2025 NBA Spring Journal

VOLUME LXV, NO. 3 | SPRING 2025

Featuring

UNIFIED LEADERSHIP, pg. 14

OFFICIAL PUBLICATION OF THE NATIONAL BAND ASSOCIATION

Iconic Legacy … Vision for the Future

Alone we can do so little;

together we can do so much.

~ HELEN KELLER

2

NBA JOURNAL

VOLUME LXV, NO. 3 | SPRING 2025

Committees and Educational Purpose

4

EXECUTIVE COMMITTEE MESSAGES President’s Message

5

President Elect’s Message

7

ABOUT NBA About the Academy of Wind and Percussion Arts

8

NBA Mission Statement

9

NBA Past Presidents

10

NBA Board of Directors 2024 – 2026

11

NBA Award Winners

13

PERSPECTIVE Unified Leadership ~Armon Raygani

14

Conductors as Interpreters: Moving Beyond Mechanics ~John I. Mange, Jr.

17

SPRING 2025

GRADUATE CORNER You've Been Accepted: Tips for a Successful First Year ~Emily Poll & Brittany Barry INTERVIEW A Conversation with Dr. Harry Begian ~Richard Lawrence Johnson

21

24

LEND YOUR VOICE How to Submit Peer-Reviewed Research Articles to the NBA Journal ~Matt Talbert

32

The National Band Association acknowledges and embraces that our organization is strengthened by diversity. We welcome all peoples, inclusive of their culture, economic status, age, gender identity, sexual orientation, ethnicity, race, and abilities. The NBA is committed to including all voices in our organization and invites everyone to join us in the advancement of our mission and educational purposes.

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COMMITTEES & EDUCATIONAL PURPOSE

Educational Purposes OF THE NATIONAL BAND ASSOCIATION

EXECUTIVE COMMITTEE Jason Fettig, President

To promote and empower band performances throughout the world.

Matt Temple, President-Elect Elva Kaye Lance, Vice-President Randall Coleman, Immediate Past President Scott Tobias, Executive Secretary-Treasurer

PROJECT & COMMITTEE CHAIRS Al & Gladys Wright Distinguished Legacy Award, Randall Coleman Alfred Young Band Composition Contest, Audrey Murphy

To encourage and promote the commissioning and performance of new wind band music.

To provide inclusive and authentic professional development opportunities and resources for everyone.

AWAPA Commission, David Gregory Citations & Awards, Heath Nails Constitution & By-Laws, Matt Temple Foster Project NBA Representative, Wolson Gustama Hall of Fame of Distinguished Band Conductors Board of Electors, Thomas Fraschillo

To acknowledge and celebrate the diversity of bands, educators, performers, and band support organizations.

Inclusion, Diversity, Equity, & Awareness, Tremon Kizer Marching Band Committee, Adam Dalton & Bobby Lambert Merrill Jones Composition Contest, Matt Smith National Programs of Excellence, Melinda Mackenzie-Hall NBA Foundation, Susan Creasap

To promote pride, commitment, and enthusiasm among band directors and performers.

Nominating Committee, Randoll Coleman Research Grants, Brian Silvey Selective Music List – Concert, Arris Golden Selective Music List - Jazz, Steve Shanley

To encourage lifelong involvement in music and to support interested students in pursuing musical careers.

Selective Music List – Marches, Col. Don Schofield William D. Revelli Composition Contest, Matthew McCutchen Young Composer Jazz Composition Contest, Richard Stichler Young Composer Mentor Project, Frank Ticheli Young Conductor Mentor Project, Linda R. Moorhouse

To promote an inclusive community among directors, performers, the music industry, and all other band support organizations.

NBA Journal Editor, Matthew D. Talbert NBA Journal Layout & Design, Nash P. McCutchen

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

NBA JOURNAL

PRESIDENT’S MESSAGE

Dear friends,

A

s the school year comes to a close and the joys of summer

await each of us, gratitude is in the air; gratitude for the opportunity to make music, to have relationships with so many people that positively impact our lives, and gratitude to take stock of how we have been— and can be—of service to others and to the communities that are important to us.

I learned many lessons in my time in the United States Marine Corps, but none was more important that what I absorbed about service. We throw that word around a lot in both the military and in the teaching profession, and as we all know, it is a standard official professional requirement of many of us. However, when we are called to serve over and over, as each of us are in many ways in our own lives, there is a transformation that takes place over time. When I joined the Marine Band at 22 years old, I didn’t truly know what it was or how it would apply to my life. I thought I knew what it meant, but I was mostly excited to have a job playing music for a living, and I was focused on the opportunities to achieve and feel validated, rather than to specifically be of service.

Over my years in the Marines, that changed rather dramatically for me. At the end of my time in leadership there, my personal SPRING 2025

feeling of validation largely came from my pride in my service. I became a person who was not only “willing” to do what was asked of me, but eager to do so; my sense of achievement was now inextricably linked to my desire to be helpful and useful to the advancement of the community and the organization. In the common parlance, it feels good to give.

I share this to drive home the point that service need not always be about sacrifice. I think most of us have discovered that being of service can often fulfill us as much as it helps others. I have joyfully discovered that I derive

PROF. JASON K. FETTIG

more pride from being of service than any other accomplishment in my life, and I have found that I often extract more selfconfidence from that identity than anything else. When I see others embodying the same spirit, as I so often do in watching my amazing students work with each other and support one another, I know beyond any doubt this this is the essence of who we were meant to be as humans. We were put here together to enrich each other’s lives with our grace and generosity--and in that process, to also enrich our own.

No one among us in this community must be a musician

... We were put here together to enrich each other’s lives with our grace and generosity--and in that process, to also enrich our own.

and teacher, and no one must be Continued on next page

5

PRESIDENT’S MESSAGE President’s Message, Jason K. Fettig, cont. a member of our National Band

efforts to recognize and nurture

Association. I am grateful for all

pre-service teachers through

proud of what we have given of

of you and your service to your

forming student chapters and

ourselves, and let’s continue to be

community and to this community.

offering dedicated programs to

of service to each other and to our

Everyone who steps us to serve in

help them be inspired and to

collective. Let’s seek our validation

an organization like ours is giving

succeed. We are continuing to

and joy from making a difference

something that is both necessary

confidently develop initiatives

where we can and celebrate the

and lasting to the collective. What

to illuminate the work of

fact that everyone among us

I learned beyond measure in the

underrepresented communities

has something meaningful to

Marines is that one person serving

with new opportunities for

contribute to our essential work

in a place of need is a good thing,

composers and teachers to receive

together. GO BAND!

but when all join hands and serve

mentorship, support, and greater

together, truly amazing things

recognition for their work. We are

happen. We do the same here

launching new efforts to spread

in the NBA, and I hope that you

the word about our organization to

Jason Fettig

will continue to join hands with

build membership in underserved

President

those both in and outside of our

areas of the nation and provide

The National Band Association

organization to serve this special

more opportunities for colleagues

community of artists and teachers

to connect in person. I am excited

and wonderful human beings.

about the future of the NBA, both

So let’s launch into the summer

Yours in service,

in this biennium and well beyond, We are embarking on yet another new chapter for the NBA,

and I thank you for being a part of it.

where we are redoubling our

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NBA JOURNAL

PRESIDENT-ELECT'S MESSAGE

T

To highlight some of our strongest his past spring break, I

players, we programmed two duet

embarked on the music tour

pieces, each one featuring one

of a lifetime, performing

player from each school to create

in Salzburg and Vienna, Austria,

the paired soloists. We concluded

with the New Trier High School

our concerts with Sousa’s Stars

Symphonic Wind Ensemble. What

and Stripes Forever, as well as the

made the tour so unique, however,

Austrian classic, Radetzky March,

was that we combined with the

which is performed at every New

top band from our neighboring

Year’s Day concert in Vienna. As we

high school in Highland Park,

had hoped, the Austrian audiences

Illinois. The director there, Josh

loved the performances!

