Order of Merit from the John Philip Sousa Foundation as well as a National Arts Associate of Sigma Alpha Iota. In 1997 he was awarded the Distinguished Service to Music Medal from the National Council of Kappa Kappa Psi, and in 2006 was named National Outstanding Bandmaster of the Year by Phi Beta Mu. In December of 2011 he received the Midwest Band and Orchestra Clinic’s Medal of Honor.

Throughout a teaching and conducting career spanning over half a century, since his graduation from the University of Michigan, Wilcox has worked with musicians of all ages and abilities, conducting bands from one-room schools in rural Appalachia to several of the major concert halls in the world, and in all 50 states and 23 foreign countries. In the fall of 2008 he returned to Tokyo, Japan for his fifth time as guest conductor of the renowned Musashino Academia Musicae Wind Ensemble, each three-month visit culminating in tours of Japan and CD recordings Continued on next page

NBA JOURNAL

NBA NEWS

2021 NBA Hall of Fame of Distinguished Conductors, cont. for Sony. Wilcox has served as guest conductor or visiting lecturer at more than 80 universities in the United States, Europe, Japan, Thailand, Australia and China, and in “retirement” conducts the Northport Community Band in Michigan.

Please be on the lookout for upcoming information about elections for the next slate of National Band Association Board of Directors

FREE NBA AWARDS FOR OUR MEMBERS TO USE Mentor Award Citation of Excellence Outstanding Jazz Educator Citation of Merit for Marching Excellence WI NT ER 2022

Outstanding Musician Award Outstanding Jazz Musician Award Music Camper Award Band Booster Award 17

NBA NEWS

BRUCE JOHN LEEK

TO BE INDUCTED INTO NBA’S ACADEMY OF WIND AND PERCUSSION ARTS Arts degree from California State University Long Beach.

During this time, he was a substitute for the Pasadena Symphony Orchestra. Following graduation he taught 6th grade in Huntington Beach, California for five years.

B

ruce John Leek is a native of Pasadena California and is a product of the Pasadena public school system.

His initial stage introduction in instrumental music began in the second grade playing accordion, and as he recalls played until his mother threatened to disown him. That prompted him to begin horn in the third grade. While in junior high school and showing promise as a horn player, he began studying with Sinclair Lott who was the principal hornist in the Los Angeles Philharmonic. This prepared him to play in both band and orchestra at Pasadena High.

Bruce Leek received undergraduate degrees from both Pasadena City College and California State University Los Angeles in Education. Following that, he worked on a Master of

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His interest in audio and the recording arts began at the age of 13 by “hanging out” with older kids who had a company recording church and school ensembles.

He learned the basics through helping them with all aspects of a recording session. He credits his skills by learning his craft through “the school of hard knocks.”

His life focus changed when he realized he could make a better living in the recording industry than teaching at the time. When the opportunity to significantly improve his income came, the choice was obvious. He began work as a mastering engineer in Burbank, California.

In his career, Mr. Bruce Leek has produced, engineered and/or mastered over 16,000 recordings, which have garnered more than 30 Grammy Awards and countless nominations. The phenomenal breadth of his experience ranges from The Beatles to The Philadelphia Orchestra and from The Mormon Tabernacle Choir to The United States Air Force Band and Singing Sergeants.

In the 1970s and 1980s Bruce Leek was responsible for a large majority of the audiophile mastering business working for clients such as Telarc, CBS, RCA, Delos, A&M, Reference Recording, and Varese Sarabande. During this same time, he was working for the biggest selling rock groups such as The Beach Boys, The Rolling Stones, Fleetwood Mac and Jefferson Airplane/Starship.

Since 1982, Mr. Leek has worked as an independent producer/engineer. He specializes in minimal microphone techniques with instrumental and vocal ensembles and his clients have included The Los Angeles Philharmonic, Los Angeles Chamber Orchestra, The Cincinnati Orchestra, Radio Luxembourg Symphony Orchestra, The Pacific Chorale, The Roger Wagner Chorale and The Texas Boys’ Choir. He has also recorded and mastered over 600 recordings for Air Force bands around the world. Other prestigious military bands include The “President’s Own” United States Marine Band, The United State Army Band, The United States Army Field Band, and The United States Military Academy (West Point) Band. Every year he continues to record many of the finest college and university bands around the country.

NBA JOURNAL

NBA NEWS

AL & GL ADYS WRIGHT DIS TINGUISHED LEGACY AWARD WINNERS

ROY HOLDER & JULIAN WHITE performed at the John F. Kennedy Center, the Federal Reserve, the Pentagon, 4 times at the Virginia Music Educators Association In Service Conference, 3 times for the Midwest International Band and Orchestra Clinic, for the American Bandmasters Association Convention and completed a concert tour of China sponsored by the US-China Cultural and Educational Foundation.

I

MR. ROY HOLDER

n addition to being Past President of the NBA, Roy Holder has served on the Board of the American Bandmasters Association and Chairs the ABA School Bands Task Force. He also serves as a Vice President and as Chair of the Sudler Flag of Honor Committee for the John Philip Sousa Foundation.

During his 42 years working as a high school band director Mr. Holder has been recognized with professional honors by ETSBOA, VBODA, Phi Mu Alpha, Fairfax County Public Schools, Wolf Trap, Who’s Who Among America’s Teachers, the National Band Association, the Sousa Foundation, the US Army Band, the National Symphony, and the accomplishments of his Lake Braddock Band program have twice been read into the US Congressional Record. Mr. Holder is member of the Virginia Honor Band Hall of Fame, the East Tennessee School Band and Orchestra Directors Hall of Fame, and the Virginia Band and Orchestra Directors Hall of Fame.

In June of 2011 the Lake Braddock Secondary School Band was awarded the 30-year Honor Band Plaque from VBODA. Additionally, ensembles under Mr. Holder’s direction have

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DR. JULIAN WHITE

D

r. Julian Earl White, retired Distinguished Professor of Music, Director of Bands and Chairman of the Music Department at Florida A&M University, graduated from Florida A&M University earning a Bachelor’s Degree in Music Education. He later received a Master’s Degree from the University of Illinois, and the Doctor of Philosophy Degree from The Florida State University. Dr. White served as Band Director of The William M. Raines High School for 10 years. The band consistently received superior ratings in marching and concert band assessments. Under Dr. White’s leadership, the Florida

A&M University Wind Ensemble presented a concert at the American Bandmasters Association Convention, and numerous others across the country. In 2009, the Wind Ensemble was invited to perform a concert at Carnegie Hall. The internationally acclaimed “Marching 100” rendered performances at three Super Bowls, The Grammys, The ESPY nationally televised awards ceremony, CBS Game Day, and the Inaugural Parade for President Barak Obama. Dr. White was the recipient of the Distinguished Professor/Advanced Teacher of the Year Award, the University Superior Teacher Accomplishment Award, and was a three-time recipient of the University Teacher of the Year Award. He received the NAACP Achievement Award, The Thurgood Marshall Outstanding Achievers Award sponsored by the FED EX Orange Bowl, the Martin Luther King, Jr. Leadership Award, the Retime Achievement Award from the Kappa Delta Chapter of Alpha Phi Omega National Service Fraternity, Inc., and the Richard Allen Educational Achievement Award, presented by the AME Church. Dr. White was a recipient of the Florida A&M University National Alumni Association Distinguished Alumni Award. He was also honored to receive the Kappa Kappa Psi National Honorary Band Fraternity National Service Award, the highest award bestowed upon a member of the fraternity. Dr. White is an elected member of the prestigious American Bandmasters Association and serves on the John Phillip Sousa Foundation Sudler Award Committee.

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LITERATURE

FRANK TICHELI’S LUX PERPETUA WINS THE 2021 NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST

BY MATTHEW MCCUTCHEN

A

s our profession continues to recuperate from the damage done by the Coronavirus pandemic it was exciting to receive 46 excellent entries into this year’s William D. Revelli Composition Contest. These included submissions ranging from promising middle school students to those from some of the best-known and most widely performed composers in the

profession. It gives me great pleasure to announce Lux Perpetua

by Frank Ticheli as the winning selection of the forty-fifth annual contest.

Dr. Ticheli likely needs no introduction to the readers of this journal, and he is certainly no stranger to this competition having won it in 2006 with his Symphony No. 2. He is well-known for his works for concert band, many of which have become standards in the repertoire. In addition to composing, Ticheli guest conducts his music regularly at American universities and music festivals and in cities throughout the world.

Ticheli was awarded national honorary membership to Phi Mu Alpha Sinfonia, “bestowed to individuals who have significantly contributed to the cause of music in America,” and the A. Austin Harding Award by the American School Band Directors Association, “given to individuals who have made exceptional contributions to the school band movement in America.” He serves as Professor of Composition at the University of Southern California, where he has received the Virginia Ramo Award for Continued on next page

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NBA JOURNAL

LITERATURE

NBA/William D. Revelli Memorial Band Composition Contest, Matt McCutchen, cont. excellence in teaching, and the Dean’s Award for Professional Achievement.

Lux Perpetua is a stunning work that was composed for the Baylor University Wind Ensemble in memory of two young clarinetists, Laura Onwudinanti and Jack Stewart, who lost their lives in an automobile accident in 2014.

Ticheli writes: “The idea of light as both protector and illuminator was constantly in my mind as I composed the piece.

Two kinds of light comprise the work: one soft and meditative, the other more sparkling and effervescent.

The work’s title is drawn from the last line of the Latin text, Lux aeterna: “et lux perpetua luceat eis” (and let perpetual light shine).

The idea of light as both protector and illuminator was constantly in my mind as I composed the piece.

Two kinds of light comprise the work: one soft and meditative, the other more sparkling and effervescent. Also in mind were the respective personality traits of the two dedicates, Jack being more thoughtful and introspective, Laura being more spontaneous and gregarious.

A simple call motive begins the piece, introduced by the clarinets. Its two main notes form a descending minor 3rd, a sound that is universally associated with a call or greeting. This idea is laced into the entire fabric of the piece, sometimes serving as transition material, other times appearing unexpectedly for purposes of contrast, still other

times flowering into the main melody.

The main melody is at once longing and noble in quality and is constructed in a way that suggests the notion of infinity. Its accompanying harmony depicts a kind of bellows or the act of breathing, in and out perpetually.

It never settles on a final chord, but instead moves to a builtin modulation, compelling the melody to repeat itself in a chain of new keys.

A faster, more energetic middle section serves as a dramatic contrast, but rather than give it a new theme, I chose to continue with a variant of the main melody. The accompanying harmony is still breathing, the lyrical line still permeating the entire section, but this time building to a tremendous climax. The final coda is a brief meditation. The main melody echoes itself tenderly as the harmony begins its slow and fragile ascent to the heavens.”

Lux Perpetua is scored for standard wind band instrumentation plus harp, which is often, but not always, doubled in other voices. Five percussionists are required to cover the parts, and as with most of Ticheli’s music, their input is crucial to the success of the piece. The work is in ABA form with few technical challenges at the beginning and end (with the exception of a tricky 5-measure passage in alto saxophone and trumpet), but several in the middle. It will be imperative that ensembles who perform this piece have students with a strong sense of pulse and

Matthew McCutchen is the Director of Bands at the University of South Florida. He is also the founder and conductor of the Bay Area Youth (BAY) Winds and the Artistic Director and Conductor of the Florida Wind Band. He is the chair of the National Band Association’s William D. Revelli Band Composition Contest, and is on the John Philip Sousa Foundation Legion of Honor Selection Committee.

a death-grip on myriad ways to perform 16th notes. There are few range concerns, although the bari-sax does get to go up to registers they might not be used to exploring. There are short, poignant solos in piccolo, flute, clarinet, alto saxophone, trumpet, and horn.

The members of the Revelli Committee have made a concerted effort in recent years to select pieces that are accessible to a large number of ensembles throughout the country. While this piece certainly requires mature players, the technical aspects are within the range of many high musicians.

Lux Perpetua was premiered by the Baylor Wind Ensemble at the TMEA Conference on February 13, 2020 shortly before the world shut down for Covid.

Continued on next page

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21

LITERATURE

NBA/William D. Revelli Memorial Band Composition Contest, Matt McCutchen,cont.

LINDSAY BRONNENKANT

The initial performance can be seen on Youtube by searching “Ticheli: Lux Perpetua | Baylor University Wind Ensemble | TMEA 2020.” It is available for purchase from Manhattan Beach Music.

Ensembles that program the work will be profoundly rewarded.

In addition, for the first time in recent memory the Revelli Selection Committee requested that a first runner-up be named.

Tarot by Lindsay Bronnenkant is a fresh and exciting work by a young and upcoming composer who clearly has a brilliant future ahead.

Bronnenkant is a DMA student at the Eastman School of Music where she is working on a degree in Wind Conducting. She additionally serves on the faculties at Nazareth College and Hobart and William Smith Colleges. Prior to graduate studies at Eastman and the University of Michigan, she taught and led several ensembles in the Rochester, NY area.

Tarot is her first published work for wind band, and of it she writes: “Gustav Holst was incredibly interested in Indian culture, going so far as to teach himself 22

Sanskrit. Some evidence suggests that he tried to incorporate Indian rāgas into his works, and after investigating Holst’s resources and analyzing his Planets, I believe that Holst tried to reference rāgas that evoked similar characters to those of the planets in his suite.

However, whether because of his limited access to authentic performance of Indian music, his experiences with modal composition during the British folksong revival of the early 20th century, or by suggestion from Indian music expert Maud MacCarthy, Holst used the pitches of rāgas using western theoretical practices, treating what were once rāgas as scales or modes.

a composer we hope to hear much more from in the future. Tarot is available for purchase through Murphy Music Press.

I decided to compose a suite that traces Holst’s footsteps but applies his musical experimentation to a new topic: Tarot. Like astrology, Tarot cards have been used for divination, and as each planet in modern astrology represents specific characteristics and personality traits, so too does each Tarot card.”

Transcending –Christopher Marshall

The suite portrays three Tarot cards: the Fool, the King of Cups, and the Tower. Tarot was composed for a restricted number of players at the Eastman School of Music during the Covid-19 pandemic. The numerous challenges – extended technique and range in several instruments, advanced percussion, keyboard, and harp requirements, etc puts it out of the range of many ensembles. However, even if this is a piece beyond your ensemble's capabilities it is one that belongs in your listening library. The writing is fresh and inventive, the colors are captivating, and this is

The remaining finalists for the 2021 contest are listed below. Each of these are outstanding pieces which are well-deserving of many performances and academic study.

Concerto for Wind Ensemble –Kevin Day March!

–Jennifer Jolley Some treasures are heavy with human tears –John Mackey

I believe that what the committee accomplished this year – selecting a piece by one of our profession’s best known and most highly touted composers, and one by a young composer who seems to be poised to be an important voice, is exactly what John Paynter and Al Wright would have loved to see happen when they started the contest 45 years ago.

NBA JOURNAL

NBA NEWS

DR. WILLIAM P. FOSTER PROJECT C OMMUNIT Y DEVELOPMENT AWARD DIVISION WINNERS A national award recognizing quality band programs, teaching excellence, and community impact in historically underserved communities.

SOUTHWESTERN DIVISION

NORTH CENTRAL DIVISION

WESTERN DIVISION

MR. TRENT COOPER DeKaney High School (retired Spring, TX

MR. DON STINSON Joliet Central High School Joliet, IL

VICTOR DE LOS SANTOS Santa Ana High School Santa Ana, CA

EASTERN DIVISION

SOUTHERN DIVISION

NORTHWESTERN DIVISION

MS. HEATHER TAYLOR Lakeshore Elementary School Rochester, NY

DR. OLLIE LIDDELL Memphis Central High School Memphis, TN

JENNIFER BROOKS David Douglas High School Gresham, OR

ABOUT THE DR. WILLIAM P. FOSTER PROJECT The College Band Directors National Association (CBDNA), Music for All (MFA), and National Band Association (NBA) are dedicated to the attainment of a high level of excellence for bands and band music at all levels of instruction. The Dr. William P. Foster Music Education Alliance “Award of Excellence” recognizes quality band programs which are challenging students and reaching a high level of excellence. The “Community Development Award” honors select educators who provide strong music education experiences for their students and a positive impact on their school and community.

For more information about the Dr. William P. Foster Project, The Music Education Alliance and the Community Development Award or to apply, visit:

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23

PERSPECTIVE

RETHINKING THE SCHOOL CONCERT PRESENTATION

“

BY GARY BARTON

Some of my most miserable times as a high school band director were while helping corral middle school kids in the audience as they were waiting to play or had already finished playing.”

This statement didn’t originate with me, but I’ve lived this many times and I have few fond memories. The fact that there is a need to chaperone students in a gym or auditorium, in view of a large crowd that includes their parents, makes me wonder if maybe we could organize the event in a better way for the performers, the audience, and the music.

You have three concert bands in your middle school plus a large beginner band. Be proud! Those numbers are a picture of success and when people see that huge group of students all at once it’s impossible not to be a bit awestricken. Here’s a comparison: The lay public will assess a marching band on first sight based on the size. A big band must be a good band. They judge your middle school program the same way.

Now that we’re past the euphoria of having great numbers, what are some ways to showcase the students? It’s important to know that any scenario that will work in an auditorium will also work in a gymnasium or arena. If there are only two groups on the program, having a group play and 24

then stay and listen to the other is good as long as the program will last an hour or less. Anything longer tests the attention span of the students who have already performed as well as that of small children in the audience. If either group needs thirty minutes or more, consider having the groups play on two different nights or have them play an hour apart, for example one group at seven o’clock and the other at eight o’clock. You can showcase a group better in its own time slot and you can play more music as well because you’re not trying to stay within a time limit. If two groups are sharing a concert in a gym, consider having both groups in a concert set-up on the gym floor and alternate selections between the two groups.

The younger group plays the first piece followed by a piece by the advanced group, then the younger group again, continuing until the end with an exciting simple piece played together by both groups.

The students and audience are engaged throughout the entire program and everyone plays on the finale.

A concert with three or four bands can become a chore. If you try to keep it within an hour, no group gets to play very long. If you require the first group to stay and hear the other performers, it can become grueling for everyone involved. Parents wonder why they have to stay an hour longer after their children have performed,

Gary Barton retired from the La Porte, Texas Independent School District after thirty-seven years of teaching in five states. He received the Bachelor of Music Education from the University of Louisiana-Monroe and the Master of Science in Education from Indiana University.

A Past President of the Arkansas School Band and Orchestra Association and Past 2nd VicePresident of the National Band Association, he has written for numerous publications and has done clinics and presentations in sixteen states.

while parents of students who perform last wonder why they had to arrive an hour or more before their children even play. When the concert is too long you’ll have an unhappy, but probably polite, audience that will dread the next event.

If you’re having three groups play on one evening, it’s possible to stagger the performances with each group getting its own time to play. I’ve often seen six-thirty as a starting time, but anything earlier tends to create problems for some working people; that extra thirty minutes makes a difference for many families. A six-thirty performance can be followed by a seven-fifteen or seven-thirty performance, followed by an eight o’clock or eight-fifteen performance. Remember that a middle school performance should

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Rethinking the School Concert Presentation, Gary Barton cont. always happen within a half hour.

Another option for three or more bands is to simply use more than one evening. If there are three groups, the advanced group might possibly be able to play a longer program and an evening devoted to that group might be a healthy option. The other two groups can share an evening.

For me, four groups dictates that we’ll use two evenings with one of the formats mentioned earlier. The pros: each group gets its own showcase and a concert doesn’t feel like a marathon to the audience. The cons: directors and families with multiple children may have to give up two evenings instead of one, and all students

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won’t hear each other perform.

“Sure the kids need to hear each other, just not on every concert.”

– Mike Fiske, Joliet Central High School, Illinois, retired Mike told me this and it struck me as brilliant because I have been told so many times, “We want the kids to hear each other and we want the parents to see the whole program.” Every program would be wise to plan a mass concert once a year that includes every performing group, possibly even the high school that the middle school feeds. A gym floor can hold all of the groups and they could even play in the alternating way mentioned earlier. A massed performance of all groups at

the end creates a finale that the community will talk about for days. Keep each group at about ten minutes of music because you should still try to stay within that one hour of audience time.

A concert should be planned around what is best for the students instead of what is convenient. Every performance should leave the audience wanting more instead of feeling weary because of length. Rarely does anyone say, “I sure wish that concert had been longer!”

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n Friday August 6th, 2021, the music world lost former NBA President, Kenneth G. Bloomquist (19801982). Professor Bloomquist’s musical career began in Iowa as a young trumpet player.

He attended the University of Illinois in 1953 with a Bachelor of Music Education degree and later a Master of Music Education degree in 1957. In 1958, Professor Bloomquist joined the faculty at the University of Kansas as assistant director of bands and professor of trumpet. During his tenure at KU, he was appointed director of bands in 1968. In 1970, Professor Bloomquist became the director of bands at Michigan State University, where he directed the Spartan Marching Band, Wind Ensemble, and Symphony Band.

At Michigan State, Bloomquist was promoted to the director of the School of Music in 1983 and continued as the director of bands until his retirement in 1993. These accomplishments alone are very notable and impressive, however, the work of Professor Bloomquist is much more significant.

Known as a world renowned conductor and pedagog, Professor Bloomquist was equally known for his sincerity and genuine care for music and its counterparts.

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Remembering Kenneth Bloomquist, Kevin Niese, cont. to show the unfeigned delight of Kenneth G. Bloomquist.

When asked to compile these personable accounts from his loved ones, I was welcomed with an overflow of authentic reflections. From teachable moments to fun memories, it was clear that Professor Bloomquist left a true impact on all those who encountered him. On the mere surface, many outside his circle would simply see Mr. Bloomquist as an accomplished ensemble director, but the legacy of this incredible man goes far beyond the barriers of music. In order to highlight the life of Bloomquist, I was fortunate to interact with some of his former students and closest friends. These individuals have contributed precious time and energy into bringing this project to life. Special thanks is extended to Jim Barry, Mike Kaufman, and Beth Kaufman for sharing their experiences with Professor Bloomquist.

INTERVIEW Kevin Niese: Many knew him as Professor Bloomquist. Did he have any personable nicknames?

Mike & Beth Kaufman: His wife, Ann, usually called him “Kenny,” Mr. Bloomquist was often addressed by students as Mr. B, and as is so often the case for our most respected mentors, none of us ever quite got used to calling him Ken. And lastly, Mr. B's middle name was Gene, and so it was always an endearment to affectionately refer to our beloved band director as - KGB! Kevin Niese: What would a rehearsal look like with Prof.

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Bloomquist? What were his mannerisms on the podium?

Jim Barry: Rehearsals were always well-organized and unhurried. Ken tossed in humor or an anecdote when appropriate. He motivated with his personality – you wanted to please Ken; you never wanted to disappoint him - it was rare when he exposed an individual for poor preparation, but when he did . . . oh boy, everybody knew it was deserved; the player was not a “sacrificial lamb.” Ken made a lesson out of it, and as a member of that band, you weren’t going to forget it.

Mike Kaufman: I think all band directors are impacted by one's collegiate experiences, and it's those ensemble rehearsals that are often the most influential in shaping one's career. Of the many lessons learned, one of the most important was his ability to inspire. Mr. Bloomquist definitely had this gift. He could equally praise a fine effort, and at the same time be brutally honest and dead on accurate. Mr. Bloomquist had an innate ability to positively reach everyone in his rehearsals. From doctoral performance majors to incoming freshmen, he was all business during rehearsal and a master at time on task. This quality may have been one of his best strengths. Bloomquist's own personal musicianship was infectious, and an attention to detail was ever present during rehearsals. For those of us who aspired to teach middle school or high school aged students, there were countless "nuts and

Kevin Niese is a first-year Graduate Associate pursuing a Master of Music Education degree at Ohio University, with an emphasis in conducting. Prior to his current graduate appointment, he taught for five years in public education. His positions included Director of Bands for Vinton County Local Schools in McArthur, OH and Assistant Director of Bands for Nordonia Hills City Schools in Macedonia, OH working with grades 6-12. His teaching responsibilities included Marching Band, Concert Band, Chamber Ensembles, Pit Orchestra, Pep Band, Jazz Band, and various music electives. Kevin’s students were also successful participants in OMEA (Ohio Music Education Association), and BOA (Bands of America) adjudicated events receiving exceptional ratings. Kevin returns to Ohio University as a Cum Laude graduate with a Bachelor’s in Music Education. The North Central Ohio native currently assists with all wind bands at Ohio University including the Marching 110, Wind Symphony, Symphonic Bands, and University Concert Band.

bolts" lessons we took away and were able to implement within our own teaching beyond graduation from Michigan State University. To this day, I continue to be grateful for Mr. Bloomquist's emphasis on a "group goals" approach to rehearsal as well as his focused, serious, and at the same time, collegial rehearsal style.

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Remembering Kenneth Bloomquist, Kevin Niese, cont.

Kevin Niese: It’s clear that Prof. Bloomquist enjoyed and performed music at a high level for the entirety of his career. Are there any particular performances or accomplishments that stand out that would help us comprehend his superior achievements?

Mike Kaufman: Mr. Bloomquist's professional accomplishments are so varied and significant. His University of Kansas Brass Choir toured the Far East and Australia, performing for sold out audiences including many heads of state and dignitaries.

He created the MSU Alumni Band in 1971, a group that began with an alumni Marching Band. He later added an alumni Concert Band which performed both on campus and abroad.

Our MSU band experience included cornerstone repertoire as well as his creation of a New Music Symposium, which at the time was a rather revolutionary concept. Mr. Bloomquist also managed to attract many of the absolute giants from our profession to visit MSU and clinic the bands.

William Schumann, Vincent Persichetti, Karel Husa, Frederick Fennell, Arnald Gabriel, Harry Begian, William Revelli, Sir Vivian Dunn. These are just some of the names I remember from nearly 50 years ago. Of course, we had our own Leonard Falcone, Owen Reed and Owen's student David Continued on next page

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Remembering Kenneth Bloomquist, Kevin Niese, cont.

Maslanka. These leaders in our profession were regularly in our rehearsals or guest conducting at our concerts. The impact was incredible. It was all arranged for and orchestrated by Mr. Bloomquist. Mr. Bloomquist was most influential in transforming the Department of Music at MSU to a School of Music, and with it came more stature and financial resources. He supported Dean Forger's effort to build a new music facility, one that was sorely needed for many years and finally opened in 2020. Upon completion of the new building, Mr. Bloomquist remarked: “MSU is a model of success in the performing arts nationally and internationally.

We have quality students, professional and respected music faculty, and a University that is known worldwide. We are able to attract and invite the world’s greatest artists to our campus. Our faculty, our students, and our patrons deserve high-quality spaces in which to practice, perform, and experience high-quality music.”

