VOLUME LXVI, NO. 4 | SUMMER 2026
Featuring
NBA/WILLIAM D. REVELLI BAND COMPOSITION CONTEST CELEBRATES 50 YEARS, pg. 15
OFFICIAL PUBLICATION OF THE NATIONAL BAND ASSOCIATION
Iconic Legacy … Vision for the Future
DECEMBER 16– 18, 2026 | BOOTH 825
You Are Invited GENERAL MEMBERSHIP MEETING THURSDAY, DECEMBER 17, 4:00PM, LOCATION TBD
NationalBandAssociation.org 2 2
NBA NBA JOURNAL JOURNAL
VOLUME LXVI, NO. 4 | SUMMER 2026
Committees and Educational Purpose
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EXECUTIVE COMMITTEE MESSAGES President’s Message
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Vice President's Message
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About the Academy of Wind and Percussion Arts
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NBA Mission Statement
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NBA Past Presidents
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NBA NEWS & AWARDS William D. Revelli Band Composition Contest Celebrates 50 Years ~Matthew McCutchen
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The NBA/Merril Jones Memorial Band Composition Contest
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NBA Award Winners
A Story Of Mentoring As Told by David McKee ~ Susan D. Creasap Book Reviews ~Gary Barton
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INTERVIEW
ABOUT NBA
NBA Board of Directors 2026 – 2028
PERSPECTIVE
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A Musical Dialogue with Composer Derek Jenkins ~Marc Decker
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PEDAGOGY Thoughts on Score Study from Francis McBeth ~Matthew McCutchen
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PEER REVIEWED Edwin Franko Goldman's Premiers and Commissions of Original Music for Wind Band ~Les Hicken
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LEND YOUR VOICE How to Submit Peer-Reviewed Research Articles to the NBA Journal ~Matt Talbert
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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 Matt Temple, President
To promote and empower band performances throughout the world.
Elva Kaye Lance, President-Elect Col. Don Schofield, Vice-President Jason Fettig, Immediate Past President Scott Tobias, Executive Secretary-Treasurer
PROJECT & COMMITTEE CHAIRS Access and Engagement Committee, Mary Crandell & Tremon Kizer Al & Gladys Wright Distinguished Legacy Award, Jason Fettig
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.
Alfred Young Band Composition Contest, Audrey Murphy AWAPA Commission, Linda R. Moorhouse Citations & Awards, Heath Nails Constitution & By-Laws, Elva Kaye Lance 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.
Marching Band Committee, Barry Houser Merrill Jones Composition Contest, Matt Smith National Programs of Excellence, Melinda Mackenzie-Hall NBA Foundation, Susan Creasap Nominating Committee, Jason Fettig
To promote pride, commitment, and enthusiasm among band directors and performers.
Research Grants, Brian Silvey NBA Music List – Concert & Marches, Arris Golden NBA Music List - Jazz, Steve Shanley Social Media, Craig Aarhus
To encourage lifelong involvement in music and to support interested students in pursuing musical careers.
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
M
y favorite part of a new school year is getting to engage with students again. On the whole, everyone is refreshed, recharged and ready to work. I particularly enjoy meeting the freshman students and teaching them how to be successful high school musicians. This takes time, of course, but it is a very gratifying process. When I was a young teacher, I would look at the veteran teachers and ruminate that someday I would be just as relaxed and organized as they appeared to be. The reality, though, is that I still get nervous for the start of school, and in my efforts to try something new, there is always some amount of chaos occurring behind the scenes. What has changed is that I have the perspective to know that everything will work out in the end, and usually for the best! As I begin my presidency of the National Band Association, it is akin to all of the above. I am eager to connect with returning and new members of our organization. Each of us brings a unique voice and perspective to the NBA community. The growth of our organization is rooted in each of our contributions, and it is rarely a linear process. The Executive Committee has charted an ambitious path for the next two years, one that both solidifies the cornerstone projects of the NBA and introduces vital new initiatives. The future of the NBA rests in our ability to spread the good news
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about our organization. You may have seen on our social media channels that we have begun an initiative called “Let’s Band Together.” Melissa GustafsonHinds, who leads the O’Fallon band program and serves as an NBA High School Representative, coined this phrase for a panel discussion that we led together at our state music conference a few years ago. I think it captures the essence of our organization. I encourage each of you to consider inviting a colleague or future music educator to join the NBA. Take a selfie with them and send it to our social media chair, Craig Aarhus, at cha18@ msstate.edu. We will be posting them periodically so everyone can meet the newest members of our organization! Another focus during this biennium will be the continued growth of our collegiate student chapters. Two of our experienced NBA state chairs, Tiffany Hitz and John Stewart, are spearheading this effort. If you are interested in starting a chapter at your college or university, be sure to explore the “Student Chapters” tab under “What We Offer” on the NBA website. A current chapter directory appears there, in case you’d like to connect with other faculty sponsors. In conjunction with the expansion of student chapters, we will launch virtual sessions this fall specifically designed for music education majors and young teachers. These sessions will address
Continued on next page
Matthew Temple
The Executive Committee has charted an ambitious path for the next two years, one that both solidifies the cornerstone projects of the NBA and introduces vital new initiatives. 5
PRESIDENT’S MESSAGE President’s Message, Matthew Temple, cont. practical topics such as preparing to interview, maintaining an instrument inventory and band library, lesson planning, basic instrument pedagogy, etc. Student chapters will be able to select from a menu of sessions, which will be presented by NBA leaders. I am also pleased to announce the consolidation and strengthening of two NBA initiatives. The IDEA (InclusionDiversity-Equity-Awareness) committee was created by Past President Rebecca Phillips during the pandemic, and The Access Collective (TAC) was previously a pilot program under Immediate Past President Jason Fettig. Both committees were doing similar work and had overlap with their members. The committees have combined under the new name, Access and Engagement, and will be led jointly by Mary Crandell and Tremon Kizer. Their purpose is to ensure that all musicians, educators, and students feel welcomed, represented, and empowered within the NBA. A few other important items in short order:
• If you have recently entered
to nearly all of the previous winners.
• The NBA Music Lists will be updated this fall with new pieces and more ways to search for titles.
• Nominations are being accepted for both the Distinguished Legacy Award and the Presidential Medal of Distinction (through your state chair).
• Please keep your eyes peeled for periodic email messages about our organization and be sure to explore our robust website. The cicadas are in full force presently where I live, reminding me of the annual cycles we all experience as band directors. Best wishes to everyone, whether you are in the middle of a marching band season, recruiting new beginners, or simply getting everyone moving in the same direction again. I am thrilled to begin our work together and look forward to connecting with you! Matthew Temple President National Band Association
the profession, you can request a mentor through the NBA website. We are also in need of veteran teachers to serve in this role.
• This year marks the 50th anniversary of the Revelli Composition Contest. The webpage now contains links 6
NBA JOURNAL
VICE PRESIDENT'S MESSAGE
O
ne of the great honors of being a military musician is standing adjacent to history and serving in the presence of influential world leaders. Recently, the United States Air Force Band performed at Senator Lindsey Graham's memorial ceremony in the United States Capitol Rotunda. As we pulled up to unload and head to soundcheck, we entered through side doors and passed through several security checkpoints. Dressed in ceremonial uniforms, we moved through the magnetometers one by one. I was last in line, and as I went through security, a Capitol Police officer stopped me. Thoughts raced through my mind: What did I forget to take out of my pockets? Is there an emergency? The officer stood before me, looked me in the eyes, and asked, "Are you Bob's dad?"
Our role as teachers is to cultivate an atmosphere of safety, trust, opportunity, and belonging. Within that space, students can explore developing talents, discover new passions, and start to figure out who they want to become. As we move into the new academic year, I encourage each
Bob is our youngest child, now a college graduate. It turned out the officer had gone to high school with Bob and played alongside him in band; the two had been friends. Two people with entirely different ambitions, drawn together by the community of band. The moment reminded me how important band is to every student, and how each one carries a personal reason for why it matters. Band brings together people from all walks of life; it is a microcosm of society, forging friendships that transcend status, class, and even time.
Col. Don Schofield
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of us to pause and remember what it felt like to be excited about band as a student. Reflect on what drew you to this community. Every one of your students feels passionately about something band provides, whether it's connection, performance, leadership, or simply belonging. Recognize that passion in your students, and build an ecosystem where it can grow. Take time to experience the joy of what we do, and let your students remind you, through their eyes, how music makes us feel.
COL. DON SCHOFIELD
Vice President National Band Association
Band brings together people from all walks of life; it is a microcosm of society, forging friendships that transcend status, class, and even time. 7
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NBA JOURNAL
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
Eugene Migliaro Corporon December 19, 2025
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"So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it ..." –Aaron Copland
Be part of the world’s largest professional organization for bands, dedicated to promoting the musical and educational significance of bands and the attainment of a high level of excellence for bands and band music. The NBA is open to anyone and everyone interested in bands and stands ready to serve all members of our thriving musical community. 10
JOIN OR RENEW TODAY
NationalBandAssociation.org/join NBA JOURNAL
ABOUT NBA – MISSION S TATEMENT
NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS
BY DR. WILLIAM MOODY | REVISED IN DECEMBER 2009
T
he 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.
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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
Jason Fettig 2024 - 2026
James K. Copenhaver 1984 - 1986
Bobby Adams 2006- 2008 NBA JOURNAL
ABOUT NBA– BOARD OF DIRECTORS
NATIONAL BAND ASSOCIATION 2026 – 2028 BOARD OF DIRECTORS
Matt Temple President
Corey Spurlin Conference Coordinator
Melissa Gustafson-Hinds HS Representative
Jay Gephart
At-Large Representative
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Elva Kaye Lance President-Elect
Sue D. Creasap
Executive Assistant
Jerell Horton
At-Large Representative
Jason Fettig
Vice President
Chip De Stefano
HS Representative
Mark Heidel
Col. Don Schofield
Elem/MS Representative
Tiffany Hitz
Elem/MS Representative
Kevin Shira
HS Representative
Myra Rhoden
At-Large Representative
Scott Tobias
Past President
Executive Secretary
Audrey Murphy Elem/MS Representative
Brian Thomas
HS Representative
Mary Schneider
At-Large Representative
Jennifer Theisen-Gray Elem/MS Representative
Quintas Wrighten College/University Representative
Courtney Snyder
At-Large Representative
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NBA NEWS & AWARDS
2026 FIFTIETH ANNUAL
NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST WHO MAY ENTER:
This contest is open to anyone regardless of age, gender, race, national origin, or professional status.
AWARD:
ENTRY DEADLINE:
$10,000
November 1, 2026
REQUIREMENTS:
A work for Concert Band/Wind Ensemble. Guidelines on style, form, length, and instrumentation are outlined in the contest rules.