Chodoroff, and I taught together

One of the highlights of any tour

many years ago, so we were excited

is the opportunity to perform

to work together again. Due to the

the same music multiple times.

pandemic, both of us had small

In this case, not only did the

senior band classes this year. By

interpretation evolve but so did

combining into a single performing

the chemistry of the ensemble. By

ensemble, we were able to fill out

the end of the trip, the students

the instrumentation nicely as well

had truly united their sounds into

as drive down the individual cost

one cohesive ensemble. No matter

of the trip. Remarkably, both of

how long I teach, I am always

our schools eagerly supported the

astounded by the power of music to

partnership and did not get bogged

bring people together. Whether it’s

down in a myriad of red tape as one

abroad on an international tour or

might expect.

in your home concert hall, music

Matt Temple

will always be the magical elixir The combined tour group

that binds us.

rehearsed together once a week for a month and performed a

Happy Music-Making,

pre-tour concert at New Trier just prior to the trip. We programmed

Matt Temple

a combination of Austrian and

President-Elect

American music, plus the Holst

National Band Association

First Suite in Eb for good measure.

SPRING 2025

... No matter how long I teach, I am always astounded by the power of music to bring people together ...

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ABOUT NBA – AWAPA

NBA ACADEMY OF WIND & PERCUSSION ARTS NBA AT ITS BEST

T

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

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

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

If the recipient is not able to be present at that meeting, the award is presented at another prestigious band event where the recipient is properly honored and recognized. The award consists of a silver statuette, a silver medallion, and an engraved certificate. The Academy of Wind and Percussion Arts represents the highest honor which the National Band Association can confer on any individual.

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

AWAPA RECIPIENTS LISTED BY DATE AND YEAR OF PRESENTATION William D. Revelli November 25, 1961

Sir Vivian Dunn March 2, 1973

Nilo Hovey December 16, 1980

Merle Evans December 20, 1986

Kenneth Bloomquist December 18, 1996

James T. Rohner December 15, 2005

Thomas V. Fraschillo December 21, 2017

Karl L. King November 10, 1962

Jan Molenaar July 11, 1974

Trevor Ford December 16, 1981

Hugh E. McMillen December 17, 1986

H. Robert Reynolds December 18, 1996

Frank Battisti December 21, 2006

John Whitwell December 20, 2018

Harold D. Bachman January 9, 1965

Frederick Fennell August 3, 1975

Vincent Persichetti December 16, 1981

Claude T. Smith December 16, 1987

Elizabeth Ludwig Fennell December 17, 1997

David Whitwell December 20, 2007

Richard Crain December 19, 2019

Glenn Cliffe Bainum February 21, 1965

Harry Mortimer August 3, 1975

Clare Grundman December 15, 1982

Warren Benson December 14, 1988

Arthur Gurwitz December 17, 1997

Frank B. Wickes December 18, 2008

Loras John Schissel December 15, 2020

Al G. Wright March 7, 1969

George S. Howard December 16, 1976

Morton Gould December 15, 1982

John Bourgeois December 14, 1988

Russell Hammond December 14, 1999

Ray Cramer December 17, 2009

Bruce Leek December 16, 2021

Harry Guggenheim August 18, 1969

Mark Hindsley March 2, 1978

Karel Husa December 15, 1982

Donald Hunsberger December 19, 1990

William F. Ludwig December 14, 1999

James Croft April 16, 2011

Julie Giroux December 20, 2022

Paul V. Yoder December 18, 1969

Howard Hanson December 13, 1978

Harry Begian December 14, 1983

Edgar Gangware December 19, 1991

John M. Long December 20, 2001

Paula Crider December 15, 2011

Frank Ticheli December 20, 2022

Toshio Akiyama December 13, 1970

James Neilson December 13, 1978

Francis McBeth December 12, 1984

W J Julian December 16, 1992

Raoul Camus December 19, 2002

Mark Kelly December 15, 2011

Gerald Guilbeaux December 21, 2023

Richard Franko Goldman July 23, 1971

Vaclav Nelhybel December 13, 1978

Normal Dello Joio December 12, 1984

Geoffrey Brand December 20, 1995

Paul Bierley June 14, 2003

Bobby Adams December 19, 2013

John Stoner December 21, 2023

John Paynter March 5, 1972

Leonard Falcone December 12, 1979

J. Clifton Williams December 18, 1984

Harvey Phillips December 21, 1995

William J. Moody December 18, 2003

Richard Floyd December 18, 2014

Tim Lautzenheiser December 19, 2024

Roger A. Nixon July 12, 1972

Alfred Reed December 12, 1979

Frank W. Erickson December 17, 1986

Richard Strange December 20, 1995

Earl Dunn December 16, 2004

Edward Lisk December 17, 2015

Traugott Rohner February 11, 1973

Arnald Gabriel December 16, 1980

Neil A. Kjos December 17, 1986

L. Howard Nicar, Jr. October 16, 1996

Victor Zajec December 16, 2004

Linda R. Moorhouse December 15, 2016

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NBA JOURNAL

ABOUT NBA – MISSION S TATEMENT

NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS

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

The National Band Association would like school administrators, teachers, and parents to recognize that students elect to study instrumental music for a variety of reasons, including: as an outlet for creativity, a source of social interaction with like-minded peers, a possible career choice, gratification that comes from recognition by responsive audiences, discipline through study and practice, and service to school and community.

The evaluation of instrumental music programs should be grounded in a review of the educationally and aesthetically justifiable objectives that are explicit in this mission statement.

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

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

Service activities such as marching band are often important to the school and community, and students who participate gain social, educational, and musical values. Because evaluative competition can raise standards and motivate progress, NBA strongly recommends that all bands participate in festivals or contests sponsored by district and state music education associations, especially when a rating rather than a ranking is the goal. However, the integrity of the instructional program can be threatened by a disproportionate emphasis on competitions and servicerelated 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.

SPRING 2025

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ABOUT NBA – PAST PRESIDENTS

PAST PRESIDENTS OF THE NATIONAL BAND ASSOCIATION

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Al G. Wright 1960 - 1962 Honorary Life President

James Croft 1986 - 1988

Finley Hamilton 2008- 2009

John Paynter 1962 - 1966 Honorary Life President

Frank B. Wickes 1988 - 1990

John Culvahouse 2009- 2012

Edward W. Volz 1966 - 1968

Edward S. Lisk 1990 - 1992

John M. Long 2010 Honorary President

William J. Moody 1968 - 1970

Robert E. Foster 1992 - 1994

Roy Holder 2012 - 2014

George S. Howard 1970 - 1974

John R. Bourgeois 1994 - 1996

Richard Good 2014 - 2016

F. Earl Dunn 1974 - 1976

James Keene 1996 - 1998

Scott Casagrande 2016 - 2018

William D. Revelli 1976 - 1978

Thomas Fraschillo 1998 - 2000

Scott Tobias 2018 - 2020

W J Julian 1978 - 1980

Paula Crider 2000 - 2002

Rebecca Phillips 2020 - 2022

Kenneth Bloomquist 1980 - 1982

David Gregory 2002- 2004

Randall Coleman 2022 - 2024

James Neilson 1982 - 1984

Linda Moorhouse 2004- 2006

James K. Copenhaver 1984 - 1986

Bobby Adams 2006- 2008 NBA JOURNAL

ABOUT NBA– BOARD OF DIRECTORS

NATIONAL BAND ASSOCIATION 2024 – 2026 BOARD OF DIRECTORS 2024-2026 Board of Directors

Jason Fettig President

Matt Temple

President-Elect

Chip De Stefano

Elva Kaye Lance Vice-President

Tiffany Hitz

Randall Coleman Past President

Tracy Leslie

Scott Tobias

Executive Secretary

Audrey Murphy

Elem/MS Representative Elem/MS Representative Elem/MS Representative Elem/MS Representative

Brian Covey

HS Representative

Craig Aarhus

At-Large Representative

SPRING 2025

Melissa Gustafson-Hinds HS Representative

Linda Gammon

At-Large Representative

Jerell Horton

HS Representative

Mark Heidel

At-Large Representative

Bobby Lambert HS Representative

Mary Schneider

At-Large Representative

Arris Golden

Univ./College Rep.

Will Talley

At-Large Representative

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DO YOU HAVE Research relevant to the field that you would like to share?

Professional advice or tips that might help other band directors?

Something to say?

The National Band Association welcomes and encourages members to submit articles for possible inclusion* in future editions of the NBA Journal. Peer-reviewed** and non-peer reviewed articles are accepted. The NBA Journal is published quarterly and deadlines/ instructions for submission are as follows:

JOURNAL EDITION

DEADLINE

Winter Edition (published in February)

January 1

Please submit your article in

Spring Edition (published in May)

April 1

Word document format to

Summer Edition (published in August)

July 1

NBA Journal Editor Matthew Talbert:

Fall Edition (published in November)

October 1

talbertm@ohio.edu.