Kevin Niese: Outside of music, what was Prof. Bloomquist known for?

Jim Barry: Ken loved to travel (often by rail), he enjoyed good food and wine, and he was an avid reader. But Ken was a family man first. He demonstrated profound and enthusiastic love and pride for his three (now grown) children Leslie, Laurie, and Dan, his 9 grandchildren, 5 greatgrandchildren, and of course his loving wife of over 80 years, Ann, who he affectionately WI NT ER 2022

called Annie.

Beth Kaufman: A little known fact, Mr. B was an excellent ping-pong player. Cowles House, the home of the university President, was right next to the marching band practice field. Apparently, after practice, he would often head over to play ping-pong with President Cecil Mackey. He (Bloomquist) won every single time. Mr. B also played taps every night on the deck of his Northport home overlooking Lake Michigan. It started many years ago, when he got out his trumpet when his grandson was visiting. They would head outside and play taps as the sun would set over the lake. He continued playing right up to a few weeks before he passed away.

Kevin Niese: When reflecting on your time under Prof.

Bloomquist, what do you remember most about him?

Beth Kaufman: His smile.

When you were talking, he gave you his undivided attention. He did not glance around the room to see if there was anyone around who was more important. I remember his efficiency. When I first auditioned for the Marching Band, I was not yet enrolled at MSU. Once he offered me the position as Feature Twirler, he immediately got on the phone to arrange admission, housing and classes. I certainly remember his storytelling. Mr. B had so, so many experiences in his lifetime that it was easy for him to reminisce and entertain people with the humorous

slant he was able to put on each story. I would listen to him in amazement, mostly because of the famous people about which he would talk so casually. To say he was a prankster is an understatement.

Kevin Niese: Students are challenged by adversity throughout their academic careers. As Prof. Bloomquist has been described as a fatherfigure by so many, do you recall memories of him guiding you through these challenging times?

Mike Kaufman: Some of the best lessons for all college students are learned when our mentors are faced with adversity or difficult situations.

I think Mr. B taught us countless life lessons that were not necessarily about the music, or about band, but simply about how to be as a professional.

So with that in mind, we all were the beneficiaries of Mr. Bloomquist demonstrating grace under pressure. His students all learned through his example: “The buck stops here.”

“If something is not working, look at yourself first.”

“Control your emotions.”

“Praise in public, discipline in private.”

“Never be condescending and never humiliate students in rehearsal.”

“Always show respect, show genuine interest and treat everyone equally.”

Kevin Niese: I imagine navigating life through Title IX was an adventure. Beth, do you

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Remembering Kenneth Bloomquist, Kevin Niese, cont. recall specific moments, in or outside rehearsals, where Prof.

Bloomquist not only advocated but embraced the integration of men & women in the Spartan Band?

Beth Kaufman: I can only speak about the integration of men and women in the band based upon my own experience. My story reflects the impact Mr. B had on all students, not just those majoring in music. I was not a musician. I was not a music major. I was not a band director. I was a competitive baton twirler and a student at Western Michigan University planning to start my Sophomore year.

In the summer of 1972, I switched schools from WMU to Michigan State primarily due to the passage of Title IX. This legislation opened up several opportunities for women to participate or engage in activities that previously were segregated. That included allmale marching bands. I wanted to continue my twirling days so I called and requested an audition at MSU. After my audition, I was ushered into the office to meet Ken Bloomquist, Director of Bands. Mr. B’s first words were “Well young lady, you are going to be famous and infamous!” I had no clue what I was getting into! But, Mr. Bloomquist was always there to support and protect me, if needed, from some members who initially weren’t really happy about my presence. He did not sugarcoat the position I now found myself 30

in—there would be some adversity, negativity, skepticism from those who were not ready to accept women in the band.

But in the long run, those men became my most fierce advocates and friends, which I credit to Mr. Bloomquist’s influence. He surely took the brunt of a lot of push back for the decision he made, but it was never brought to my attention.

The best advice he gave me…

“Do not quit. Work hard and prove every day that you earned this spot in the band.”

I always felt like I was a valued member of the band. I followed all the same rules and protocols as all members. I will never know how much “shielding” Mr. Bloomquist may have done behind the scenes but my guess is, quite a lot. The whole idea of women in the band was downplayed, as if this was nothing new. I was never given more or less attention than any other band member.

So much of that first season was a whirlwind, with Mr. B continuously in the shadows making sure the transition to women in the band went as seamlessly and as positively as possible.

Kevin Niese: Prof. Bloomquist instilled a culture at Michigan State. What was this culture like and how did his students/ colleagues respond?

Mary Platt-MSU Alumni Band, Director, Hilbert Museum of California Art, Chapman University (answer acquired

by Jim Barry): Band leader and conductor, clinician, university

administrator - but “Mr. B” was more, much more than that. As only the greatest band directors are, he was also an inspiration, teacher, coach and friend, one who urged us all to find our highest calling and to find dedication and joy in working for a goal that was much bigger than us.

Mike Kaufman: Regarding the MSU band culture, there is one very meaningful extraction from Mr. Bloomquist's memoir: “Support for me and bands accelerated and was aided after a happening involving my ability to play trumpet. Clyde Roller was the conductor of the Lansing Symphony Orchestra (LSO) and also was a conductor of the Houston Symphony Orchestra. The LSO was a very good community orchestra with wonderful professional and semi-professional players, many of which were MSU Music Department faculty members.

Annie and I went to the Lansing Symphony Orchestra’s first concert of the season in October of 1970.

The concert was very good and Annie and I went backstage to see and congratulate Clyde. He looked at me and said "What are you doing here?" I told him I was the new Director of Bands at MSU. He said immediately, you've got to play in the LSO. This is not a good trumpet section and I need you. I told him I had retired from playing trumpet to conduct. I had known Clyde Roller a long time and he knew me, but only as a trumpet player.

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Remembering Kenneth Bloomquist, Kevin Niese, cont. to play 3rd trumpet and coach the LSO trumpet section. At the next Lansing Symphony Orchestra rehearsal in November, I asked the two trumpet players at the first rehearsal which one was the 1st player. They answered quickly that "the maestro says you are."

I went to Clyde and he literally conned me into playing the first trumpet part. I actually, to my surprise, played the first trumpet part very well. Starting the day after that first LSO rehearsal the wind faculty members kept coming to my MSU office, and I must add, one at a time, to extol my virtues as an "orchestral" trumpet player.

They became supportive because I was an "orchestral musician" and began talking their students into auditioning for the bands.

With my new elevation as a "real musician" and not just a band director, life got much better in getting the good MSU wind and percussion players to participate in the bands. It still rankles me to think about it but it is a true story.”

Additionally, he never blew his own horn and never displayed any hint of arrogance. He was so much fun and gracious in social settings. We all knew with Mr. B, what you see is what you get. All of this contributed to a wonderful culture that he groomed within the MSU band department.

Kevin Niese: What was Prof.

Bloomquist’s legacy to you and what would you want those who never met him to know?

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Remembering Kenneth Bloomquist, Kevin Niese, cont. reciprocated in spades. (no surprise there, right?) It was just a part of his nature. Two years after I’d played my last notes as a trumpeter in his MSU Symphony Band, and had graduated from MSU, I was back in the concert hall with “Mr. Bloomquist.” This time, Ken was in the auditorium as a parent at my first Okemos High School (Michigan) Band concert in 1975. 31 years later he was playing trumpet with my students on “Bugler’s Holiday” alongside his son, Dan, and grandson, Ian. As an encore, Ken handed me his trumpet, took my baton, and we played it

again with Ken on the podium!

Ken never forgot his students!

Kevin Sedatole-Director of Bands, Michigan State University (answer acquired

by Jim Barry): For me, he was an amazing supporter that only wanted the very best for MSU bands. Ken was always interested in what we were doing and what was the next thing - always wanted to stay on the cutting edge. His legacy at MSU will always remain through all of his terrific students. The scholarships in his name will continue to further that legacy. RIP dear

mentor, colleague, friend and great Spartan! You will forever be remembered.

Mike & Beth Kaufman: Maya Angelou said, “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” Ken Bloomquist made all of us feel important. He made us feel valued. He made us feel proud.

He showed us by example how to be humble, honest and fair.

Mrs. Bloomquist said, “Ken was willing to take a chance on you and willing to give you more than one chance.” And for that, we are forever grateful.

Ken Bloomquist will always be remembered as a master teacher, but his memory will live on for his innate ability to connect with people. From students to colleagues, family members, and friends, his impactful influence touched so many. Ken’s stories and teachings will be passed on for generations to come. He commented during his last days, “I wish I could live another lifetime because I want to know what’s coming ahead in the world of technology, travel to other galaxies, cures for life threatening illnesses, world relationships, etc.. I guess I’ll have to look down from above, or maybe up from below, to find the answers to these questions.”

A lifelong learner until the very end. Thank you, Mr. Bloomquist, for all that you gave to music and its loved ones. Rest in peace, and continue being stellar!

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Remembering Kenneth Bloomquist, Kevin Niese, cont.

BIOGRAPHIES JIM BARRY retired in June, 2006 after 33 years teaching instrumental music in Michigan.

He served as Director of Bands at Okemos High School for 31 years, 1975-2006, after two years teaching in the Holly Area Schools. Jim was a member of Seraphime Mike’s high school bands in Roseville, Michigan. He earned both his bachelor’s (1973) and master’s (1983) degrees in instrumental music education from Michigan State University, and now serves as a board member of the MSU Alumni Band. Jim was a member of Ken Bloomquist’s MSU bands.

Two of Ken and Ann’s children were in Jim’s first Okemos bands. 31 years later, one of their grandchildren was in his last. Jim and Linda moved a little south to Northville, Michigan in 2011, after residing in Okemos for 37 years.

They have two children, son Mark (wife Aly) in Pasadena, California, and daughter Kim in heaven.

MICHAEL KAUFMAN became Director of Bands at Grand Ledge High School, Grand Ledge, Michigan in 1981, leading the program for 27 years until his retirement in 2008. Major appearances with the Grand Ledge Wind Symphony include the 1983 and 2000 MidWest Clinic performances, two CBDNA conventions, one NBA convention and four Michigan Music Conferences. Mr. Kaufman also served for 24 years as the director of the summer Wind Studies program and All State program at the Interlochen Center for the Arts. He received the Bachelor of Music and Masters of Music degrees with honors from WI NT ER 2022

Michigan State University and has been the recipient of the NBA Citation of Excellence; the ASBDA Stanbury Award, the Sudler Flag of Honor, the MSBOA Teacher of the Year, the Michigan State University College of Education Crystal Apple award, and in 1997 was elected membership in the American Bandmasters Association. Currently making regular appearances with various wind ensembles, Mr. Kaufman serves today as a guest conductor and clinician throughout the eastern United States.

BETH MLYNAREK KAUFMAN was among the first two women in 1972 to be admitted to the previously all male Michigan State University Spartan Marching Band. She graduated with honors from Michigan State University receiving Bachelor and

Master degrees in Special Needs Education, Learning Differences and Reading Instruction. Her thirty-five year career included classroom teaching, consulting and providing instructional support for teachers in the Mason School District in Mason, Michigan. Mrs. Kaufman also served as Director of the Title I, Gifted and Talented, and Mentor/ Beginning Teacher programs for Mason Public Schools and the Ingham Intermediate School District. Today, Mike and Beth are retired and live in Traverse City, Michigan.

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AN OVERVIEW OF JAMES M. DAVID’S URBAN LIGHT

U

BY SCOTT TOBIAS

rban Light by James M. David was commissioned by the National Band Association in honor of the 60th anniversary of the founding of the organization. The work received its premiere at the 2021 Midwest Clinic by the United States Army Field Band. According to the composer, “Urban Light is a brilliant display of colors, forward momentum, and intertwining rhythmic layers that is inspired by the iconic Los Angeles landmark of the same name.”

rock/metal influence that reaches its zenith with a heavy percussion backbeat.” An expansive percussion section is also employed requiring six players to cover the parts. In addition to standard instruments such as snare drum, bass drum, bells and vibraphone, the work calls for a variety of cymbals (ride, China, suspended, crash, hi-hat) and tamtams. Other instruments include timbales, slapstick, brake drum, ice bell, crotales, triangles, floor tom, chimes, bongos, woodblock, and tambourine.

At just under six minutes in length, the work makes for an exciting opener to a concert program. A standard wind band instrumentation is used with optional parts for contrabassoon, contrabass clarinet, and double bass. All three clarinet parts are written divisi at times requiring at least six players, and although four horn parts are written, the collective section never plays more than three separate parts at any time other than in the first measure. Additionally, straight mutes are required for trumpets, horns, and trombones. Parts for piano and electric guitar are listed as “optional, but strongly recommended.” The addition of the electric guitar timbre to the ensemble greatly enhances the effect created by the use of barre chords in the work which the composer says, “reveal a classic

The work is centered around the key of G major, although the composer opts for the use of accidentals in place of a traditional key signature. All parts fall within ranges that should be comfortable for strong high school players. For example, flutes remain below G6, clarinets remain below Eb6, and the highest note for trumpet is B5 (which only occurs twice).

In terms of technical demands, the greatest challenges within the piece are related to rhythm and meter. Layered patterns are presented which require a strong sense of pulse and confident independence from the players.

As an example, measure 29 features straight eighth notes and sixteenth notes in the percussion section with a syncopated pattern in the brass. On top of this is a clarinet part which is written in

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

Dr. Tobias presently serves as Immediate Past President of the National Band Association and Past President of the Big 12 Band Directors Association.

a grouping that feels very much like 3 + 3 + 2 in 8/8 while at the same time the accents in the flute part create a 3 + 2 + 3 grouping.

The combination of these parts creates an exciting groove which drives the piece forward; however, that groove is dependent on the accurate interlocking of the various rhythmic patterns.

Other sections of the piece feature similar layering effects but through the use of duple and triple subdivisions. In measure Continued on next page

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NBA 60th Anniversary Commission, Scott Tobias, cont.

102, for example, the Clarinet 1 part contains quarter note triplets while Clarinet 2 features straight eighth notes. Below this is a Clarinet 3 part playing eighth-note triplets.

Also of importance to the overall groove and feel of the piece is stylistic articulation. Players should pay close attention to the variety of articulation markings indicated, especially on rhythmic patterns played on the same repeating pitch. The indicated tempo of quarter equals 144 allows players to use a comfortable single tongue technique which should be conducive to achieving clarity of these varying articulation styles.

Adding to the rhythmic interest of the piece are numerous meter changes from start to finish. The majority of which move between simple meters, i.e. 4/4 to 3/4 to 5/4.

The only exception to this is a brief three measure switch to 6/8 just before the midpoint of the piece.

While the meter changes are straightforward throughout, the placement of accents mentioned above combined with varying articulations create interesting rhythmic patterns that at times might make one feel a meter different than the one indicated.

The more rapid runs found throughout the woodwind parts lay well on the instruments and generally follow scalar patterns with chromatic elements of the blues included. Overlapping short segments are used to create a fabric of continuous motion while making the individual parts more playable.

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quarter and eighth notes on single pitches in the woodwinds, piano, and vibraphone which are quickly joined by a rhythmic pattern in the trumpets that for a moment is reminiscent of John Adams’ Short Ride in a Fast Machine. Rather than continuing in a minimalistic ostinato pattern, though, a tutti statement of two eighth notes interrupts the pattern before another entrance begins two measures later. As before, the rhythmic pattern continues for a few measures before once again being interrupted by two punctuated eighth notes. This time, however, the composer adds two measures of chords in the low brass/reeds based on guitar barre chords before the next rhythmic pattern starts. The appearance of these chords also marks the first entrance by the optional electric guitar part. This alternating of rhythmic patterns and interruptions continues in a

similar fashion through measure 57 but with the addition of bluesinspired riffs in the clarinets and saxophone.

The composer states that the rhythmic patterns used were derived from the Morse code spelling of California, the location of the artwork that was the inspiration for the piece. Upon closer examination, and with a little bit of research into Morse code, one can clearly see the hidden tribute.

Using “dahs” and “dits” for the dashes and dots of Morse code, the spelling of California is: C (dah dit dah dit) A (dit dah) L (dit dah dit dit) I (dit dit) F (dit dit dah dit) O (dah dah dah) R (dit dah dit) N (dah dit) I (dit dit)

A (dit dah) When compared to the music, one sees: Continued on next page

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NBA 60th Anniversary Commission, Scott Tobias, cont.

These patterns continue to be the basis of rhythmic figures throughout the remainder of the piece.

Starting at measure 59, the horns and alto saxophones present a more melodic version of these rhythm patterns as opposed to the repetitive block-chord format found at the beginning.

This melody continues to be accompanied by articulated ostinati in the upper woodwinds while being supported underneath by the same barre chords first heard in measure 17, although lengthened in this section. The trumpets join the melodic line in measure 65 followed by the trombones joining in measure 71. Adding to this expanding instrumentation on the melody is an increase in the speed of the woodwind ostinato patterns which change from repeating eighth notes to sixteenth note scalar patterns. As before, this build is interrupted with a punctuated two eighth note figure in measure 79 reinforced by rim shots on the snare drum.

Measures 79 through 85 feature a creative metric juxtaposition that serves to slow the overall tempo of the piece moving into the next section. The first three measures feature the clarinets playing repeated eighth notes accompanied by the piano, vibraphone, and wind gong playing quarter notes all in 4/4 time. Keeping the eighth note pulse steady, the meter changes to 6/8 at measure 82 with the clarinets continuing their articulated eighth notes but with accents on every other note creating the feel of 3/4. This is reinforced by three quarter notes 36

being played by the piano and vibraphone. In measure 83, the accents in the clarinets and wind gong move to the first and fourth notes transitioning to a more traditional 6/8 feel; however, in the same measure the bassoons, bass trombone, and tubas begin a bass line written in duple eighth notes.

Two measures later, the meter changes to 4/4 with the previous dotted quarter pulse becoming the quarter note pulse. The clarinets continue their articulated triplets at the same tempo, and the low voice bass line that was previously notated as duple eighth notes in 6/8 now continues as straight eighth notes in 4/4. The result is a 4/4 section starting at measure 85 where the quarter notes are exactly one eighth note longer than the quarter notes in the 4/4 section four measures earlier.

Moving into this slower section, elements from earlier in the work are still present such as the trumpets and trombones playing the rhythm patterns from the beginning spelling California in Morse code. In this statement, though, the pattern omits the CALI and instead begins on the F. Impact notes in the timpani and chimes help punctuate these patterns. Layered polyrhythms are present with upper woodwinds playing eighth note triplets against the quarter note triplets in the vibraphone while the triangle and brass continue with straight quarter and eighth note patterns.

New timbres are also present in this section as straight mutes are indicated for all trumpets, horns, and trombones for a brief period.

A bluesy alto saxophone solo is featured prominently at measure 98 with brass interjections at the

James M. David currently serves as professor of music composition at Colorado State University.

His symphonic works for winds have been performed by some of the nation’s most prominent professional and university ensembles including the United States Air Force Band, the United States Army Field Band, the Dallas Winds, the Des Moines Symphony, the Showa Wind Symphony (Japan), and the North Texas Wind Symphony among many others. His compositions have been presented at more than fifty national and international conferences throughout North and South America, Asia, Europe, and Australia.

Among the distinctions David has earned as a composer are an ASCAP Morton Gould Award, the National Band Association Merrill Jones Award, national first-place winner in the MTNA Young Artists Composition Competition, two Global Music Awards, and national first-place winner in the National Association of Composers (USA) Young Composers Competition.

A native of southern Georgia, Dr. David graduated with honors from the University of Georgia and completed his doctorate in composition at Florida State University under Guggenheim and Pulitzer recipients Ladislav Kubik and Ellen Taaffe Zwilich.

More information about Dr. David may be found at www.jamesmdavid.com.

end of each phrase. As the solo ends, a three measure accelerando helps transition back to the original tempo at measure 115 where musical material from the beginning returns in a modified version.

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NBA 60th Anniversary Commission, Scott Tobias, cont. of layered entrances featuring new voices every five measures.

The sequence starts with tubas, bass trombone, and low reeds accompanied by the piano, timpani, vibraphone, and hihat. Five measures later, they are joined by the trombones, euphoniums, and bassoons. The horns, trumpets, and tambourine make the next entrance followed by the clarinets, flutes, and oboes after the next five measures.

The final entrance is made by additional percussion at measure 153 joining a driving tutti section featuring a prominent statement by the trombones.

This driving tutti section is suddenly interrupted at measure 163 with two measures of silence for most of the ensemble and a subito piano in the upper woodwinds and percussion.

This quiet moment is short lived as a crescendo leads back to a fortissimo re-statement of material presented earlier at measure 59. Another sudden interruption similar to that at measure 163 appears again in measure 183 with a crescendo building into the final eleven measures of the piece. The work closes with a tutti rhythmic statement reminiscent of earlier patterns followed by repeated low brass punctuations culminating in one final two note statement.

With driving rhythms, exciting fanfare figures, and blues inspired riffs, Urban Light is a wonderful new addition to the repertoire that will undoubtedly be enjoyed by performers and audience members alike.

Pictured at right: Urban Light, a large-scale assemblage sculpture by Chris Burden located at the Wilshire Boulevard entrance to the Los Angeles County Museum of Art.

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IMPORTED FROM JAPAN: A LOOK AT JAPANESE COMPOSERS COMPOSING FOR BAND

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BY CHRISTOPHER HEIDENREICH

f you have recently attended Midwest, most likely you witnessed one of the highquality performances given by a wind band from Japan.

Roughly the size of California with a population of approximately 126.5 million as of 2018, Japan, its musicians and people, reveres its wind bands. Many wind bands in Japan rehearse for two hours each day after school as well as on Saturday and Sunday, and often these groups are working to attain entrance to the exclusive All-Japan Band Contest held each October and November in Tokyo. While Japanese composers and orchestrators have crafted numerous popular sounding music and arrangements of musicals and the like, new music is regularly written on commission and for required compositions for the Band Contest. These pieces appear to go unnoticed by conductors in the United States. The results of the survey mentioned below indicate lack of profile or awareness of these works.

In the Summer 2019 quarterly newsletter from the College Band Directors National Association, an informal review of concert programs revealed that over 1,400 total works were performed by schools reporting (including repeated works). Of that number, only 5 different works were performed by 4 composers from

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the country of Japan. Further, in Teaching Music Through Performing in Band (TMTPB) Volumes 1-11 which includes over 880 total musical selections in grades 4-6, only 26 are by composers from Japan, less than 3 % of all works.

In his book Wind Band and Cultural Identity in Japanese Schools, author David G. Hebert states that wind bands are “significant ensembles in contemporary Japanese society” (p. 3). In his first chapter, he affirms and demonstrates that these school bands are among the “world’s finest.” As noted by Timothy Reynish in his website titled “Japanese Music,” the country holds “an incredible wealth of music of all types” worth exploring with the ease of availability in publisher and composer websites.

Below are brief biographies and descriptions of one selection each from eight composers born and musically trained in Japan, five selections for wind band and three for chamber ensembles. Four of the selections use authentic Japanese melodies, sometimes in full or utilizing folk melodic material for the music. Four of the selections are featured in TMTPB for further information or more detailed composer biographies, and their difficulty grades range from 3-5.

Associate Professor Dr. Christopher P. Heidenreich began serving at Louisiana Tech University as Director of Bands in the fall of 2021. Prior work includes fifteen years in higher education as well as fourteen teaching public school in Ohio. He completed his Doctor of Music in Wind Conducting from Indiana University in 2006 and holds degrees in Music Education from The Ohio State University and Bowling Green State University. In 2002, he was awarded the American School Band Directors Association’s “Distinguished Band Director” Award for the North Central Region, and in 2013 UM-Flint awarded him the Faculty Distinguished Service Award.

In addition to Hebert’s book and Reynish’s website, please see Professor Emeritus Ray Cramer’s article “Exploring the Japanese Band Culture” in Volume 7 of TMTPB for a personal view of the school programs in Japan.

SONGS BY YO GOTO (B. 1958) Yo Goto has presented clinics and served as a guest conductor, and his works have been performed at many national and international conventions in the U.S. and abroad. He currently is the executive director of the Japan Academic Society of Wind Music, the executive advisor of the committee of the Japan Band Clinic, and professor at the Showa University of Music.

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Goto has written many other works for wind band including a grade 3 work entitled Dancing in Air (2004) available through C. Alan Publications along with other music for solo and chamber ensembles.

Songs (2009) was commissioned by the Hamamatsu Cultural Foundation, Japan, and won the 2011 Sousa/Ostwald Award held by the American Bandmasters Association. The commission project, titled “Band Ishin” or “Band Restoration,” commissions new works for wind ensemble from Japanese composers who work in the field of orchestra, chorus, jazz, television, and film.

The score requires 24 parts, and each part is to be played by a single performer with each regarded as a soloist; as such, the simple “songs” and song fragments are to be played in their own way and sometimes in their own tempo without meter. The composer’s intent is to have the work sound as an accumulation of freely performed melodies. Although some “songs” have different characteristics, all of them are derived from a melody played by the clarinet at the beginning of the piece. After a slow introduction, the music moves into a rhythmic B section which tosses the rhythm fragments among the individual players and sections. This is followed by a return of the slower opening section, and the piece ends with a return to the tempo and style of the B section as the rhythmic fragment fades away.

Songs is listed as a Grade 4 by the publisher. There is an inherent independence of parts due to the composer’s requirement of one

player per part, but the technical demands are appropriate for this grade level. The first and second clarinet, tuba, and euphonium have unmetered solos. The piece is featured in Volume 9 of TMTPB. BEYOND BY WATARU HOKOYAMA (B. 1974) Wataru Hokoyama presently resides in Los Angeles, California, after leaving Japan at the age of 16. He initially attended the Interlochen Arts Academy in Michigan and with academic work at the Cleveland Institute of Music where he earned a Bachelor of Arts degree. He holds an advanced certificate in scoring for motion pictures and television programs from the University of Southern California School of Music. Two other works of note by Hokoyama are Nebula (2006) published by Audica Music and Spiritual Planet (2004) available for rental through Bravo Music.

In 2001, the Japan Air SelfDefense Western Air Band commissioned and premiered Hokoyama’s Beyond. The composer states that the music was inspired by and written in a Hollywood style in the vein of John Williams.

Further, he expressed his desire to create music that demonstrated the setting and the imagery of the pilots that fly for the Air SelfDefense.

To that end, the music is fanfare in nature with sudden changes in key and mood.

The score calls for two tenor saxophones, and, while harp is not required, it lends to the atmosphere created by the music.