ENTRY MATERIALS:
A pdf of the full score plus a digital audio recording of a live performance or recording session must be sent to the chair.
FORMS & MATERIALS: Dr. Matthew McCutchen (e-mail: mccutchen@usf.edu)
Attn: NBA Composition Contest School of Music, University of South Florida, 4202 East Fowler Ave., MUS 101 Tampa, FL 33617
CONTEST RULES & PAST WINNERS: NationalBandAssociation.org/composition-contests NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST COMMITTEE Matthew McCutchen, University of South Florida, Chair Terry Austin
Erin Bodnar
Marcellus Brown
Travis Cross
Arris Golden
Melissa Gustafson-Hinds
Henry Dorn
Chadwick Kamei
Tremon Kizer
Diane Koutsulis
Tonya Mitchell-Spradlin
Lieutenant Colonel Ryan Nowlin
Albert Nguyen
Sue Samuels
Shanti Simon
Retired, Virginia Commonwealth University
UCLA
St. Olaf
Retired, Green Valley HS
University of Memphis
University of North Florida
Michigan State University
Pearl City High School
Penn State University
Furman University
Retired, Boise State
O’Fallon Township High School
University of Central Florida
The President’s Own US Marine Band
University of Colorado Boulder Continued on next page
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NBA JOURNAL
NBA NEWS & AWARDS
NBA/WILLIAM D. REVELLI COMPOSITION CONTEST CELEBRATES 50 YEARS
I
BY MATTHEW MCCUTCHEN
n 1977 the National Band Association named Jerome Sorcsek’s Variations for Band the winner of its first composition contest. In the years since, forty-seven more compositions have been recognized to fulfill the competition’s purpose of encouraging composers to write high-quality music for band. IN THE BEGINNING The NBA’s Composition Contest was founded by John Paynter, Director of Bands at Northwestern University, and Al Wright, Director of Bands at Purdue University, who, not-coincidentally, were the two men responsible for founding the National Band Association 17 years earlier. The stated purpose of the contest was to “encourage composers to write works for band at the university, college, or advanced high school level”. For the first two years of the contest, Wright chaired the selection committee. His recollections (with assistance from his wife, Gladys) of the initiation of the contest are that both he and Paynter were concerned that most of the music available for the wind band at that time was
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either educationally based or an orchestral transcription, and that the NBA was obligated to “do something about it.” Wright further noted the additional challenge that “good” pieces typically did not sell successfully at that time, making established composers reluctant to write for winds without the promise of financial reward. Therefore, he and Paynter resolved to hold a contest that would 1) encourage skilled composers to write for band, 2) reward composers for writing quality pieces, and 3) give composers the opportunity to write without restrictions on length, difficulty, or form. Thomas Dvorak, Director of Bands at the University of Wisconsin-Milwaukee, served as chair of the contest from 1981-1989, and then again from 1992-1994. Dvorak was initially appointed to the committee in 1980, at which point the other members consisted of John Paynter, Frederick Fennell, Fred Ebbs (Director of Bands, Indiana University), and James Neilson (Director of the Educational Department of the Leblanc Corporation). Dvorak
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, is on the John Philip Sousa Foundation Legion of Honor Selection Committee and is a member of the American Bandmasters Association.
recalls, “We evaluated and listened to scores all day at Northwestern University in Evanston, then when finished we returned to downtown Chicago to enjoy the Midwest Clinic. I remember it well, being the youngest member of the committee, in awe of all those gigantic profiles with me, and hoping beyond hope that I had something worthwhile to contribute. Much to my surprise, I received a phone call from Dr. Neilson three weeks later, offering me the Chairmanship of the Continued on next page
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NBA NEWS & AWARDS NBA/William D. Revelli Composition Contest ..., Matthew McCutchen, cont. Committee. From 1990-91 Gary Ciepluch, Director of Bands at Case Western University, chaired the committee while Dvorak was serving the NBA as 2nd Vice President., Ciepluch recalled that the goal was always “simply to find a winner that was a really great piece of music”. He further noted that the contest is a constantly evolving process, but that in the end, when discussion is finished and all opinions are laid on the table, the committee has traditionally been successful in choosing the best piece of music available, regardless of style, form, or difficulty. Terry Austin, Director of Bands at Virginia Commonwealth University, became chair of the contest in 1995 and continued in that position through 2016. In 1999 the NBA’s Board of Directors mandated a rotation system for members of the selection committee to make it align with all other committees in the NBA. Under Austin’s direction, the makeup of the selection committee evolved to include public school, university, and military directors, with the goal of representing a broad geographic spectrum of the United States. Matthew McCutchen, Director of Bands at the University of South Florida, became the chair of the contest committee in 2017 and continues in that position today. 16
SELECTION PROCESS From the beginning of the contest all entries have been sent directly to the chair’s school, where a screening committee, typically consisting of graduate students, area band directors, and other music faculty members, have determined the top six to eight pieces to present to the final selection committee. Initially the final selection process occurred over a two to three day period in Washington, DC. The first committee consisted of a virtual Who’s Who of prominent band directors including Frederick Fennell, W. J. Julian, John Paynter, Lloyd Tarpley, Frank Wickes, and John Thomson. One of the unique aspects of this contest compared with other similar ones is that the winner has always been chosen through discussion forum rather than the more common method of committee members evaluating pieces in isolation, then recording their votes individually for later tabulation. In 1978 - the second year of the contest - the committee decided against naming a winner and no prize was awarded. Al Wright’s recollection was that because Frederick Fennell and William Revelli were championing different pieces, the committee was unable to agree on a winning work. Twice under Dvorak’s chairmanship – in 1982 and 1986 – the committee decided against naming a winning selection.
In both instances the members believed that among the submitted pieces there was not a work of high enough artistic caliber to merit the distinction of receiving this recognition. Both times these decisions were questioned by the NBA Executive Committee who felt the contest would be in danger of losing sponsorship from DeMoulin if winners were not chosen. The consensus of the Executive Committee was that it was pointless to sponsor a contest that nobody could win, and composers could possibly become discouraged by a contest which didn't choose a winner. Thus, they asked Dvorak to look at the results closely and make sure that there was a winning composition. Dvorak took it upon himself to work with DeMoulin to assure that their patronage remained, as sponsorships of this nature were difficult to cultivate, and at the time the NBA was dealing with budgetary issues that would have made it difficult to hold the contest without outside assistance. In 2003 the NBA’s Executive Board, led by President David Gregory, suggested the inclusion of the following sentences on the application: The winning composition should help reflect the mission of the National Band Association in helping further the cause of quality literature for bands in America. Additionally, the work Continued on next page
NBA JOURNAL
NBA NEWS & AWARDS NBA/William D. Revelli Composition Contest ..., Matthew McCutchen, cont. chosen as the winner should be one that not only is of significant structural, analytical, and technical quality, but also is one of such nature that will allow bands to program it as part of their standard repertoire. Although this gives the appearance of a significant shift in philosophy of the competition away from choosing the best piece regardless of difficulty level, that was not, in fact, the intention of the board or the committee. Rather, the intention was to encourage composers to write high-quality pieces that were more accessible to a greater membership of the NBA while not compromising the musical integrity of the competition. THE ORIGINAL RULES OF THE CONTEST In October 1977, the following announcement ran in The Instrumentalist: “The National Band Association will administer a new band composition award contest made possible by an annual grant of $1,000 from William DeMoulin, President of the DeMoulin Bros. & Co., makers of band uniforms. All entries must be received by the committee chairman no later than November 1. The composer will be announced when the winning composition is played by the National High School Honors Band (sponsored by the NBA) at the 1978 meeting of the Music SUMMER 2026
Educators National Conference (MENC) in Chicago on Saturday, April 15, 1978” 1. The competition will be open to any United States citizen who will not have attained the age of 35 years prior to the deadline date for the entry regardless of color, national origin, or religious belief. 2. All entries must be the original and unpublished work of the composer. The work cannot have been previously commissioned. The work cannot be a transcription or an arrangement. This will not preclude the use of a traditional theme. 3. The difficulty of the work should be such that it can be performed by a university, professional, or good high school band. 4. All entries must be submitted with full score and a sufficient number of parts so that it may be performed by a band of symphonic instrumentation. The score and parts must be essentially free of errors, neat, and legible. 5. Competitors are advised to send all entries by registered or insured mail. 6. A tape recording may be included (reel-to-reel or cassette) if available. However, this is not essential.
7. The composer’s name may not appear on any of the materials submitted – score or parts. However, a sealed envelope containing the name, address, and date and place of birth of the composer should be securely fastened to the front page of the score. 8. No time limit has been established for the work. The composition may be in any major musical form and may consist of one or more movements. 9. The instrumentation is expected to generally conform to the symphony band instrumentation established by the NBA and MPA and which is accepted by all major publishers. This will not preclude the composer making minor changes in the instrumentation in order to fit the special requirements of the entry. 10. All persons entering compositions will be advised as to the selection committee’s decision 30 days prior to the premiere performance and award ceremony. 11. Winners may not compete in the year following that in which they win. 12. All performance rights and royalty rights will be retained by the composer. Continued on next page
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NBA NEWS & AWARDS NBA/William D. Revelli Composition Contest ..., Matthew McCutchen, cont. 13. The decision of the selection committee will be final and no correspondence can be entered in connection with the award. If, in the opinion of the selection committee, no work of sufficient musical quality is submitted for any given contest they may elect to issue a “no prize” decision. 14. The committee will take all due care for the safety of manuscripts that are submitted and will return them via insured mail within 60 days after the first performance has taken place.
returned. 2. Composers may enter only one piece per year. 3. The composer's name MUST NOT appear on the score or audio file. Any identifying marks will result in disqualification. The completed entry form should be submitted via email along with the other materials. Since email contains identifying information, the composer's name will be known by the committee chair but will not be shared with the remaining committee members.
CHANGES AND DEVELOPMENTS In 1994, following the death of William D. Revelli, longtime Director of Bands at the University of Michigan, Ann Arbor, the name of the contest was changed to its current designation - the William D. Revelli Memorial Band Composition Contest. Revelli, a passionate supporter of developing the wind band’s repertoire, was serving as President of the NBA at the competition’s inception. As the contest has grown and evolved over the past 50 years, it has undergone numerous changes and adjustments. Several of these become apparent when comparing the 1977 rules to those listed below from the 2026 flyer: 1. Entries must be received by November 1, 2026 and must be original concert band/wind ensemble works that have been composed since January 1, 2025. Materials will not be 18
4. This contest aims to identify works that have the opportunity to enter the core repertoire for fine high school and collegiate bands. Therefore: a) Entries should be no longer than ca. 20 minutes in length. b) Instrumentation should be reasonably accessible to strong high school and collegiate bands. c) Concerti will not be considered. 5. Entries must be submitted with a pdf copy of the full score and an mp3 or other electronic file copy of a live performance or recording session. Electronically synthesized recordings (midi files, etc) will not be accepted for consideration. The winning composer will be required to submit a hard copy of the score for archival purposes.