*Articles are published at the discretion of the editor and may appear in a later journal edition or not at all. **For guidance on how to submit a peer-reviewed article, please see page 32.

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SUBMISSION

NBA JOURNAL

NBA NEWS & 2024 AWARDS

NATIONAL BAND ASSOCIATION

AWARD WINNERS

All winners of the following awards are listed at NationalBandAssociation.org/Awards-Recognition

Academy of Wind and Percussion Ar ts (AWAPA) Award Al & Gladys Wright Distinguished Legacy Award NBA Hall of Fame of Distinguished Conductors

Programs of Excellence Blue Ribbon Award The NBA/Alfred Music Young Band Composition Contest The NBA/Merrill Jones Memorial Band Composition Contest The NBA/ William D. Revelli Memorial Band Composition Contest The NBA Young Composers Jazz Composition Contest

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

SPRING 2025

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

13

PERSPECTIVE

UNIFIED LEADERSHIP

BY ARMON RAYGANI

W

14

hat would you be

This buy-in will hopefully then

able to accomplish

translate to ownership, and thus,

with less on your

create or enhance a student-led

Armon Raygani is the Director of Bands

plate? Would you be able to plan

culture within an ensemble.

at Camp Hill Middle & High School where

for better rehearsals? Would you

The main idea is simple: when

he directs all instrumental activities and

be able to go home sooner? These

leadership auditions roll around,

are the questions I hope to answer

award every student who is ready

by sparking this discussion on

with a leadership position. Instead

involving more leaders in your

of students competing against one-

program. In recent years, I’ve

another, they compete against your

re-structured my own program’s

personal standard of what a leader

leadership team to allow for a

should be. For example, if out of

larger pool of participants and

twenty auditionees fifteen are

as a result I’ve seen a big change

responsible enough to lead their

in program buy-in. Whatever

peers, all fifteen should be selected

your current leadership structure

in the eyes of this philosophy.

is, some of these ideas may

That does not mean that each one

complement what you are already

of those fifteen students must be

doing. While a lot of these thoughts

section leaders in the traditional

are brought to you via a marching

sense. Individual roles can be

band perspective, I encourage you

assigned based on each student’s

to apply these same principles

strengths and weaknesses. Some

to other ensembles or even your

strengths that my own students

general classroom management. I

have exhibited have been in

hope that by sharing some of our

clerical tasks, communication,

successes at Camp Hill, that you

management (field lining crew!),

could also be convinced to give this

and in running sectionals, both

system some consideration.

visual and musical.

Let’s unpack what I mean

I first learned about this

when I say “more leaders” in

philosophy from my friend Seth

your program. The root of this

Jones at Spring-Ford High School.

philosophy is to build as much

At the time, Seth was employing

buy-in from students as possible.

this strategy and seeing the buy-in

oversees the Fine Arts Department. He can be reached via email at: araygani@camphillsd.k12.pa.us

for his program increase. Students began to take on smaller tasks that we as directors, and sometimes our staff members, take on. Seth was able to focus his time and energy into tasks that only he as the director could handle. At first, this was a jarring concept to me.

Why would you just give away a leadership position to almost everyone who applies? After giving it some thought, I realized that there is no pedagogical purpose to gatekeeping the experience of leading one’s own peers to an arbitrary quota based on band size. What I noticed was that my leadership teams were more ready to take on tasks without me asking and after some time we were able to easily fit each leader into their own niche. We are not only teaching students about music, but about how to exist in a society Continued on next page

NBA JOURNAL

PERSPECTIVE Unified Leadership, Armon Raygani, cont. where one day they will be tasked

students not to audition because

10-20 leaders. While that is a lot

with leading groups. We want to

they would like to provide the

for a small to mid-size band, we do

train effective and empathetic

space for older students to be

find a specialty for each leader.

communicators who are builders

awarded leadership roles in hopes

of trust. This is at the heart of

that when they are upperclassmen,

Specialization and training

everything we do and selecting

they will be selected. This mindset

happens during the spring and

more leaders who can handle the

was built out of students thinking

early summer months. Each year

responsibility can provide these

that they are in competition with

we host a retreat where students

experiences.

one-another for leadership roles.

not only receive leadership

Now, we have a large turn-out of

seminars but gain hands-on

students signing up for leadership

experience running sectionals

like at Camp Hill. In 2024, the

positions. Not all students are

and setting goals. During this

marching band was comprised of

ready, however, as students who

time, students start to figure out

about 64 students. In the winter

are selected must demonstrate

if they haven’t already what their

months we begin our leadership

good work ethic, accountability,

strengths and weaknesses are

auditions. Every student in grades

and responsibility throughout the

and how they synergize with the

9th through 11th is encouraged

season, not just during the audition

leaders around them. Ideally,

to audition. In past years there

window. Following auditions, we

each section would have its own

has been a tendency for younger

may end up with anywhere from

specialist who is comfortable

Let’s discuss what this looks

Continued on next page

SPRING 2025

15

PERSPECTIVE Unified Leadership, Armon Raygani, cont. running either music or visual

their schoolwork because of the

sectionals. If this does not happen,

heightened expectation on them.

two sections may be paired

This investment has spread to other

together. For example, our tenor

students in my program as well

saxophone section would pair off

beyond just the leadership team

with either the alto saxophones

and thus has taken so many items

or low brass (depending on part

off my plate. I am appreciative

rehearsed) since those two sections

of all my do for the program,

had dedicated specialists for

and I believe that we have all

sectionals. This avoids putting

become a better team through this

a leader who is uncomfortable

experience.

running sectionals in that type of a position and prevents putting

Do keep in mind that every

someone in a leadership position

program is different and what

just so a section can have someone

has worked for my students

to run sectionals. As students

may not work for your students.

enter our Mini and Band camps,

Additionally, it may take time

they get increasingly more time

to see results from this change

to hone their skills under staff

so stay consistent but don’t be

supervision with crystal clear

afraid to make small tweaks to

goals. Often in the early season,

better suit your needs! I sincerely

we task our sectional leaders with

hope, however, that you consider

aiding students in memorization

giving thought to using some of

while we pull students for playing

these thoughts in your leadership

tests. Other leaders may be

program. We have the opportunity

tasked with prepping the field

to provide more experiences for

for rehearsal, communication

kids to get them ready to take on

to section members, leading

the real world, so it only makes

memorization checks, sweeping

sense that we give everyone a

the field post-rehearsal, and other

chance to lead.

duties as assigned. The educational staff for the marching band also plays a role in demonstrating techniques for running sectionals to those students tasked with a more educational role. Much of this framework then transfers indoors to the band room. Students who are invested in the program keep the band room tidy, recruit new members, and are on top of 16

NBA JOURNAL

PERSPECTIVE

CONDUCTORS AS INTERPRETERS:

MOVING BEYOND MECHANICS

BY JOHN I. MANGE, JR.

I

n the second section of

express the music in a way that

their recent book In Pursuit

brings everyone to the same

of Great Conducting (GIA

understanding.” Adam Unsworth

Publications, 2025), H. Robert

says a conductor should show “an

Reynolds and Doris Doyon solicited

understanding of the music that

the opinions of some of Reynolds’

goes above and beyond that of the

John Mange comes to the Michigan Bands from

preeminent former students on

musicians.” Roger Oyster offers,

Stoughton, MA, where he is the K-12 Director of

what separates a good conductor

“Knowing what compelling ‘story’

Fine Arts for the Stoughton Public Schools and

from a great one. The responses

is being told, and how to tell it with

cover a vast range of competencies

nuance and depth, is what inspires

and skills: some utilitarian (“hears

musicians and engages audiences.”

intonation problems and improves

Common to all these ideas is an

them quickly”), some focused on

expectation that the conductor

In the 12 years under his direction, bands in

effective gesture (“is primarily

will offer a meaningful vision.