After the opening fanfare, the first

section utilizes a broad sweeping melody that moves through various orchestrations. The second section is slow, passionate, and sweeping with transitional material moving to a return of the first section. The fanfare repeats followed by a concluding coda based on the fanfare motive.

Beyond was reissued after several edits in 2005 and is available through Master’s Music.

It is featured in Vol. 6 of TMTPB and is listed as a Grade 5 due to the considerable demands in terms of register and endurance on the brass in addition to the woodwind technique required by the music.

JAPANESE FOLK SONG SUITE BY BIN KANEDA (1935-2002) Bin Kaneda graduated in 1959 from the Tokyo National University of Fine Arts and Music where he majored in composition. In 1980, he became Professor of Music Education at the University of Gifu and in 1983 was named Professor of Composition at the Aichi Prefecture University of Fine Arts and Music. In 1996, he became Professor of Music for Graduate Education at the University of Gifu and in 1999 was named Professor Emeritus at the Aichi Prefecture University.

Japanese Folk Song Suite was originally published by Shawnee Press but is now available through Boosey & Hawkes. It consists of three songs for children referred to as Warabe-uta in Japan which are similar to nursery rhymes.

Each tune occurs in part or in full and utilizes the melodic material to introduce the movement or as development material throughout.

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The first movement is in the key of G minor, in 6/8 time, and the melody entitled Antagat-dokosa or “Where are you from?”is often used to accompany a game that uses a bouncing hand-ball. Written for the brass and percussion, each section features the brass at various times in the movement.

The second movement is set in the key of C minor, titled “Lullaby,” and is known as Komori-uta in Japan. It expresses the joys and sorrows of taking care of very young children. Only the woodwinds play in this movement, beginning and ending with a freely written flute solo. The final movement is centered around C and is for the entire wind band and percussion; the tune was written to accompany a bouncing ball game that is sung with the words Yamader no oshosa, or “An Ancient Priest in a Mountain Temple.”

The piece is a Grade 4 work featuring an independence parts with very little cross written parts for most of the winds. The percussion parts are not very demanding yet provide color and atmosphere to the music.

JAPANESE TUNE BY SOICHI KONAGAYA (B. 1949) Soichi Konagaya graduated from the Tokyo National University of Fine Arts and Music in 1973 with a major in percussion. He began his career as a composer while still a student and shortly after began arranging for CBS Sony studio.

Japanese Tune is a grade 4.5 selection and a collection of three folk tunes including “The Genroku Flower Festival Dance,” “Cherry Blossoms (Sakura),” and “Yagi 40

Bushi.” The 1985 arrangement was commissioned by Zushi Kaisel High School, Kanagawa, Japan, and published in 1987 by Molenaar’s Muziekcentrale. The score calls for three authentic Japanese instruments including the shime-taiko, Oh-Taiko, and chan-chiki. Each of these authentic instruments can be imitated by striking on a traditional snare drum with snares off, a bass drum with wooden sticks on the head, and the cup of a cymbal with a triangle beater.

The piece starts with a mysterious introduction that features glissandos and other effects to establish the mood.

Each melody is identified in the score and appears in its entirety, and melodic fragments are used to provide transitions between sections. A short flute solo connects two of the tunes, and the final section could be opened up to a longer percussion section solo. Some double-tonguing will be required depending on the tempo of the final melody. The score calls for E-flat clarinet which doubles the flute parts and a soprano saxophone that switches to alto saxophone after the introduction.

This selection can be found in Volume 2 of TMTPB. AND THE OCEAN GLOWS BY SATOSHI YAGISAWA (B. 1975) Satoshi Yagisawa graduated from the Musashino Academia Musicae and the Department of Composition with additional studies in trumpet and band instruction. After completing a master's degree at Musashino, he continued research studies for two additional years. He teaches

wind, string, and percussion instruments at Tokyo Music & Media Arts, Shobi. Other works by the composer include the Grade 5 To Be Vivid Stars (2008) available through Penders Music Company, and Machu Picchu: City in the Sky (2005) available through Bravo Music is featured in Volume 6 of TMTPB. The composer states the following in the score: “And Then the Ocean Glows was commissioned by Niihama Grade School, located in the eastern part of Ehime Prefecture, Japan, and its director, Mr. Shinichi Tagawa, and completed in April of 2002.

Mr. Tagawa and I titled the piece together, drawing from sectional themes of “Shining Morning Ocean”, “Wind Stormy Ocean” and “Large Mother Ocean.” Before I began composing the piece, I visited Niihama’s rehearsal and met the band’s inspired young students.”

True to his program notes, the work utilizes various orchestration, percussion techniques, and running ascending and descending scales to emulate ocean waves and turmoil. Set in the key of A-flat, the piece begins with a reoccurring slow introduction depicting a calm ocean with free tempo parts for piccolo, triangle, woodblock, and glockenspiel. The B section is hinted at during the previous section and is explored thematically with a background of rolling chromatic and octatonic scale variations and percussion effects portraying an ocean storm.

The slow introduction returns scored for the full ensemble in two distinct settings followed by a grandioso setting of the B theme to

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Imported From Japan ..., Christopher Heidenreich, cont. conclude the work.

The selection calls for an ocean drum, a two-headed tambourineshaped instrument with various beads trapped in the middle to be slowly swished back and forth by wind players as indicated in the score. It is listed as a Grade 3 because of the many running scales for the woodwinds and the fanfare-like brass parts.

CHAMBER MUSIC TAKU CHI SUI BY MASAMICZ AMANO (B. 1957) Masamicz Amano is a graduate of Kunitachi College of Music in composition. As a student, he wrote for a wide range of musical ensembles including jazz, rock, folk groups, pops, and classical.

After completing his studies, he pursued the study of Computer Music Instruments in Australia. He remained overseas while recording and conducting his own works in many countries throughout central Europe.

The work was composed around one of the parables associated with the Chinese I Ching or “Book of Changes.” In his program notes (only provided in Japanese in the score), Amano cites one of the 64 Hexagrams that comprise this ancient Chinese divination text written over a period of centuries from 1000-200 BC as his source for the emotions of the piece. The title Taku Chi Sui translates to “puddle” and metaphorically can be seen as a “gathering place.” Specifically, the music relates to 45 Tsui which reads as follows: The king approaches his WI NT ER 2022

temple.

One benefits from observing the great man.

This brings success Perseverance furthers.

Bringing great offerings creates good fortune.

One can thus strive to accomplish great things.

The seven winds and one percussionist include flute, clarinet, alto saxophone doubling on baritone saxophone, horn, trumpet, trombone, tuba, and percussion comprised of drum set, shaker and vibe. The music has three sections with a rock-feel at the outset, middle, and end in which the winds provide hits to emphasize the meter changes and the drum set provides rocklike fills. A wide spanning theme emphasizing the octave is stated after the brief introduction and becomes the basis for melodic material throughout the piece.

Cadenzas are written for alto saxophone, flute, trombone, and tuba.

The publisher Brain Music lists the work as a Grade 5 due to the rhythmic nature and technical demands particularly of the woodwinds found in the music.

SNOW OF AN AYNU VILLAGE BY HIROKAZU FUKUSHIMA (B. 1971) Hirokazu Fukushima graduated with a Bachelor’s degree and Certificate Diploma from the Tokyo College of Music where he studied composition. He has been previously nominated and won the Asahi Composition Prize for his 1999 work entitled Chant for Dosozin and been awarded the

Japan Bandmasters Association Shitaya Prize in 2003.

Composed in 2007, Snow of an Aynu Village is written for seven winds and one percussionist. The winds include flute doubling on piccolo, clarinet, alto saxophone, trumpet, horn, and trombone.

It could be useful to use two performers on the percussion part because of the numerous instruments called for including vibraphone, suspended cymbal, Tam tam, timpani, triangle, woodblocks, and wind chime, and a few rapid changes that occur.

The composer notes in the score that he purposefully selected folk tunes from the northernmost state in Japan from which the commission originated.

Fukushima continues by saying that the music represents the people who live “strongly” and worship the gods of snow. The music begins slowly in the key of D minor with a first folk song statement by the clarinet.

Counterlines are created with melodic fragments and thematic development. This use of theme continues in the second section with a new folk song utilizing a new faster tempo and a variety of rhythmic ideas and changing meters. The work concludes with a slow return of the first section with more melodic fragmentation of the first folk melody.

The publisher lists the music as a Grade 4.5. A flexible instrumentation wind band version was created by Fukushima in 2012 and is available through Bravo Music.

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HAWORTHIA BY DAISUKE SHIMIZU (B. 1980)

The piece was named after the haworthia flower which tends to be white with small green or brown striations and are usually found in South Africa. The provided program notes (which are written in only Japanese) tells of the composer’s fondness of the plant and that the three parts of the music and overall characteristics are meant to create impressions of this member of the lily family from Africa.

Glockenspiel, vibraphone, and djembe. Overall, the work is very melodic, opening with the first theme stated in the first measure and the rhythm used as a reoccurring motive throughout the entire selection. The piece is highlighted by a rhythmic B section in which the baritone saxophone and djembe set a groove with a very rock-like mood.

The composers suggests that the djembe part be improvised and that the written part is only a suggestion. The slower sections feature weaving lines among the woodwinds with the brass mostly providing a harmonic pad. The more expressive opening returns in the center of the work followed by a return of the B groove to conclude the piece.

The publisher Brain Music lists the work as a Grade 5 due to the rhythmic demands and numerous technical passages in the woodwinds.

The work is set for flute doubling on piccolo, clarinet, alto saxophone doubling on baritone saxophone, trumpet, horn, trombone with option doubling or substituting on euphonium, tuba, and percussion which includes

REFERENCES Carmichael, John C. “Beyond: Wataru Hokoyama.” Teaching Music through Performance in Band (Vol. 6), edited by Richard Miles.

Chicago: GIA Publications, 2007, pp. 461-467.

Daisuke Shimizu is a 2002 graduate of the Showa College of Music where he studied composition and saxophone. His works have been composed for the Japan Air Self-Defense Force Chubu Band, Japan Ground SelfDefense Force Eastern Army Band, Yamaha Symphonic Band, and the Siena Wind Orchestra.

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Cramer, Ray. “Exploring the Japanese Band Culture,” Teaching Music Through Performing in Band (Vol. 7), edited by Richard Miles.

Chicago: GIA Publications, 2009, pp. 123-152.

Hebert, David G. Wind Bands and Cultural Identity in Japanese Schools.

New York: Springer, 2011.

“Japanese Composers.” Wind Repertory Project, https://www. windrep.org/Category:Japanese_ Composers. Accessed 05 January 2021.

Pease, Andy. “Snow of an Aynu Village,” Wind Literature: A Conductor’s Perspective. https://windliterature. org/2018/08/30/snow-of-anaynu-village-by-hirokazufukushima/#:~:text=Hirokazu%20 Fukushima%20(b.,Association%20 Shitaya%20Prize%20in%202003.

Accessed 07 January 2021.

Reynish, Timothy. “Timothy Reynish: Repertoire by Country: Japan.” Timothy Reynish, http:// www.timreynish.com/repertoire/ repertoire-by-country/japan. php#music. Accessed 1 December 2020.

NBA JOURNAL

INTERVIEW

A CONVERSATION WITH ALFRED L. WATKINS, PART II

BY MATT TEMPLE

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art 1 of this interview appeared in the Summer 2021 edition of the NBA Journal. Part 2 begins with further conversation about Mr. Watkin’s tenure as a high school band director and then shifts to address issues of inequity and racism in the larger band profession.

HOW DID YOU FIND THE STRENGTH AND COURAGE TO STAND UP TO RACIST SITUATIONS? “To whom much is given, much is expected.” As I look back at those situations, I am appreciative of the gifts of perseverance and tenacity that I was given. I am a child of the church, and a child of the rural south. I was raised by my large community, which included my nuclear family, extended family, teachers, and preachers, as well as my immediate neighborhood of Black family and friends. I was often sheltered by my “village” from the horrors of overt racism as long as we stayed in our place. This basically meant we could not expect the same treatment as the white citizens. My parents encouraged a Christian upbringing and would not allow us to become angry or to have malice in our hearts. I was taught that God would make a way out of no way.

As a teenager in the turbulent

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and transformative 1960s, I was impacted greatly by the writings and speeches of Dr. Martin Luther King, Jr. Classes in history and government became more impactful as I became older and exposed to a more intense academic curriculum. As we read one version of America on paper, you could vividly see yet another cruel, offensive, and hate-filled America just outside our windows.

Recognition of ancestral suffering and oppression only hastened the drive within me to correct some of the ills of society.

The inequality of America motivated me to be the best person I could be. I chose not to adopt the personalities of my oppressors. I was determined not to be deterred by anyone and only had to answer to my family, my community elders, and God. There was so much work to be done to help repair our republic that I had no time for yet another detour.

My parents emphasized to me that education was continuous, and that what you put in your mind, no one could erase or take away from you. I took their advice to heart and became a sponge for learning. This gave me tremendous ownership of my own knowledge and growth. My rudder was set, and I never deviated from my plan. I took pride in my work and pride in my growth. I’m proud of who I am and what I’ve been able to accomplish.

Matt Temple is Director of Bands at New Trier High School in Winnetka, Illinois. In 2014, the New Trier band program was recognized by the National Band Association as an inaugural national winner of the Blue Ribbon Award for “Programs of Excellence.” Temple currently serves NBA as the Second Vice-President and is humbled to be a member of the IDEA committee. He has authored many articles over the past decade for multiple publications.

Temple has presented sessions on music selection, score analysis, student-centered instruction, and innovative band curriculum at multiple universities, state music conferences, and twice at the Midwest Clinic.

HOW DID ATTITUDES TOWARD YOU AS A BAND DIRECTOR CHANGE OVER THE COURSE OF YOUR TEACHING CAREER? “It was rather remarkable how attitudes varied during my career as a band director. My first teaching position was at Murphy High School in the Atlanta Public Schools. The school was an allblack, low-achieving, inner city school with limited leadership and resources. Very few students Continued on next page

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A Conversation with Alfred Watkins Part II, Matt Temple, cont. were college bound at that time.

The band program was very small with limited structure and poor musical skills. I knew that everyone could learn and that their backgrounds would not limit their learning, so I set in place a series of classroom and artistic beliefs. The students gravitated to the concept of excellence.

At the end of my 6-year tenure at Murphy, the results were staggering. Over 95% of my students were college bound. The band had improved dramatically from playing grade 2 music when I arrived to playing grade 6 music at state assessment for the last two years, where they earned superior ratings with straight As from all judges. Students at Murphy performed in district and allstate bands, participated in solo and ensemble festivals, and won 1st place in previously all-white marching band competitions, performing a combination of Broadway, jazz, classical and Top 40 music.

Many teachers in my district were seasoned professionals who were both well-educated and excellent musicians/band directors. Our bands were as strong as any in the state. Yet, when I went to state, regional, or national music conferences, the vendors always guided me to the elementary music section of their booths.

Or they would guide me toward their “less expensive lines” of instruments. How insulting! This practice continued for nearly 20 years of my career. Many of my graduate school professors at Georgia State University (late 1970s to early 1980s) would automatically assume that I 44

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had minimal theory, history, or pedagogical skills, even after I had taken a band to the Midwest Clinic. I was often questioned as if I was a young undergraduate student. I eventually dropped out of GSU. I didn’t need their brand of education or the hassle!

The move to Lassiter High School required an adjustment from everyone in order to make it work.

Lassiter was a large, nearly allwhite school, nestled in the heart of the suburbs of Atlanta forty minutes from the city’s center yet culturally deprived of the Continued on next page

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A Conversation with Alfred Watkins Part II, Matt Temple, cont. personalities offered by living in a metropolitan area. The school’s student population was 99.5% white with little to no previous contact with African American teachers. The local and district administrations were all-white and not always very kind to people of color.

After the first few weeks of school, the Lassiter band students were enthusiastic and welcoming.

As a director, I was firm, demanding, fair and kind. I always had high expectations for my students in terms of their disposition, courtesy, timeliness, and musicianship. Students at both Murphy and Lassiter accepted my leadership and we created outstanding programs.

The parents at Lassiter were hesitant at first but eventually were extremely supportive of my leadership. As a result, in 2000, the Lassiter Band Boosters lobbied the Cobb County Board of Education to name the band building in my honor. I couldn’t have asked for a more supportive set of students and parents. I never put pressure on them to win competitions – instead, I put pressure on them to develop a zeal for excellence and to become decent citizens. I gave them all the tools necessary to be successful.

As my career continued on an upward trajectory, the world around me was very slow in its obvious need for change. A low point occurred for me when, in 1998, we were on our return trip from Indiana where the Lassiter Band had won first place at the BOA Grand National Championships. We stopped for a meal at fast food restaurants WI NT ER 2022

in Kentucky, and the workers assumed that I was the bus driver.

Unfortunately, this was not a one-time occurrence. Teachers and administrators would often ask me if I ever played an instrument or what my major was in college.

The demographics of the school did not change much over my thirty-one-year career at Lassiter.

It was around 86% white when I left, with the remaining students being primarily Black, Asian, Pacific-Islander, or Hispanic. The faculty changed even less and was about 3% minority. I only had five or six Black male colleagues over the course of my entire career at Lassiter. Each year, I would ask the principals about the potential of hiring more minorities, and they would always say they “just couldn’t seem to attract People of Color.” That part was frustrating as it was tough working with racist administrators on the local school and county level.

Eventually, as a result of my work at Lassiter High School and with the Cobb Wind Symphony, I became a more accepted entity in many quarters of the profession.

I have had the pleasure of conducting bands in 38 states including guest conducting 23 All-State Bands. I have been recognized by several national organizations with some of their highest awards. I am listed in five Halls of Fame. In my senior years, I could not be more pleased with my stature in the band profession.”

WHY HAVE PEOPLE OF COLOR HISTORICALLY BEEN UNDER-REPRESENTED IN OUR NATIONAL BAND ORGANIZATIONS? “Dating back to the 1920s, the national organizations were founded and led by white men.

This resulted in institutional racism, whether conscious or not, where all the members looked like one another. As people, we tend to surround ourselves with people with whom we have a fraternal or cultural bond. Nominating committees are usually charged with finding the best people they know to fulfill the leadership positions. Unfortunately, it is not traditional for people on those committees to reach out to a broad swath of American band directors. Instead, they tend to nominate people in their circle who they already know and who they already have some kind of personal relationship with, such as co-workers or old college classmates. Often, it doesn’t include a person who looks like me. As a result, women and ethnic minorities have been shut out of leadership positions, minimizing the potential for diversity of thought and decision-making in our organizations.

People of Color tend not to engage where we feel we are not welcomed. When we look at yet another slate of officers for district, state, regional or national band organizations and see the same profile as our founding fathers – all white men – it doesn’t take long for us to recognize that we are not welcomed in that community. In Georgia alone, the African American population

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A Conversation with Alfred Watkins Part II, Matt Temple, cont. is 32% of the state, and yet, we've had only one African American president of GMEA and a handful of minorities in other elected or appointed positions since the founding of our state organization. We must nominate more women and People of Color to national leadership positions.

The old expression, “we just can’t find anyone,” was always a convenient fabrication and simply doesn’t hold water anymore.”

HOW WAS THE MINORITY BAND DIRECTOR’S NATIONAL ASSOCIATION CREATED, AND HOW HAS YOUR GROUP UNIQUELY SUPPORTED ITS MEMBERS? “Don Roberts, a former student of mine from Murphy High School, is the supervisor of the DeKalb County schools in metro Atlanta.

The DeKalb schools are comprised of over 100,000 students, 60% of whom are African American.

The district also houses some of the region’s finest band programs.

Don invited me to present summer PHOTO COURTESY OF ALFREDWATKINS.ORG

in-services to the directors there over the course of several years between 2005-2011. I would pack up all my materials from the Lassiter program and share them with the band directors. Some terrific collaborations came out of those in-services, including several programs that performed at our state conferences and the National Concert Band Festival.

At the end of the 2011 session, we decided to put together an association that could broaden our message. We organized a group of seven high school directors who were all African American and MBDNA was born. We chose the name Minority Band Director’s National Association in an effort to include all ethnic minorities in our group. The four pillars that govern our organization are to serve, promote, celebrate, and mentor ethnic minority directors.

We had our first national meeting at the Midwest Clinic in 2011 – it was very well attended. Today, we have over 2000 members in our closed and professional Facebook

Group. We use this page to connect our community by disseminating information, mentoring other teachers, and celebrating the richness of our ethnic minority community.

We have hosted four major events to date. In 2019, we created an Invitational Concert Band Festival, which featured eight of the finest all-black high school bands in an adjudicated event at Morehouse College in Atlanta.

Then the pandemic started, so the other events have all occurred over Zoom through our Facebook group. The goal has been to build our community first and then have it flourish outward. We held an online event throughout the summer of 2020 with seventeen masterclass clinicians, ranging from Omar Thomas to Scotty Barnhardt to Julian Bliss to Wynton Marsalis. We followed that up with a back-to-school clinic, featuring primarily minority school band directors of note, divided into six hours of middle school clinics and six hours of high school clinics. We hosted the same type of back-toschool clinic this past summer.

Our next invitational festival is scheduled for March 31-April 2 at Morehouse College, which has now expanded to eight middle school bands, twelve high school bands, and ten jazz bands.”

WHAT DOES “CANCEL CULTURE” MEAN TO YOU AND WHAT RELEVANCY DOES IT HAVE IN MUSIC? I have not heard many people discuss cancel culture in a positive light. It’s almost always addressed in a negative light.

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A Conversation with Alfred Watkins Part II, Matt Temple, cont.

Cancel culture, in my opinion, allows America to have a reset, which is particularly important to under-represented communities.

White, heterosexual males have ruled the land for hundreds of years and have established all our laws. Cancel culture says that we probably need to re-think things that we never should have done in the first place.

As we begin to scour our musical archives, and we find people who were, and are, racist, sexist, homophobic, or anti-Semitic, it is time for us to reconsider how we program their music. We’re not speaking of a moment in time – we’re talking about who they were as people and their beliefs towards others. Rather than identifying these patterns and cancelling cultures, we should work to rid our country and, more specifically, our profession of inappropriate or rude musicians, musical works, and attitudes. We have enough music to last us for centuries rather than hanging on to individuals and references that never should have entered into our lexicon.

WHAT ARE SOME WAYS IN WHICH CURRENT BAND DIRECTORS, PARTICULARLY THOSE IN THE DOMINANT CULTURE, CAN MEANINGFULLY ADDRESS ISSUES OF RACE AND DIVERSITY WITH THEIR STUDENTS? “First, we have to identify the dominant culture, and it’s not simply white. More specifically, it’s the group that founded this country: white heterosexual males. We, as a musical community, must encourage WI NT ER 2022

them to change, and we can do it any number of ways. One of the hesitations we have is that there isn’t enough dialogue such as this conversation. We must encourage more dialogue in order to eradicate racism, sexism, and homophobic behaviors from our communities. We must face the “-isms” head on.

We also need to get away from cliché statements, such as, “I don’t see color, I just see people.” I want people to see me as an African American male. I want them to respect my culture and welcome my contribution to the whole.

Another common statement I hear is, “I just want to play great music, I don’t care what the color is,” which has been interpreted to mean “as long as it is the music of white, male composers.” When I hear, “We want to hire the best person for the job,” I think it often means, “I want to hire someone who looks like me.” Even directors who are afforded opportunities to conduct all-state and region bands, direct at summer music camps, or guest conduct abroad are typically white males. I am thankful that Steven Davis, the Director of Bands at the University of Missouri – Kansas City, invited me one summer to share a week conducting the National Youth Wind Symphony at Interlochen.

We have to walk our talk. Change won’t happen easily because the majority is anxious to maintain the status quo. As the late civil rights activist and Representative from Georgia John Lewis once said, “When you see something that is not right, you must speak up.” He also said, “We must get in good trouble.” That’s really

important for all of us to learn.

We have to look in the mirror and see who we are. For example, when I was at Lassiter, of the eight assistant directors that we were able to hire, six of them were women. Three of them now have their terminal degrees and are college band directors. Nowadays, it is not unusual for a woman to be the head director in the south.

I think I was able to contribute to that gradual change in some small way.”

WHAT CHALLENGES HAVE EXISTED FOR UNDERREPRESENTED COMPOSERS AND HOW WE DO WE ADDRESS THEM? “We are all aware that you can receive a terminal music degree in most schools in the United States without having studied the music of over half the peoples of the world. It gives one the impression, directly or indirectly, that the music of Asia and the Pacific Islands, Africa, South America, Central America, or the Middle East is not worthy of serious study.

When professors discuss the main ingredients of “good music” (i.e. shape and development of melody, complexity of harmonic structure, use of counterpoint, variety in tone color and structure of form), they are often describing music elements found in jazz, yet jazz is not firmly affixed in the serious study of music in our colleges. Is it simply because it was developed in the Black community? Ironically, much of our formalized study consists of European music that was considered popular in its day.

I discovered through my study of state music lists that the vast Continued on next page

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INTERVIEW

A Conversation with Alfred Watkins Part II, Matt Temple, cont. majority of the pieces on them were composed by white men, who are the same people who own the publishing houses. The publisher sends scores and recordings to the state selection committees who generally decide which composers go on the graded list. Many underrepresented composers were not traditionally employed by larger publishing companies and were forced to become self-publishers with limited access to graded lists.

As teachers, we need to educate ourselves on how to balance our programming to include more works by women and ethnic minorities. Every concert should consist of a march, a core standard of our repertoire, at least one piece by an African American composer, another by a woman composer, and something by another underrepresented composer. Depending upon the length of the concert, you could also include something patriotic and yes, something popular. Our students and communities will benefit from a renewed growth in programming, and we just might be able to gain our audiences back.”

generation, the young people who you are teaching now, are growing up in a different America.

Many of them clearly see, as I did in the 1960s, the biases of our system. They are making conscious efforts to right wrongs. This time, as opposed to the previous generations, the disadvantaged communities have allies.

My message to America’s band movement comes from an old Langston Hughes’ poem, “I, too, Sing America,” which was written in 1925. It was a period known as the Harlem Renaissance, during which brilliant Black painters, musicians, and artists sought to re-conceptualize African American culture. My twist on his poem is, “We, too, Sing America.”

Hughes’ poem was a tribute to the fact that Blacks have been in America as long as Jamestown.

In that very significant way, we are Americans. We fought in the Revolutionary War and died alongside our counterparts. We helped design Washington, D.C.; we built the White House. We are patriots, and we deserve an equal part of the American Pie. My hope is that white America hears the plight of underrepresented individuals in their totality, and not just from the ones who are conditioned to be kind, to be polite, or to blend in. My wish is that they can hear the 400 years of our history and include it in the lexicon of the band world. We won't be able to correct our ways until the establishment can decide perhaps that enough is enough.”