6. The decision of the contest committee will be final, and no correspondence may be entered into regarding the award. Should the committee consider none of the submitted compositions to be meritorious, a "no prize" decision will be rendered. 7. The winning composer will receive a $5,000 cash award. In the event of a split decision the cash prize will be divided among the winners. 8. All performance, copyright, and royalty rights remain with the composer. 9. The winner will be announced at the NBA General Membership Meeting at The Midwest Clinic in Chicago in late December and subsequently posted on the NBA website. An article announcing the winning composition will appear in the National Band Association's NBA Journal. 10. The winning composer will be asked to include the following statement on the title page and in promotional materials: "TITLE Winner of the 2026 NBA/William D. Revelli Composition Contest." Many of the changes over the years simply reflect the natural growth and adjustments of the contest, technology, and society’s collective conscious. As the NBA has expanded into an international Continued on next page
NBA JOURNAL
NBA NEWS & AWARDS NBA/William D. Revelli Composition Contest ..., Matthew McCutchen, cont. organization, the requirement that the winning composer be an American citizen has been dropped, and as computers have made it easier for young composers to get exposure, the committee found it unnecessary to limit the contest to composers age 35 or younger. Furthermore, the rapid advancement of technology has caused several shifts in the goals and rules of the contest. One of the original aspirations was to help composers publish their works, but with the advancement of computers and home-publishing software, many composers are now self-published, rendering this goal obsolete. Other changes have arisen simply as circumstances deemed the original rules and methods to be out of date, too restrictive, or impractical. For example, originally the same composer was not allowed to win in two consecutive years. However, with Donald Grantham’s pieces being selected in 1998 and 1999, that rule soon fell from the books – a decision that clearly benefitted Steven Bryant in 2007 and 2008. Along those lines, for the first 18 years of the contest, the winning composition was guaranteed a performance at a national or regional music convention (NBA, CBDNA, MENC, or Midwest) the following year. Initially the plan was to have the piece played by the national high school honor band that was assembled for the annual NBA, but that only happened for SUMMER 2026
the first winner. From then on, the piece was performed by a guest military or university band. However, in the early 1990’s a piece won that the NBA was unable to find a band willing to perform these difficult and unusual pieces. As a result, the NBA decided that the guarantee of a public performance was impractical and thus was dropped from the brochure in 1996. As the years pass, committees rotate, technology advances, and tastes change, the William D. Revelli Memorial Band Composition Contest will likely continue to grow and shift with the times. However, the goal of finding the best piece of music to add to the wind band’s repertoire has been and will remain the paramount goal of the competition. SIDELIGHTS John Thomson was named by John Paynter to serve on the first contest committee when he was a graduate student at Northwestern. Interestingly, when asked about his recollections of the early contests, Thomson replied that he was in fact not on the committee until much later when asked to join by Terry Austin several years later. Al Wright’s explanation for this apparent miscue is that Paynter did in fact intend for Thompson to be on the committee but simply neglected to inform him that he had been appointed. In 1980 the selection meeting
was scheduled to coincide with the annual Midwest Convention in Chicago, Illinois, and the committee met in the band room at Northwestern University to determine a winner. Shortly thereafter the annual meeting was moved to the Chicago Hilton to be closer to the convention activities. Several years ago the committee decided to stop accepting concerti for consideration. Before that, six concerti had won, including works for violin, piano, alto saxophone, trombone, and bass trombone. The violin and piano concertos are especially significant as works that feature these instruments are extremely rare in the wind band repertoire. Several of the winning pieces were inspired by poetry and literature. Roush’s Illuminations is based on poems by the composer’s cousin; Iannaccone’s Apparitions draws from Walt Whitman’s poetry; Sylers’s The Hound of Heaven is taken from the poem of the same name by Francis Thompson; and Benson’s The Drums of Summer was inspired by four poets – Henry David Thoreau, Arna Bontemps, Octavio Paz, and a fifth grader named Angel Torres – whose poems reference drummers. Furthermore, Camphouse’s To Build a Fire is a vivid depiction of Jack London’s short story by the same name, Tate’s Between Worlds was inspired by the writings of C.S. Lewis, Colgrass’s The Winds Continued on next page
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NBA NEWS & AWARDS
of Nagual is taken directly from Carlo Castaneda’s Tales of Power and Mackey’s Wine-Dark Sea was inspired by Homer’s The Odyssey. Perhaps most unusually, Mailman’s For precious friends hid in death’s dateless nights was inspired by a single line from Shakespeare’s Sonnet #30. Similarly, pre-existing music is a prominent feature in several of the winning pieces. Bryant’s Suite Dreams is a fantasy on Gustav Holst’s First Suite in E-flat for Military Band, Grantham’s Southern Harmony is a reworking of five shape-tunes from an old South Carolina hymn-book, and his Fantasy Variations explores George Gershwin’s Prelude II for Piano. Johann Sebastian Bach has been featured prominently in the contest as Nelson’s Passacaglia (Homage on B-A-C-H) is designed around his name and Ticheli’s Symphony #2, Tate’s Between Worlds, and Biedenbender’s Enigma liberally quote his works. Finally, along the long, proud wind band tradition of using folk songs as inspiration, our most recent winner is a wonderful reimagination of six African American spirituals. It is also compelling to note that in the beginning years of the contest several of the winning pieces were written in the early years of the composers’ careers. Ring’s Concerto for Piano, Winds and Percussion was his master’s thesis, and Tate’s Between Worlds and Gillingham’s Concerto for Bass 20
Trombone and Band were both dissertations. Syler’s The Hound of Heaven, Youtz’s Scherzo for a Bitter Moon, and Bulow’s Textures were all written while the composers were graduate students. Even the piece that is arguably the best known, Colgrass’ Winds of Nagual, falls into this category as it was his first piece for winds. Thus, the contest came full circle in 2025 when Benjamin Horne won with a piece he composed while a doctoral student at Michigan State University. While the contest has grown and adapted with society, the central goals of the contest have remained relatively unchanged from its inception: Encourage skilled composers to write for band Reward composers for writing quality pieces Give composers the opportunity to write without restrictions on length, difficulty, or form Copies of the winning scores and recordings of the first 32 years are archived in the Diehn Music Library at Old Dominion University in Norfolk, VA. Efforts are underway to add the remaining pieces to that collection.
band repertoire to band directors’ attention) and will spark renewed interest in some works that have fallen out of the public eye. Each of these pieces was, at one time, judged by a panel of experts to have the potential to become important contributions in the literature, and they all deserve to be more widely studied and performed. LIST OF WINNING COMPOSERS AND COMPOSITIONS 2025 Benjamin Horne Spiritual Symphony 2024 David Biedenbender Enigma 2023 Viet Cuong Deciduous 2022 James David Flying Jewels 2021 Frank Ticheli Lux Perpetua 2020 Brian Balmages Love and Light 2019
As we look forward to the next 50 years, it is hoped that this article will assist in the mission of this contest (to bring worthy wind
Omar Thomas Come Sunday Continued on next page
NBA JOURNAL
NBA NEWS & AWARDS Rising Stars ..., Claire Larson, cont. 2018
2009
2000
Wayne Oquin
John Mackey
David Kechley
Song for Silent Voices
Aurora Awakes
Restless Birds before the Dark Moon
2017
2008
1999
James Stephenson
Steven Bryant
Donald Grantham
Symphony No. 2 “Voices”
Suite Dreams
Southern Harmony
2016
2007
1998
Philip Sparke
Donald Grantham
A Colour Symphony
Steven Bryant Radiant Joy
2015
2006
Paul Dooley
Frank Ticheli Symphony No. 2
Masks and Machines John Mackey Wine-Dark Sea 2014 Wayne Oquin Affirmation 2013 Oliver Waespi Audivi Media Nocte 2012 Michael Schelle The End of the World
2005 Philip Sparke Music of the Spheres 2004
Kevin Walczyk Epitaphs Unwritten 2010 Stephen Bryant Ecstatic Waters
1997 Warren Benson The Drums of Summer 1996 Walter Mays Dreamcatcher
Joseph Turrin Illuminations for Solo Trombone and Wind Symphony
1995
2003
1994
David Dzubay Ra!
Donald Grantham Bum’s Rush
Jeffrey Hass Lost in the Funhouse
Samuel R. Hazo Perthshire Majesty
1993 James Syler
2011 Scott Lindroth Passage
Fantasy Variations on George Gershwin’s “Prelude II for Piano”
2002
The Hound of Heaven
Dean Roush Illuminations for Symphonic Band or Wind Ensemble
1992 Ron Nelson Passacaglia, (Homage on B-A-C-H)
2001 Joseph Spaniola
1991
ESCAPADE
Mark Camphouse To Build a Fire Continued on next page
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PEDAGOGY Rising Stars ..., Claire Larson, cont.
1990
1981
Paul Epstein
David Gillingham
It’s…The Adventures of Matinee Concerto: As Broadcast “Live” from the Late Twentieth Century; With Notes
1980
Concerto for Bass Trombone and Wind Ensemble
Byron Tate 1989
Between Worlds
Gordon Ring Concerto for Piano, Winds and Percussion
1979 Harry Bulow Textures
1988 Martin Mailman
1978
For precious friends hid in death’s dateless night, Op. 80
No Award Given 1977
1987
Jerome Sorcsek
Anthony Iannaccone
Variations for Band
Apparitions for Symphonic Band 1986
ABOUT THE AUTHOR
No Award Granted
Matthew McCutchen is the Director of Bands at the University of South Florida. In 1998, as a firstyear graduate student at Virginia Commonwealth University, he was placed on the contests’ screening committee by Terry Austin, the contest’s chair. This led to 25+ years of involvement in the contest during which he has been on the selection committee, served as the chair of the contest, and written a dissertation titled AN EXAMINATION OF THE HISTORY AND WINNING PIECES OF THE NATIONAL BAND ASSOCIATION’S COMPOSITION CONTEST: 19772008
1985 Michael Colgrass Winds of Nagual 1984 Arthur Gottschalk Concerto for Wind and Percussion Orchestra 1983 Gregory Youtz Scherzo for a Bitter Moon 1982 No Award Granted
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NBA JOURNAL
NBA NEWS & AWARDS
MERRILL JONES MEMORIAL YOUNG COMPOSERS BAND COMPETITION WHO MAY ENTER:
Anyone 40 years of age or younger (birthdate on or before November 1, 1986)
AWARD:
ENTRY DEADLINE:
$2,000
November 1, 2026
REQUIREMENTS:
A work for concert band with no restrictions as to style or form. Compositions must be for GRADE III/IV CONCERT BAND and must not exceed eight (8) minutes in length.