Stoughton have been awarded numerous 5-star

a visual communicator”), many

And indeed, we neglect musical

ratings at state MICCA and MAJE festivals, and

personality-based (“is humble”).

meaning at the peril of our art.

the Marching Black Knights have also won state

A few of the responses touch on a

When audiences and musicians do

fourth category, which is the topic

not know why they should engage

of this article: the compelling,

with a work or what its expressive

unifying interpretation that the

purpose is, the museum-ification

conductor should bring to the

of that music becomes a serious

music.

possibility.

directs the Marching Black Knights, Symphonic Band, Middle School Honor Wind Band, and Wednesday Jazz Band. At Michigan, he will pursue a D.M.A. in wind conducting.

or regional championships in their division in NESBA and USBands. In March 2024 he conducted the Senior SEMSBA (Southeastern Massachusetts School Bandmasters Association) Festival Concert Band.

Mr. Mange holds a B.Mus. in Trumpet Performance, Music Theory, and Music

Reynolds’ former students

Sometimes expressive

Education from the University of Massachusetts Amherst, and an M.M.Ed. with a Composition

describe this skill in a variety

purpose is self-evident because of

of ways. “A good conductor,”

our current cultural frame. Today,

according to Robert Sullivan,

works inspired by the yearning

“knows the score, has an

for social justice are self-evidently

Educators Journal, and he blogs semi-regularly

opinion about its meaning or

important; little explanation

about music and related topics at www.

expression, and is confident

is needed to communicate the

solamusica.net. He and his wife, Cassia, have

in their interpretation. They

expressive force in Of Our New

SPRING 2025

Minor from the University of Hartford’s The Hartt School. His scholarly research is published in the Journal of Band Research and MA Music

three children.

Continued on next page

17

PERSPECTIVE Conductors as Interpreters ..., John I. Manger, Jr., cont.

Day Begun by Omar Thomas. The

content of the music. Musical

words). So why would Holst title the

same could have been said in 1964

quotations, allusions to other

movement “Song Without Words”

of Warren Benson’s The Leaves are

artistic disciplines, stylistic

when he knows otherwise?

Falling, a musical reflection on the

allusions to other composers or

assassination of President John

bodies of work.

F. Kennedy, or in 1888 of John

3. Structural tropes: non-

that the song would “have no

Philip Sousa’s Semper Fidelis, which

obvious signatures in the

words” when played by a band?

honored the U.S. Marine Corps at

musical structure that interact

This is a possible explanation, if a

a time when patriotism factored

discursively with other music,

little flippant and unconvincing.

enormously in the American

perhaps by way of commentary

Holst, by all accounts, was not a

zeitgeist. The expressive purpose of

or reinterpretation.

very flippant person. And if he

these works was palpable to their

We will examine only the first

truly did not want us to think of

original audiences.

two windows in this article.

the words to the song, why did he

Perhaps Holst merely meant

provide the subtitle “I’ll Love My But not all music worth

Kramer’s approach to

Love” directly in the score? Was the

playing lends itself to this sort of

interpretation (which is known

idea of a band playing a folksong

transparency. Usually, an effort

technically as musical hermeneutics)

so novel to Holst as to necessitate

must be made to help people

is not so much a methodology as it

this odd acknowledgment that no

understand music they are

is an “attitude” toward works and

words would be heard? (It wasn’t.)

unfamiliar with. We must assume a

their composers, characterized

An empathetic posture guides

posture of openness to experience,

by a few specific strategies for

us here: to arrive at a sincere

empathy toward the composer, and

open and empathetic attention to

interpretation, we try to imagine

careful attention to the what and

meaning. When applied to real

the composer’s thought process,

how of the music in order to begin

musical examples, it begins to

given what we know.

to conjecture why.

reveal its interpretive power.

Perhaps Holst did not want

Lawrence Kramer, in the opening chapter of his 1990 book Music as Cultural Practice, explains

18

EXAMPLE 1 (TEXTS): HOLST’S

to capture the subject of the text

“SONG WITHOUT WORDS”

as much as its affect? If this is

In Movement II of Holst’s

the case, then the subject of the

that this sort of investigation begins

Second Suite in F, a clear textual

song would “prime” us to feel its

when we discover something

problem emerges almost as soon

characteristic tension of hysteria

musically “problematical;”

as we begin to study it: Holst’s

with hope, even as we are to hear

i.e. an element we do not fully

so-called “Song Without Words”

the song-in-time in a manner more

understand. He suggests three

indeed has words. The title of the

akin to the Rachmaninov Op. 34

possible “windows” that the

folksong is “I’ll Love My Love.” Its

“Vocalise” (on a “neutral syllable,”

interpreter may use to reveal

topic is a woman committed to

so to speak). This answer seems to

meaning (paraphrased here):

an insane asylum while she waits

do the movement justice, at least,

1. Texts: Lyrics, titles,

fretfully and faithfully for her lover

to take it seriously as Holst would.

program notes, composer’s

sent to sea, and indeed this was

But there is another possibility.

correspondence, etc.

very well-known to Holst (he even

2. Citations: the referential

arranged the song for choir - with

Perhaps, by setting up this NBA JOURNAL

PERSPECTIVE Conductors as Interpreters ..., John I. Manger, Jr., cont. odd paradox, Holst was asking,

as seriously as Taylor Swift.

“What does it mean for a song to

bread and wine with the body and blood of the sacrificed Christ.

have words?” Maybe, for a song to

Conductors need not lay out

There are two curiosities in the

truly “have words,” the text must

their entire interpretive process

way Maslanka chooses to set this

be inextricably married with the

publicly. Rather, they can settle

chorale: first, his harmonization

melody. That is to say, Holst may

on a defensible interpretation, set

is distinctly un-Bach-like and

have been offering a critique:

the tone of a rehearsal with a brief

feels more of a kind with the

either the text did not serve the

meditation on it, and offer a few

16th-century stylistic origins of

music, or the music did not serve

sentences of consideration in the

the chorale than the Baroque

the text (perhaps the injustice

program note or during on-stage

harmonization found in the 371

against the girl in the song is too

remarks. This would be preferable

Chorales (which Maslanka does

terrible to be underwritten by a

to avoiding the topic altogether,

mention in his program note).

pretty melody, even a haunting

leaving musicians (and audiences)

Second, he chooses to repeat

one). Thus the song “has no words”

wondering about the meaning of

the first phrase of the melody, a

in the sense of not having words

texts printed in their parts (and

decision which aligns it more with

that match.

programs).

standard chorale bar form (AAB) since the original chorale does not

The function of all this rumination is that it gets us to think more deeply about the

EXAMPLE 2 (CITATIONS): Heart

have this repetition.

Songs BY DAVID MASLANKA Heart Songs is well-known to

Movement III, “Heart Song,”

musical object and the composer’s

many school band directors, yet

quotes Die Sonn hat sich mit ihrem

process. Not everyone in the

its quotations of Bach chorales

Glanz gewendet (“The sun has

audience will engage on this

are often treated with little

turned with its brilliance”), a

level, but some will; and, as

detail. In fact, Maslanka’s rather

hymn filled with imagery of dusk

Reynolds’ former students told

cursory program note fails to

and the lordship of God over day

us, our deepened understanding

report exactly which chorales he

and night. Concluding Heart Songs

of the music could yield a more

quotes. This omission leads us to

with music associated with the

compelling artistic experience

ask: what is Maslanka’s artistic

close of the day is logical, and

for the musicians. Skeptics who

purpose in leaving out the sources

probably intentional. Knowing

question whether this sort of

of his “heart songs?” And more

that Maslanka has selected a hymn

exercise could actually cultivate

importantly, what exactly is a

about the coming of evening for

musical engagement ought to

“heart song?” Using the chorale

his third “heart song” might even

consider that textual depth is

quotations as our “window,” let us

remind us of another hymn in our

precisely what draws Taylor Swift’s

make a few salient observations

repertoire: the second movement

most devoted fans to her music;

about them.

of Persichetti’s Symphony No. 6,

subtexts and personal narratives that cut across her albums are wellattested and endlessly examined on the internet. We must find the same level of depth in the wind repertoire, or risk not being taken SPRING 2025

which sets the hymn “Round Me Movement II, “Song with Variations,” is based on the Luther

Falls the Night” from his Hymns and Responses for the Church Year.

chorale Jesus Christ, unser Heiland (“Jesus Christ, our Redeemer”), a hymn connecting the eucharistic

These brief observations about the chorale quotations in Heart 19

PERSPECTIVE Conductors as Interpreters ..., John I. Manger, Jr., cont.