WHAT GIVES YOU HOPE FOR THE FUTURE OF RACE RELATIONS IN AMERICA TODAY? “Over the last six years (when the previous President took office), we’ve shared the crisis of a pandemic and renewed racial awareness. We must all look in the mirror to determine who we truly are as a people. I believe it’s going to be good for us in the long run, but the short term will be difficult and challenging. The death of George Floyd was the tip of the racial iceberg. The next 48

PHOTO COURTESY OF ALFREDWATKINS.ORG

NBA JOURNAL

RECOGNITION

SPECIAL THANKS: COVID RESEARCH TEAM COLORADO STATE UNIVERSITY RESEARCH TEAM JOHN VOLCKENS LEAD RESEARCHER Departments of Mechanical Engineering & Environmental and Radiological Health Sciences Colorado State University KRISTEN M. FEDAK Department of Environmental and Radiological Health Sciences Colorado State University DANIEL GOBLE School of Music, Theatre, and Dance Colorado State University NICHOLAS GOOD Department of Environmental and Radiological Health Sciences Colorado State University CHARLES HENRY Department of Chemistry Colorado State University AMY KEISLING Department of Mechanical Engineering Colorado State University EMILY MORTON School of Music, Theatre, and Dance Colorado State University CHRISTIAN L’ORANGE Department of Mechanical Engineering Colorado State University WI NT ER 2022

REBECCA L. PHILLIPS School of Music, Theatre, and Dance Colorado State University

SAMEER PATEL Department of Civil Engineering Indian Institute of Technology, Gandhinagar, Gujrat, India

HEATHER PIDCOKE Chief Medical Research Officer Colorado State University

MARK SPEDE President, College Band Directors National Association and Professor Clemson University

KY TANNER Department of Mechanical Engineering Colorado State University

UNIVERSITY OF COLORADO BOULDER AND UNIVERSITY OF MARYLAND RESEARCH TEAM SHELLY L. MILLER – LEAD RESEARCHER Department of Mechanical Engineering University of Colorado Boulder JEAN HERTZBERG Department of Mechanical Engineering University of Colorado Boulder ABHISHEK KUMAR Department of Mechanical Engineering University of Colorado Boulder DONALD K. MILTON Maryland Institute for Applied Environmental Health, School of Public Health University of Maryland

JELENA SREBRIC Department of Mechanical Engineering University of Maryland TEHYA STOCKMAN Department of Civil, Environmental, and Architectural Engineering University of Colorado Boulder DARIN TOOHEY Department of Atmospheric and Oceanic Sciences University of Colorado Boulder MARINA VANCE Department of Mechanical Engineering University of Colorado Boulder LINGZHE WANG Department of Mechanical Engineering University of Maryland JAMES WEAVER Director of Performing Arts National Federation of State High School Associations SHENGWEI ZHU Department of Mechanical Engineering University of Maryland 49

PERSPECTIVE

TO BE OF SERVICE

BY DAVID GREGORY “Life’s most persistent and urgent question is, What are you doing for others?”

Dr. Martin Luther King, Jr.

T

he National Band Association celebrated its 60th anniversary in 2020 and entered into its seventh decade of service to bands stronger than ever before. The time in which we now find ourselves is one of unprecedented opportunity to change our profession for the better. Ours is an organization which offers many venues through which diversity and inclusion can be expanded, and it is one that will continue to search for ways to be a voice for those who do not have one and a forum for those who cannot find one. In short, the NBA will continue be the most significant professional organization for bands in America.

It epitomizes service to others.

The legendary Dr. Martin Luther King, Jr. challenged the world with his immortal words cited at the beginning of this article.

There is no uncertainty as to what he believed our purpose should be, either as individuals or as organizations: service to others.

I believe it is most appropriate that we as professional music educators ask that same question of ourselves...and not be afraid to accept honest and realistic answers. My career-long mentor, Dr. William J. Moody, once said to me during one of my learning

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conversations with him that answers usually bring more questions. Upon that premise, and the statement of Dr. King, I base the following comments.

I fear the line between being of service and self-service has become less and less clear.

Internationally renowned maestro Ricardo Muti commented during an interview marking his 80th birthday: "Today, many conductors use the podium for excessive gesticulation, for show, trying to make an impression with an audience more interested in what they see than what they hear." I find that Maestro Muti's words ring uncomfortably true in our profession today, and the ease with which one may move from serving others to that of self-service is a slippery slope...one upon which balance and purpose easily can be lost. Teaching is about service to others; it is not about self-serving actions.

The years of one's career, indeed one's life, fold easily upon one another. The years of my career certainly have done so, but during those decades a number of observations and questions evolved. And they persist even today.

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

Thoughts and Observations:

• Those more concerned

with their personal and professional image than that Continued on next page

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To Be of Service, David Gregory, cont. of their students and their program have lost themselves in self-serving actions.

• Those who regularly use

social media to promote their personal agenda of clinic invitations, guest conducting appearances, personal accolades, and professional recognitions are the anthesis, if not the enemy, of service to others.

• Conductors who regularly

post on social media their "thanks" and "appreciation" for conducting invitations flirt with self-serving actions.

It is obvious to most that the purpose of such posts is not to express sincere gratitude (which easily can be expressed to the director through a letter or email) but to solicit additional invitations...and subsequently we will see even more such postings on social media.

• Composers whose works are

performed and are recognized in the audience by the conductor but who "invite themselves" to the stage for bows and congratulations rather than standing and accepting the recognition are fully engaged in self-serving activity. The idea of service to students and our profession has been abandoned by them...if it ever were present.

• Conductors whose personal

reputations have been nurtured more and are better publicized than that of the programs they oversee possibly have crossed the line from serving others to selfservice.

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• Conductors who use their

programs and professional organizations to promote self-interests are not serving others. They are engaged in flagrant self-service.

• As professional educators

we must realize that very little good is done for our students or our profession through rather juvenile postings on social media regarding awards we have been given, recognitions we have garnered, recordings of past performances of our ensembles, or selfaggrandizing name droppings of "great" and "grand" friends.

Rather than helping our profession through such actions, I believe there is the very real risk of sending wrong and misleading messages to younger professionals. We are not called into this profession to serve ourselves, but rather we are charged with the responsibility of serving our students.

• There are those directors

who will not accept student interns because they are not paid by the respective college/ university to do so. Perhaps they consider themselves above such things as serving future teachers because their concept of "service" seems to be measured in financial gain.

• There are those who choose

not to serve our profession by holding elected or appointed positions in professional service organizations because they do not receive payment for doing so. Theirs is a very short-sighted view of the true

meaning of service to our profession.

• Conductors who post video

recordings of themselves on social media under the pretense of "hearing the progress" of the ensemble should understand that the video should not focus primarily on them. Even those of us who are the least media savvy recognize that ruse.

• Are any of us worth exorbitant fees for clinics or conducting appearances? Are any of us really that good? Perhaps true service to others would address the issue of excessive clinician fees charged by those who have become selfabsorbed and do not appear to have service to others as a priority.

• Do we really believe others

do not see our self-serving acts of self-publicizing, selfaggrandizing and bragging on social media for what they truly are: actions by someone who needs and desires affirmation and attention, regardless of the degree of shallowness?

• Lastly, is there any evidence

of service to others, especially our students, through detailed postings of personal and private health issues on social media...a practice that has become common place with many in our profession?

Again, possibly actions by those who need and desire affirmation and attention. In cases of personal medical and health issues, those who need to know and should know, will know.

Continued on next page

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PERSPECTIVE

To Be of Service, David Gregory, cont.

Is it not time that we as music educators take an honest and objective look at the messages we send to others in our profession through our actions and words?

Should we set aside the touting of our personal accolades and focus more on how better to serve those entrusted to our musical care? I submit that if we did, ours would be a healthier and more studentcentered profession...one with less "I/Me" and more "They/Them," and that would be a very good thing. Those who should know of our accomplishments will know; the use of social media to honor oneself should not be part of our profession. Our purpose should be to serve, not self-service.

But on the Other Hand • Teaching is our calling; guiding students is our goal; conducting is a tool...serving is our purpose.

• Conductors/teachers/

composers who find ways to bring out the best in others are the epitome of service.

• Those who give time and

talents to our profession through service in professional organizations, without expectation of personal recognition or accolades, personify the concept of a servant-leader.

• Those who truly believe

in the idea of giving to our profession through service to it are the ones with whom lies much of the hope for the future of our art form.

(Remember President John F. Kennedy's "Ask not what your country can do for you.

Ask what you can do for your country." Might we substitute

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"profession" for country?)

• Those who serve understand

the nobility of helping others become the best they can be.

• Those whose goal is "to be of

service" know the integrity and honor in doing for others.

• Those who find students who

appear invisible to others and paint them with bright colors are some of the greatest servers.

• Those who find ways of

bringing positive attention and recognition to others rather than seeking it for themselves innately exemplify the beauty of serving.

• There are those who show

up to work before other teachers arrive and are there long after most others have left for the day, sometimes in discouraging or less-thanideal work environments... serving their students in ways difficult to measure.

• Those directors who care for

and make certain all their students are provided with the same performance and educational opportunities, regardless of socio-economic level, demographic factors, or other extenuating circumstances, quietly and without fanfare, are some of the greatest servants of students.

• Those who refuse to give

up on students who are underachievers or lack motivation, who keep encouraging and finding ways to help them succeed, never letting them lose hope in their potential...and then

repeating those actions as many times as needed...those are the champions of service, and they neither ask for or seek recognition for their devotion to their students. Champions indeed...

• There are many in our

profession who do not need effusive personal and professional titles attached to their names; they are known for their service to others and to our profession throughout their careers.

• There are many names that do

not need to be seen on social media in order to be known for their true greatness; they have earned it through a lifetime of service to students rather than through self-serving and self-promoting actions. Think back through your career and remember some of those special servants-of-students who have been part of your life. Maybe even drop them a note or give them a call and thank them for their service to others.

Service to others sometimes goes without due acknowledgment, but it never goes without appreciation from those who are the recipients.

Being of service changes people, both those who give it and those who receive it, and it can change a profession...for the better. Those students we serve over our careers may not remember all the lessons we tried to teach, but they will remember the way we treated (served) them and how we made them feel about themselves.

The Fifty-Seven Dollar Clinic Many years ago former NBA Continued on next page

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To Be of Service, David Gregory, cont.

President James Keene, then Director of Bands at East Texas State University (now Texas A&M University-Commerce), was asked to rehearse a high school band in a small town approximately two hours from his university. The call came to Jim on Thursday for the following Monday evening, and the director mentioned nothing to Jim regarding an honorarium.

Back in those days university band jobs did not pay salaries comparable to today's positions, so Jim asked the director if the booster club might be able to provide gas money for the rather long trip. The director assured Jim that they could pay him for his work so Jim headed out for the first-ever, two-hour rehearsal of this small band as they prepared for their yearly concert evaluation.

When the rehearsal was finished, the director asked Jim if $57.00 would be enough payment for his services. Jim said it would and the director instructed the students to line up. Each student approached Jim, shook his hand, thanked him for coming to rehearse them, and placed a one-dollar bill on the conductor's stand. Jim said he was very moved by the sincerity of the gestures, but when he got to his car, he realized he only had $54.00. Apparently three students didn't have a dollar to pay. Jim says his memories of that evening so many years ago with that small band remain some of his most cherished. He had agreed to drive the long distance on a work night, with no assurance of financial reimbursement, and to work with the students in their first-ever evening rehearsal without promise of return or reward...actions that exemplified service to others.

And Finally...Some Quotes and Thoughts

Continued on next page

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PERSPECTIVE

To Be of Service, David Gregory, cont.

I find encouragement and assurance many times through the thoughts and statements of those who have given much to so many and are examples of service to others. Let me share a few of them.

• "The best way to find yourself is to lose yourself in the service of others." Mahatma Gandhi

• "Perhaps the chief

requirement of the conductor is...that he never interpose himself between the music and the audience; that all his efforts...be made in the service of the composer's meaning - the music itself."

Leonard Bernstein

• "I like to see a man proud of

the place in which he lives. I like to see a man live so that his place will be proud of him." Abraham Lincoln (Note: might we possibly insert "profession" for place and "work" for lives?)

• Frederick II, King of Prussia,

had a motto carved above the town gate of the Italian city of Capua: "Let those who intend to live honestly enter safely."

Version 2 for us, "Let those who intend to serve honestly enter our profession."

• "The meaning of life is to

find your gift. The purpose of life is to give it away." Pablo Picasso

• "We make a living by what we

get; we make a life by what we give." Winston Churchill

• "Unless someone like you cares a whole awful lot,

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nothing is going to get better.

It's not." Dr. Seuss

• "For those to whom much

is given much is required."

President John F. Kennedy paraphrasing a verse from the Bible

• "Life is good when you are

happy, but much better when others are happy because of you." Pope Francis

• "Those who are happiest are

those who do the most for others." Booker T. Washington

And once more because it is so powerful and challenging...

"Life's most persistent and urgent question is, What are you doing for others?"

-Dr. Martin Luther King, Jr. Coda ...

I close this article the way I began...by challenging us to search for ways to change our profession for the better. We cannot do so by allowing ourselves to be lured into the shallowness of excessive self-recognition and self-serving actions. We must not become so self-absorbed with attempts at relevance and implied importance that we lose sight of our purpose, not only the purpose in our work but also the purpose in our life: to be of service to others.

It takes very little substance, and even less character, to spend one's days honoring oneself. Such things are temporary and of little worth to our students and our wonderful profession. The true value and worth of a life spent in this profession are best measured through and in the lives of the students we serve. When the

time comes, may we all be able to look back on a career filled with helping students and with service to others. Such would be a career, and life, well lived. A noble and worthy goal for all of us...

My best wishes to all our devoted teachers. May you have a life filled with students whose lives you changed for the better, and for good, through your commitment to them and through the compelling beauty of music. You exemplify the best in service to others, and you inspire us to be better.

MEMBERSHIP

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JOIN or RENEW TODAY and keep the music playing!

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PERSPECTIVE

WHY BAND? WHY NOW? AN OPEN LETTER TO PARENTS AND STUDENTS

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BY BRAD ROGERS

his is an example of a letter that with some judicious editing to match your individual situation could be sent to parents, students, and other interested parties as we all try to find a way forward from the negative impact of the pandemic and resulting restrictions.

It is my hope you can use something from it as a starting point for the encouragement of those connected to your individual programs already, and those making the decision to begin their musical journey.

Dear (parent, student, etc.): I’m admittedly a little biased, but I have come to believe that the study and performance of music may be the most important thing a student can do in school. Music and its elements can be found in and connected to every other academic discipline. Performing music has long been known to be one of the most brainintensive activities a human can do, developing cognitive, creative and motor skills simultaneously.

The collaborative music-making that is the very heart and soul of a band experience develops valuable skills that translate into any adult endeavor—persistence, collaboration, empathy, high standards, etc.

You’re reading this because you have made a conscious choice to become involved in actual

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music-making already. This is only one of the many factors that differentiates performance-based music from the so-called “core” or required subjects studied in our educational system.

Fortunately, this choice draws many bright young people just like you to our music classrooms. By any measure—academic, social, or talent potential—music kids are among the best students in any school. Band directors know that students under their tutelage have made a conscious decision to be in their classroom rather than elsewhere.

The COVID-induced problems affecting all aspects of our daily lives have been magnified in the band room. This is because the ensemble experience is about collaboration, teamwork, and common goals and achievements.

It represents the biggest group projects in our school, and it relies upon everyone doing their part well for the group to succeed. For almost two years, restrictions, awkward scheduling, virtual “learning options”, and more than a little well-intentioned contradiction from school decision-makers have conspired to make a normal ensemble experience impossible. It won’t always be like this! It wasn’t B.C. (Before COVID).

Brad Rogers was the director of bands at Oldham County High School in Buckner, Kentucky, since 1989, recently retiring after a total of 42 years in music education. He can be reached at ocband1@twc.com. Feel free to contact him.

You can’t really learn to play the trombone on a Chromebook.

You can’t replicate a concert or a rehearsal in a Google Meet. I know. I’ve tried, and so have you.

The bottom line is that we need each other together if the band thing is going to work and be interesting enough to want to keep doing it.

Learning an instrument is a long-term project. I’ve been playing for many years on my primary instrument and still learn new things every time I put it together. While conducting and teaching has been my job, I’d still much rather be playing my instrument—especially when there are others to play along with. I believe that most band students would agree.

No one can go back and make up for what we have not been able to do since March 2020, but Continued on next page

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PERSPECTIVE

Why Band? Why Now? An Open Letter to Parents and Students, Brad Rogers, cont. eventually we will go forward again. Ensembles need students to forge the trail out of the woods—students who are willing to embrace the challenge, and not allow the past to impact the future any longer.

If you’re in a performance ensemble class now, you are the students to which I’m referring!

In my own career that touches parts of six decades (late 1970’s-present), you can imagine that I have taught a number of students who started playing in middle school band but dropped out along the way. While each of them had their reasons for not continuing I can honestly say that none of these folks have ever come back and told me they were glad they did not stay in band. In fact, they have been universally regretful about the decision.

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I’ve also taught a number of their children. Most of these parents did not allow them to make the same mistake they did.

Once a student has made the choice to be in a performancebased music class, the real trick is always in keeping them involved.

If you want the school band experience to include working with your friends to …

1. Project excellence from

everyone involved, regardless the level of experience.

2. Cultivate a sense of family,

with each person knowing they have an important role.

3. Study and perform a rich,

significant diet of repertoire in every aspect of the program.

4. Set incremental goals,

with each one just out of reach of the current level of proficiency.

5. Be a part of a wide variety of performance opportunities.

6. Put yourself in a position to be successful in your work after high school.

… then you NEED band in your life.

For many, performing in a school ensemble has been the catalyst for a GREAT school experience and the path to success as an adult. Performance ensemble directors want that for you, and you should want that for yourself.

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NBA NEWS

COMMUNITY BAND ACTIVITY IN 2021

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BY MICHAEL BURCH-PESSES

his time last year we all were hoping that Covid-19 was on the wane and we would be back to “normal” by spring. We were severely disappointed when the Delta variant hit the country and the rest of the world hard in the summer, further delaying the recovery and any return to normalcy. As I write this, vaccinations for children ages 5 and up have been approved, and as more people become vaccinated, the virus is slowly receding.

activities on hold until after the first of the year.

The same precautions that were put in place in the spring of 2019 remained in effect in 2021 in most areas:

THE ASSOCIATION OF CONCERT BANDS – CELEBRATING ITS 44TH YEAR The Association of Concert Bands (ACB) is the largest organization dedicated to community bands, and as such is a good barometer of what happened in the past year to these bands:

• Wearing masks when we’re away from home

• Using hand sanitizer/washing our hands frequently • Maintaining a 6-foot distance from each other • Staying home if we have any symptoms of COVID-19

All these restrictions, plus the closing of businesses, stores, recreational facilities, and other buildings, resulted in a serious reduction of activities in the community band world. Bands that depended on rehearsal space in churches and schools found themselves without a place to rehearse as the weather turned colder, and most of them put their WI NT ER 2022

There are, however, some bright spots. Bands in some parts of the country were allowed to rehearse and perform in late 2021 despite restrictions elsewhere, and community band performances began to come back to life. The bands with whom I’ve spoken hope to resume rehearsals and performances after the first of the year, and they’re keeping their fingers crossed that their plans will come to fruition.

• There currently are 589

member bands, compared to 613 last year. Likewise, there are 1217 individual members, compared to 1292 a year ago.

Those losses are attributed to Covid, and the hope is that these numbers will increase as the virus recedes. Most member bands hoped to have a Christmas concert, but were prepared to wait until 2022 to resume activities.

• ACB has 22 corporate

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

members, four fewer than last year, including music publishers. The publishers were hit hard when music purchases dropped drastically due to the virus.

• ACB has continued with their

virtual series, ACB Connects!, with sessions on how to create

Continued on next page

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NBA NEWS

Community Bands Report, Michael Burch-Pesses, cont. virtual performances, and a look into how some bands returned to rehearsing and performing.

• The Association also

sponsored conversations with Johan de Meij and Col Jason Fettig, USMC, and provided information about the Library of Congress and the NAXOS Music Library.

One particularly bright spot in 2021 came with the announcement of the community bands that received The American Prize, a national competition designed to recognize the very best in the performing arts in the United States. Congratulations to the recipients, all of whom, and their conductors, are members of the Association of Concert Bands: Winner: The Acadian Wind Symphony, Lafayette, LA: Gerald Guilbeaux, conductor Second Place: The Allentown Band, Allentown, PA: Ron Demkee, conductor Third Place: The Boulder Concert Band, Boulder, CO: Kenneth Singleton, conductor Additionally, Gerald Guilbeaux won the American Prize for Best Conductor of a band/wind ensemble. Second prize in this category went to Matthew Salvaggio of the University Heights Symphonic Band, University Heights, OH. Augusta CecconiBates of Cape Vincent, NY won Honorable Mention in the band composer category. All three are members of the ACB. A complete list of finalists and winners in every community band category may be found at https://www. acbands.org/americanprize2021.

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Congratulations as well go to four community bands who were accepted to perform at the 2021 Midwest Clinic, which this year celebrated its 75th anniversary:

• The Atlanta Wind Symphony

from Roswell, GA: David Kehler, conductor • The Eastern Wind Symphony from Hillsborough, NJ: Todd Nichols, conductor • The Fairfax Wind Symphony from Springfield, VA: Stan Schoonover, conductor • The Mansfield Wind Symphony, Dallas/Fort Worth, TX: Brian Merrill, conductor THE NEW HORIZONS INTERNATIONAL MUSIC ASSOCIATION – CELEBRATING ITS 30TH YEAR The New Horizons International Music Association (NHIMA) provides entry points to musicmaking for adults, including those with no musical experience, and those who were active in school music programs but have been inactive for a long period.

2021 was a good year for NHIMA, according to Irene Cohen, President of the Association. The organization represents about 200 New Horizons bands, orchestras, choral groups throughout the USA, Canada, Ireland and Australia.

Despite the pandemic 6 brand new New Horizons programs were initiated in 2021.

NHIMA celebrated 30 years of New Horizons music making, including: • developing a special logo • developing special anniversary pins • a contest for string orchestra

and concert band music.

The winning composers are Gunther Fiala from Austria for string orchestra, and Andrew Friedrichs from Colorado for concert band.

• The Roy Ernst Award for 1-2 persons in each New Horizons group: exemplifying perseverance, a passion for music, and commitment to lifelong learning.

• A special 30th Anniversary Edition Newsletter • https://www.dropbox.com/s/ slcgbnxv5ea7s2k/2021%20 Fall%20NHNews-30th%20 Anniversary.pdf?dl=0 Unfortunately, the association’s live band camps in Lake Chautauqua, OH and Mt. Tremblant, Quebec, Canada were postponed until 2022 due to the pandemic. Nevertheless, they provided a great deal of virtual programming, attracting 2,050 registrants in 2021.

Their virtual programming consisted of: • 1-hour presentations about music making related topics ranging from Circus Music, to aerosol study, to Javanese music • 1.5 – 2-hour meetings for their Program Directors to assist them in on-line music making or management of live music making during the pandemic • a series of classes on one topic e.g.

• beginner’s course on tin whistle (3 classes) • beginner’s course on ukulele (6 classes) • singing (3 classes) • on-line course using Jamulus, a platform Continued on next page

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Community Bands Report, Michael Burch-Pesses, cont. allowing “real-time” music making - they simultaneously made music with people from all over the North American continent with negligible delay.

NHIMA’s membership has grown significantly during 2021 because of the programming they offered.

Most groups have returned to live rehearsals with pandemic precautions. Some are still practicing on-line. Directors have been able to share their experiences and solutions which has been a big gain for 2021.

The NHIMA Board has also worked hard on:

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• ongoing website development • rewriting the By-Laws and

Policies and Procedures Manual to be up-to-date with the many changes the organization has made • adopting an equity-diversityinclusion (EDI) policy and has changed the logo accordingly (attached) • in accordance with the EDI policy, NHIMA will focus on diversity and inclusion in virtual programming by: • focusing on presentations about world music/music making with disabilities starting in December 2021 and continuing in 2022 • applying for grants to develop New Horizons groups consisting of a majority of people of

diverse racial background and perhaps in the future for people with disabilities and veterans That’s my report for 2021. There are some bright spots despite the pandemic, and I sincerely hope that next year’s report will be filled with more highlights of community bands that were able to resume a vigorous rehearsal and concert schedule. I wish everyone in the community band world a very merry holiday season and the happiest of New Years.

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EASTERN DIVISION ANDY YOZVIAK, DIVISION CHAIR Connecticut, Delaware, Main, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, Vermont

CONNECTICUT

DELAWARE

MICHAEL BOWLES, CHAIR

HEIDI I SARVER, CHAIR

State Bandmaster Association website: cmea.org

State Bandmaster Association website: delawaremea.org

State Music Educators website: cmea.org

State Music Educators website: delawaremea.org

Noteworthy state news, events, and activities In the past year, all Connecticut State Events were canceled. This year we are still working with the state to get back to playing.

We had an active marching band season and are resuming honors festivals and schools concerts. The New England States continue to work on a clinic festival for high school ensembles.

Projects involving NBA Project Grant money New England continues to work on developing a concert band clinic festival for high schools. This event will utilize the United States Coast Guard Band.

NBA citations/awards given in state this past year; recruiting efforts No awards were given in the past year. This year we will present the State Champion Marching Band Directors with a Citation of Excellence, as well as the bands performing at the All-State Festival.

Noteworthy state news, events, and activities Very little occurred during the 2021 academic year due to Covid-19. The state conference (which has always been a professional development day in October and not associated with All-State Festivals), did take place but as in a virtual setting via ZOOM. In the spring most public schools were still in a virtual setting. Universities moved back to more in-person settings. The University of Delaware resumed in-person ensemble rehearsals and concerts but with the following restrictions: • no more than 50 people in the rehearsal/performance hall; • all concerts were virtual; • all Covid-19 mitigation procedures in place (masks, bell covers, 6-9 foot distances between musicians.

During the summer Delaware State University named two alumni as their new Director and Assistant Director of Bands.

Fall has brought a return to in-person music programs in most of the public and private school systems, as well as the University of Delaware. While masks are still in place, settings have returned to pre-pandemic rehearsal structures and inperson concerts.