ENTRY MATERIALS:
Full score in PDF format and MP3 audio file.
FORMS & MATERIALS: Matt Smith, Director of Bands (maosmith@ku.edu) University of Kansas 124 Murphy Hall 1530 Naismith Drive Lawrence, KS 66045 Attn: NBA/Merrill Jones Composition Contest
CONTEST RULES & PAST WINNERS: NationalBandAssociation.org/composition-contests
NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST COMMITTEE MATT SMITH, University of Kansas, Chair Cmdr. Kelly Cartwright
Brooke Johnson
Scott Pierson
Chris Chapman
Nan Moore
Brian Walden
Central Michigan University
Retired (KY)
Armand Hall
Kelli Pence
Gregory Whitmore
United States Navy Music
Eastman School of Music
SUMMER 2026
University of Delaware
Broken Arrow HS (OK)
Vice-Chief, Army National Guard Bands
United States Navy Band (ret.)
Cal State - Fullerton
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NBA NEWS & 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 Band 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
Outstanding Musician Award Outstanding Jazz Musician Award Music Camper Award Band Booster Award Continued on next page
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NBA JOURNAL
PERSPECTIVE
A STORY OF MENTORING AS TOLD BY DAVID MCKEE BY SUSAN D. CREASAP
W
hen we think of mentoring it is typical to picture a longterm mentor/mentee relationship but not all mentoring works that way. Sometimes a mentor appears through a channel that we did not expect. David McKee, retired director of the Virginia Tech Marching Virginians, shared a very special example of unexpected mentors. His story reminds us that there are always opportunities to make a difference in someone’s life. DAVID MCKEE'S STORY “We are all surrounded by people with clearer vision than we possess – simply stated, they see something in us we can’t see for ourselves. Call it our self-inflicted tunnel vision, our inability to see beyond our shortfalls, or our focus on the personal strengths and weaknesses we tend to focus on as humans. This is a story about Joe and Wayne, two men who saw something in a young band director. Two men whose reach exceeded their touch for me and countless others. Charlotte and I graduated from Shenandoah Conservatory of Music
SUMMER 2026
in 1976 and planned to get married that August whether we had jobs or not. Every spring the conservatory hosted band competitions for the Shenandoah Apple Blossom Festival, and the college students helped administer the concert band event on campus. The Shenandoah Apple Blossom Festival, as well as countless local festivals throughout the nation, were destinations for high school band trips long before theme parks became the destinations of the day.
Susan D. Creasap is Professor Emeritus of Bands at Morehead State University. She earned a D.A. in Wind Band Conducting/ Horn Performance from Ball State University, M.A. in Music Education/Music History from the University of Minnesota, and B.S. in Music Education from Indiana
I worked the stage, moving chairs and stands, while Charlotte served as a judges’ assistant, moving scores, judging sheets, and coffee cups. In our final two years, Charlotte worked closely with a college band director from Tennessee. As you might imagine, the bonus for the college students was after-hours conversation with some remarkable music educators from across the country. Bill Collins, the Assistant Dean of Students at Shenandoah and the individual responsible for hiring the judges, wasn’t a trained musician but had connections that were remarkable. He brought in the best of the best. At the conclusion of our final Apple Blossom Festival, we enjoyed one last conversation among the students
University of Pennsylvania. She is a research associate for the Teaching Music Through Performance in Band series and her numerous clinic presentations include The Midwest Clinic and Kentucky Music Educators Association Conferences. Her awards include the Kentucky Chapter of Phi Beta Mu Bandmaster of the Year (2017), the WBDI Al and Gladys Wright Lifetime Achievement Award (2021), and induction into the WBDI Hall of Fame (2026). Creasap is the “Need a Mentor” coordinator for the National Band Association and chair of the National Band Association Foundation. She currently serves as the primary conductor of the Winds of the Blue Ridge in Roanoke, VA.
Continued on next page
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PERSPECTIVE A Story of Mentoring ..., Susan D. Creasap, cont. and staff. One of the judges was Joseph T. Smith, Director of Bands at Middle Tennessee State University. He told Charlotte and me that he knew a small high school in his area that needed a band director and he thought I’d be a good fit. He told us he would call the principal on Monday. I’m sure we were excited on the outside, but I suspect we both thought, “He has his own students to take care of. Why would he do that for us?” Within a week I heard from the principal of Westmoreland (TN) High School. I don’t recall the entire conversation, but I remember these words to this day. “I don’t know anything about band directors,” Frank Ruckman stated on the phone, “but Joe Smith at MTSU says you’d be great in this position, and his recommendation is enough for me. Please apply for the job.” I took the position and moved to Tennessee, living with Frank and Sylvia Ruckman and their two young boys for a few weeks until I found a small house to rent. About two weeks before we were to get married, Frank bounced into my office on afternoon and asked if Charlotte would like a job - the music position at the local elementary school had just opened. In the flash of a moment, we had two jobs, a wedding, and a move to Westmoreland, Tennessee. In three years at Westmoreland High School, I hope I thanked Joe Smith about 50 times for the confidence he placed in me. 26
In my first fall, I took the Westmoreland marching band to the MTSBOA Marching Festival at MTSU. I don’t recall much about that experience, but I remember a very kind and positive letter I received from Wayne Pegram, at Tennessee Tech University, following that performance. Although I had never met him, his note acknowledged the challenges for a young band in such an environment. More importantly, it encouraged me to keep moving forward. In the spring of 1977, I took the Westmoreland band to concert festival in Nashville. I believe it was their first experience with concert festival, and I’m certain the band director selected music for “the band I wanted, not the band I had.” Regardless of those factors, we received a rating that was tough to swallow for everyone and certainly made me question my career choice. About a week later, I received another letter [see page 25] from Tennessee Tech and recognized the name “Pegram” handwritten above the university’s return address. It is still hard to express how meaningful that letter remains to me. Suffice it to say that Wayne Pegram saved my career. Over twenty-five years later I had the opportunity to thank Dr. Pegram for his letter. We were on a springtime judging panel in Gatlinburg, Tennessee and, without reminding him who I was, I presented him with a framed and wrapped copy of his 1977 letter. I’ll never forget that
grin as he read what he had written to a young whipper-snapper band director! Rarely do we understand the impact of our words. Each of us has been blessed with great mentors throughout our lifetime, and many of us have had the opportunity to pay that forward in some way by mentoring youngsters in the profession. Looking back at my own career, I can’t begin to express how important these two men were in my life. I only taught in middle Tennessee for three years, but the influence of so many remarkable individuals in that region shaped me in positive ways. Mentoring by others shaped each of us; your mentoring helps shape the next generation of music educators.” Isn’t this a great story? Not only is the message clear that every act of kindness makes a difference, but it reminds us to take that extra step and pay it forward. As we approach the coming school year, think about Dave’s experience and consider mentoring in a different way. Or if you need a mentor, reach out to NBA’s “Need a Mentor” project. There is a link on the web page, and we have mentors waiting to help. NBA is about supporting its members and the profession so take advantage of the opportunities it provides. We are all in this together!
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PERSPECTIVE A Story of Mentoring ..., Susan D. Creasap, cont.
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BOOK REVIEWS
Gordon has managed to do both with his guide to starting a new job, whether it be in a new community or an internal move within your district. I must emphasize that the power of this book is in its attention to what not to do as well as advice about what you should do. Revealing one’s missteps is brave as well as generous.
Note To Self A Music Director’s Guide for Transitioning to a New School and Building a Thriving Music Program by Adrian Gordon Leap Year Music Publishing, 2022 ISBN: 979-8-218-04184-7 (paperback) ISBN: 979-8-9866499-0-0 (ebook) 123 pages
“…teaching high school literature to middle school students is not the same as teaching high school students.” I hope this quote from Note to Self grabbed your attention the way it grabbed mine. I search for books that thoroughly exhaust a topic in an easy-to-read manner and are brief enough to be inviting. Adrian 28
Note to Self is easy to navigate and find advice on specific issues. There are ten chapters that get to the point with few wasted words. Topics include: conveying to your students how much you value them, the value of being yourself and avoiding impostor syndrome, what you should do to prepare in advance of meeting the students, advice for your own self-care, wisdom needed to let go of your previous position, changes to expect, advice for building your community, how to handle the possibility that “the grass is not necessarily greener”, presenting concerts that embody your vision, and making your vision happen. Gordon doesn’t just dole out advice and wisdom in his book – he gives you a plan that helps you accomplish your goal. You will find sample communications, technology tips, suggestions for making a video, teaching and management suggestions, guidance in interpersonal skills, and many other hands-on tools. “There just isn’t enough time in college to teach everything” is a
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 Vice-President of the National Band Association, he has written for numerous publications and has done clinics and presentations in sixteen states. He may be reached at bartonglp@gmail.com.
common statement that no one will contest. But there is help available. I look for books that help fill the gap, that will give a head start and that will also help the veteran. Note to Self is too good to miss whether you are a new teacher or a veteran and cannot be more strongly recommended.
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BOOK REVIEWS Book Reviews, Gary Barton, cont.
Students as Teachers Things They Taught Me; Life Lessons They Gave Me by David Gregory Amazon 2026 ISBN-979-8-90190-310-0 (Hardcover) ISBN-979-8-90190-309-4 (Paperback) 160 pages With Students as Teachers, David Gregory has used his unique career to bring us a book that is at once an instructional text, a tool for self-reflection, a commentary, and a warning of sorts. The 160 pages are tightly written with no long portions dedicated to any one subject, making it a fast-paced read and easily navigated reference. Part One is half of the book and contains thirteen brief chapters that are stories of actual encounters with students and others during Dr. Gregory’s career. Some will make you feel SUMMER 2026
good about problems solved, but some might make you a bit uncomfortable. I say this because we all have these experiences and the most important thing is how we handle them. As I read these, I was repeating to myself, “I wish I had read this before ____________ happened.” Every human being has experiences where our actions or words make or break a goal or a relationship. I promise this Part One will be good counsel for anyone who works with people in any career. A bonus at the end of each entry is a brief “Lesson Takeaway” that helps you know how to use the lesson in your own experiences. Part Two contains thirtyone short essays from actual students who reflect upon how these student-teacher-peer group relationships have affected their lives after their time as students. Again, these reflections give us food for thought about how we might treat human interactions, both the pleasant and not-socomfortable ones. Part Three, only nineteen pages, is Dr. Gregory’s candid and frank discussion on the teaching profession. He has committed ideas on teacher preparation and the way we handle ourselves within the profession that will prove controversial for some readers. I enjoyed reading them because, as uncomfortable as his ideas may be to some, I must say that they ring true. I can honestly say that even after
forty-nine years in classrooms, I am helped by this book. Students as Teachers will benefit readers from any profession, but anyone who is entering teaching will avoid some miss-steps just by reading it and using it as a career-long references. Highly recommended.