Songs reveal much that can be thought over as the conductor

CONCLUSION Regardless of which “window”

makes interpretive decisions.

best fits the interpretational

They could, for example, impact

problem at hand, it should be

programming significantly

understood, above all, that musical

(perhaps the Persichetti Symphony

meaning is a key component of a

would be a meaningful pairing? Or,

conductor’s conceptualization and

channeling the second movement,

preparation of a work. Kramer’s

maybe Jodie Blackshaw’s

approach is really neither new nor

Terpsichorean Dances?). We might

cutting-edge; great musicians have

also come away with a clearer

been doing this kind of thinking

notion of what Maslanka means

all along. What is relatively new is

by “heart song:” it seems that this

its explicit articulation as a way of

category is defined by music that

understanding music.

ponders and treasures the divine.

The second movement’s heart is

In Casals and the Art of

found in sacrificial love; the third

Interpretation, David Blum recounts

movement’s heart is found in

many anecdotal quips from

divine providence. Knowing this,

Pablo Casals that reveal his open,

and probing it even more deeply,

empathetic, attentive thinking

could have a major impact on the

about interpretation. In Chapter I

expressivity of both conductor and

we learn how Saint-Saëns’ A minor

musicians.

Cello Concerto should be informed by its programmatic connections

And what of Maslanka’s

to Beethoven’s Pastoral Symphony.

citational omission? Although

In Chapter II his interpretation

much of his music is grounded

of the trio of Beethoven’s

in Lutheran hymnody, Maslanka

Eighth Symphony leads to his

also draws freely on Buddhist

controversial decision to conduct

tradition and philosophy. Perhaps

it in a swaying one, since it is

he was deliberately avoiding the

“a wonderful barcarolle!” His

dogmas of his Christian source

exhortation closing that chapter

materials, allowing space for the

sums up what should be the core

listener (or performer) to discover

concern of every conductor: “Don’t

the meaning in their own way.

give notes - give the meaning of the

In that case, the project of open

notes!”

interpretation becomes even more essential to our discernment of Heart Songs’ meaning.

20

NBA JOURNAL

GRADUATE CORNER

YOU’VE BEEN ACCEPTED: TIPS FOR A SUCCESSFUL FIRST YEAR

BY EMILY POLL & BRITTANY BARRY EMILY POLL

with other TAs, it is important

Master’s Conducting Student at

you establish a good relationship

Temple University (PA)

because you will be spending A LOT of time together. The better

Hello! My name is Emily Poll and I am currently in my second year of my master’s degree in Instrumental Wind Band Conducting at Temple University. Prior to attending Temple, I was a teacher for three years including being a high school band director. From my experience teaching and just having finished

you can be at establishing both

Emily Poll

of your expectations and goals, the better you can help run the program better. Do the best you can to help each other out – you are both students and will be busy at various times. The more you can do to boost each other up will truly make a happy studio.

my first year of my master’s, I will be giving you some tips and tricks to surviving your first year!

ORGANIZATION TIPS Organization is KEY during your master’s. You will be asked

WORKING WITH TAS Working with other TAs or college staff at first can be very overwhelming. My first year of my master’s, I was one of two TAs, but I was the only instrumental conducting student.

My counterpart was a master’s performance student studying trumpet. While we had two different degrees, I think our different perspectives allowed for us to bring a broader perspective to our positions. When working SPRING 2025

to attend many different events, run many different sectionals/ rehearsals, etc. Having a planner with reminders for what I was being asked to do helped me focus on my to-do lists. Give yourself reasonable goals every day and remember you are human and can’t do everything in one day.

Keep an organized calendar and be prepared to adapt when you need.

Getting scores well ahead of when you conduct also helps give you the time to really dive into them before

Brittany Barry you start rehearsing. The more time you give yourself, the better you will feel by the time you get on the podium. Make sure to have all your gear ready to go each time you conduct too – including having multiple SD cards (because we’ve all been there when they don’t Continued on next page

21

GRADUATE CORNER You've Been Accepted ..., Emily Poll & Brittany Barry, cont. work or go missing) and recording

at your university. You are only at

or research funding? How to

EVERYTHING. This is your best

your school for a short period of

run a band clinic? How to apply

tool at growing in the first years of

time and college is a great way to

for conference performances or

conducting degrees.

get to know people from all over.

presentations? How to interview

Use this opportunity to get outside

for university-level positions? How

NAVIGATING BEING BOTH A

of your comfort zone and make

to navigate difficult conversations

STUDENT AND A TEACHER

lifelong connections because you

with your colleagues? This is your

never know when these same

time to ask!

While we are technically teachers, we are also students.

people might pop up later in your

This is a very interesting position

life.

with your advisor and healthy

to be in because we navigate both worlds. Regardless of your role, it

BRITTANY BARRY

communication is also necessary

is important to be friendly to your

Doctoral Conducting Student at

for setting boundaries and

students and ensemble members.

McGill University (Montreal, CAN)

expectations, both your

These are the people who will be playing for us for two years or so – during this time, treat them with respect. If you do not establish some sort of relationship with these players, you will have a hard time getting them to want to work with you. There are times to be professional and serious and times to be friendly. Finding the balance is key.

Greetings! My name is Brittany Barry and I am currently completing the first year of my doctoral degree at McGill University after graduating last spring with my Master’s in conducting and clarinet performance from the University of Delaware. So you’re pursuing a terminal degree in conducting – congrats! Here are some tips to get

WORK/LIFE BALANCE

you through the first year.

Speaking of relationships, it is important you make time for yourself during your master’s. The degree can be taxing mentally so it is good to have people to go to and things other than band to give you some time off. I have found success in making friends with other master’s students at Temple. They have really helped build me up and give me a space to feel welcome.

The earlier you can get yourself out there and make connections, the more you will enjoy your time 22

Fostering a positive relationship

BUILDING POSITIVE RELATIONSHIPS WITH YOUR ADVISOR(S) It is likely your conducting professor is your primary advisor.

Beside offering you feedback on your craft, they are there to answer any last questions you may have before going out into the world with “Dr.” in front of your name!

Leave no questions unasked. Need to know how to write a conducting syllabus? How to apply for grant

expectations of your advisor and their expectations of you. It is inevitable there will come times where you have far too much on your plate. If you have a healthy relationship with your advisor, they may be able to offer support or deadline flexibility if you are transparent about your workload.

Likewise, it allows you to set boundaries for communication (e.g. no text communication after 9p.m.). Your advisor will be the key to your success, so nurture that relationship the way you would any other!

MAKING THE MOST OF UNIVERSITY RESOURCES There are few things in this world that are free, so take advantage of the things that are!

More than likely, your institution has a writing center or some equivalent that offers resources, sessions, and workshops to help Continued on next page

NBA JOURNAL

GRADUATE CORNER You've Been Accepted ..., Emily Poll & Brittany Barry, cont. you improve your writing, from

as through your school of music.

by inputting everything into my

articles to research grants to your

Diligently check the deadlines,

phone calendar, including when I

thesis. Consider how frequently

especially if they require letters of

plan to go to the gym, do groceries,

you have perused or cited a

recommendation!

and work on grant writing. While

doctoral thesis in your past projects

the to-do list seems never ending,

or writing – that could be your

WORK-LIFE BALANCE PT. 2:

it is imperative to make time for

document! If your writing is going

ENRICHING YOURSELF

yourself and things that inspire

to be available for the world to

Earning your doctorate often

you. We are better musicians,

see, you may as well put your best

feels like running a rigorous,

teachers, and people when we

foot forward. In writing a grant

academic and professional

are inspired. Perhaps this means

proposal, good argumentative and

marathon and it can be challenging

making time to read for pleasure,

analytical writing is key, especially

to balance it all when it feels

go to art museums or concerts, or

when it comes to presenting

like we are not in a position to

meet a friend for coffee or a hike,

yourself and your work in the best

turn down an opportunity that

but whatever it is, make sure it

possible light. The same goes for

can benefit us musically or

makes it on the priority list.

cover letters and letters of interest.

professionally. It may be beneficial

The experts in the writing center

to write out a list of priorities in

are enthusiastic to help you.

order of their importance to you

Also be sure to take advantage of

as this can aid in budgeting your

any and all funding opportunities!