Projects involving NBA Project Grant money None NBA citations/awards given in state this past year; recruiting efforts Zoom coffee hours were attempted for directors with little interest. I attribute this to people focusing on their programs and working to rebuild them. As this winter and spring unfolds more attempts will be made to increase NBA exposure.

MARYLAND

RACHEL ZEPHIR, CHAIR State Bandmaster Association website: mmea-maryland.org State Music Educators website: mmea-maryland.org Noteworthy state news, events, and activities Spring virtual clinics on how to rehearse both middle school and high school ensembles.

Incorporating both chamber music and flex ensembles into your program.

Possible summer conducting workshop geared towards female middle and high school band directors.

MAINE

ANDREW YOZVIAK, CHAIR State Bandmaster Association website mebda.org State Music Educators website mainemmea.org Continued on next page

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Eastern Division, Andy Yokviak, Division Chair cont.

Noteworthy state news, events, and activities The MBDA had a successful Fall season with the return of marching band festivals and shows. The MMEA is excited to return to in-person festivals starting with Jazz All State from January 13–15 and BOC All State from May 19–21. Currently making plans to have an NBA booth present at the All State Conference in May. MMEA is also planning a return of the Solo and Ensemble Festival in the Spring with a virtual festival with plans to return inperson in 2023.

The New England state chairs are beginning discussions for a New England Concert Band festival/clinic to take place in an effort to attract new members to the NBA. Projects involving NBA Project Grant money None

and had a successful fall marching band adjudication season. Programs in our state are returning back to in person concerts and have worked diligently to continue quality instruction during COVID. Projects involving NBA Project Grant money The state of Massachusetts is looking to partner with other New England states to provide opportunities for rehearsal symposiums and conducting clinics in the future.

NEW HAMPSHIRE

CASEY GOODWIN, CHAIR State Bandmaster Association website: nhbda.org State Music Educators website: nhmea.org

NBA citations/awards given in state this past year; recruiting efforts Recruiting efforts are ongoing in the state of Maine. There are plans to have an NBA booth at the All State conference. In an effort to spread the word of the NBA, an email will be sent through the mailing lists of the MMEA and MBDA to attract new members. I hope to gather more information from directors across the state about what they would find valuable to them and their students, such as festivals, guest clinics, conducting symposiums, etc. These sorts of events could prove to be fruitful for recruitment in the state of Maine.

Noteworthy state news, events, and activities The state is making a return to in-person events, including the NHBDA/NHMEA Chamber Festival at the University of New Hampshire on January 8, Jazz All-State February 3-5 at Pinkerton Academy, and All-State Music Festival in Concord April 15-17, among other events. Masks, bell covers, and other precautions will be taken to increase the safety of all participants.

MASSACHUSETTS

State Bandmaster Association website: njmea.org

IAN FLINT, CHAIR

State Bandmaster Association website: miccamusic.org State Music Educators website: massmea.org Noteworthy state news, events, and activities MMEA held virtual festivals and auditions this past school year and is planning a hybrid virtual and in person all state festival this year. The Massachusetts Instrumental and Choral Conductors Association (MICCA) plans to host in person concert festivals in the spring

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NEW JERSEY

CHRIS WILHJELM, CHAIR

State Music Educators website: njmea.org Noteworthy state news, events, and activities ll County, Region, and All-State Activities are in motion. Covid protocols are in place. Tom McCauley recently hosted a very successful conducting workshop at Montclair State with guest clinician Craig Kirchhoff. The New Jersey Wind Symphony will be hosting a Young Artist Solo Competition in the Spring.

Please visit the band’s website for details.

NEW YORK

ROBIN LINABERRY, CHAIR State Bandmaster Association website: nysbda.org State Music Educators website: nyssma.org Noteworthy state news, events, and activities This year’s report represents a “phoenix” of music education, with schools reopening to offer primarily in-person instruction rather than virtual lessons, Zoom-based instruction, and performances created through edited video. I want to be careful to acknowledge the many challenges, stresses and radical changes still facing each teacher.

The careful protocols that are keeping students safer have also erected barriers to music-making. Here, as everywhere, there are new difficulties with balance, blend, intonation, water-removal, and even how to fit large groups in a space with appropriate distancing. Still, music teachers are an inventive lot. After hearing from a variety of people around our large state, I’ll present several representative vignettes demonstrate examples of our progress organizationally, and from the perspective of schools, colleges, individuals, competitions, and community bands.

Organizations: Both NYSSMA (the New York State School Music Association) and NYSBDA (the NYS Band Directors Association) remained active throughout the pandemic.

While focusing principally on virtual activities last year, both groups are headed back to in-person versions of their annual conferences.

The NYSSMA Winter Conference returns under the theme, “Music Is Eternal!” NYSSMA President, Dr. David Brown, writes, “Our return to an in-person conference will include the normal variety of conference sessions, Concert Hour Performances, Statewide Recognitions, and Guest Speakers. The Composition, Electronic Music, and Piano Showcases will feature outstanding young musicians.

In addition, 2021 is the premier of our new student songwriters. These student Continued on next page

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Eastern Division, Andy Yokviak, Division Chair cont. performers and the concert hours will feature some of the finest musicians from across New York State.

1 Phoenix 2 Westmoreland 3 Roslyn

The event will be held ThursdaySunday, December 2-5 2021, using venues in downtown Rochester, NY. The acceptance was highly competitive, of course, because protocols require having fewer students (thus, fewer AllState groups) onsite. Nonetheless, the 85th Annual Conference features a full slate of guest speakers, by-invitation performances, clinics, and camaraderie.

The event concludes with performances by the New York All-State groups and their conductors: Vocal Jazz Ensemble (Diane Abrahamian), Instrumental Jazz Ensemble (Jim Pugh), Mixed Chorus (J.D.Burnett), Symphonic Band (Dr. Russel Mikkelson), and Symphony Orchestra (Dr. Rachel Dirks). The theme of the 2022 NYSBDA Symposium is “Rebuilding.” The NYSBDA Middle School Honor Band, for grades 78, will be conducted by Dr. Thomas Gamboa from the University of Cincinnati CollegeConservatory of Music.”

Small School 1 1 Medina 2 New Hartford 3 Mineola

Meanwhile, Dr. Matthew Westgate (University of Massachusetts – Amherst) takes the podium for the High School Honor Band, and Musician/Composer/Educator/Activist Roxy Coss will lead the Jazz Ensemble Honor Band. More than two-hundred fifty of New York’s very best school Band students will be featured in three concerts, while band educators participate in a full schedule of clinics and workshops from March 4-6, 2022 in Syracuse.

The NYSFBC (New York State Field Band Conference) returned to a schedule of live competitive performances this year. It was refreshing to see – and hear!

– crowds in the stadiums across the state, and on behalf of the NBA, we’d like to say a hearty congratulations to all of the participating finalists in the 2021 NYSFBC Championships, which took place in the Syracuse University Carrier Dome on Sunday, October 31st. After some four thousand students showcased their many months of work to an appreciative crowd, we say an extra congratulations to the following schools, who scored at the top of their various classes: Small School 2

Large School 3 1 Hicksville 2 Greece 3 Walt Whitman Large School 2 1 Webster 2 West Seneca 3 Huntington National Class (Large School 1) 1 Liverpool 2 Cicero-North Syracuse 3 West Genesee Well done, Bands! Of course, we owe special gratitude to the Directors, Staff, volunteers, and other members of those supportive school districts.

A High School vignette: In last year’s report, we highlighted a novel and productive project featuring a careful collaboration between Prof. Frank Battisti an early OFA Student Teacher), Dr. Dana Wilson (Composer of this commission), and the students of the Owego Free Academy Band and Chorus program, guided carefully by the OFA Band Director, Mrs. Lindsey Williams. At this time last year, the foundation was in place and the research had begun. One whirlwind year later, the community is pleased to offer this update: Throughout the 2020-21 school year members of the 7-12 bands and choruses learned about local history, composing and commissioning virtually with Professors Wilson and Battisti.

The band members created this video documenting the steps of their project to share in hopes that it makes the process accessible to any band considering the commissioning process OFA Band Commission Project: https://www.youtube.com/ College/University sketches: From Dr. Andy Pease (Hartwick College): “Like everyone else, bands in our area started 2021 either virtual or at 12-foot

distance. The Hartwick College Wind Ensemble was meeting in person, recording small ensemble pieces as we could. This got a lot easier in April, when the state guidance changed to six foot spacing. Among the highlights was working with Utica-based composer JoAnne Harris on her piece Dimension for flexible ensemble with dynamic visuals. As the weather turned nicer, the Hartwick Wind Ensemble was able to put on a full band concert OUTDOORS to end their year in May, along with Hartwick’s Flute, Percussion, and Brass Ensembles.

This event energized everyone involved, including our first LIVE audience in over a year!”

“The Hartwick Wind Ensemble ended up having a very exciting fall semester!

We returned to a permanent full-band format, and presented two concerts on our own. We also hosted the 5th annual Hartwick Honor Band, welcoming dozens of high school instrumentalists to our campus. A highlight of the semester was the world premiere of Armando Bayolo’s Dispatches from the Anthropocene on November 16, with the composer in attendance.”

Special Note: Dr. Pease is an important contributor to the Band world, with his wonderfully resourceful sites: www.windliterature.org and www. windsymphonies.org and we’re very proud that he calls New York his home.

The Binghamton University Wind Symphony (Daniel Fabricius) presented a Concert November 13, 2021 in the Anderson Center for the Arts. “Just What We Needed” was a thematic program, with refreshing titles representing our collective relief as we begin to return to some semblance of normal, in-person musical activities. The B.U. Music Department allows full activity only from fully-vaccinated individuals. The novel program included …

•

Sensus Vitae, A Fanfare and Chorale for the Good of Humanity –Daughtrey • Strange Humors – Mackey • Hymn for the Innocent – Giroux • Wild Nights! – Ticheli • Russian Sailors’ Dance, from The Red Poppy – Glière/arr. Leidzén • Fractals – Brian Scott Story (Premier) … and may be viewed here: https://www.

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Eastern Division, Andy Yokviak, Division Chair cont. youtube.com/watch?v=o_POsIiJKeI Community Band portraits: • The Cortland Old Timers Band was able to restart rehearsals this fall, in the Cortlandville Municipal Garage, with overhead doors open. We did give a concert on Veterans Day, playing out the door to people sitting in the parking lot or in cars. Music Director Nick Pauldine, Associate conductor Mike Poole, and Conductor Emeritus Ed O’Rourke shared conducting duties.

• The Skaneateles Community Band cancelled its Friday night summer concerts but has restarted. The Lyncourt Community Band restarted as of September with vaccination requirement, bell covers, and social distancing. I have heard that the Community Bands in Baldwinsville and Phoenix are restarted as well.

• =The Central Winds Music Educators Wind Ensemble has a December concert scheduled.

• The volunteer adult group Catskill Valley Wind Ensemble (Dr. Andy Pease shared with Scott Rabeler) came back from its COVID hiatus in the Fall of 2021. Rehearsals began in September at the wonderful Oneonta High School band room, culminating in a Return Concert on November 14 at the Foothills Center.

• The semi-professional Oneonta Community Concert Band (Andy Pease/Kerri Hogle) have resumed activities. The Oneonta Community Concert Band (OCCB) put on its first concert after more than a year’s hiatus. This happened at the Foothills Performing Arts Center and was streamed via Facebook.

• The Ithaca Concert Band (Arthur Carichner/Rick Eleck) rehearsed and performed outdoors in the summer, and at the time of this writing is set to perform a Holiday Concert indoors in a church in Ithaca.

• The Vestal Community Band (Gail Markstein) rehearses weekly in the Vestal High School Bandroom, and has given several concerts in recent months.

• The Southern Tier Concert Band (Robin Linaberry/Barry Peters) rehearsed in the end of September for the first time in over nineteen months. Masks, Bell covers/bags, social distancing, puppy-pads for

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•

water, temperature-checks, and other strict protocols have allowed the group to regain its outstanding music-making with full attendance.

Now 65-strong, the STCB will perform a Concert Monday, December 6th featuring a The Music-Makers (Reed), The Cowboys (Williams), An Original Suite (Jacob), Gandalf (de Meij) and other great titles.

Across the state, these and other community music-makers are happy, fortunate, and proud to be back together.

Individual illustrations: Gregory Clark (Whitesboro Central Schools Elementary Band Teacher), is a wonderful example of optimism and versatility through the pandemic and beyond. While Mr. Clark reports that they experienced significant drops in participation during COVID, he describes an effervescent attitude that will bring the young students back to the program, including a lot of onsite improvising, composing and other special activities beyond ‘just’ rehearsing for concerts. In addition, he has maintained a full schedule of activities outside of school. He is well-known as a high-quality clinician, and was selected to present three sessions at the upcoming NYSSMA Conference, including “Unlocking Creativity in Beginning Band” Parts 1 and 2, and “Composition for Instrumentalists: How to start AND finish”. Mr. Clark offered this link (https://youtu.be/ rNGG_fTFL8Q) to share strategies to help students in band or orchestra begin to see themselves as composers. Greg also teaches Middle School Jazz Band, serves as a Tuba Instructor for LeMoyne College, and has just completed a commissioned composition for the Paradigm High School Band in Utah. A busy individual, Greg is just one example of the kinds of professionals we find in New York.

And I’m so pleased to include a brief communication from “the pride of New York”, and NBA Past-President, Ed Lisk, who reminds us that “Performing in an instrumental ensemble requires an intricate combination of visual, intellectual, physical, and auditory control coupled with a perceptive decision making process…..intelligence in action!”

Projects involving NBA Project Grant money

We’re moving in the right direction in this regard. I investigated using the NBA Booth at this year’s NYSSMA Winter Conference. Thanks to Matt Temple’s expert guidance, I’ll work carefully through the next few months to create a detailed plan to feature the booth in a membership campaign in Dec. 2022.

NBA citations/awards given in state this past year; recruiting efforts We presented NBA Awards to several outstanding and highly-recommended recipients this year. Scott Canaan, from the Rush-Henrietta Schools near Rochester NY, was nominated by Bill Tiberio: “Scott put together nearly a dozen virtual videos of the Educators Wind Ensemble that I direct during Covid. It’s been a monumental task, and he has such great technical skills!” Also, Tim Savage (Canton, NY, in the “North Country”) asked to “recognize two in particular who are going above and beyond to help us all do the best we can through this pandemic. hard-working: “Jonathan Hunkins is the High School Band Director and Music Department Chairperson at Massena Central School. He is currently serving as NYSSMA Zone 5 Representative to include participation on the Future of Ensembles Ad Hoc Committee. “Jill Roberts is the Grade 5 through 12 Band Director at Madrid-Waddington Central School, serving also as Instructor of Woodwinds at St. Lawrence University. As Region 5 Representative for NYSBDA, Jill is working hard to determine how things are going in our North Country band programs during the COVID-19 pandemic.”

In a nice surprise, Mr. Savage was able to invite me into a virtual executive meeting, where I interrupted the agenda to surprise these two recipients.

In addition, several band directors responded to my reminder by seeking award certificates for their outstanding students. On behalf of New York, I’d like to recognize and thank Mr. Heath Nails, NBA Awards Chair, for his prompt and courteous work with generating these awards.

RECRUITING EFFORTS: I sent several notes to New York’s NBA members, giving them the task of

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Eastern Division, Andy Yokviak, Division Chair cont. encouraging colleagues and especially the young, upcoming Band Directors to consider joining the largest professional organization for Bands in the world.

Again, this year I made contact with the Presidents of New York’s 62 counties, asking them specifically to share NBA information with the band colleagues in their regions.

in the $5(!!) student membership fee.

With regard to student memberships, I’d like to offer thanks and congratulations to the following Colleges/Universities in New York. These institutions show up in large numbers on our Membership List, so it follows that the professors are committed to actively encouraging NBA membership from their students. Thank you to:

Just this morning, I sent a note to more than two-hundred band directors, reminding them to take advantage of the $5 student-membership fee, and even to personally give the gift of NBA membership to their students.

The College of St. Rose Columbia University Eastman School of Music Five Towns College Hartwick College Long Island University (C.W.Post) Nazareth College SUNY Fredonia SUNY Potsdam Syracuse University University of Buffalo

Last year I couldn’t avoid mentioning the *losses* in professional development terms during the most stringent COVIDrestricted periods. Now, with cautious optimism (this is being written 11-232021), we also can observe • Young band directors had lost the podium-time required to learn, shape, refine, and apply the traditional pedagogical strategies that will yield successes for band students. And the good news is that daily in-person instruction is gradually returning toward more normalcy.

• Similarly, some of the most effective and influential learning experiences (where we can ‘borrow’ from stellar Clinicians, Guest Conductors and Presenters) were, in most cases, simply not available. As noted above, in-person Honor Bands of all kinds are reemerging, so Band Directors will once again be able to observe the pedagogical magic of the masters.

• For college seniors, the Student Teaching experience was drastically disrupted. With continued luck and careful protocols, Student Teachers will begin to reclaim the same experience-based training that band directors have had for decades.

• And for college juniors and sophomores, the integrated “observation/participation” practicum experiences – which were greatly altered, disrupted, delayed or eliminated altogether last year – are beginning to bloom once again.

Throughout, NBA Membership has assisted the professional development trajectory for the next generation of outstanding band educators. Here, I’ll note again what a remarkable opportunity lies

The College of St. Rose and LIU Post currently have the largest number of Student Members among New York’s colleges and universities. As we notice student membership numbers continue to grow, I’ll look forward to reporting the list of colleges showing outstanding growth.

Our current NYS Membership report: On the date of this writing, New York has 65 Active NBA members, up 14% since last year, and more than double the membership number of three years ago. We now can see a steady increase, but I’ll continue working to increase membership. I’d like to ask Executives to look into the feasibility of pairing NBA membership with that of our sister organization in New York (NYSBDA). I’m proud of this state and its Band programs in schools, colleges and communities.

Also, a search of the membership roster tells me that NY has 113 members when the “inactive” descriptor is clicked. I contacted those inactive members to jog their memories about renewing membership, and I’ll follow up with another contact after allowing some time for this year’s renewal numbers to flatten out.

A note to our colleagues from other places: the NYSSMA website (www. nyssma.org) also includes a “Latest Jobs” list on its main page. We invite you to consider joining us in a wonderful place for Bands.

PENNSYLVANIA

FRED DAVID ROMINES, CHAIR State Bandmaster Association website: pmea.net State Music Educators website: pmea.net Noteworthy state news, events, and activities West Chester University West Chester University will host its eighth annual National Band Association Wind Band Symposium February 4 and 5, 2022. Alfred Watkins will join host directors Andrew Yozviak, M. Gregory Martin and Adam Gumble in this two-day festival.

Marywood University On Sunday, November 14th, the Marywood University Wind Symphony premiered Fairest Morning by Patrick J. Burns with Professor Burns conducting.

Fairest Morning is available for purchase at: bandworkspublications.com Blue Ridge High School, New Milford, PA The Blue Ridge High School Concert Band (New Milford, PA) under the direction of Vincent LoRusso is part of an international consortium of High School and Collegiate Ensembles who will premiering a new work for Wind Band by Australian composer, Catherine Likhuta.

The piece, entitled Planet B, (Grade 4) is described by the composer as “A musical journey towards a planet without violence, racism, greed, ecological emergencies and global pandemics” composed to instill optimism for the future. The work was premiered by the Queensland Conservatorium Wind Orchestra and selected students from Grace Lutheran College (Rachel Howley, conductor) on April 30, 2021. Blue Ridge plans to give the Pennsylvania state premiere in March 2022.

Justin A. McAdams, Band Director & Performing Arts Coordinator at Phoenixville Area High School has been appointed to the Dr. William P. Foster Project Eastern Division Committee.

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Eastern Division, Andy Yokviak, Division Chair cont.

RHODE ISLAND ERIC MELLEY, CHAIR

State Music Educators website rimea.org Noteworthy state news, events, and activities Most programs have been in recovery mode, rebuilding rosters and skills. Band directors are generally grateful for a return to somewhat normal, though considerable stresses remain. All-State auditions were submitted via video recording but an inperson event is planned for the spring.

Projects involving NBA Project Grant money Rhode Island and the other New England state chairs are continuing planning for a cooperative band clinic involving instrumentalists and conductors from our regional military service bands.

NBA citations/awards given in state this past year; recruiting efforts Outreach comprised contacting individual teachers and collegiate band colleagues.

VERMONT

IAN FLINT, CHAIR State Music Educators website vmea.org Noteworthy state news, events, and activities VMEA plans to host an All State festival in the spring that will be modified from previous festivals to accommodate COVID guidelines.

Projects involving NBA Project Grant money Preliminary discussions have begun among some New England state chairs on beginning a band clinic for the smaller New England states. The clinic would comprise a master conductor and instrument- specific seminars.

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NORTH CENTRAL DIVISION MARK HEIDEL, DIVISION CHAIR Illinois, Indiana, Iowa, Michigan, Minnesota, Nebraska, North Dakota, Ohio, South Dakota, Wisconsin

ILLINOIS

WAYNE GORDON, CHAIR State Bandmaster Association website: Nationalbandassociation.org State Music Educators website ilmea.org Noteworthy state news, events, and activities The 2021-22 academic year has already shown signs of recovery from the effects of the pandemic. We look forward to sharing more news as Illinois bands continue to regain momentum and resume normal activities.

Events The 2021 Band Director Workshop sponsored by the NBA, IGSMA, and McCracken Middle School took place on November 2nd, 2021. The 43 participants were treated to ideas by featured speakers Mark Heidel, Justin Johnson, Cindy Lansford, Chris Griffa, and Chip De Stefano and a performance by the McCracken Middle School Symphonic Band.

2022 Illinois Music Education Conference (IMEC) - Peoria, IL Morton Junior High School Jazz Band, Jeff Arbisi and Katrina Fitzpatrick; Lake Zurich High School Jazz Band, Joshua Thompson; Lakes Community High School Jazz Ensemble, Elliott Hile; DePaul University Wind Ensemble, Erica Neidlinger; Western Illinois University Wind Ensemble, Mike Fansler and Matt Thomas; Westfield Community School Jazz Ensemble, Kelly Hoblin-Lamorena; Mahomet-Seymour High School Jazz Ensemble, Michael Stevens; Murphy Junior High 8th Grade Symphonic Band, Julianna Karveliu; Oswego East High School Wind Symphony, Kelly Cooper and Stevan Rexroat; Prairie Grove Junior High Jazz Band 1, Jeff Crylan; Evanston Township High School Jazz Ensemble, Matt Bufis; Monticello High

School Symphonic Band, Alison Allendar and Amanda J. Allen; Mundelein High School Wind Ensemble, Jerry Shelato and Andy Sturgeon; Mascoutah High School Concert Jazz Ensemble, Jordan Gouge; Oswego East High School Jazz Ensemble, Stevan Rexroat; O’Fallon Township High School Wind Ensemble, Meliss 2021 MidWest Clinic Performers Chicago, IL • Lockport Township High School Wind Symphony - Brian Covey, Director; • Mundelein High School Jazz Band Andy Sturgeon, director 2022 CBDNA/NBA North Central Division Conference Performers - Madison, WI • Illinois State University Wind Symphony - Anthony Marinello, director • Lockport Township High School Wind Symphony - Brian Covey, director • McCracken Middle School Symphonic Band - Chip De Stefano, director 2021 Marching Season The following bands earned distinction during the 2021 marching season:

•

•

•

•

Geneseo High School - John Versluis & Jamie Kotovsky, directors, Small Schools Grand Champion, Illinois Marching Band Championships, October 23rd Lincoln Way High School – Bert Johnson, Justin Barnish, Cary Ruklic, Chris Mroczek, directors, Grand Champion, ISU Marching Band Championships, October 23rd, 2nd Place Finals, BOA Clarksville, TN Regional, September 25th Normal High School - Lisa Preston, Ryan Budzinski and Paul Carter, directors, Large Schools Grand Champion, Illinois Marching Band Championships, October 23rd Morton High School – Tim Gray and Craig Hatter, directors, 2nd Place Finals, BOA Cedar Falls Regional, October 9th Continued on next page

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North Central Division, Mark Heidel, Division Chair cont.

• •

O’Fallon Township High School – Melissa Gustafson-Hinds and Philip Carter, directors, 9th Place Finals, BOA St. Louis Super Regional, October 22nd Prospect High School – Chris Barnum, director, 5th Place Finals, BOA Cedar Falls Regional, October 9th

Projects involving NBA Project Grant money The 2021 Band Director Workshop sponsored by the NBA, IGSMA, and McCracken Middle School took place on November 2nd, 2021. The 43 participants were treated to ideas by featured speakers Mark Heidel, Justin Johnson, Cindy Lansford, Chris Griffa, and Chip De Stefano and a performance by the McCracken Middle School Symphonic Band.

INDIANA

MICKEY STISHER, CHAIR State Bandmaster Association website: indianabandmasters.org State Music Educators website : imeamusic.org Noteworthy state news, events, and activities 2021 marked what would have been the 24th consecutive year the NBA has sponsored the Indiana All-Star Marching Band performance at the Indianapolis 500 Festival Parade. Due to COVID-19 the parade was cancelled. We look forward to presenting the 23rd Indiana All-Star Band at the 2022 parade! The band is comprised of members from schools across the state of Indiana and a selected high school drumline. Director and Coordinator for the band is Mickey Stisher, NBA State Chair and Retired Director of Music at La Porte High School. A special thank you goes to Music Travel Consultants for their assistance in planning and co-sponsoring this annual event! The band looks forward to its 23rd annual performance in 2022!

The 2022 Indiana Bandmasters Association All-State Band Concert will be held March 13, 2022, in the Elliott Hall of Music on the Purdue University Campus.

The 2022 Indiana Music Educators Association Honor Band Concert will be held on January 15, 2022, in the Embassy Theater in Fort Wayne. The 2022 Indiana

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Jazz Educators All-State High School Jazz Band and Junior All- State Jazz Band will also perform during the IMEA Professional Development Conference.

IOWA

THAD K. DRISKELL, CHAIR State Bandmaster Association website: bandmasters.org State Music Educators website: iamea.org Noteworthy state news, events, and activities Conferences The Iowa Music Educators Association Conference and 75th Iowa All-State Music Festival was held on November 18, 19, and 20 on the campus of Iowa State University in Ames, Iowa. Thad Driskell (NBA), Director of Bands at Cedar Rapids Jefferson High School, served as the AllState Band Chair and 75th All-State Music Festival Committee Chair. Dr. Andrew Boysen, Jr., Director of Bands at the University of New Hampshire, Durham, served as conductor of the 2021 All-State Band. Chris Ewan (NBA), Director of Bands at Ames High School, Jason Heeren, Band Director at Johnston High School, and Brian Zeglis, Band Director at Davenport Central High School serve on the All-State Team.