Adventures in Band Building How to Turn “Less Than It Could Be” into “More Than It Should Be” by Thomas McCauley forward by Mallory Thompson Chicago, Illinois: GIA Publications, Inc., 2016 ISBN: 978-1-62277-173-8 160 pages When I attend conventions, one of my goals is to find at least two books that are relatively small, easy to navigate, and full of content that can be used immediately. It’s even better if the book is a bit “one of a Continued on next page
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BOOK REVIEWS Book Reviews, Gary Barton, cont. kind” and makes me think, “I wish I had this when I was teaching.” Adventures in Band Building by Thomas McCauley is one of the closest to those parameters that I have found. Eleven brief chapters make for a quick reference that you didn’t know you needed. Chapter One walks the reader through the interview process. It is invaluable; my favorite line is, “Does this Job Make Me Look Fat?” Chapter Two details the new job experience, from short and long range planning to working with veteran students and parents. Chapter Three is all about repertoire. There is advice on choosing literature (he says, “I have tenure, so here goes…”) where he gives ideas on good and bad choices, how to set up a concert, and how to handle poor choices before they can do damage. Chapter Four is opinions on score study, Chapter Five is how the score is actually our lesson plan - great ideas to show your administrator. Chapter Six is called “The First Ten Minutes” and is the best capsule on how a rehearsal should begin that I have seen. We all have our ideas on this, but McCauley offers something for everyone. Chapter Seven turns the mirror on us as he discusses the fact that it’s all about the person on the podium, then Chapter Eight is a dissertation on competition that I found exciting, probably because I agree with him; you may not. Chapter Nine is instrument substitution, from missing instruments to 30
strengthening weaker sections; I value every idea I can find on this. Chapter Ten is McCauley’s insights on mental health and chapter eleven is a great listing of proven resources and materials. Thomas McCauley has written a book that is as entertaining as it is informative. There is poignancy as well as humor. I laughed out loud more than once! Written in 2016, I don’t know how I missed this one. Very highly recommended to newcomers and veterans alike.
NBA JOURNAL
INTERVIEW
A MUSICAL DIALOGUE WITH COMPOSER DEREK JENKINS
D
BY MARC DECKER
erek M. Jenkins (b. 1986, Frankfurt am Main, Germany) is an American composer, whose music has been hailed as “instantly evocative” (The American Prize), “a delight – complex, powerful, poignant music making” (Brass in Concert), and “sumptuous and fraught…decidedly current” (San Francisco Classical Voice). His music has been performed throughout the United States, Europe, Canada, Brazil, and Thailand by ensembles and performers including the Cheyenne Symphony Orchestra; the Dubuque Symphony Orchestra; Fountain City Brass Band; Dresdner Bläserphilharmonie; RNCM Brass Band; Czech National Concert Band; Banda Sinfônica Municipal de Hortolândia; Seattle Wind Symphony; the U.S. Army Materiel Command Band; the Youth Symphony of Kansas City Symphony Orchestra; Mid America Freedom Band; the Carinthia, Joseph Wytko, and Saxophilia Saxophone Quartets; Ensemble for These Times; Songeaters; Washington Square Winds; saxophonists Randall Hall, Gilbert Sabitzer, Michael Shults, and Joseph Wytko; trombonist Bruce Faske; and university bands, honor bands, and honors orchestras SUMMER 2026
around the country. He has received recognition from WASBE, Dresdner Bläserphilharmonie's Winds Composition Contest Saxony, the Sonus International Music Festival, the American Prize, the National Band Association, MMTA/MTNA, the Missouri State University Composition Festival, Red Note New Music Festival, MACRO, ASCAP, and at conferences and festivals across the United States and abroad.
Marc Decker is Associate Professor of Music and the Associate Director of Bands/ Director of Athletic Bands at Florida Atlantic University, where he directs the Marching Owls, “Parliament Sound” Pep Band, and Symphony Band. He holds a BME from the University of Illinois and both a MM
Jenkins serves as Associate Professor of Music Theory and Composition at Missouri Western State University and holds degrees from the University of Missouri-Kansas City (DMA Composition, MM Musicology, 2017; BM Composition, BM Theory, 2010) and Rice University (MM Composition, 2013).
and DMA from the University of Iowa. Dr.
In his spare time, Jenkins is an amateur scuba diver and baker, and he daydreams of becoming an astronaut. More information can be found at: www.derekmjenkins.com.
INTERVIEW 1. What inspired you to begin composing?
Decker is an active arranger, drill writer, guest conductor, and adjudicator, and has published and presented nationally on a variety of topics including music teacher preparation, conducting, and pedagogy. He is engaged in numerous professional organizations and is a Past-President of the Florida College Music Educators Association.
I had a wonderful eighth-grade band director named John Oelrich. He did all kinds of fun things with us, including starting a jazz combo that met before school, and he would let us hang out in
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INTERVIEW A Musical Dialogue with Composer Derek Jenkins ..., Marc Decker, cont. the band room early so we didn’t have to stand outside waiting for class to start. Early one morning in the band room, I was learning Pachelbel’s Canon on the piano and played it incessantly. He looked at me and said, “Alright, Derek. You’ve been doing this for weeks. You need to do something different with that piece.” I had no idea what he meant, so he explained that I should try arranging it. So I picked what was obviously the most logical ensemble for Pachelbel’s Canon—a saxophone quintet, and got to work. That arrangement turned out fine, but it left me asking questions. What if I did this? What if I changed that? What if I altered the material? You can do some of that in an arrangement, but at the end of the day it still has to be Pachelbel. So, right afterwards, I attempted my first composition—a rather bloated saxophone quartet built around a motive that just kept spinning for minutes on end. It probably wasn’t very good, but I absolutely loved the process. It wasn’t until high school that I wrote what I consider my first real composition—a short twomovement work for bassoon and piano. I was a bassoonist, so naturally I wrote something for myself to play. But my biggest influence was studying composition with Amy Dunker at Clarke University in Dubuque, Iowa. I studied with her for about three years, and she challenged me to explore ideas more deeply and 32
helped shape the way I thought about music. My parents were equally supportive. At what felt like every other week, I would come home wanting to learn a new instrument. I started on piano, then tried violin for a year before realizing I was definitely not a string player. After that came saxophone, then bassoon. In high school, if the jazz band needed someone to play a flute solo or if the clarinet choir needed a contralto clarinet player, I volunteered. Everyone around me—my parents and teachers—encouraged exploration. I think they hoped I would eventually settle down, but that never really happened. In fact, a few months ago I started taking bagpipe lessons. So that curiosity, a desire to explore new and unusual things, is still very much a part of who I am. 2. Tell us about your compositional process There are two things that have remained remarkably consistent throughout my process. The first is that composing is grueling and starting a piece takes me a long time. I spend an enormous amount of time in the pre-compositional stage thinking about material, exploring ideas, and experimenting with possibilities. It’s a bit like being a kid in a sandbox. I’m just playing around, throwing things together, and seeing what happens. I’m actually in the middle of my
pre-compositional process right now with a brass band piece called Murmurs of Earth. The work commemorates the fiftieth anniversary of the Voyager launch in 2027. I’m a huge space nerd and I love everything related to space exploration, so this project has been a lot of fun. At this beginning stage, I’m immersing myself in the source material, studying the Voyager Golden Record, looking at the music that was selected, and asking questions about what it means. What fascinates me about this project is the tension between what was included and what was left out. How do you represent humanity in a single collection of music? Who gets included and what does that selection say about us? Those questions become part of the creative process. The second thing is that I try to treat every piece as its own unique experience. Of course there are connections between my works. We’re all products of our past experiences, and certain habits naturally follow us from piece to piece. Still, I try to begin every piece without expectations. I don’t want to tell myself that I’m going to recreate a particular sound world or follow a formula that worked before. Instead, I want the material itself to guide the process and I enjoy the challenge of finding something new every time. Even if the finished product ultimately sounds like me, I want to push myself creatively. That’s part of why Continued on next page
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INTERVIEW A Musical Dialogue with Composer Derek Jenkins ..., Marc Decker, cont. the pre-compositional stage takes so long. I’m constantly asking, “Where is my imagination going to take me this time?” People often ask whether I compose at the piano, on paper, or directly into notation software. The answer is all of the above. Every piece eventually begins to tell you what it needs. That sounds a little strange, but it’s true. I usually start with sketches on paper—random ideas, fragments, and experiments. Then I’ll spend time at the piano or sing through ideas. Eventually I move into the computer, but even then it becomes a back-and-forth process between software, paper sketches, and experimentation. There’s no set order, no formula, and no step-by-step process. It’s a struggle to get started, but once I understand what a piece is about and begin writing in earnest, the process moves surprisingly quickly. The hardest part is figuring out what the piece wants to become. 3. In what ways does your musicology background influence your compositions? It depends on the piece and how directly I want that influence to appear. Whenever there's a historical connection, I tend to dive deeply into it. I enjoy the research process and often find creative inspiration in the historical details. For example, I wrote another space-related work that begins with a chant connected to the SUMMER 2026
ancient concept of the "music of the spheres"—the belief that planetary motion creates a kind of cosmic music. Discovering material like that and finding ways to incorporate it into a piece is something I really enjoy.
an ongoing conversation. Someone publishes an idea and another scholar responds, expands upon it, challenges it, or offers a different perspective. Composition works the same way.
Another example would be a brass band piece I wrote called Dreams of America that uses America the Beautiful as a thread running throughout the work. For the opening movement, I wanted to evoke an earlier era of American music-making. To do that, I researched Civil War bands and the instruments they typically used. I reduced the brass band down to roughly seven performers and then gradually expanded the instrumentation as the movement progressed.
Historically, composers constantly interacted with one another's ideas. They borrowed themes, wrote variations, quoted melodies, and responded to earlier works. We sometimes forget that because modern conversations about originality and copyright have changed the way we think about creative ownership. But when I look at music history, I see composers engaging in an ongoing conversation.