time and energy in an efficient and healthy way. Between

Do your research as most

coursework, research/academic

institutions offer a variety of funds

writing, practicing, professional

for travel, research, professional

development, and “other duties

development, etc. Often, there are

as assigned,” it can feel nearly

funds through the university or

impossible to fit it all into a 24-

campus graduate studies as well

hour day. For years I have stood

SPRING 2025

23

INTERVIEW

A CONVERSATION WITH DR. HARRY BEGIAN

BY RICHARD LAWRENCE JOHNSON QUESTION: Other than yourself,

instrumentation, except that

who served as the principal

I used more clarinets and a

conductors to the Wind Ensemble

saxophone section since I felt that

at Michigan State University?

in the twentieth century, the wind ensemble should be premised on

of music at Coastal Carolina University, Conway, SC. Since 2006, he has served in higher administration, taught conducting, theory, music history and

BEGIAN: Kenneth Bloomquist, Stan

the clarinet. That’s why I used

performance. He also served as interim

DeRusha and Eugene Corporon.

six B-Flat clarinets: two, two and

director of bands during 2015-2017 and

two. I also used an alto clarinet

chair/director of instrumental music

and the saxophones that Fennell

at Salisbury University, 1988-2006. He

tenure?

did not. That came out to a total

earned a BS and MS in music education

of thirty-five or thirty-six players

from the University of Illinois and a DMA

BEGIAN: Leonard Falcone for

without the percussion and without

QUESTION: And prior to your

forty years. There was no wind ensemble during his tenure. When I was hired (1967) at Michigan State University (MSU) the department head, James Niblock, asked me if I would be agreeable to starting a wind ensemble. I said I would since that was about the time that wind ensembles were coming into the picture in universities.

QUESTION: What factors were

accessory instruments such as a

in performance from Michigan State University.

harp or piano. that kind of combination of given In the Symphonic Band, I used

players. That’s how it differs, and

about eighty-six players. The

that is how its role should differ

wind ensemble at MSU was made

from that of the symphonic. In

up strictly of graduate students.

other words, I agree with what

The Symphonic Band, of eighty

(Mark) Hindsley said when he was

or more was comprised of both

asked to include the wind ensemble

undergraduates and graduate

into the band department at the

students.

University of Illinois. He said he didn’t want to go in that direction.

QUESTION: In your opinion,

The director of the School of Music

how does the role (of the wind

told him (Hindsley) that they were

ensemble) differ from that of the

going to start one in the School of

symphonic band/concert at MSU?

symphonic or concert band?

Music. Hindsley got an agreement

BEGIAN: For the wind ensemble

BEGIAN: It’s a small band, and

considered in determining instrumentation and the number of players for the wind ensemble and

I went pretty much with Fennell’s 24

Richard Lawrence Johnson is professor

that since the wind ensemble it should play music written for

was some kind of band, then it should (only) play music that was NBA JOURNAL

INTERVIEW A Conversation with Dr. Harry Begian ..., Richard Lawrence Johnson, cont. music. 2) I choose music that is worthy of the time spent in Dr. Harry Begian

rehearsal; the hours that you have to spend preparing it. 3) The music that I choose must be enjoyable and challenging to the players and it has to be something attractive for the listening audience, because that’s where it eventually ends up.

Those are the bases, those four bases on which I pick music for the wind ensemble and the symphonic/ concert band.

QUESTION: What is your opinion as to the success of various commissioning projects (i.e., CBDNA, university-sponsored, the American Wind Orchestra, etc.) and their influence on the development of the wind ensemble medium?

expressly written for that kind and

want to perform “the mountains”

size of organization and not the

with a large band nor the

music of the concert or symphonic

Hindemith symphony with a wind

band. I agree with that totally.

ensemble.

QUESTION: Would you cite

QUESTION: What factors did you

examples?

consider in determining literature appropriate for the wind ensemble

BEGIAN: The most notable

at MSU?

examples that I can bring to mind, are the Symphony in B-Flat by Paul

BEGIAN: The prime factor is the

Hindemith which was written for

thing that I have always looked

the concert/symphonic band; and

at for in any music that I have

one of the best works that I know

chosen for any group: 1) Good,

to date that’s been written for wind

sincere music, of musical quality.

ensemble, the (Joseph) Schwantner

Of course, that’s a subjective

piece, …. and the mountains rising

judgement that I employ here. It’s

nowhere. I just don’t think I would

what I think is good and sincere

SPRING 2025

BEGIAN: I think it has been just as successful or unsuccessful as the commissioning projects for any other types of bands. I don’t think that the commissioning projects for the ABA, NBA, or all the other band associations have been all that good. The commissions haven’t brought forth very many substantial works of music for either concert/symphonic band or the wind ensemble. With all the music that has been published, I can’t tell you anything that has been especially attractive except the (Krzysztof) Penderecki piece ( the Pittsburg Overture), and Continued on next page

25

INTERVIEW A Conversation with Dr. Harry Begian ..., Richard Lawrence Johnson, cont. as I said, the Schwantner. The

which I played once. I have every

fine job in this area and a scholarly

Schwantner piece I think is one of

reason to want to play anything

job in locating the wind music

the best pieces written for the wind

by Hovhaness, strictly out of

of earlier periods. I think that’s

ensemble. So, I don’t think that

the nationality background (

worthy scholarly research that he

the commissioning projects for

Armenian). But the work has no

and people like him have made.

the wind ensemble have been any

appeal, it didn’t appeal to the

more successful than that for the

players, and it didn’t make a “dent”

QUESTION: What conditions

symphonic band although there

on the audience, and it has no

do you perceive necessary for

has been a lot of “hoopla” about it.

lasting effect on me, musically. So,

the continued development and

Can you name five pieces that have

I just performed the symphony one

growth of the wind ensemble at the

come out of the commissioning

time. In my judgments, it’s a dull

university level?

projects that musically are the

work (the Hovhaness Symphony for

quality of the Hindemith symphony

Band).

or the Schoenberg, Theme and Variations, Op. 43a?

When you talk about outstanding composers, do you have someone in mind that you would like to

QUESTION: Is this rhetorical?

mention? I would like to add Leslie Bassett, Gunther Schuller, Warren

BEGIAN: Well, can you? I can’t,

Benson and Alfred Reed to the list

all right!! By the way, on this

of outstanding composers for the

item…..what about ‘outstanding

wind ensemble.

composers?’

QUESTION: Like question 7B? BEGIAN: Yes, like 7b,….”acquiring new composition from outstanding

BEGIAN: 1) Better music has to be written for the medium, good music – music of quality.

2) the conductors just get away from the view of only playing what THEY want to play while ignoring their players and audiences. That’s no way for musicians to ever conceive

QUESTION: What is your opinion

programming. We must keep

as to the value of historical

the audience in mind. What

research in the discovery of

some conductors are trying

appropriate literature for the wind

to do is change the audience’s

ensemble?

listening habits by fostering only one type of music on them.

composers.” What outstanding composers? Schwantner, Husa,

BEGIAN: I think that is a good

This is intolerable and chases

Schuller and Benson? Yes! The

thing that wind ensembles HAVE

audiences away. We shouldn’t

things I hear from others, I don’t

achieved. I go back to David

do that with a musical audience

regard as works by outstanding

Whitwell on that. He has done a

Continued on next page

composers. I mean, for instance, anyone of the stature of a Hindemith or a Stravinsky?

There just haven’t been any like that. And that’s not the fault of the wind ensemble. I’m just saying that composers like that just aren’t out there in the field.

Even the Hovhaness symphony, 26

NBA JOURNAL

INTERVIEW A Conversation with Dr. Harry Begian ..., Richard Lawrence Johnson, cont.

– that’s bad programming, as

new conductors, Conductors: a

Secondly, I have not heard a wind

well as a bad philosophy. The

New Generation, they might learn

ensemble with a truly balanced

other thing that I have always

something about programming.

ensemble sound with the exception

believed is that the audiences

There is something that comes out

of the Netherlands Wind Ensemble.

are much more intelligent that

very clearly, and is very significant

I don’t especially care for the lean

most conductors (particularly

for wind ensemble conductors and

sonority. I did appreciate the fine

‘wind ensemble’ conductors)

band conductors – all conductors.

quality of the individual players

give them credit for being.

The prominent orchestra

in the Eastman Wind ensemble.