The 75th All-State Music Festival featured three world premiere commissions, two commissioned arrangements, and a Young Artist Showcase concert featuring past All-State musicians. Fran Kick served as Master of Ceremonies and speaker through the weekend of rehearsals. World premiere works commissioned for the 75th Anniversary included Phoenix by Andrew Boysen, Jr., Fireflies by Jake Runestad, and Last Dance at the Surf by Michael Daugherty. The Festival Concert opened and closed with arrangements for band, choir, and orchestra of America, the Beautiful and Battle Hymn of the Republic arranged by Peter Eklund.

Thank you to Dr. Steve Shanley (NBA), Associate Professor of Music at Coe College, for coordinating the Jazz Combo of Steve Shanley, Vivian Shanley, and Brian Zeglis for the Young Artist Showcase.

More information pertaining to the 75th Iowa All-State Music Festival celebration can be found at https://allstatemusicfestival.org/.

The Iowa Bandmasters Association Conference will be held May 12, 13, and 14 at the Marriott Hotel Downtown in Des Moines, Iowa. Jeana Larson (NBA) serves as President of the Iowa Bandmasters Association and is organizing an outstanding Conference. Mary Crandell (NBA) serves as President-Elect. Thanks to a grant from the NBA Board in 2021, we will be able to host a booth at the IBA Conference for the purposes of recruitment and promoting the NBA. Congratulations to Steve Stickney (NBA), Director of Bands at Mount Mercy University, recipient of the Outstanding Educator Award from the National Federation of State High School Associations (NFHS).

Congratulations to Dr. Mark Heidel (NBA) for serving as a clinician for the 2021 Band Director Workshop hosted by the McCracken Middle School Bands and sponsored by the National Band Association.

Congratulations to Andrew Glover (NBA) for serving as guest conductor of the North Central Missouri Bandmasters Association Honor Band in November.

Congratulations to Russell Kramer (NBA) elected as All-State Band ChairElect. Mr. Kramer’s term will begin following the 2022 All-State Music Festival.

Congratulations to Nathan Sletten (NBA) and Thad Driskell (NBA), recipients of the Distinguished Service Award from the Iowa High School Music Association.

Projects involving NBA Project Grant money The National Band Association will be represented with the NBA Booth at the Iowa Bandmasters Association Conference in May 2022 for the purposes of recruitment and promoting the NBA. NBA citations/awards given in state this past year; recruiting efforts Over the past year, the NBA-Iowa Chapter had hosted monthly Zoom meetings and socials with special guests including Dr. Rebecca Phillips, Dr. Peter L.

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North Central Division, Mark Heidel, Division Chair cont.

Boonshaft, Barry Houser, Dr. Travis Cross, and James P. Stephens.

As the State Chair for Iowa, my focus is to recognize and thank the current and new members for their participation in the NBA and promote active participation in Iowa. We are excited about the collaborative work in progress between the NBA and our IBA leadership.

We intend to promote opportunities and awards available to our members and celebrate and promote the accomplishments ofour NBA-Iowa students, directors, supporters, and programs. We intend to seek opportunities for activity and promote the National Band Association in conjunction with the Iowa Bandmasters Association, Iowa Music Educators Association, and our six District Bandmasters Associations.

allowed participating schools to be professional recorded at their own high schools, and then adjudicated virtually.

Marching Band district festivals sponsored by MSBOA all resumed this fall. The Michigan Competing Band Association (MCBA) held its state championships at Detroit’s Ford Field in November and named the following marching band programs as state champions within their respective flights: Rockford, Jenison, DeWitt, Ferndale, Kent City.

The MSBOA 2021 State “Band Teacher of the Year” was awarded to Jo Ann Gross, band director at Shepherd High School.

MICHIGAN

Projects involving NBA Project Grant money The Detroit Symphony Orchestra started a new initiative in mid-November called the Detroit Harmony project, which aims to repurpose used band instruments to school-aged children. Their goal is that Detroit Harmony will put an instrument into the hands of every K-12 public, private, and charter school student in the city who wants to learn to play. There may be an opportunity for our state NBA members to become involved in support of this worthwhile project in the future.

State Bandmaster Association website: msboa.org

PAUL T. KILE, CHAIR

State Music Educators website: mmeamichigan.org

State Bandmaster Association website:

Student memberships of $5 are being “gifted” by current members to promote the National Band Association and future directors in the field of music education.

Follow us on Twitter at National BandIowa@NBAIowa.

MARY K. SCHNEIDER, CHAIR

Noteworthy state news, events, and activities The Michigan School Band and Orchestra Association offers adjudicated concert band festivals in each of Michigan’s 16 districts during February and March. These are followed by state performance ratings at multiple locations for school ensembles that qualify. To accommodate continued pandemic restrictions and protocols, these festivals were all held virtually this year, with fewer events demanded due to the decreased retention many programs are experiencing. Solo & Ensemble events at the district and state level usually number 25, 000, however, this year, in addition to being held virtually, necessitated a reduction to only 6,000 events. An alternative jazz band festival structure

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MINNESOTA

mbda.org

State Music Educators website mmea.org Noteworthy state news, events, and activities Membership continues to slowly grow and efforts are being made to grow our student membership at our State’s Colleges and Universities. This past summer Dr. Arris Golden, Matt Temple, and Dr. Melanie Brooks presented at the MBDA Summer Symposium held at the University of St. Thomas (Dr. Matthew George, Dr. Doug Orzolek). At the 2022 MMEA Mid-Winter Clinic Dr. Charles Weise and Amanda Kaus will again lead the Young Band Reading session and performances will be given by the University of St. Thomas- Dr. Matthew George and the

Wayzata High School Wind Ensemble- Dr. Don Krubsack.

NBA citations/awards given in state this past year; recruiting efforts We have not had a rich tradition of awarding the NBA Citation of Excellence Awards or any of the Student Award offerings sponsored by NBA so plans are in the works to celebrate the 2021-22 school year by presenting some of these awards and hope the tradition will not only continue but grow.

NEBRASKA

BRIAN ALBER, CHAIR State Bandmaster Association website: nsbma.org State Music Educators website: nmeanebraska.org Noteworthy state news, events, and activities The 2021 Nebraska Music Educators State Convention will be held in November and will feature Travis Cross leading the All-State Band and Ronald Carter leading the All-State Jazz Band. Along with the All-State ensembles, guest performances include the Millard North High School Percussion Studio, the Nebraska Wind Symphony, the Northwest Missouri State University Jazz Ensemble, and the Kearney High School Wind Ensemble. The Nebraska State Bandmasters Association (NSBA) is pleased to welcome Michael Map as the guest conductor for the Nebraska Intercollegiate Band in March of 2022. The NIB will be premiering a commission by Joni Greene. Along with the NIB, a number of outstanding middle school, high school, and collegiate ensembles will perform during the convention. In addition to its annual convention in March, NSBA continues to sponsor the 8th Grade AllState Band (January), in addition to the Class B, C, and D All-State bands (March and April).

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NBA NEWS

North Central Division, Mark Heidel, Division Chair cont.

NORTH DAKOTA

OHIO

WARREN OLFERT, CHAIR

EDWARD PROTZMAN, CHAIR

State Bandmaster Association Website ndnba.org

State Music Educators website omea-ohio.org

State Music Educators website ndmea.org

Noteworthy state news, events, and activities Bands Selected to Perform at the Ohio Music Education Association’s State Conference; • Case Western Reserve Symphonic Winds • Case Western Reserve Symphonic Winds • Hudson High School Wind Symphony • Jackson High School Seven-Thirty Big Band • Kent State University Percussion Ensemble • Mason Middle School Symphonic Winds • Miami University Wind Ensemble • The Ohio State University Wind Symphony • The University of Akron Wind Symphony • Wadsworth High School Jazz Ensemble • William Mason High School Symphonic Band • Worthington Kilbourne Wind Symphony 1 • Wright State University Percussion Ensemble

Noteworthy state news, events, and activities Similar to other states, the North Dakota chapter is in a rebuilding and restarting phase as the state returns to more active status in the Covid era. This has included a active role in the state leadership to redefine and describe many of the activities and responsibilities throughout the state. Mentorship of new teachers continues to be an area of interest and we continue to discuss ways to engage new students so as to increase their success.

The state music education conference in March will be the first face-to-face experience since the 2019 conference.

As a state chapter, it is our intent to be more visible and supportive of the efforts of band directors and teachers at the conference. We are hopeful for a continuing return to normalcy!

NBA citations/awards given in state this past year; recruiting efforts Awards are listed for the past two years due to the interruption of general activities by the Covid-19 lockdown.

2020 Awards: Allegro Award: Sarah Harlow Distinguished Service Award: Chris Harvey Jazz Educator of the Year: Mark Herold Citation of Excellence: Leslie Barney 2021 Awards: Allegro Award: Brittney Schwingler Distinguished Service Award: Brad Stockert Jazz Educator of the Year: David Augustadt Citation of Excellence: Pat Schwan

The Miami University of Ohio Wind ensemble under the direction of Gary Speck was selected to perform at the 2022 North Central Division CBDNA/NBA Conference.

Dr. Shelley Jagow Director of Bands at Wright State University was selected to present her clinic Making Cents of Intonation, Building Balance, and Taming Tone at the 2021 Midwest Clinic.

Edward Protzman Director of Bands at William Mason High School was selected to present his clinic Gems, Jalopies, & Juggernauts Selecting Appropriate High-Quality Wind Band Performance Literature for Your Ensembles.

Jason Sleppy Band Director at William Mason High School was selected as one of the 2021 Yamaha “40 Under 40” — Celebrating Excellence in Music Education recipients The Centerville High School Band, under the direction of Brandon Barrometti

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performed in the 95th annual Macy’s Thanksgiving Day Parade.

Ohio Marching Bands that participated in the Bands of America 2021 Grand Nationals Championships Grand Nationals • Archbishop Alter H.S., OH • Bishop Fenwick H.S., OH • Carlisle H.S., OH • Carroll H.S., OH • Centerville H.S., OH (Semi Finalist) • Central Crossing H.S., OH • Clinton-Massie H.S., OH • East Clinton H.S., OH • Fairborn H.S., OH • Greenon Jr./Sr. H.S., OH • Hamilton H.S., OH • Indian Hill H.S., OH • Lakota East H.S., OH • Lebanon H.S., OH • Miamisburg H.S., OH • Milford H.S., OH • Nordonia H.S., OH • Northmont H.S., OH • Norton H.S., OH • Piqua H.S., OH • Springboro H.S., OH • St. Clairsville H.S., OH • Talawanda H.S., OH • Tippecanoe H.S., OH • Warren Local H.S., OH • William Mason H.S., OH (Semi Finalist & Finalist 11 place)

SOUTH DAKOTA

KEVIN KESSLER, CHAIR State Bandmaster Association website sdbandmasters.org State Music Educators website sdmea.net Noteworthy state news, events, and activities Live festivals and clinics curtailed due to COVID restrictions.

Projects involving NBA Project Grant money NBA booth displayed at state bandmasters conference.

NBA citations/awards given in state this past year; recruiting efforts Frequent communication with fellow college music education departments and recruiting efforts through South Dakota Bandmasters.

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North Central Division, Mark Heidel, Division Chair cont.

WISCONSIN KRISTEN KIRCH, CHAIR State Bandmaster Association website: sites.google.com/view/ wisconsinbandmasters State Music Educators website wsmamusic.org Noteworthy state news, events, and activities The National Band Association Wisconsin Chapter has had a busy year in spite of the COVID 19 pandemic. In lieu of our usual in-person events, we hosted several webinars last winter that we were able to offer free of charge to our members. They included:

• • • •

Teaching Band During COVID 19 September 26, 2020 Putting the E in Ensemble with Alex Shapiro and Glenn Hayes - November 14, 2020 Holiday Time with Friends - featuring Colonel Lowell Graham, Dr. Joe Hermann and Dr. Linda Moorhouse December 12, 2020 And We Were Heard Bringing Quality Works by Underrepresented Composers with Dr. Kaitlin Bove March 13, 2021

of our convention is the performances of the All-State Honor Bands. Dr. Joseph Hermann, formerly of Tennessee Tech University will return to the podium for the All-State High School Band to provide a wonderful and challenging experience for our top students. Kathryn Fenske, a music educator and composer from St. Louis, MO will take the reins of the Junior AllState Band, and the Intercollegiate Band will be welcoming back Dr. Richard Mark Heidel from the University of Iowa. NBA members from nearby states are always welcome to attend our convention. For more information, please check out our website at nba-wc.org.

Projects involving NBA Project Grant money We are receiving a project grant which will help with that annual convention.

It will help cover the cost of guest conductors and clinicians.

NBA citations/awards given in state this past year; recruiting efforts Michael Krofta was awarded the National Band Association Citation of Excellence when he retired from his 30 year position as the Oconomowoc High School Director.

Although webinars are great, it was nice to be back in person for our annual new music reading session on September 25, 2021 at Appleton North High School.

Directors read 23 compositions with a mix of flex and full band pieces ranging from Grade ½ to Grade 3.

The NBA-WC 2022 annual convention is also quickly approaching. It will be taking place at the UW Oshkosh on January 20-22. We will be offering professional development clinics for the attending directors, a luncheon, an afterglow meet and greet, and a reading band. We are pleased to announce that 4 guest bands will be performing this year. They are: Appleton City Band, Jim Thaldorf, conductor; Slinger High School Symphonic Band, Graham Westley, conductor; Wisconsin Symphonic Winds, Devon Otto, conductor; UW – La Crosse Wind Ensemble, Justin Davis, conductor The culminating event and highlight

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NBA NEWS

SOUTHERN DIVISION

BY COREY SPURLIN, DIVISION CHAIR Alabama Florida Georgia Kentucky Louisiana Mississippi North Carolina South Carolina Tennessee Virginia West Virginia

ALABAMA

JON BUBBETT, CHAIR State Bandmaster Association website: myamea.org/aba State Music Educators website: myamea.org Projects involving NBA Project Grant money We have been very fortunate to have booth space donated to us to display the NBA booth at our state convention. We are hopeful that will continue for the 2022 AMEA Convention. Pre-pandemic we had some discussions about offering a conducting clinic / workshop for existing and pre-service teachers. We are hopefully to come back to that idea for 2022.

NBA citations/awards given in state this past year; recruiting efforts This past year’s AMEA convention was done virtually and so performance opportunities for bands was very limited.

We did present 2 Citation of Excellence Awards: • Enterprise High School - Sean Weiler, director • Hartselle High School - Randall Key, director

FLORIDA

TREMON KIZER, CHAIR State Bandmaster Association website: fba.flmusiced.org State Music Educators website fmea.org

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Noteworthy state news, events, and activities The University of South Florida Bands hosted the Festival of Winds in December 2021. Conductors for this year are NBA members Arris Golden (Michigan State University), Jerry Junkin (University of Texas), and Catherine Rand ( University of Southern Mississippi).

The University of South Florida Wind Ensemble under the direction of Matt McCutchen (NBA Member and Revelli Composition Contest Committee Chair) is performing at the Florida Music Educators Association State Conference in January 2022.

Assistant Director of Bands at USF Tina DiMeglio won first place in the Frederick Fennell Conducting Competition in Sicily, Italy.

The University of Central Florida will host its annual conducting symposium in February 2022, featuring NBA member Shanti Simon (University of Oklahoma) and Lindsay Williams (Seminole County Schools, FL).

The University of Central Florida will host its annual Knights Rising Honor Band in February 2022, conducted by Andrew Mast (NBA Member and Director of Bands at Lawrence Conservatory of Music).

H.B. Plant High School Wind Ensemble under the direction of Brian Dell will perform at the NBA / CBDNA Southern Division Conference at the University of South Carolina in February 2022.

The Douglas Anderson School for the Performing Arts Wind Ensemble under the direction of Ted Shistle will perform

at the NBA / CBDNA Southern Division Conference at the University of South Carolina in February 2022.

The Music for All UCF Orlando Concert Band Invitational will feature NBA members Shelby Chipman (Florida A&M University), Larry Clark (Excelcia Music), Craig Fuchs (Pittsburg State University), Arris Golden (Michigan State University), Craig Kirchoff (Retired, University of Minnesota), J. Steven Moore (University of Miami), and Greg Wolynec (Austin Peay University).

Congratulations to The Dreyfoos School of the Performing Arts Jazz Ensemble under the direction of Christopher De León and the Dillard Center for the Arts Jazz Ensemble under the direction of Christopher Dorsey for being selected as finalist for the 2022 Essentially Ellington Jazz Competition at Lincoln Center.

NBA citations/awards given in state this past year; recruiting efforts NBA Citations Given • Brian Dell, H.B. Plant High School, Jazz Ensemble, 2021 Florida Music Educators State Conference

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Brian Dell, H.B. Plant High School, Wind Ensemble and Jazz Band, 2020 Commended Winner- Foundation of Music Educator Mark of Excellence Program

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Erich Rivero, Miami Arts Studio @ Zelda Glazer, Concert Jazz Band, 2020 Commended Winner- Foundation of Music Educator Mark of Excellence Program Continued on next page

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Southern Division, Corey Spurlin, Division Chair cont.

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Christopher Banks, LaVilla School of the Arts, Jazz Ensemble, 2019 Midwest International Band and Orchestra Clinic

GEORGIA

MATTHEW PRICE, CHAIR State Bandmaster Association website: gmea.org State Music Educators website: gmea.org NBA citations/awards given in state this past year; recruiting efforts East Cobb Middle School Honors Band – Gregory Denson and Valarie Stoney-2020 University of Georgia Midfest Honor Band Clinic, December 12, 2020 Flat Rock Middle School Symphonic Band – Matthew D. Price, Director – 2020 University of Georgia Midfest Honor Band Clinic, December 12, 2020 and the 2021 Georgia Music Educators Associations InService Conference, January 30, 2021.

South Forsyth Middle School Symphonic Band – Andrew. F. Poor and Nate Hughes, Directors – 2020 University Of Georgia Midfest Honor Band Clinic, December 12, 2020 and the 2021 Georgia Music Educators Associations In- Service Conference, January 30, 2021.

Central-Carroll High School Symphonic Band – Neil Ruby and Courtney Zhorela, Directors – UGA Janfest and 2021 SEUS High School Honor Band Clinic, January 23, 2021 Trickum Middle School Symphonic Band - Robert Davidson and Jessie Matthews, Directors -2021 Georgia Music Educators In-Service Conference, January 30, 2021.

Dutchtown High School Wind Symphony – Wolson Gustama and Jeffrey D. Hughley, Directors -2021 UGA Janfest, January 23, 2021; 2021 SEUS High School Honor Band Clinic, February 6, 2021; 2021 University of South Carolina Honor Band Clinic, February 14, 2021 Walton High School Wind Symphony– John Palmer and Chris Johns, Directors – 2021 Georgia Music Educators In- Service Conference, January 30, 2021.

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Woodland High School Wind Symphony – Michael Kobito and Holly Maldonado, Directors – 2021 UGA Janfest, January 23, 2021.

Norcross High School Wind Symphony - Lee Newman, Maria Phillips, Corey Fair, Directors–2021 Georgia Music Educators In-Service Conference, January 30, 2021.

Kennesaw Mountain High School Wind Symphony – Michael Huebner and Corey Futrell – GMEA In-Service Conference Performance, Saturday, January 30, 2021

were given opportunity for an in- person or virtual assessment. The Mississippi High School Activities Association/ Mississippi Bandmasters Association sponsored the marching band assessment in October, 2021. In the first four months of the year, the NBA and Mississippi State University Bands hosted four monthly virtual clinics for directors titled Sound Teaching. Panelists for some of the sessions included NBA mentors in Mississippi.

NORTH CAROLINA

RODNEY K. WORKMAN, CHAIR

KENTUCKY

AMY ACKLIN, CHAIR State Music Educators website: kmea.org Noteworthy state news, events, and activities The following NBA Citations were given at the 2021 KMEA Professional Development Conference: • Conner Kinmon, Henderson County High School Wind Ensemble, Monday, February 15, 2021 • Trae Blanco, Murray State University Wind Ensemble. Tuesday, February 16, 2021 • Scott Bersaglia, Sacred Winds, Wednesday, February 17, 2021 • George Boulden, University of Kentucky Symphony Band, Thursday, February 18, 2021

MISSISSIPPI

ELVA KAY LANCE, CHAIR State Bandmaster Association website: msbandmasters.com State Music Educators website: msmea.org Noteworthy state news, events, and activities The Mississippi Bandmasters Association State Band Clinic was not held in 2020 because of COVID precautions.

It will be held December 8-11, 2021, in Natchez, MS. The Mississippi High School Activities Association/Mississippi Bandmasters Association sponsored the concert assessment in April, 2021. Bands

State Bandmaster Association website: ncbandmasters.org State Music Educators website: ncmea.net Noteworthy state news, events, and activities This fall NBA in NC sponsored a clinic at our state conference in November featuring 6 collegiate band directors who led sessions on different topics. Thank you to Dr. John Ross (Appalachian State), Neil Underwood (Lenoir Rhyne University), Dr. Tim Altman (UNC-Pembroke), Dr. Kevin Geraldi (UNC-Greensboro), Dr. Hunter Kopcynski (Mars Hill University), and Dr. Margaret Underwood (Western Carolina University) for leading sessions for this first NBA Clinic at North Carolina’s Music Educator’s Conference. We look forward to partnering with more of our collegiate directors next year for something similar.

Also special thank you to one of our newest members Perry Ditch with Fuller’s Music who sponsored this clinic with coffee for all directors who attended.

NBA citations/awards given in state this past year; recruiting efforts Bands in North Carolina mostly rehearsed online for all of 2020-2021. As a result no school groups performed at our state conference or at regional concert band events this Spring and therefore we presented no citations. We will be presenting citations after our state concert band assessments in March at our All State Clinic in May. However, at our conference we did have our first state interest/info meeting for NBA in many years and it was well attended. Membership is up to 95 Active and 141 total. We will be sponsoring Continued on next page

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NBA NEWS

Southern Division, Corey Spurlin, Division Chair cont. sessions with collegiate music education majors this spring and next fall to boost collegiate membership in our state.

SOUTH CAROLINA VINCE CLAYTON, CHAIR

State Bandmaster Association website: bandlink.org State Music Educators website: scmea.net Noteworthy state news, events, and activities Greetings from South Carolina! Since last year’s report, the South Carolina band directors have persevered in spite of the COVID pandemic. Directors have overcome huge obstacles in order to approach normalcy. Last spring, bands submitted virtual performances for Concert Performance Assessment as well as for our Solo and Ensemble Festival; however, we were able to have State Marching Band Championships in person this past October.

We are delighted to host the upcoming Southern Division CBDNA/NBA Conference, February 24-26. Invited ensembles are from the University of South Carolina, Wando High School, H.B. Plant High School, Douglas Anderson School of the Arts, and Florence Chapel Middle School. They will be performing in the USC Koger Center for the Arts on February 24.

NBA citations/awards given in state this past year; recruiting efforts 2021 SCMEA Virtual In-Service Conference Performing Groups:

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James F. Byrnes HS Wind Ensemble – Bryan Bone, Tom Padgett and Jonathan Valentine, directors

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Ridge View HS Wind Ensemble – Dustin King, director

2021 SCBDA State Marching Band Championship Placements 1A

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2A

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3A

• • •

4A

• • •

5A

• •

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Carolina Forest HS Wind Ensemble – Mark Roddy, director

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D.R. Hill MS Percussion Ensemble – Thomas Cotter and Austin Sanders, directors

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D.W. Daniel HS Jazz Ensemble – Chaz Paxton, director

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Easley HS Jazz Ensemble – Victoria Bevels, director

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Easley HS Wind Ensemble – Rick Langdale, director

1st Place - Batesburg-Leesville HS – Josh Brown & Glen Funderburk, directors 2nd Place - Ninety-Six HS – David Vickery, director 3rd Place - Blacksburg HS – R. Shane Dixon & David Turner, directors 1st Place - Pendleton HS – Chris Moss and Maggie Walters, directors 1st Place - Catawba Ridge HS – Patrick Butler & David Shives, directors 2nd Place - Powdersville HS – Trey Ferrell & Chris Mitchell, directors 3rd Place – D.W. Daniel HS – Chaz Paxton, director 1st Place - Nation Ford HS – Ray Linkous & Andrew Krieger, directors 2nd Place - T.L. Hanna HS – A.J. Pace & Andrew Gregory, directors 3rd Place – York Comprehensive HS – Laura C. Brooks, Douglas W. Brooks, Dylan Sims, & Madeline Bailes, directors 1st Place - Wando HS – Bobby Lambert, Lannie Radecke, & Jeff Handel, directors 2nd Place -James F. Byrnes HS – Bryan Bone, Tom Padgett, & Jarrod Mabrey, directors 3rd Place - Lexington HS – Aaron Gantt, Amanda Pike, & Ben Berry, directors The Wando HS Marching Band placed 13th in the 2021 Bands of America Semi-Finals competition

TENNESSEE

JOEL L. DENTON, CHAIR State Bandmaster Association website tennesseebandmasters.org State Music Educators website tnmea.org

Noteworthy state news, events, and activities We started a mentoring program last year. Unfortunately, due to Covid and the many uncertainties surrounding the pandemic including no visitors allowed in schools, this effort is still being developed and implemented to its full potential.

I have hopes of using our Tennessee Bandmasters Association and our regional band and orchestra associations to heighten the involvement in this program.

Having Randall Coleman move into the Director of Bands position at the University of Tennessee - Chattanooga has provided great visibility for NBA in our state.

The Dobyns-Bennet High School Marching Band, under the direction of Lafe Cook, was selected as a finalist at the Bands of America Grand National Championships this fall.

A mass band from Gibson County, TN will be performing in the 2022 Tournament of Roses Parade. This effort was led by Jeremy Tate.

Projects involving NBA Project Grant money • None for 2021-2022.

• Plans are being made to recreate our symphonic band symposium for the 2022-2023 school year.

• All of our regional and state band clinics and conferences are back on schedule for the winter/spring of 2022.

NBA citations/awards given in state this past year; recruiting efforts Several citations will be presented at the 2022 Tennessee Music Education Association’s State Conference in April.

Much effort is being used to recruit new members and to especially encourage inactive members to renew their membership. Our mentoring program will help with recruitment.

VIRGINIA

TIFFANY HITZ, CHAIR State Bandmaster Association website vboda.org State Music Educators website vmea.com Continued on next page

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Southern Division, Corey Spurlin, Division Chair cont.