Those are fairly obvious examples of historical research influencing compositional decisions, but I also often keep musicology and composition separate. My primary area of research has been the Iowa Band Law. That's related to bands, certainly, but it's a very different kind of work. One moment I'm studying musical scores, and the next I'm reading legal documents and legislative history. Sometimes that change of focus is refreshing. It exercises a different part of my brain. More broadly, though, I think of composition as a dialogue. I tell my students this all the time. In academia, every article is part of
For me, having some kind of historical, philosophical, or narrative touchstone helps ground a piece. It gives me a framework for making decisions. When I have that touchstone, I can say, "I'm choosing this direction because it serves the larger idea." That clarity becomes incredibly helpful throughout the compositional process. 4. For someone who is new to your music, which piece would you recommend they listen to first? That's a difficult question. My first instinct is to recommend We Seven, which is probably my most widely performed piece. A lot of people have programmed it, and it has generated some wonderful conversations over the years. But Continued on next page
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INTERVIEW A Musical Dialogue with Composer Derek Jenkins ..., Marc Decker, cont. then I immediately think, "Well, that was twelve years ago," and if someone wants to understand who I am as a composer today, then I would point you to a piece I wrote more recently, like Bowers Bloom by Water Still. That piece represented a major departure for me stylistically. It is based on a hymn tune, which isn't unusual in my music, but the goal was very different. I simply wanted to write something beautiful. That was the entire premise. I wasn't trying to create a puzzle or an elaborate system, I simply wanted to create an expressive and beautiful musical experience. I enjoyed the compositional process tremendously and would love to explore that approach further in future works. One of the interesting discoveries came after I finished the piece and that was that every pitch in the work comes from the diatonic C-major collection, and that's it. There aren't any of the elaborate pitch manipulations or systems I often use. I simply stayed within that collection and focused on shaping the music expressively. If someone wants to understand where many of my compositional ideas originated, I'd recommend We Seven; but, if they want to hear where I am as a composer today, I'd recommend Bowers Bloom by Water Still. 5. What thoughts would you share with conductors who are programming your works? 34
The first thing I would say—and I think most living composers would agree with this—is that we love hearing from people who are performing our music. I genuinely enjoy those interactions. So, if you're programming one of my works, let me know. I’m also happy to answer questions or join a rehearsal over Zoom. If geography allows, I'm happy to visit in-person. Those conversations are one of the reasons I primarily write acoustic music. I enjoy working with people and being part of the collaborative process. Beyond that, I love seeing what individual conductors bring to a piece. That probably makes me a difficult composer to work with at times because conductors will often ask questions such as, "Did you like that tempo?" or "Would you do anything differently here?" And my answer is usually, "I liked it," because I don't necessarily want every performance to sound like the premiere recording or the studio recording. One of the dangers in our profession is treating a recording as the definitive version of a piece. The mindset becomes that this is the reference recording, so every future performance should strive to replicate it exactly, and that doesn't interest me very much. What interests me is interpretation. A great example is Dr. Joe Parisi at the University of MissouriKansas City. He's programmed We
Seven an extraordinary number of times over the years. Every so often he'll send me a message and say, "I'm taking a little more time here," or "I'm moving this section along a bit more quickly." I love that! What it tells me is that he's actively engaging with the piece. He's finding something meaningful in it at that particular moment and allowing that discovery to shape his interpretation. He's not trying to recreate a recording. He's responding to the music and that's exciting to me. I think of the score as a blueprint. I'm providing the materials and the framework, but it's ultimately the conductor and performers who bring the piece to life. Every builder approaches a blueprint differently, and a carpenter brings unique skills and perspectives to the construction. The same is true of musicians. Every conductor and every performer will bring something different to the music, and I think that's one of the great joys of live performance. In fact, I often joke that I may not be the leading expert on my own music. People usually laugh when I say that, but there's some truth to it. Yes, I wrote the notes. I know the systems, references, and compositional decisions that went into the piece. But when a conductor or performer spends weeks or months living with a work, they often develop Continued on next page
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INTERVIEW A Musical Dialogue with Composer Derek Jenkins ..., Marc Decker, cont. insights that I never considered and connections I didn't realize were there. They bring their own experiences, emotions, and perspectives to the piece, and that can reveal entirely new dimensions of the music. That’s fascinating to me. 6. What do you enjoy most about composing for bands? The first thing that comes to mind is that bands are willing to do almost anything. If a composer wants performers to take apart their instruments, bands will do it. If you want a percussionist to roll a wheelbarrow across the stage, somebody will probably find a wheelbarrow. As a composer, that's wonderful because it means the possibilities are nearly limitless. I also love the flexibility of the medium. With orchestra, there are often fairly rigid expectations. You're writing for a standard instrumentation—double winds, four horns, timpani, a small percussion section, and maybe a harp if you're lucky. The framework is largely predetermined, but bands don’t work that way. One of the things I love about wind ensemble literature is the incredible variety of approaches to instrumentation. Take Michael Colgrass's Winds of Nagual. When you look at the score, it's obvious that Colgrass wasn't thinking, "Here's a standard band and I'm going to fill in the parts." Instead, he was thinking in terms of color. SUMMER 2026
"I need soprano saxophone here," "contrabassoon here," or "six flutes instead of two here." Every decision is driven by the sound he wants to create and that makes his music intriguing. In band music, there's tremendous freedom to think that way. Nobody looks at a band score and asks why there are four oboe parts or only one oboe part. The instrumentation can adapt to the musical idea. That flexibility is incredibly attractive as a composer. Another thing I appreciate is the amount of time bands devote to learning music. Professional ensembles have extraordinary musicians, but they can often only provide limited rehearsal time. A piece might receive two rehearsals and a performance, whereas a collegiate band might spend an entire semester with a work. Students and conductors have time to live with the music. They can explore it, refine it, and develop a deeper understanding of what it's trying to say. That level of engagement is incredibly rewarding, and ultimately, I just love the sound of bands. It's simply a compelling medium. 7. How do you think music will evolve over the next few decades? As a lapsed double-reed player, one trend I think we'll continue to see is a reduction in the use of double reeds, particularly in younger band music. Not necessarily a complete
disappearance, but fewer featured parts and less prominent roles. The reality is that many schools are struggling to find oboe and bassoon players. Everywhere I go, people are talking about the same challenge. There simply aren't as many students choosing those instruments and that's unfortunate because every time we lose an instrumental color, we lose a unique voice within the ensemble. At the same time, I think technology will continue to transform music in fascinating ways. There are now composition students whose primary instrument is essentially a computer. They're creating sounds, designing sonic environments, and composing in ways that would have been unimaginable a generation ago. The definition of what it means to be a musician is expanding and while that raises interesting questions, it also creates incredible opportunities. I think we're going to continue seeing composers blend traditional instruments with technology, electronics, and new forms of musical expression. It's impossible to know exactly where things are headed, but I suspect the next few decades will be incredibly creative. 8. What’s next for you? There are several exciting projects on the horizon. One of the things I'm most looking forward to is my first performance in Asia. This July, a brass band Continued on next page
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INTERVIEW A Musical Dialogue with Composer Derek Jenkins ..., Marc Decker, cont. arrangement of Rock Bottom will be performed at the Thailand International Composers Festival. Unfortunately, I won't be able to attend in person, but I'll be joining rehearsals virtually and following the process closely. As a composer, it’s exciting that my music is reaching new audiences because every performance teaches you something new about a piece, and every ensemble brings a different perspective. Beyond that, I'm currently working on the previously mentioned Murmurs of Earth for brass band. I'm still very much in the exploratory and pre-compositional phase, but I'm hoping the piece will be completed in time for performances during the fiftieth-anniversary
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celebrations of the Voyager mission in 2027. Another project I'm especially excited about involves Brett Baker, the solo trombonist of the Cory Band in Wales. I first met Brett more than a decade ago while studying with Peter Graham at the University of Salford. We recently reconnected at the Royal Northern College of Music's International Brass Band Festival, and shortly after I returned home, I received a message from him asking whether I would be interested in writing a work for cornet, trombone, and brass band. It's a fascinating combination, and it immediately sparked my imagination, which was drawn to Heisenberg's Uncertainty
Principle—the idea that certain pairs of properties cannot be known simultaneously with complete precision. You can know where a particle is, or you can know where it's going, but you can't know both perfectly at the same time. This idea seems particularly well suited for a concerto-like work of paired opposites. So I’ve been exploring the idea of musical opposites—clarity and ambiguity, precision and uncertainty, stability and motion—and seeing how those relationships might be represented musically. At this point, it's still evolving. Like most of my pieces, it will probably change several times before I start writing notes, but that's part of the fun. The early stages are often messy, but they're also where the most interesting discoveries happen.
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PEDAGOGY
THOUGHTS ON SCORE STUDY
FROM FRANCIS MCBETH BY MATTHEW MCCUTCHEN
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hen teaching score study techniques, I start by having my students work through Frank Battisti and Robert Garafolo’s “Guide to Score Study for the Wind Band Conductor”. I then expose them to a variety of articles and papers that outline a methodical, step by step process, often involving colored pencils, specified markings, and lists of everything they should be looking for. Most of these spend considerable time on ways to mark scores to make them easier to learn, read, and decipher. Once the students have spent a couple of weeks leaning the “correct” way to score study, I finish by giving them a copy of a letter that Francis McBeth wrote roughly 40 years ago. I won’t spoil it for you (the complete letter is at the end of this article) but suffice it to say that McBeth’s method was significantly different than that of many other accomplished conductors, and the questions it draws from my students are insightful and important. When I passed the letter out this
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year it occurred to me that this is information that should be shared widely, and since I have a copy of a personal letter that to the best of my knowledge has never been published, perhaps I should make it public. I received a copy of the letter in 1991 when I was in John Carmichael’s Basic Conducting class at Furman University. He got his copy from Dan Ellis, Furman’s first band director, who in turn had received it from his son, Barry, who was the Director of Bands at the University of Wisconsin-Platteville.
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, is on the John Philip Sousa Foundation Legion of Honor Selection Committee and is a member of the American Bandmasters Association.