Audiences can recognize

conductors of this generation all

That is the most impressive

quality in music, and recognize

play standard repertoire! You see,

thing about the Eastman Wind

sincere music without having

they HAVE to play to audiences

Ensemble recordings. Other

had it explained to them. They

and have to get those people in

than that, those recordings were

can recognize poorly crafted

the door to hear the concert.

unimpressive to me because

music or a poorly prepared

Otherwise, they don’t have any

of their lack of sonority, poor

performance as well. I think

work and the there is no need for

balances and tempos. It seems

a musical audience is there to

symphony orchestra concerts or

that wind ensemble conductors, by

listen to good music performed

operatic performances. Anyway,

and large, have never considered

well. They are there to be

wind ensembles have to play better

BALANCE for that kind of

entertained with a capital

music, they have got to regard

instrumentation. To me, the wind

“E.” They are not there to be

their audience, and they have got

ensemble instrumentation, if I put

educated or to have something

to program with the audience and

it into simple terms, is no more

forced upon them because the

players in mind!

than a regimental band; almost

conductor says “this is good for

the same instrumentation as a

you; this is really good music

QUESTION: Do you have anything

regimental band that is capable of

because I say so.” I don’t think

else you would like to add?

good technical quality and a high

we should treat a musical audience that way!!

level of musical accuracy. The BEGIAN: I was very curious about the wind ensemble when

What is showing up, is the kind

the idea was first introduced by

of concerts we’re hearing more

Frederick Fennell. Like most

and more of – (that) concerts (are)

band conductors, I was curious

returning back to an earlier time

about any “new” trends in the

in this century when bands had

band medium. Now here was a

standing room only audiences

new trend which I had to try. The

when you have a replication of

longer I tried working with a wind

a Sousa-type band concert. That

ensemble, the less I liked it. For

should tell the wind ensemble

these reasons: First, that kind of

conductors something. The

instrumentation cannot produce

message just doesn’t (seem to) get

the sonority and quality of tone

through. If band conductor should

that one can get from larger group

read the Philip Hart book on the

such as a concert/symphonic band.

SPRING 2025

one thing that is absent from most wind ensembles that I’ve heard (except the Netherlands’) is the seeming lack of expression. This may be attributed to the music played since very little of it seems to make expressive demands on players. The main interest seems to be how high, how low, how fast, how technically rapid and facile, but I haven’t heard very much played that calls for expressivity. If we can’t teach players and music students something about the expressive qualities of music, we’ve 27

INTERVIEW A Conversation with Dr. Harry Begian ..., Richard Lawrence Johnson, cont. taught them nothing! We’ve taught

ensemble now won’t last. They

been interesting, ( YOU know what

them technique, we’ve taught

will get a flurry of performances

I think of that word, “interesting”)

them facility, how to read, but

for one year, and they will be gone.

I haven’t heard anything that would

we haven’t taught them anything

The Schwantner piece you’ll hear,

be in the league with the “Grand

about the most important thing

because the Schwantner is a fine

Partita” (Serenade in B-Flat, K

that the music has,…the thing that

work. It’s a sincere piece. Too

370a), which is probably the first

makes music unique, its ability to

much of the music that’s written

“wind ensemble” piece,..(pause).

express through musical sound.

for wind ensemble is a contrived

So, I regard the “Grand Partita” by

It’s that unique ability to convey

music which expresses little or

Mozart as the first band piece. I

expressivity through musical

no musical beauty or listening

don’t object to the word “band,” as

sound.

pleasure. Also!! If it’s got any kind

you know; there is nothing wrong

a melody that suggests the early

with it. The English still use it

twentieth century, wind ensemble

to describe an orchestra as “the

thirty-five or forty years of hearing

conductors shy away from it. I

band.” Whatever you call it, it’s still

and conducting wind ensembles.

speak with a passion about all

a group of wind instruments plus

The only wind ensemble that

this, because for a long time I

percussion.

has afforded me real listening

thought I must be ‘out of it,’ since

pleasure is the Netherlands Wind

I didn’t buy the wind ensemble

In comparing the

ensemble. I listen often to their

notion after testing it at Michigan

instrumentation, you don’t ask

recordings. I wouldn’t walk across

State University. I thought I must

enough about that! (referring to the

the street to hear a program of

be terribly wrong, since most

dissertation questionnaire) These

“just contemporary music” or “just

conductors were hopping on the

band conductors who are so fond of

wind ensemble music” played

“wind ensemble wagon.” I’m not

the wind ensemble, would also be

by the finest wind ensemble that

the only right guy and all these

fond of just the chamber orchestra

you could name. But I would,

guys – who are good musicians –

of the time of Haydn of roughly

any chance I got, to go and hear

they can’t all be wrong? But as time

thirty-five players! You’ve studied

the Netherland Wind Ensemble,

went by, I came out of that and felt

music history now! The symphony

because they play with musical

that I wasn’t just rationalizing. It

orchestra developed over three

sensitivity and they play music

was in what I heard (musically).

hundred and fifty years and its

of master composers. They don’t

After all, music is sound. If the

literature along with it. Up to the

have the attitude that because

sounds you hear are not good

time of Mahler, the orchestra grew

the piece written by a certain

sounds, why do we have to hear

larger and larger, incorporating

professor at a certain university

the ugly or displeasing sounds

more players, more instruments

deserves to be played, performed,

that can be produced on a musical

and developing more diverse

or presented to an audience. Most

instrument? Why do we have

sounds through such growth. In

composers of the past – (so called

to hear ugly sounds? Why the

looking at the instrumentation

“great” composers) – wrote some

dwelling on just what is highest,

of the symphonic band, which is

things that we never hear anymore

what is lowest on instruments, or

modeled after the instrumentation

because they (the music) have not

that which is fastest, and with just

of the twentieth-century symphony

stood the test of time. Many of the

a chance that maybe something

orchestra, one can see similarities

pieces that we are hearing for wind

musical will come out of it? It’s

I’m not convinced after some

28

Continued on next page

NBA JOURNAL

INTERVIEW A Conversation with Dr. Harry Begian ..., Richard Lawrence Johnson, cont. in balanced instrumentation. Now

The various divertimenti,

whether the composer exploited

cassations and serenades of Mozart

all of those capabilities of the

hint at the development of the

these days ( good music stations)

symphonic band, that’s another

wind instruments and the players

of recorded performances of

story. The ones who are closest

of his time shows that he took

classical music, one can’t help

to it in our time is Percy Granger

them seriously. At the same time,

but notice that there are so many

and Alfred Reed. I think Alfred

I think the “Grand Partita” is a

transcriptions played. Band

Reed is probably the best “band”

landmark!! It’s Fred Fennell, that

conductors, and especially

composer operating now. Alfred

in a conversation at Illinois, when I

wind ensemble directors have

Reed has a craft. Alfred Reed has a

was just in my first or second year

not arrived at the conclusion

background and is knowledgeable

there,….second year, when we had

that all transcriptions are not

enough in styles and types of

the Wind Ensemble Conference at

bad; that there are many good

music. He is studied, he is very

Illinois. We were sitting together

transcriptions. Transcriptions

capable, and he has a command

at a lecture, being given by one of

should be evaluated critically

of his craft and can write in many

the wind ensemble conductors.

and can be good and worthy of

different genres. He doesn’t have

The lecturer had just finished

performance if they are suitable

to “soup” his music up to have it

denouncing all transcriptions as

works for performance by a wind

played. I know,…(pause), your

bad, declaring that they should

band; are faithful to the composer’s

generation of band conductors

not be played by wind ensembles.

original work and transcribed

say it has too much of the same

Frederick Fennell turned to me and

artistically by a highly competent

stuff, so it’s not good. It’s got too

said, “ God, Harry, I don’t know

arranger who knows his craft!! A

much melody in it. What the hell

what these guys are doing! I don’t

transcription for band can be most

is wrong with melody? That’s what

understand the direction that they

unsuitable if the original work is

I’d like to ask most of these guys

are taking the wind ensemble!” He

too pianistic or ‘violinistic’ to be

that shy away from any piece of

said, “You know that I’ve always

adaptable for winds. For instance,

music that employs a recognizable

played transcriptions – this (the

the Pat Gilmore arrangement,

melody in it. Audiences will never

lecture) wasn’t what I had in

in the old Carl Fischer library

turn out for concerts to which

mind when I created the Eastman

of “Moonlight Sonata” (the slow

they cannot relate! They will turn

Wind Ensemble.” He finally said,

movement) for band. Another Carl

out for a replication of the Sousa

“I created the Eastman Wind

Fischer publication that I consider

Band concert. They’ll jam the

Ensemble for two reasons: to get

to be very bad is the octavo-sized

hall!! If band conductors who

bands accepted at the Eastman

“Liebestod” of Richard Wagner. I

favor the wind ensemble would

School of Music, and acceptance in

shall not mention the arranger for

take a hint from that, and take a

the music world.” He felt he could

he was considered one of the better

hint from the Hart book on the

achieve both goals by reducing

American arrangers for band.