Noteworthy state news, events, and activities NBA member Matt Baker and the Cooper Middle School Symphonic Band will premiere a new commission by renowned composer and educator Brant Karrick, titled “Appalachian Journey.”

The piece features a variety of fiddle tunes expertly crafted to represent a traveling fiddler’s journey through early Appalachian towns. During the spring of 2021, the Cooper MS Band program also led two consortiums with accomplished composer Craig Fitzpatrick. “70% More Explosive” and “The Road to Nowhere” were both written specifically during the virtual band setting to motivate and inspire young band students behind the screen.

NBA member Stan Schoonover and his ensemble, Fairfax Wind Symphony (FWS), will be performing at The Midwest Clinic.

Among the group’s performance selections is Stages by Brian Balamges, written “for Kelsey Burch and all those affected by cancer.” Kelsey was a longtime member of FWS and band director in Fairfax County. They will also perform Maestro!, a piece commissioned of Jim Meredith by VBODA for last year’s Virginia All- State Band. Mr. Meredith wrote the piece to honor John Casagrande, and the FWS performance at Midwest (as well as their VMEA performance in November) will be conducted by John’s son, Scott Casagrande.

This will be Fairfax Wind Symphony’s second Midwest performance invitation.

NBA member Tiffany Hitz and NBA College/University Representative and IDEA Committee Co-Chair Dr. Arris Golden will present at a clinic at The Midwest Clinic, titled Making Your “Garden” Grow: Instilling a Growth Mindset To Foster Motivation, Leadership, and Musicianship.

NBA member Linda Gammon was awarded both the VMEA Lifetime Achievement Award and the VBODA C. Sidney Berg Service Award for her history of service to the profession and her example of excellence as a teacher and leader.

NBA member Brianna Gatch is a recent recipient of the R.E.B. Award for Teaching Excellence from the Community Foundation for a greater Richmond and the R.E.B. Foundation. She will be using

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the financial award to travel to Japan and Hawaii to study Japanese pedagogical techniques and observe their influences on concert bands in Hawaii.

The Virginia Marching Band Cooperative (VMBC) has grown from two shows in 2016 to 17 shows and participation of 156 individual Virginia bands this year. The Cooperative continues with its mission to create a positive and rewarding performance experience for all Virginia bands.

NBA citations/awards given in state this past year; recruiting efforts Six Citations of Excellence were awarded to directors whose ensembles were selected to perform at the 2021 Virginia Music Educators Association Professional Development Conference this past November. Those directors and ensembles are:

• • • • • •

Col. Andrew Esch, The United States Army Band, “Pershing’s Own”, Fort Myer, VA Alan P. Johnson, Westfield HS Wind Symphony, Chantilly, VA Dr. Stephen Kerr, Liberty University Wind Symphony, Lynchburg, VA Andrew LaPrade, Albemarle HS Jazz Ensemble, Charlottesville, VA tan Schoonover, Fairfax Wind Symphony, Fairfax, VA Brian Thomas, Justice HS Wind Ensemble, Falls Church, VA

An additional Citation of Excellence was awarded to NBA member Dr. Jacob Kohut on behalf of NBA Leadership for his dual work as a military reservist and band director during the January 2020 events at The U.S. Capitol. Dr. Kohut’s commitment to both his students and his country garnered national attention when he was photographed teaching virtually from the back of a Humvee during a shift break. He continued this double duty - regularly teaching his students during his soldier shift breaks -for the next two months, getting only one complete night of sleep during that entire time. Dr. Kohut received his citation from VBODA President David Webb and NBA Past-President Scott Casagrande and was presented the American Eagle Award from VMEA President Annamarie Bollino on behalf of the National Music Council.

He will present at Midwest as part of a panel presentation with former Virginian

Susan Smith. The session is titled The Professional Balancing Act: Teaching Effectively With a Side Hustle.

Recruiting efforts - An email membership campaign has begun, with communication being sent to band directors across the state to share the offerings, benefits, and opportunities of NBA membership. Separate communication has been made with college directors to share the unique opportunities of student memberships.

WEST VIRGINIA

ADAM DALTON, CHAIR State Bandmaster Association website: wvbandmasters.org State Music Educators website: wvmea.org Noteworthy state news, events, and activities The West Virginia University Wind Symphony hosted Colonel Don Schofield, commander/conductor of The United States Air Force Band, as a guest conductor for their November 7th concert.

Dr. Scott Tobias, Director of Bands at West Virginia University, will be part of the NBA Past Presidents panel discussion at the 2021 Midwest Clinic. The session is entitled “The NBA at 60: the Past, Present, and Future of the National Band Association.”

West Virginia University will host its 42nd annual Honor Bands Clinic on February 10-12, 2022. Clinicians for this year include Dr. Linda Moorhouse (University of Illinois), LCDR Kelly Cartwright (US Naval Forces Europe and Africa Band), and Dr. Laura Moates Stanley (Brookwood High School - Snellville, GA).

The Marshall University Wind Symphony debuted as part of the Marshall Artist Series on a concert titled “Home: A Musical Celebration of Huntington.”

The event featured guest artists, world premiers, storytellers, and video production.

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Southern Division, Corey Spurlin, Division Chair cont. commissions. Jim Stephenson “Home Stretch”, Christian Lamont Thomas- “Steele Mill Fanfare, and Mark Zanter- “C.P. Huntington: Empire Builder.” Marshall was also part of the new consortium with Tyler S. Grant- “Music of the Spheres.”

The Marshall Bands hosted a virtual High School Honor Band in March. The event featured guest clinician Robert W.Smith who led the participants in his new piece “Portals.” The participants then videoed themselves playing their part and were edited into a virtual honor band.

The Marshall Bands will host their regular in-person honor band in February featuring Marshall Alum, David Waybright as our lead clinician.

Projects involving NBA Project Grant money None NBA citations/awards given in state this past year; recruiting efforts Emails were sent to a mailing list including the benefits of membership and how people can join.

SOUTHWESTERN DIVISION DUSTIN SEIFERT, DIVISION CHAIR Arkansas, Colorado, Kansas, Missouri, New Mexico, Oklahoma, Texas

ARKANSAS

TIMOTHY OLIVER, CHAIR State Bandmaster Association website: asboa.org State Music Educators website arkmea.org Noteworthy state news, events, and activities Band programs in Arkansas are beginning to resume their performance activities following the adjustments necessary in the previous year. Arkansas marching bands have participated in many events both in and out of state during the fall 2021 season. The State Marching Contest for Arkansas occurred on November 1-2 in Little Rock, AR. Seventythree bands participated. The highest placing bands in each class were 1A-2A Gurdon High School (Christopher Elliot, Director), 3A Fouke High School (Don Colquitt, Director), 4A Arkadelphia High School (Aaron Seel, Director), 5A Paragould High School (Richie Williams, Director), 6A Van Buren High School (Ron Smith, Director), and 7A Bentonville High School (Tim Hendrix, Director). Other marching bands participated in Bands of America Festivals. These include Paragould High School finalist at Clarksville, TN Regional and Orlando Regional; St. Louis Super Regional - Bentonville High School finalist, Bentonville West High School (Albert Ortiz, Director), Fayetteville High School (Brett Lawson, Director); Grand National in Indianapolis - Bentonville High School, Lake Hamilton High School (Jon Shultz, Director).

There are also a large number of musical activities among the 17 collegiate band programs in the state. Shaun Popp,

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Director of Bands at Henderson State University and NBA member, added a new colleague appointed their band faculty, Nevada Mills. The Arkansas Tech University Wind Ensemble (Dan Belongia, Director) will perform at Carnegie Hall on December 15. They will be joined by two Arkansas High Schools Cabot (Rusty Hart, Director) and Russellville (Dwayne Dove, Director and NBA member). Also, in February 2022, the Arkansas Intercollege Band will once again rehearse and perform in conjunction with the Arkansas All-State Conference, led by NBA Member Julia Reynolds, Executive Director, Arkansas School Band and Orchestra Association.

The Arkansas State University Band Program, led by NBA Members Tim Oliver, Sarah Labovitz, and Steven Riley, saw a return to concert and athletic band activities this fall. The Wind Ensemble commissioned and performed the world premiere of “Trobairitz, Concerto for treble double reed soloist” by Lee Hartman as a part of their three concerts in the fall. In addition, the program hosted several outreach events, including a reimagined Band Day, which included over 300 high school students, some of whom this is their only marching activity of the year. The AState Open, a marching band festival that included over 20 bands from Arkansas, Missouri, Mississippi, and Tennessee with eight out-of-state adjudicators including NBA members Mark Heidel, University of Iowa and North Central Division Chair; and Dustin Seifert, Eastern New Mexico University and NBA Southwestern Division Chair. Tim Oliver and Sarah Labovitz will also present a session at the 2021 Midwest Clinic.

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Southwestern Division, Dustin Seifert, Division Chair cont.

COLORADO

SHERIDAN LOYD, CHAIR State Bandmaster Association website: coloradobandmasters.org State Music Educators website: cmeaonline.org/ Noteworthy state news, events, and activities At the beginning of the 2021 calendar year, most programs held remote events and performed only through a virtual format: • The Colorado Music Educators Association (CMEA) Convention was held virtually in January.

• The Colorado Bandmasters Association continued its CBA Collegiate initiative, hosting several successful virtual clinics for undergraduate students, including presentations by Randall Standridge and members of the CBA board.

• Many schools participated in the WGI Virtual Season for both winter guard and indoor percussion. Bear Creek HS, Lakewood HS, Wheat Ridge HS, and Longmont HS qualified for the WGI Semifinal Round in the WGI Indoor Percussion Virtual Season.

• Although in-person CBA Regional and State Concert Band Events for middle and high school bands were not possible, CBA sent out clinicians Jack Yonce, Steve Martin, Sean Flanigan, and Casey Cropp to work with various band programs, particularly in the Western Slope and Central Mountain Regions. Twenty clinics were held in various schools.

• The Colorado All-State Jazz Band, normally held at the CMEA Convention, was not held in-person.

Instead, students accepted into the ensemble attended a virtual zoom meeting with jazz saxophonist Jeff Coffin on April 3rd.

• The Colorado All-State Concert Band was held virtually as well.

Accepted students attended virtual masterclasses. The Colorado West Music Invitational was held in a hybrid format in April 2021.

Ensembles worked with clinicians Casey Cropp, Sean Flanigan, or Jonathan Hinkle following their performances. - The University of Colorado streamed recorded concerts April 14-15.

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Summer 2021 brought a mix of in-person and virtual events: • The Colorado Bandmasters Association Convention, “From Pandemic to BANDemic,” was held July 14-16 at Lakewood High School, with headliner Peter Boonshaft.

• The University of Colorado Summer Music Academy was held virtually.

This fall, CBA Marching Affairs was able to return to a normal competitive marching band season. The average band size decreased by 19% statewide compared to 2019. The organization made the decision to lower the show length requirement across all classes to allow for a greater focus on rebuilding and fundamentals after the impacts of COVID-19 on marching programs.

•

•

The class 4A/5A State Marching Band Championship was held October 29-30 at the Air Force Academy in Colorado Springs.

The class 1A/2A/3A State Marching Band Championship was November 1 at CSU Pueblo.

Other events this fall/winter included: • The Beginning and Middle Level Workshop (BAM) October 15-16 at Kinard MS in Fort Collins. This event was geared toward directors of all levels, and featured headliner Lynne Jackson from Southern Methodist University (TX) and State Clinician Mike Mozingo. This two-day workshop, developed by Casey Cropp and Mike Perez, addressed beginning band pedagogy, ensemble rehearsal techniques, and rehearsal labs.

•

•

CBA Western Slope Select Band November 19-20, with guest clinicians Clay Stansberry and Steve Martin.

Best of the West Select Band at Colorado Mesa University, December 2-4.

Colorado State University Honor Band, December 9-11 with guest conductor Dr. Matthew McCutchen from the University of Southern Florida.

Upcoming events for 2022: • Western Slope Honor Jazz on January 7-8, 2022 in Grand Junction • Colorado Springs All-City Concert

• • • • • •

Band (January 2022) Colorado Music Educators Association Clinic/Conference, January 26-29, 2022 Colorado All-State Jazz Band, January 27-29, 2022 14th Annual Festival of Winds, February 10-12, 2022.

CBA Regional Concert Band Festivals will be held in February and March, 2022 for middle and high school bands.

Colorado All-State Concert Band, April 7-9, 2022 at the University of Northern Colorado CBA State Concert Band Festival will be April 18-19, 2022 at Colorado State University.

Projects involving NBA Project Grant money I am not aware of any 2021 NBA projects receiving grants in Colorado.

NBA citations/awards given in state this past year; recruiting efforts I am excited to report that Colorado membership in the National Band Association has doubled in size over the last year.

KANSAS

MATTHEW SMITH, CHAIR State Bandmaster Association website: kansasbandmasters.com State Music Educators website: ksmea.org Noteworthy state news, events, and activities Kansas enjoyed a return to live events this past fall.

• The Kansas Bandmasters Association held their annual conference in person last July, and are boasted record membership numbers. The KBA 2021 Open Class Marching Championship was hosted by the University of Kansas, and a 1234A Marching Championship was held for the first time, hosted by Hutchison Community College.

• Many school districts and colleges/ universities resumed hosting marching band festivals and competitions this year • Jennifer Antonetti, director of Continued on next page

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Southwestern Division, Dustin Seifert, Division Chair cont.

•

•

bands at Topeka High School, was recognized as one of Yamaha’s “40 under 40 “outstanding music educators The Shawnee Mission School District has approved the addition of a music technology course that follows the national music technology standards, the first in Kansas.

The University of Kansas Wind Ensemble hosted Jens Lindemann (trumpet) as part of its Virtual Prairie Winds Festival in February, and premiered works by Peter Meechan, Tom Davoren, and Michael Torke in 2021.

MISSOURI

BRAD SNOW, CHAIR State Bandmaster Association website: missouribandmasters.org State Music Educators website: mmea.net Noteworthy state news, events, and activities St. Louis University Last year we had in-person rehearsals but used the recommended protocols, which gave us 30 minutes in the middle of each class where we did not play. During that time, I had guest speakers join us via zoom. Below is the list of guest speakers: 10/07/2020 – Dave Walton (STL): Local composer discussed making a living writing electronic music for television.

10/14/2020 – Chris Becker (STL): Band director from Wash U discussed which elements make a piece of music “great”.

• 10/21/2020 – Chad Miller (IN): Brass caption head from the Colts Drum & Bugle Corps (Dubuque, IA) discussed auditioning for world-class DCI marching ensembles during the pandemic.

• 10/28/2020 – SSgt Cecilia Buettgen (D.C.): French horn player from the President’s Own Marine Band discussed long-term health and wellness for instrumentalists.

• 03/17/2021 – Jim Walker (CA): Professional flutist discussed playing in the Los Angeles Philharmonic and playing on hundreds of movie soundtracks, most notably often working with John Williams.

• 03/31/2021 – Nathan Langford (CA):

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•

•

Sound engineer discussed the logistics for working in studio recording, live stage shows, and electronic music creation.

04/07/2021 – Chris Becker (STL): Band director from Wash U discussed several ensemble opportunities for nonprofessional musicians to continue to play their instruments after college.

04/21/2021 – Randall Standridge (AR): Wind ensemble composer discussed his process for writing music for band

Truman State • Wind Symphony I selected to perform at Missouri Music Educators Association conference Missouri State University • April 25 All Bands Concert • October 1-3 James Stephenson, composer residency • October 3 Wind Ensemble/Wind Symphony Concert • November 6 Marching Band performed in exhibition at BOA San Antonio Super Regional November 16 Adam Schoenberg, guest composer • November 20 All-State Audition Clinic • November 21 Wind Ensemble/Wind Symphony Concert • December 6 Community Band Concert

NEW MEXICO

FRANK SLIFE, CHAIR Noteworthy state news, events, and activities The La Cueva HS Jazz band was selected to perform at the 2021 Midwest Clinic. The ensemble is under the direction of Mr. John Converse.

Dr. David Waybright, Director of Bands, University of Florida, will serve as clinician for the NBA-sponsored ENMU Band Directors Workshop, “The New Mexico Thing” on Saturday, February 27 in Portales, NM. NBA citations/awards given in state this past year; recruiting efforts We complied a list of band concerts happening across the state of New Mexico to promote attending concerts across the state.

OKLAHOMA

MARC MUELLER, CHAIR State Bandmaster Association website: okbandmasters.com State Music Educators website okmea.org Noteworthy state news, events, and activities Getting things back up and running after the COVID year was the joint undertaking of the entire state. But much success was achieved. OKMEA held it’s State Convention Virtually, but with much success. In addition to the Convention moving forward in that manner, the AllState Honor Ensembles all did as well with tremendous success.

The Oklahoma Bandmasters Association Summer Convention was held in person and welcomed back a large representation of band colleagues.

A few summer camps re opened after a year of Virtual Camps including the Southwestern Oklahoma State University camp with over 500 students in attendance.

The fall saw a complete return to Marching Band Competitions throughout the state including a large number of bands participating in the Bands of America events nationwide. Highlighting the conclusion of the fall season was Broken Arrow HS Band bringing home their 4th Grand National Championship.

Grand National Semi-Finals also had 4 bands (Tulsa Union, Owasso, Broken Arrow and Mustang) from Oklahoma as a part of the top 35.

Definitely a year of progress and good to be back to “normal.”

In the Spring- the Oklahoma Bandmasters Association did hold the OBA Concert Band Festival at Broken Arrow HS. Modifications and limitations in place but the festival was still a great success.

Later, the OSSAA did hold the State Concert Band Contests, again, with limitations and modifications to the format but a successful event held.

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Southwestern Division, Dustin Seifert, Division Chair cont.

TEXAS JIM LITTLE, CHAIR State Bandmaster Association website: texasbandmasters.org State Music Educators website: tmea.org Noteworthy state news, events, and activities Dr. William P. Foster Project Community Development Award, Southwestern Division winner, is a retired Texas high school band director.

Projects involving NBA Project Grant money None. All in-person events were cancelled because of Covid restrictions.

NBA citations/awards given in state this past year; recruiting efforts One Citation of Excellence was awarded to a band director whose bands have won three consecutive Texas University Interscholastic League State Marching Band Championships and was named the Texas Music Educators Association AAA Honor Band in 2018.

“The NBA in Texas,” our state newsletter, was published quarterly and emailed to all active and inactive members.

Letters of congratulations were mailed to all Texas bands and wind/percussion ensemble, selected to perform at the 2021 Midwest Clinic.

Letters of welcome to new members are sent each month.

Letters encouraging membership renewal are emailed to Inactive members twice a year.

More than 5,500 band directors, active and retired, received two emails (January and October) with the most recent editions of the state newsletter, “The NBA in Texas,” as well as additional forms of information about NBA.

WESTERN / NORTHWESTERN DIVISIONS DIANE KOUTSULIS AND JOHN MILLER, DIVISION CO–CHAIRS Alaska, Arizona, California, Hawaii, Idaho, Montana, Nevada, Oregon, Utah, Washington, Wyoming

ARIZONA

CHAD NICHOLSON, CHAIR State Bandmaster Association website: aboda.org State Music Educators website: azmea.org Noteworthy state news, events, and activities The Arizona State Department of Education has approved 146 schools to administer the Arizona State Seal of the Arts Proficiency for the 2021-22 school year. This state award resulted from a bipartisan effort that was signed into law in 2019. The stated goal is “to celebrate students who demonstrate high levels of proficiency in the Arizona Arts Education Standards through personal expression and creative experiences in arts education programs, and “to promote increased access to well-rounded, high quality arts education across the state.”

This recognition signifies a renewed commitment to music and the arts in Arizona’s schools.

The Arizona Department of Education is sponsoring the ESSA (Ever Student Succeeds Act) Virtual Student Showcase in January 2022. The Virtual Student Showcase is an exciting opportunity for students, teachers, and schools to share the amazing and incredible arts learning experiences that are occurring within Arizona classrooms.

The University of Arizona Fred Fox School of Music has launched a new

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Performing Arts Athletic Training service open to all music students and faculty, free of charge. This collaboration with Campus Health and Arizona Athletics has been tremendous success. An athletic trainer holds an office in the School, and musicians simply register for an appointment to address pain, posture, and exercises to increase career longevity.

CALIFORNIA

JERMIE ARNOLD, CHAIR State Music Educators website calmusiced.com Noteworthy state news, events, and activities Much of the State is still under restriction for COVID-19. Marching Band contest are happening again and we are hopeful to hold indoor Concert Band Festivals in the Fall.

HAWAII

ADAM KEHL, CHAIR State Bandmasters Association website: obda.weebly.com State Music Educators website: hawaiimea.org Noteworthy state news, events, and activities The past year has continued to be difficult for band programs in Hawai’i, however, this fall has seen the return to in- person classes for most programs.

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

Ensemble directors have created safe environments for their students to continue their music education and return to group music making, while following school and state policies. There has been a return to in-person concerts at some schools, recently beginning to welcome audiences again, as well as in-person marching band festivals/ competitions. Small competitions were successfully held, with several festivals offering opportunities for clinics with guest adjudicators at individual schools, instead of a single site competition format.

We look forward to the return of solo/ ensemble, concert festivals, in-person concerts, and welcoming touring/visiting groups, guest artists, and concert and marching band clinicians back to the islands next year.

IDAHO

JOE TORNELLO, CHAIR State Music Educators website: idahomusiced.org Noteworthy state news, events, and activities We are excited that this fall music started to return to somewhat of a “normal” experience for students. The Idaho district 3 Marching Band competition, the largest event in the state, was successfully held on October 30. We look forward to many more events to come!

MONTANA

KEVIN GRIGGS, CHAIR Noteworthy state news, events, and activities The band world in Montana is beginning to recover from the difficulties of 2020. Some band programs have move toward a more “normal” approach sooner than others, but in most cases we are back to building young musicians and performing for the public. During the pandemic, there were many different approaches employed to keep students and performers safe. Some, who have rehearsal spaces large enough, opted to use distancing and masking to address CDC and/or school guidelines. Other ensembles used vinyl or plexiglass shields to separate students. A more common approach was to divide the band into smaller chamber-like ensembles and explore music that we don’t normally get

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to play in larger ensembles. In nearly all cases, public performance was nonexistent or greatly reduced. I believe we all felt the stress and loss of music in our lives and hearts. It’s good to see things slowly and safely returning to normal.

The National Band Association continues to have low numbers of participation among Montana band directors. We are working with experts from our regional leadership to try and spread the word about the benefits and advocacy of the NBA for bands all over the country. It is hoped that recruiting will be successful, especially as bands become more active and directors are searching for new resources, and that NBA will have a greater presence in the state and become a benefit to directors and students.

NEVADA

DAVID MACCABEE, CHAIR State Bandmaster Association website:

nmeamusic.or

State Music Educators website:

nmeamusic.org

Noteworthy state news, events, and activities The return to school this year in Nevada includes a full array of festivals and clinics such as: • A full fall schedule of marching band festivals.

• The annual CCSD Honor Band Festival returns, with auditions on December 4 for both middle school, and high school level band members.

• All State Band festival returns at the annual All State music festival. This years festival will be held April 7-9, at the University of Nevada, Reno.

Auditions for this event will occur in January of 2022.

• Nevada Music educators Association sponsors, for the first time, solo and ensemble contest in the fall of 2021 in a virtual format. This event will occur again in the spring of 2022 as an in person event.

OREGON

TODD ZIMBELMAN, CHAIR State Bandmaster Association website oregonbda.org State Music Educators website: oregonmusic.org Noteworthy state news, events, and activities 2021 Marching Band Championship Results : 1A • Glencoe High School, Director Ben Adams 2A • Sunset High School, Director Greg Hall 3A • West Salem High School, Director Todd Zimbelman 4A • Grants Pass High School, Director Lewis Norfleet Oregon Band Directors Association is working on several commissions; 2022: Chris Pislner, HS grade 4-5 work (to be performed at the 2022 OMEA All-State Conference). 2023: Brian Balmages, MS 2-3 grade work. 2024: Steve Danyew, HS grade 4-5 work (be performed at the 2024 OMEA All-State Conference). OBDA plans to continue to alternate between MS and HS commissions to add to our repertoire and support wind band composers.

NBA citations/awards given in state this past year; recruiting efforts The Music Education Alliance Dr. William P. Foster Project 2021-2022 Community Development Award Division Winners: Northwest Division • Jennifer Brooks , David Douglas High School, Gresham, OR.

UTAH

NATE SEAMONS, CHAIR State Bandmaster Association website: Facebook.com/ UtahBandmastersAssociation State Music Educators website umea.us Continued on next page

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

Noteworthy state news, events, and activities The Utah Bandmasters clinic is a 3-hour clinic with master clinicians from around the country. This clinic is planned conveniently the night before our UMEA conference. To attend the bandmasters clinic, teachers and college students must sign up for the National Band Association as members. In 2021, Utah Bandmasters and NBA co- hosted the event virtually due to COVID-19. Presenters were Joel Denton, Dr. Tim Lautzenheiser, Christine Wolf and Loras Schissel.

During the summer of 2021, the Utah Bandmasters hosted two inaugural events. The first event was a Drum Major Symposium for student drum majors. This 2-day event featured Joel Denton and local teachers to help Drum Majors get off on the right foot. This was a terrific success and will be expanded upon in 2022.

The second event was a 2-Day director event focusing on professional development. The first day was an immersive jazz camp for directors. We brought in local professionals on all of the instruments for jazz and had directors play and learn alongside some of the best in the business. The second day was a day dedicated to learning and teaching percussion. Michael Huestis taught this day. This camp was a terrific success.

Directors gave feedback that this is something that they would like to continue each year.

NBA citations/awards given in state this past year; recruiting efforts National Award or Major conference.

Citation of Excellence: John Matthews, UMEA Conference

also help recruit support for NBA. Using the bandmaster events to promote NBA is a best practice for us with college music education students and current band directors.

WASHINGTON DANH PHAM, CHAIR

Noteworthy state news, events, and activities As the State of Washington is trying to navigate its way through strict COVID-19 restrictions, band goes on in the Pacific Northwest. Numerous marching band festivals/contests started back up after a long hiatus, and Washington saw an active fall semester. Success stories include: Ridgeline High School - 2021 Cavalcade of Bands Marching Band Champions Central Valley High School - 2021 Winner, Washington State University Marching Band Championships Shining a light on our teachers: there were two nominees from Washington this year for the Dr. William P. Foster Community Development in the Northwestern Division. They were: Mike Morgan - Colfax High School Andrew Bowerly - Tenino High School Danh Pham will be presenting a clinic on personal finance at the Midwest International Band and Orchestral clinic.