Unfortunately, Dan and Barry have both passed, so I reached out to Barry’s widow, Terri, to see if she knew the origin of the letter and would allow me permission to share it with a wider audience. She replied: Thanks for sharing a copy of the letter from Francis McBeth and giving me a chance to revisit a time many years ago. We both loved visiting with Francis in our collegiate days as Francis played under my father-inlaw’s baton in the Army Band. Francis was a close friend of
the family. When we moved to Illinois, we caught up with him as a guest clinician in a summer symposium at the University of IL in 1987 and enjoyed a great walk down memory lane. This turned into many more years of connection. It is too bad there is no date on this letter. It is likely that is was written in 1991, the year you received it at Furman. We often visited with Francis at the Midwest Band and Orchestra Clinic, and Barry would have discussed his plans for completing Continued on next page
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PEDAGOGY Thoughts on Score Study from Francis McBeth ..., Matthew McCutchen, cont. his dissertation at the University of IL. It is likely that Barry shared a copy of ideas for his thesis with Francis and wanted his opinion on the topic. I think it is great to share this with others and love Francis' down-to-earth and frank discussion regarding score
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marking and preparation. I could hear Francis’ voice as I read the letter! I am pleased to have the opportunity to make this important letter available to a wider audience. McBeth’s wisdom, insight, care,
and passion are all evident, and isn’t it wonderful to think back to a time when people would take the time to thoughtfully craft a long reply to the questions of an eager student? Please enjoy. Continued on next page
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PEDAGOGY Thoughts on Score Study from Francis McBeth ..., Matthew McCutchen, cont. LETTER TO BARRY ELLIS FROM FRANCIS MCBETH
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PEER REVIEWED
EDWIN FRANKO GOLDMAN’S PREMIERES AND COMMISSIONS OF ORIGINAL MUSIC FOR WIND BAND LES W. HICKEN
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dwin Franko Goldman (EFG) and his Goldman Band raised the standards of wind band performance to rival the artistic status of the orchestra in the minds of the American public. Goldman accomplished this by targeting improvement in the quality of wind band repertoire while encouraging preeminent composers of the day to write original works for concert bands.1 Research at the Special Collections in Performing Arts Library at the University of Maryland and exploring program books from the Goldman Band concerts and the American Bandmasters Association Convention Programs revealed the framework wherein his vision could be realized. Subsequent research at the Bentley Historical Library, University of Michigan plus the examination of dissertations, journal articles, and personal correspondence suggest that many of the goals and principles that Goldman conceived earlier in his career created an atmosphere in which composers writing original music for the wind
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band could flourish. The purpose of this study is to explore how Goldman and his relationship with significant composers created an environment in which wind band music could grow and become respected in American musical culture. GOLDMAN’S VISION Goldman wanted to elevate the programming of band concerts to include more than a collection of orchestral transcriptions, popular music, and marches to be performed for the public. Richard Franko Goldman summarized his father’s approach to this goal: The practice of commissioning new works for band has proven a great stimulus to the broadening of the repertoire, as has that of instituting contests and competitions. Clinics, or meetings, for the reading and discussing of new works have also proven valuable.2 When Goldman first started his quest to create a professional
Leslie W. Hicken, Professor Emeritus and the Charles E. Daniel Professor of Music, taught on the faculty of Furman University from the fall of 1993 until his retirement in 2019. Within the music department, his responsibilities included the directorship of the Symphonic Band and Wind Ensemble; professor of music education and instrumental conducting; and Assistant Director with the Marching Band. He was also the Director of the Furman Music by the Lake Concert Series and the Lakeside Concert Band. Dr. Hicken is Conductor Emeritus of the Carolina Youth Symphony. In 2002, he was elected into the American Bandmasters Association and in 2010, he was inducted into the South Carolina Band Directors Association Hall of Fame. Dr. Hicken received his Bachelor of Performance degree from the Eastman School of Music, a Masters of Arts in Teaching from Teachers College, Columbia University, and a Doctorate in Music Education from Indiana University.
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. wind band that could maintain a sustainable existence through concerts created for public consumption, he wrote an article for the Musical Courier in 1924: I believe that some day [sic] the band will be standardized and as soon as we take the good points of band formation from each country and mould [sic] them into a harmonious whole, all concert bands will be able to perform the same music, the general tonal effect will be improved, and I even go so as to believe that the great composers will begin to write some of their work directly for bands.3 He reiterated this point in a letter to his friend, Edward N. Waters, in 1946: …if the band were to survive and be a worthwhile medium for the expression of music, it would have to acquire a repertoire of its own and not depend solely upon transcriptions and arrangements.4 BAND COMPOSITION
band that year.5 Goldman contacted two of his colleagues to act as the adjudicators for this event. Percy Grainger and Victor Herbert were composers whose compositions were performed by the Goldman Band and were held in high regard by Goldman. They studied scores from many composers who submitted works to be considered for this prize. Herbert wrote Goldman that: …after having devoted considerable time to looking over the various band compositions submitted to me, I have no hesitation in saying that the work "A Chant from the Great Plains" deserves the prize. It is the work of a splendid musician, and one who understands artistic band scoring thoroughly. The composer shows originality and ability in regard to form and thematic development. Several other works were quite good and of superior quality.6 Grainger agreed with Herbert:
CONTEST OF 1919 To achieve this ambitious goal, Goldman began promoting ways to entice prominent composers to write for the wind band during the early years of the Goldman Band. His first project was to sponsor a Band Composition Contest in 1919 with the winner receiving a cash award for selection as the best composition written for wind 50
After having studied the assemblage of compositions for military band sent into your prize competition, I have no hesitation in considering the “A Chant from the Great Plains” (motto “Dum spiro, spero”) as outstandingly deserving of the prize, in my opinion, as this composition not only displays a
wider range of creative gifts and more emotional expressiveness than any of the others, but also treats the subtle tonal palette of the military band with a very sensitive appreciation of its varied possibilities..7 Grainger was also very impressed with the quality of the compositions submitted for the contest: Not that “A Chant from the Great Plains” is the only work of outstanding merit submitted to your contest. The large number of compositions submitted cover, in several cases highly successfully, almost every type and form of music ranging from simple popular march style to complex symphonic poems, and not a few of the composers evince a grasp of military band scoring that is most laudatory.8 The winner of this competition cited by Grainger as the composer of A Chant from the Great Plains was Carl Busch. He was a teacher and conductor of local concert musical organizations and became active in the college and public school band movement in the thirties. At that time, Busch was also the conductor of the Kansas City Symphony Orchestra. During his career he wrote many works for wind band that were performed by national and international ensembles.9 The story behind Busch’s Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. creation of this piece is quite interesting. He began writing musical ideas for the composition in 1900. The project reflected his interest in the folklore and music of the American Indian. The composition is conceived around the Indian melody The Song of the Spirit. Unfortunately, the original score was lost in a Kansas City Studio Building fire that destroyed the manuscript in 1907. The musical ideas of this piece laid dormant until he was inspired to take up the project again in 1919 when he became aware of the Goldman Band Composition Contest.10 The work was premiered by the Goldman Band on July 5, 1920 with Goldman conducting.11 The composition attracted the interest of band directors around the country and became a required number for Class A bands at the National Band Contest in Chicago during December of 1929. In spite of the fact that the piece has dropped out of the standard band repertory, A Chant from the Great Plains holds a significant place in band repertoire history as the winner of the first composition competition for wind band music in the twentieth century.12 EARLY COMPOSITIONS BY FRIENDS AND COLLEAGUES During the early years of the Goldman Band, Goldman was able to premiere new works for band written by many of his colleagues. The most significant SUMMER 2026
composer to write for the Goldman Band during this early period was Percy Aldridge Grainger. Grainger developed a friendship with Goldman that lasted until Goldman’s death in 1956. This relationship began in 1918 when Goldman programmed the premiere performances (for Goldman’s New York Military Band) of Grainger’s Gumsuckers March, Irish Tune from County Derry and Shepherd’s Hey.13 Grainger remained active during the 1919 season conducting the premieres of Children’s March: Over the Hills and Far Away, and the band version of Colonial Song with Goldman’s New York Military Band on June 16, 1919.14 In fact, Goldman would program Irish Tune from County Derry for his concerts over one hundred times during his tenure with the Goldman Band.15 Grainger also premiered and conducted Molly on the Shore with the Goldman Band on June 18, 1920.16 Grainger continued to write significant literature for the Goldman Band throughout the rest of Goldman’s career. The fact that all of these pieces remain significant compositions in today’s repertoire is a testament to the unique vision that Goldman had for the future of the wind band movement in America. In addition to Grainger, Goldman supported colleagues in the composition world by premiering many of their original pieces for band. Most have fallen from favor over time, but
a few still stand out from this period. Composer Henry Hadley premiered and conducted Flower Suite, June 13, 1919, with the New York Military Band;17 M. L. Lake’s Overture Americana was premiered by the Goldman Band on June 20, 1919;18 and Del Staiger premiered International Fantasie with the Goldman Band on July 16, 1929.19 GOLDMAN’S MARCHES Goldman himself contributed as an active composer during the beginning of his career. He began writing marches while he was still performing as a member of the trumpet section with the Metropolitan Opera House at the beginning of the twentieth century. Initially, Goldman reported that his first march, The Spirit of Peace, was written in 1909 and was premiered by the Seventh Regiment Band at a concert on August 14, 1909 in Central Park.20 However, there are documents which suggest that this was indeed not his first march. He also composed two marches during this time, The League and Commencement, which were performed before this date with his ad hoc orchestra.21 In addition, press releases dating from 18931912 suggest that four other marches were performed by his orchestra; Larchmont Yacht Club, Alma Mater, Blizzard, and Packard. It is interesting to note that these six unpublished manuscripts cannot be found on any listings of Goldman’s march compositions or in the Goldman Band Library. 22 Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. Goldman became active writing for the Goldman Band early in the development of the ensemble, premiering numerous marches for each season, some of which remain in the repertoire today. Among them are The Chimes of Liberty,23 June 12, 1922; On the Go March, June 15, 1925;24 and The A. B. A. March, June 16, 1930.25 ON THE MALL EFG’s most famous march, On the Mall, has an interesting history to share. Goldman was busy making plans in March 1923 for the first season of his concert series that was moving from Columbia University to Central Park. During this period, he hastily wrote two marches for the 1923 season. One was The Emblem of Freedom, dedicated to his friend Leo Doblin, and another was On the Mall, dedicated to the donor of the Central Park bandshell, Elkan Naumburg.26 Goldman
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Goldman confessed that he had not performed the piece that evening. He promised the publisher that he would insert the march into their June 25 program and added it to the printed programs for the concert.28 By happenstance, Mr. Naumburg contacted Goldman letting him know that he indeed wanted to hear the march before he left for the countryside on June 18. Goldman relented and agreed to add the march as an extra number to their June 17 performance.29
read through On the Mall during rehearsals for the 1923 season and his first reaction to the march was that he did not like it at all. His distaste for the march was such that he did not program the composition into the first concert of the season on June 4, 1923.27