“new generation of conductors,”

the size of the instrumentation of

To my mind, the opening of the

they’d get audiences!! (Hart, Philip.

his band - by using only the finest

transcription employs low clarinets

Conductors: A New Generation

players and by performing all the

playing ‘tremolo-staccato,’ - as the

Encore Editions. New York (1983)

music in a highest professional

strings are scored in the orchestra.

ISBN-13: (978-0684163895)

manner. The direction in which

It is an ugly effect when transferred

the other conductors carried that SPRING 2025

idea is entirely a different matter.

In listening to public radio

Continued on next page

29

INTERVIEW A Conversation with Dr. Harry Begian ..., Richard Lawrence Johnson, cont. to alto and bass clarinets.

be played by the harp if Leonard

conductor!!

Transcription isn’t a dirty

Bernstein didn’t say it was all right

Just as the basic sound of

word on P.B.S. It shouldn’t be a

to have his music transcribed for

the symphony orchestra is the

dirty word for band directors. It

harp. Do band directors think

violin (string) sound, the basic

never was a dirty word for me. It

they know better than Bernstein

sound of a wind band, for me, is

was never a dirty word for the great

when they put down such a

the clarinet (woodwind) sound.

Harding (Albert Austin Harding)!!

transcription? A transcription

The one-on-a-part concept of the

I don’t see anything wrong with

that preserves the form of the

wind ensemble can’t possibly

a transcription if the piece is

piece; that preserves the melodic

reproduce the warm and sonority

adaptable to band performance,

procedures in a piece; that

of multiple clarinets. The other

and scored by someone who knows

preserves its harmonic procedures

thing that wind ensembles find

what he is doing. For instance, the

plus the balances makes it viable.

extremely hard to do is create a

“Four Scottish Dances” by Malcolm

Balance! That’s the key word that

suitable balance and blend in the

Arnold that John Paynter did. It’s

wind ensemble directors have not

smaller instrumentation that they

beautifully scored!! That’s artistic

come to grip with yet! Go listening

use. This again may be in the ears

scoring. I do, however, object to

to the Eastman Wind Ensemble

of their conductors, but most wind

transcriptions that are less than

recordings again. Everything that

ensembles sound out of balance

artistic, where some hack did

the first trumpet player plays (who

to me – far different than the

the kind of thing I just described

is a fine player);…..everything

Netherlands Wind Ensemble.

earlier. I think that wind ensemble

he plays you hear. He’s right out

conductors must come to the

front with it! They were excellent

realization that there are two types

players, but I don’t agree with that

of transcriptions – good ones and

kind of a balance. I never did; I

bad ones. How can band directors

never will.

reject all transcriptions as bad after hearing great instrumentalists and

30

The larger band (symphony/

symphony orchestras perform

concert) has in its makeup all

transcriptions beautifully? When

the capabilities to perform the

you hear the works of Bach being

music and to sound lean and clean

played, and being played well by

texturally as a thirty-five piece

guitarists, who are great, very

wind ensemble. In addition, it has

technically proficient,….when

the varied instrumentation and

you hear things like that. When

basic clarinet sectional sound to

you hear the music of Leonard

sound much richer in sonority and

Bernstein being played on a

texture than the wind ensemble

harp, and it comes off very well.

– NOT thicker, as some wind

I again repeat – music is sound!

ensemble conductors would have

Everything is there except it is

us believe. The transparency of the

not being played by the original

wind ensemble can be produced

medium for which it was written.

in the concert/symphony band

You know very well that it wouldn’t

as well. It’s all in the ear of the NBA JOURNAL

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SUBMITTING PEER-REVIEWED RESEARCH

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

T

BY MATTHEW TALBERT

he difference between a peer-

articles are of extraordinary

reviewed research

value, as they often present a

article and the

number of ideas that have been

articles traditionally

effective for the author and may

published in the NBA Journal is

also be effective for the reader.

best described as a difference in

A research article is most often

the vetting process and source

written as a continuation of ideas

material. To have an article

presented in previous articles,

appear as “peer-reviewed” in the

with the motivation drawn

NBA Journal means recognized

from combining the findings

researchers and scholars in the

of those previous articles and

field of music/music education

the author’s own experiences,

will read, evaluate, and then

experiments, or observations. In

recommend whether or not an

building the article in this way,

article should be published,

the validity of the information is

revised or rejected. This process

heightened beyond the traditional

is widely recognized as an

article. These articles are also of

indicator of quality scholarship

extraordinary value as they may

in a particular discipline or field.

also impact the way the reader

Other names for these types

approaches the subject material in

of articles are “scholarly” or

a potentially more generalizable

“refereed.”

way. When incorporating the

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

peer-review process, the an author’s article now has a final layer of review (for accuracy) utilizing other experts within the same subject matter.

Matthew Talbert, Associate Professor of Music Education and Director of the School of Music, joined Ohio University in the fall of 2016. 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).

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 Continued on next page

SPRING 2025

32

SUBMITTING PEER-REVIEWED RESEARCH How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont. articles will take on a bit more of a scientific approach. These articles begin with a review of literature summarizing the research on the topic that already exists, while simultaneously presenting the reader with the rationale driving the current article. A method section follows, describing what actually happened in the research, then a results and analysis section(s) describing what the researcher found, if anything. The article closes with a discussion of the findings and how they may relate to the world. The article concludes with a list of references from which the author drew information and ideas.

If you are inexperienced at reading research articles, you may want to read the discussion section first. This part of the article will explain how the information found in the rest of the article may impact you and others in the article subject community. Oftentimes this is the place where practical ideas will be most clearly expressed; however, taking in the entire article will always give a much clearer view of what the author was attempting to express.

As mentioned above, an ideal research article is adding to the research that came before it. This continuation and growth of Continued on next page

33

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SUBMITTING PEER-REVIEWED RESEARCH How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont. 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: silveyba@missouri.edu B. Length: The manuscript should not exceed 25 pages and should include an abstract of 100-150 words in length on a separate page. We encourage the submission of short form articles (4-10 pages) as well as full-length articles.

C. Cover Page: To ensure anonymity in the review process, the manuscript should contain no clues as to the author’s institutional affiliation or identity. Author’s name(s), address, institution affiliations, and pertinent information should be listed on a separate cover page at the beginning of SPRING 2025

34

SUBMITTING PEER-REVIEWED RESEARCH How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont. the submission. The cover page

of Chicago Press Editorial Staff,

F. Ethical Requirements: It

should also include up to five

2018). Note: Authors may not

is the author’s responsibility

keywords/phrases that describe

combine and/or mix styles within

to ensure that no copyright

the contents of the manuscript.

a single manuscript

issues have been violated by the submission, including images,

D. Style Guide: Manuscripts

E. Tables and Figures: Tables

charts, etc. Manuscripts already

should conform to one of the

and figures may be included

published in other journals can

following style manuals:

with the manuscript, however,

be submitted for consideration

(1) Publication Manual of

these must be publishable

in the NBA Journal providing the

the American Psychological

in black and white. It is the

author has permission to do so.

Association (7 edition, 2019),

author’s responsibility to make

(2) The Chicago Manual of

sure any tables/figures are

Questions about submitting

Style(17 edition, 2017), or

checked for accuracy before

a peer- reviewed article? Email

submission. Additionally, if

Research Chair Brian Silvey at

(3) A Manual for Writers of

any copyrighted materials are

Term Papers, Theses, and

submitted, it is the author’s

silveyba@missouri.edu

Dissertations (K. L. Turabian,

responsibility to provide

9 edition, revised by Wayne C.

documentation allowing the

Booth, Gregory Colomb, Joseph

reproduction of these materials.

th

th

th

M. Williams, and the University

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