The process is slow and steady, but the State of Washington and its school band programs are coming back.

Marching Band Championships 2020 NBA Award for Marching Excellence 2020 HS State Champions • 3A: Delta High School: Kelly Ball • 4A: Green Canyon High School: Randall Beach • 5A: Farmington High School: Brek Mangleson • 6A: American Fork High School: Orien Landis Recruiting Efforts: The annual Utah Bandmasters conference remains our best recruiting tool. Adding the Drum Major/Leadership Symposium, and Director Workshop in the summer will

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NBA EXECUTIVE COMMITTEE MEETING THE MIDWEST CLINIC, CHICAGO, ILLINOIS MCCORMICK PLACE CC23 BC WEDNESDAY, DECEMBER 15, 2021 10:45 AM - 11:45 AM PRESIDENT REBECCA PHILLIPS, PRESIDING President Rebecca Phillips called the meeting to order at 10:45 am.

Members in attendance: Rebecca Phillips (President), Randall Coleman (First Vice-President), Matt Temple (Second Vice-President), Scott Tobias (Immediate Past President), and Linda R. Moorhouse (Executive Secretary-Treasurer).

NBA William D. Revelli Composition Contest: Matt McCutchen reported there were 41 submissions for this year’s contest and the committee had selected a winner that would be announced at Thursday afternoon’s General Membership Meeting. He then asked if he could announce a runnerup, given the committee’s enthusiasm for recognizing the composer and their work, due to the age and experience of the composer. The Executive Committee agreed.

NBA Clinic Presentation: President Phillips remarked everything should be set for the upcoming clinic at 12:15 pm in W-176 with the past presidents, The NBA at 60: The Past, Present, and Future of the National Band Association (NBA Past President Panel).

NEW BUSINESS: New Constitution Amendment: Randall Coleman shared that he received a proposal from the Nominating Committee of past presidents regarding a revision of the First and Second Vice-President titles and a revision of the Second Vice-President’s appointment. The proposal recommended future presidents of the organization have experience as an officer in the organization for at least four years. This would better prepare a future President, ensuring ample working knowledge of the history, projects, activities, and financial obligations of the organization. The proposal states: “Change the title of First Vice President to President-Elect; change the title of 2nd Vice President to Vice President, who automatically ascends to President-Elect.” If approved by the Board and membership, this change would begin with the 2022 election of the next Second Vice President (Vice President).

Discussion ensued and it was decided to bring the proposed amendment to the Thursday morning Board of Directors Meeting for their approval.

NBA BOARD OF DIRECTORS MEETING THE MIDWEST CLINIC, CHICAGO, ILLINOIS HYATT REGENCY BALLROOM A THURSDAY, DECEMBER 16, 2021 9:00 AM - 10:45 AM PRESIDENT REBECCA PHILLIPS, PRESIDING President Rebecca Phillips called the meeting to order at 9:00 am. She then asked everyone to introduce themselves.

Members in attendance: Chip De Stefano (Elementary/Middle/Junior High School Representative), Tracy Leslie (Elementary/Middle/ Junior High School Representative), Susan Waters (Elementary/Middle/Junior High School Representative), Travis Coakley (High School Representative), Kristy Dell (High School Representative), Chad Kamei (High School Representative), Arris Golden (CollegeUniversity Representative), Shelby Chipman (At-Large Representative), Gary Gribble (At-Large Representative), David Vandewalker (AtLarge Representative), Craig Aarhus (At-Large Representative), Lt. Col. Daniel Toven (Military Bands Representative), Michael BurchPesses (Community Band Representative), Steve Trull (Music Industry Representative), Myra Rhoden (Programs of Excellence Chair), Cody Birdwell (Selective Music List-Concert Band), Jason Fettig (Selective Music List-Marches), Wolson Gustama (Foster Project), Matt Talbert (Research Chair/NBA Journal), Andrew Yozviak (Eastern Division Chair), Corey Spurlin (Southern Division Chair), Mark Heidel (North Central Division), Diane Koutsulis (Western/Northwestern Division Co-Chair), John Miller (Western/Northwestern Division Co-Chair), Rebecca Phillips (President), Randall Coleman (First Vice-President), Matt Temple (Second Vice-President), Scott Tobias (Immediate Past President), and Linda R. Moorhouse (Executive Secretary-Treasurer).

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Membership Report: Linda Moorhouse reported that despite the pandemic, membership is up this year and was at 2337 members as of December 11. See the full report in the NBA Journal.

Financial Report: Linda Moorhouse reported as of November 30 there is a balance of $72,761.41 in the NBA bank account. This balance includes at least half of the anticipated Midwest Clinic 2021 expenses.

NBA Foundation: With a recent gift of $50,000 from Gladys Wright, the Foundation account has $61,887.87. Sue Creasap reported were some changes on the Foundation Board. The new Board consists of Susan Creasap, Chairman (VA), Gary Schallert, Vice Chairman (KY), Joe Allison, Director (KY), Cody Birdwell, Director (KY), Linda Moorhouse, Director (IL), and Scott Tobias, Director (WV).

Al and Gladys Wright Distinguished Legacy Award: Scott Tobias reported that the 2020 and first recipient of this award, Col. Hal Gibson, was presented with the award at a recent concert in Melbourne, Florida. The award is made possible by a $50,000 gift from Gladys Wright. This year’s recipient(s) will be announced this afternoon at the NBA General Membership Meeting.

AWAPA Commission: Craig Kirchhoff (elected in 2019) and Loras Schissel (elected in 2020) will be honored this afternoon and presented the AWAPA materials at the General Membership Meeting. AWAPA Chair Richard Floyd will also announce the 2021 recipient at that time.

Hall of Fame of Distinguished Conductors: President Phillips stated there will be an announcement this afternoon at the General Membership Meeting of the newest elected member(s) to the Hall of Fame of Distinguished Conductors.

Other NBA Awards: In the absence of Heath Nails, Randall Coleman presented a brief report on the award activity of our NBA certificates from August 2020 until now. A number of certificates have been given this year including the Citation of Excellence, Certificate of Marching Excellence, Outstanding Musician Award, Outstanding Jazz Musician Award, and Band Booster Award. See the full Awards Report in the NBA Journal.

Programs of Excellence Blue Ribbon Award: Myron Rhoden reported that we paused this program this past year given the pandemic and the effect it has had on many band programs across the country. We will restart the award for this year. This past fall, the Executive Committee decided to recognize all past Division Winners who were not National Winners by sending them plaques in recognition of their achievement and efforts in participating with the program.

NBA Young Jazz Composers Composition Contest: President Phillips reported that while there were submissions for this year, the selection committee did not find a piece that was suitable, so a winner was not chosen. The University of Florida Bands have agreed to continue to sponsor this contest by providing a $1,000 check to the winner.

NBA William D. Revelli Composition Contest: Matt McCutchen reported there were 41 submissions for the 2021 contest, which is 11 more than 2020. The winner will be announced at the General Membership Meeting this afternoon. He also announced there was a runner-up for this contest and that person will also be recognized at this afternoon’s meeting.

2022 Composition Contests: President Phillips reminded the membership that next year we will be reviewing submissions for the Merrill Jones and Young Band Composition Contests as these are biennial contests. She added that we are now working with JW Pepper to have them identify all of our contest winners on their website.

Community Bands: Michael Burch-Pesses reported that many bands went into hiatus this last year because of the pandemic and a lack of rehearsal spaces, which are mostly in public schools. Bands are started to rehearse more frequently now. See his full report in the NBA Journal.

Corporate Relations: Gary Smith is continuing to strengthen relationships with our corporate members, while finding new ones as well. The pandemic affected many companies financially, and we recognize it will take a while for many to get back to where they were a few years ago.

D-Day All American Band: Randall Coleman reported that this project was moved forward to 2023 because of the pandemic. This national honor band will be part of the D-Day celebrations in France in the summer of 2023. This band is the reinvention of the All-American Marching Band that appeared at the San Antonio Bowl a few years ago. Historic Programs is the company behind this project.

William P. Foster Project: Wolson Gustama reported that six individuals will be recognized as Foster Community Development Division Winners this afternoon at the General Membership Meeting, in addition to a special reception this evening. They are Trent Cooper, Dekaney High School (retired), Spring, TX (Southwestern Division); Heather Taylor, Lakeshore Elementary School, Rochester, NY (Eastern Division); Don Stinson, Joliet Central High School, Joliet, IL (North Central Division); Dr. Ollie Liddell, Memphis Central High School, Memphis, TN (Southern Division); Victor de los Santos, Santa Ana High School, Santa Ana, CA (Western Division); and Jennifer Brooks, David Douglas High School, Gresham, OR (Northwestern Division).

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Division and State Report: Randall Coleman remarked there was much activity with NBA members this past year despite the pandemic. The Board then heard brief Division reports from John Miller (membership increase), Andrew Yozviak (visibility increase), Corey Spurlin (upcoming conference and rehearsal clinic activity), and Mark Heidel (upcoming conference, increased membership, and monthly Zoom meetings). President Phillips thanked the Division Chairs for their work this year. See the full report of Division and State activity in the NBA Journal.

IDEA (Inclusion, Diversity, Equity, and Awareness) Committee: Arris Golden reported the committee met several times this year to review compositions in our Selective Music List. The committee also joined with members of the Selective Music List committee to listen to a presentation by Dr. Constance McKoy on authenticity and inauthenticity in music.

Military-Professional Bands: Daniel Toven shared that the annual reports are still coming in from the military bands. He remarked that military ensembles are trying to retain and exploit what they learned in the virtual world. Within the Army bands, they continue to try to remain competitive, however, three of its bands will be inactivated (Korea, Japan and Alaska). 2022 represents the centennial of Pershing’s Own (U.S. Army Band) and they are organizing the Hundred Schools Challenge as part of their centennial. The Army Band is committed to establishing connections with at least 100 schools with whom they will share their time and talents. Also, the U.S. Army Chorus is reorganizing its choir from a low voice TTBB choir to a SATB choir. See his full report in the NBA Journal on other activities this past year.

Music Industry: Steve Trull reported that our music industry has suffered greatly the last two years. While companies are slowly returning to normal business activity, we need to support our vendors and be patient while this happens.

Music Research: Matt Talbert called for peer-review research for the NBA Journal.

“Need a Mentor” Project: Scott Tobias reported on behalf of Sue Creasap. The NBA “Need a Mentor” Project continues to provide mentors for educators at all phases of their careers with the most requests coming from first year teachers. Most mentees are seeking advice on issues common to all band directors: recruitment, advocacy, classroom management, programming suggestions, survival in the rural/urban school, fund raising, etc. We have had 44 requests for mentors since 2018. Sue suggested we might want to consider making short videos; “it may be that having an easily accessible resource where a calm, smiling face reassures the exasperated young educator with some quick fixes. At the end of the video, we remind them that they can request a mentor.”

Nominating Committee: Scott Tobias reported that the Nominating Committee has created a ballot for the 2022 election and that Linda Moorhouse will be reaching out to those on the ballot to see if they are willing to run for a position on the Board of Directors.

Selective Concert Music List: Cody Birdwell reported his committee has met and they are still working on the list revisions.

Selective March Music List: Jason Fettig reported the list was edited to delete errors, duplications, and titles that did not need to be on the list. New marches were also added. His committee is going to take another look at the list this spring with the IDEA committee to make sure it better represents the values of NBA. Social Media: Craig Aarhus reported our Facebook page has 7,600 followers and since 2019, we added 1300 new followers. We have reached close to 500,000 people. The Teaching Tips on our Facebook page are very popular; these include small tidbits on management strategy, instruments, etc. He plans to promote the upcoming regional conferences in the Southern and North Central Divisions. He is also looking for other to help gather and create content to upload to the Facebook page.

Young Conductor/Young Composer Mentor Project: Linda Moorhouse reported the project was moved from the summer of 2021 to the summer of 2022 because of the pandemic. It will be held June 12-15 in Washington, D.C. with the United States Air Force Band, Col. Don Schofield, commander and conductor. Rehearsals will be held on Bolling Air Force Base. Mentor composers are Mark Camphouse, Viet Cuong, and Tom Duffy. Mentor Conductors are Scott Tobias, Rebecca Phillips, Don Schofield, and Linda Moorhouse. Application materials are posted on the NBA website.

OLD BUSINESS 60th Anniversary Reception: President Phillips reminded everyone of the 4:00 pm General Membership Meeting and the 60th Anniversary Gala Reception to follow at 5:00 pm.

New Booth Design: President Phillips shared that our new design was created by Nash McCutchen. You can view the new booth in the exhibit area, booth #825.

New Pin Design: Linda Moorhouse shared that we are working on a new pin design with Bale Company and are reviewing final designs at this time. We hope to incorporate the current pin into a new design.

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Project Grants and Booth Requests: Matt Temple reported nine Project Grant proposals were submitted and six were approved. There have been seven Booth requests that are under consideration at this time.

Research Grants: Matt Talbert reported there were no Research Grant proposals were submitted this year.

NEW BUSINESS NBA Journal: Matt Talbert asked the Board for assistance in seeking peer-reviewed research articles for the NBA Journal.

CBDNA/NBA Southern Division and North Central Division Conferences: Corey Spurlin and Mark Heidel reported NBA will have representation at both conferences. Two ensembles have been selected to perform at the North Central conference (Lockport Township High School, Brian Covey, director and McCracken Middle School, Chip De Stefano, director) and four ensembles have been selected to perform at the Southern conference (Florence Chapel Middle School, Spartanburg SC, Alicia Crutchlow, director; Douglas Anderson School of the Arts, Jacksonville, FL, Ted Shistle, director; H.B. Plant High School, Tampa, FL, Brian Dell, director; and Wando High School, Mt. Pleasant, SC, Bobby Lambert, director).

New Constitution Amendment: Randall Coleman shared with the Board that the Executive Committee received a proposal from the Nominating Committee of past presidents regarding a revision of the First and Second Vice-President titles and a revision of the Second Vice-President’s appointment. The proposal recommended future presidents of the organization have experience as an officer in the organization for at least four years. This would better prepare a future President, ensuring ample working knowledge of the history, projects, activities, and financial obligations of the organization. The proposal states: “Change the title of First Vice President to President-Elect; change the title of 2nd Vice President to Vice President, who automatically ascends to President-Elect.” If approved by the Board and membership, this change would begin with the 2022 election of the next Second Vice-President (Vice President).

A brief discussion ensued and then a motion was made and seconded to adopt the proposed amendment. The motion passed unanimously and will now be brought to the membership for a vote of approval this spring.

NBA GENERAL MEMBERSHIP MEETING THE MIDWEST CLINIC, CHICAGO, ILLINOIS MCCORMICK PLACE PRAIRIE ROOM THURSDAY, DECEMBER 16, 2021 4:00 PM - 5:00 PM PRESIDENT REBECCA PHILLIPS, PRESIDING President Rebecca Phillips called the meeting to order and then introduced the past presidents in attendance.

Membership Report: Linda Moorhouse reported that despite the pandemic, membership has increased this year and was at 2337 members as of December 11.

Financial Report: Linda Moorhouse reported as of November 30 there is a balance of $72,761.41 in the NBA bank account and there is $61,887.87 in the NBA Foundation.

William P. Foster Project: Wolson Gustama announced the division winners of the Foster Community Development award and asked them to come forward to accept a plaque on behalf of the Music Education Alliance (NBA/CBDNA/Music for All). Trent Cooper, Dekaney High School (retired), Spring, TX (Southwestern Division); Heather Taylor, Lakeshore Elementary School, Rochester, NY (Eastern Division); Don Stinson, Joliet Central High School, Joliet, IL (North Central Division); Dr. Ollie Liddell, Memphis Central High School, Memphis, TN (Southern Division); Victor de los Santos, Santa Ana High School, Santa Ana, CA (Western Division); and Jennifer Brooks, David Douglas High School, Gresham, OR (Northwestern Division).

CBDNA/NBA Southern Division and North Central Division Conferences: Corey Spurlin and Mark Heidel reported NBA will have representation at both of these biennial regional conferences. Two ensembles have been selected to perform at the North Central conference (Lockport Township High School, Brian Covey, director and McCracken Middle School, Chip De Stefano, director) and four ensembles were selected to perform at the Southern conference (Florence Chapel Middle School, Spartanburg SC, Alicia Crutchlow, Continued on next page

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director; Douglas Anderson School of the Arts, Jacksonville, FL, Ted Shistle, director; H.B. Plant High School, Tampa, FL, Brian Dell, director; and Wando High School, Mt. Pleasant, SC, Bobby Lambert, director).

Young Conductor/Young Composer Mentor Project: Linda Moorhouse reported the project was moved from the summer of 2021 to the summer of 2022 because of the pandemic. It will be held in Washington, D.C. with the United States Air Force Band, Col. Don Schofield, commander and conductor. Dates are June 12-15 and rehearsals will be held on Bolling Air Force Base. Mentor composers are Mark Camphouse, Viet Cuong, and Tom Duffy. Mentor Conductors are Scott Tobias, Rebecca Phillips, Don Schofield, and Linda Moorhouse. Application materials are posted on the NBA website.

Upcoming Projects: Randall Coleman reported the Programs of Excellence Blue Ribbon Award is up and running for this year, and the biennial Merrill Jones and Young Band Competition Contests will be held next year as well. The D-Day All-American Band project will take place in the summer of 2023. This band is the reinvention of the All-American Marching Band that appeared at the San Antonio Bowl a few years ago. 125 high school musicians will be selected from across the country for this inaugural All-American D-Day Band.

Col. (ret.) Timothy J. Holtan will serve as music director and will conduct the band for D-Day events in the Normandy region of France.

NBA William D. Revelli Composition Contest: Matt McCutchen reported there were 41 submissions for the 2021 contest, 11 more than 2020. The 2021 winner is Frank Ticheli for Lux Perpetua, a work composed for the Baylor University Wind Ensemble in memory of two young clarinetists who lost their lives in an automobile accident in 2014. McCutchen also announced a runner-up, Lindsay Bronnenkant for Tarot. Lindsay is currently at DMA student at Eastman working on a degree in Wind Conducting; this was her first work for wind band.

NBA 60th Anniversary Commission: Scott Tobias introduced James David, the composer who was commissioned to write a work for NBA’s 60th Anniversary. David’s work, Urban Light, was premiered on Wednesday at the Midwest Clinic evening by the U.S. Army Field Band with Eugene Corporan, conducting.

Al and Gladys Wright Distinguished Legacy Award: Scott Tobias reported that the 2020, and first recipient of this award, Col. (ret.)

Hal Gibson, was honored with the award at a recent concert in Melbourne, Florida. The award is made possible by a $50,000 gift from Gladys Wright. Tobias then announced the 2021 recipients: Roy Holder and Julian White. They will be presented with the award at a future date in 2022. Gladys Wright then announced she plans to give the NBA Foundation another substantial gift this next year.

AWAPA Commission: Craig Kirchhoff (elected in 2019) and Loras Schissel (elected in 2020) were honored at the General Membership Meeting. AWAPA Chair Richard Floyd presented Kirchhoff with the AWAPA materials; Schissel was unable to attend. Floyd then announced that the person elected to the Academy of Wind and Percussion Arts for the year 2021 is recording engineer Bruce Leek.

Leek will be presented with the AWAPA materials this next year in 2022.

Hall of Fame of Distinguished Conductors: Thomas Fraschillo announced that we have three distinguished band directors who have been elected to the Hall of Fame: Don Wilcox, Joseph Hermann, and Lowell Graham. A Hall of Fame induction ceremony for all three will take place in the spring of 2022 on the campus of Troy University in Troy, Alabama.

Closing Remarks: President Phillips thanked the membership for a very productive year and all the good work being done by with the membership. She then invited all to stay for a special 60th Anniversary reception in the same room.

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NBA FINANCE REPORT 2020—2021

Revenue Membership Dues Membership Dues From Website……………………........................................75,673.23 Membership Dues from checks/cash/money orders......................................1,814.00 Corporate Membership...............................................................................4,500.00 Institutional Membership paid by cash/check..............................................1,575.00 Refund of Membership dues paid.................................................................-391.15 Total Membership Dues.............................................................................$83,171.08 Application / Performance Fees CBDNA-SD/ND...........................................................................................2,100.00 Hall Of Fame Nomination Fee.....................................................................5,650.00 Total Application / Performance Fees...........................................................$7,750.00 Selective Music List Selective Music list........................................................................................300.00 Total Selective Music List................................................................................$300.00 Interest Earned (Chase)................................................................................................7.28 Total Revenue ..................................................................................................$91,228.36 Expenditures Administrative Expenses NBA Office................................................................................................14,986.27 Website/Technology....................................................................................1,480.64 NBA Executive Meeting...............................................................................5,988.39 Total Administrative Expenses....................................................................$22,455.30 Programs / Contests / Awards Awards-AWAPA...........................................................................................1.065.00 Award-sPast Presidents..................................................................................671.06 Awards-Programs of Excellence Blue Ribbon Award........................................535.62 Wright Legacy Award.....................................................................................500.00 Contests-Merrill Jones Composition Contest.................................................2,000.00 Contests-William D. Revelli Composition Contest..........................................5,000.00 Total Programs / Contests / Awards...............................................................$9,771.68 Projects Grants-Booth................................................................................................891.00 Grants-Division.............................................................................................500.00 Grants-Symposium........................................................................................700.00 Total Projects.....................................................................................................$2,091.00 NBA Journals............................................................................................18,689.90 The Instrumentalist...................................................................................15,723.00 The Midwest Clinic....................................................................................14,681.04 Commission NBA 60th Anniversary Composition...........................................5,000.00 Total Expenditures...........................................................................................$88,411.92 Net Revenue Operating.......................................................................................$2,816.44 Net Revenue.......................................................................................................$2,816.44 Chase Bank Account 11/30/2021....................$72,761.41 NBA Foundation Investments 12/12/2021....................$61,887.87 WI NT ER 2022

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NBA MEMBERSHIP REPORT 2020—2021

2021 NBA Membership Report (one day snapshot – as of 12-11-21)

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Eastern Division 2016 2017 CT 12 5 DE 7 7 MA 19 9 MD 23 31 ME 2 2 NH 6 12 NJ 13 18 NY 31 37 PA 67 52 RI 6 11 VT 0 0 Div. Total 186 184

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

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

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

2021 10 6 23 33 2 11 24 88 93 23 1 314

North Central Division 2016 2017 IA 18 23 IL 124 138 IN 49 32 MI 12 20 MN 20 21 ND 55 67 NE 7 12 OH 33 26 SD 6 5 WI 149 140 Div. Total 473 484

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

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

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

2021 34 249 53 27 51 68 18 73 13 154 740

Northwestern Division 2016 2017 AK 5 2 ID 4 3 MT 3 1 OR 9 9 WA 13 32 WY 0 0 Div. Total 34 47

2018 4 5 3 26 29 0 67

2019 2 5 4 13 24 1 49

2020 2 7 3 20 27 1 60

2021 1 6 3 26 24 3 63

Southern Division 2016 2017 AL 74 69 DC 2 2 FL 54 50 GA 117 101 KY 31 22 LA 21 14 MS 47 28 NC 23 26 SC 28 25 TN 18 27 VA 78 65 WV 13 17 Div. Total 506 446

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

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

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

2021 93 3 80 126 45 18 66 96 57 46 58 23 711

Southwestern Division 2016 2017 AR 8 10 CO 27 27 KS 7 8 MO 15 16 NM 6 10 OK 6 5 TX 56 50 Div. Total 125 126

2018 16 32 14 14 16 6 72 170

2019 14 28 16 14 13 5 110 200

2020 20 29 21 16 18 7 162 273

2021 18 30 20 17 14 7 163 269

Western Division 2016 2017 AZ 16 13 CA 24 37 HI 6 7 NV 5 6 UT 35 61 Div. Total 86 124

2018 15 60 10 14 91 190

2019 17 48 12 6 107 190

2020 17 52 11 20 113 213

2021 17 48 12 21 123 221

International Division 2016 Australia 0 Belgium 1 Canada 4 Colombia Japan 2 Netherlands Norway 2 United Kingdom 0 Overseas Mil. 1 Div. Total 12

2017 0 1 6

2018 1 0 4

2019 1 1 4

2 1 2 0 1 16

2 1 2 1 1 16

2016 1422

2017 1427

2018 1770

Breakdown 2019 Individual 1165 Institutional 14 Corporate 27 Retired 104 Student 545 Life 62 Past Presidents 15 Total 1932

2020 1277 18 20 114 626 62 13 2130

2021 1321 20 10 132 780 61 13 2337

YEAR NBA Totals

2 1 4 1 1 17

2020 5 0 3 1 2 2 2 2 2 19

2021 5 1 3 1 2 1 2 1 3 19

2019 1932

2020 2130

2021 2337

Top Ten States 2020 2021 IL 206 IL 249 TX 162 TX 163 WI 161 WI 154 GA 132 GA 126 UT 113 UT 125 AL 101 NC 96 PA 77 AL 93 FL 76 PA 93 NC 75 NY 88 ND 60 FL 80

NBA JOURNAL

SUBMITTING PEER-REVIEWED RESEARCH

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

BY MATTHEW TALBERT

T

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

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

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

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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 peerreview process, the an author’s article now has a final layer of review (for accuracy) utilizing other experts within the same subject matter.

The Traditional Research Layout and Value of the Research Article Dr. Russell Gavin, former chair of NBA’s Research (and Editorial) committees, shares his thoughts on the layout and value of these types of articles: A number of peer-reviewed research articles may read like other articles found in the NBA Journal, with the author outlining their thoughts on a subject while using citations to support the premise of the issue being discussed. Other research articles will take on a bit more of a scientific approach. These articles begin with a review of literature summarizing the research on the topic that already exists, while simultaneously presenting the reader with

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).

the rationale driving the current article. A method section follows, describing 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

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How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont. 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 investigation is of paramount importance in all areas of music and education, and the NBA is proud to present this new avenue for such exploration and thought.

Guidelines for Submission of Peer-Review Research Articles A. Submission Method: Manuscripts should be submitted as Microsoft Word attachments via email to the Editorial Committee Chair: Matthew Talbert at talbertm@ ohio.edu.

B. Length: The manuscript should not exceed 25 pages and should include an abstract of 100-150 words in length on a separate page. We encourage the submission of short form articles 88

(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),

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 have been violated by the submission, including images, charts, etc. Manuscripts already published in other journals can be submitted for consideration in the NBA Journal providing the author has permission to do so.

Questions about submitting a peerreviewed article?

Email Research Chair Matthew Talbert at talbertm@ohio.edu

(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 NBA JOURNAL

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