On the evening of June 17, one of Naumburg’s nieces called Goldman to say that their uncle was not feeling well and would not be able to attend the concert. However, she and her sister would attend so they could report to their uncle about his march. Goldman saw this as an opportunity to avoid playing On the Mall. He switched into the program an untitled march manuscript and introduced that piece to the audience as On the Mall. The young ladies were pleased with the march and shared with their uncle that it was indeed a fine tribute to him. Goldman realized that he was not being honest with Naumburg’s nieces, but he disliked the piece so much, he could not bear to play it.30
The Carl Fischer company had already designated the march for publication, and they were expecting the piece to be performed at this first concert. They contacted Goldman to ask him how the audience reacted to the march. Caught in his deception,
In order to please his publisher, Goldman had to play the real On the Mall at his June 25, 1923 concert in spite of his distaste for the march. Apparently, Goldman actually held his nose while the band performed the march during the concert.31 Much to Goldman’s surprise, the
audience loved the piece: When we finished, however, I was the most astonished man in the world. The spontaneous applause and enthusiasm really overwhelmed me. I couldn’t believe it and I looked to some of my friends in the first rows in bewilderment. After acknowledging the applause with five or six bows we were compelled to play it again, and then even a third time.32 The popularity of the march caught fire and Goldman ended up performing the march at all of the remaining concerts during that season. Goldman noticed that after a while the audience began to whistle the melody of the trio along with the band. Goldman thought that was a great idea and added the singing of “La, La, La” as an extra verse. This tradition took root and audiences whistle and sing during the trio at every rendition of On the Mall that is played around the world.33 In the fall of 1923, Goldman was informed that the Naumburg Band Stand was completed and in condition to be formally dedicated. Mr. Naumburg requested that On the Mall be added to the program of Franz Kaltenborn’s Orchestra at the Band Stand and that Goldman should be invited to conduct the march. Goldman did attend the ceremony and conducted the piece for Mr. Naumburg. Goldman apologized to Naumburg for his Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. earlier deception with his nieces, but Naumburg seemed to enjoy the story and “they both had a good laugh about it.”34 AMERICAN BANDMASTERS ASSOCIATION With the formation of the American Bandmasters Association in 1929, Goldman had another venue to pursue his goal of encouraging significant composers to write original music for the wind band. Each ABA convention featured concert performances by the best military and collegiate bands of the day. In a 1932 NBC radio address from Cleveland, OH, Goldman summarized one of his goals for this new organization: The one greatest drawback to bands is that most of the music which they perform is music that was originally written for orchestra…Through the influence of the American Bandmasters Association – the great composers of the world are now writing original works directly for band.35 The next opportunity to monetarily support a composition for wind band occurred as a result of the first convention of the American Bandmasters Association held in Middleton, OH, March 13-16, 1930. The final program for the convention was a concert given by the American Rolling Mill Company (ARMCO) Concert Band, conducted by Frank Simon, which was recorded by a national SUMMER 2026
radio company.36 This concert netted $1,000 in profit for the ABA, which Goldman wanted to use to provide a prize for another band composition contest.37 The winner of this contest would have their composition premiered at the next ABA Convention in Boston along with winning the $1,000 cash award. Based upon the success of the first convention in Middletown, OH, plans were made for the Second Annual Convention of the American Bandmasters Association to be held in Boston, MA, beginning on April 9, 1931. The convention was billed as a tribute to Patrick Sarsfield Gilmore, one of the first successful professional bandmasters in American history.38 The last meeting of the convention was scheduled as a Gilmore Memorial Concert. Gilmore was famous for organizing huge peace jubilees that featured massed orchestra, band, and chorus members that could easily number up to over a thousand musicians for the performance. This concert featured over 400 professional musicians from the Boston area.39 Among the selections performed at this concert were several premiere performances of compositions by significant American composers of this time. The compositions were Youth Triumphant by Henry Hadley, conducted by Victor Grabel; American Rhapsody composed and conducted by Leo Sowerby;
Prelude composed and conducted by Carl Busch; and Through Night to Light composed and conducted by Richard B. Hayward. Grainger also conducted his compositions Blithe Bells and Handel in the Strand during this concert.40 The Hadley composition was written and dedicated to the American Bandmasters Association by request from Goldman. The program notes state that this was “one of the first outstanding compositions in the new and original band repertoire.”41 The Sowerby, Busch, and Hayward compositions were listed as premiere performances, but not linked specifically to the ABA. The two Grainger compositions were transcriptions for band that the composer wrote from his extant repertoire.42 Although it was not mentioned in the program notes, the fact that Goldman requested Hadley to write his composition for the ABA suggests that Hadley may have been the winner of the composition contest spawned by the $1,000 prize that was raised during the Middletown ABA Convention of 1930. However, there was no indication specifically in the Second Annual ABA Program of 1931 that Hadley was the winner of this prize. The Third ABA Convention in Washington, DC, featured several important events to support Goldman’s crusade to improve the quality of literature written Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. for wind band. Days before the convention began on March 5, 1932 came the sad news that the Dean of American Bandmasters, John Philip Sousa, had died while on tour with his ensemble. This caused a complete restructuring of the events planned for the Convention that were to begin on April 14, 1932. The final concert became a tribute to the life and times of the acclaimed conductor and composer, featuring the performances of his most beloved marches conducted by many of the men who played under his baton.43 In preparation for this Convention, Goldman engaged significant international composers by sending them post cards encouraging them to write compositions for the wind band.44 Several of these contacts achieved results for this convention. Ottorino Respighi submitted Huntingtower Ballad to be performed at this concert as a tribute to the memory of John Philip Sousa. He dedicated the score “to Edwin Franko Goldman and the American Bandmasters Association.”45 However, it is not clear from the program notes that the piece was indeed commissioned by Goldman or the ABA. Captain Taylor Branson conducted the United States Marine Band in this performance. Gustav Holst submitted his original composition for wind band Prelude and Scherzo: Hammersmith for this performance as well. The piece was originally commissioned 54
by the British Broadcasting Company Military Band in 1930, but was actually premiered at this convention by Captain Branson and the U. S. Marine Band. Holst had intended to conduct the premiere, but was sidelined by illness before the performance.46 Goldman had also secured a proposal from Maurice Ravel to compose a wind band composition for the 1934 ABA Convention.47 Sadly, Ravel passed away before he could complete this work. Goldman was immensely proud of the repertoire produced for this convention and shared his joy in his address to the 1932 Convention attendees: In the past, the band was ignored by the great composers…. For our convention this year, Ottorino Respighi, Italy’s most famous composer, has written a special number, as has Gustav Holst, one of England’s greatest composers….For next year’s convention the great French composer, Maurice Ravel has promised to write a work for band. We can safely say now that the band will soon have a repertoire of its own.48 Many composers continued to respond in a positive manner. However, eminent composers Richard Strauss and Sir Edward Elgar declined the invitation since there was no offer of payment for their services. Goldman received a specific letter from
Elgar’s Secretary in 1932 stating Sir Edward was not interested in writing a piece for band if he was not going to be paid. Sir, I am directed by Sir Edward Elgar to acknowledge the receipt of your letter of the 21st of November, 1931, and to say that as you do not mention any question of terms, the matter must be considered to be closed.49 Likewise, Goldman’s invitation to Strauss to write a composition for the wind band was rejected out of hand. The reluctance of Elgar and Strauss to write for wind band is ironic with regard to Goldman’s treatment of their music in his programming with the Goldman Band. During the history of the Goldman Band Concerts, Goldman programmed transcriptions of Strauss thirty times during a period from 1923-195150 and Elgar on one hundred and sixty three performances from 1919-1955.51 It is obvious that Goldman did not hold a grudge against these famous composers despite their snub of his offer to write for wind band and despite these setbacks, Goldman was encouraged by the progress he was making in this venture. The Eighth Convention of the American Bandmasters Association was the next important event that featured significant original compositions written for the wind band. The convention was held Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. in Milwaukee, WI with the finale concert performed on March 7, 1937. There were numerous premieres that year that are of special consideration. The most notable of these was the first performance of Grainger’s defining opus, Lincolnshire Posy.52 The piece was dedicated to Goldman and the American Bandmasters Association, but it is not clear if Goldman commissioned the piece, for this information is not included in the Annual Program of the Convention.53 Grainger conducted the premiere of his composition with the Milwaukee Symphonic Band. This ensemble consisted of members from various concert bands in the Milwaukee area (Blatz Brewery and the Pabst Blue Ribbon beer factory concert bands).54 For this performance, Grainger had only completed five of the eventual six movements. The Brisk Young Sailor was still being composed.55 The only rehearsal time for this performance was earlier in that day and things did not go well by Grainger’s estimation. It is imagined that Rufford Park Poachers and The Lost Lady Found were not performed due to the difficulty of the changing meters and intricate solo passages, so Grainger just performed Dublin Bay, Harkstow Grange, and The Brisk Young Sailor at the concert.56 Goldman was eventually able to perform all six movements with his Goldman Band (premiering movements Rufford Park Poachers, Lord Melbourne, and The Lost Lady SUMMER 2026
Found) in Central Park on June 21, 1937.57 In subsequent musical reviews and national polling, Lincolnshire Posy routinely surfaced within a top ten list of significant wind band repertoire voted on by prominent band directors worldwide. Grainger also premiered The Lads of Wamphray during this performance. The piece was listed in the program as “New,” but the citation did not indicate if it was commissioned by Goldman and the ABA.58 Two other compositions were premiered at this convention. Henry Hadley premiered his Festival March at this concert. It was conducted by A. R. McAllister, band director at Joliet Township High School in Illinois. Erik Leidzen premiered his composition Holiday Overture, with Goldman conducting at this performance. This piece was listed in Belser’s dissertation on Commissions and Premieres by Goldman, but this was not indicated in the Annual Program for the 1937 Convention.59 GOLDEN GATE INTERNATIONAL EXPOSITION The Goldman Band did the majority of their performances in New York City. However, they would be invited to perform from time to time at fairs and festivals that were in major metropolitan markets. Such was the case with the Golden Gate International Exposition that was held in San Francisco from March 19 through July 1, 1939. Goldman was offered
a contract to present 210 concerts during this time frame.60 Goldman arrived in San Francisco with great expectations of building a large audience of appreciative fans as he had in New York City. In preparation for the trip, Goldman offered to send publicity materials to help promote their concert series at the Exposition. He was dismayed to find on his arrival that there had been no advance publicity about the concerts distributed by the Exposition organizing committee.61 There were other aspects of the of the arrangements which upset Goldman greatly. The weather was typically cold, which required the musicians to perform in overcoats, and diminished the size of the audience. The band stand where they were originally to perform had no cover for the musicians and the acoustics were poor. Eventually, the committee erected a new band stand for them to perform at the Tower of the Sun, which was better than their original location, but still woefully inadequate.62 Also, the local newspapers did not publish any reviews on the concerts. All of these factors combined to make the audience size small throughout the length of the concert series. Goldman fulfilled his contractual obligations by performing all of the concerts, but he was bitterly disappointed by the results of the trip.63 However, one aspect of this Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. trip is noteworthy to Goldman’s purpose of building the composition of original works for wind band. Goldman’s contract stipulated that he also write an original march for the Exposition. Goldman complied by writing and premiering the Golden Gate March during their first performance on March 19, 1939.64 In his long career as conductor of the Goldman Band, Goldman performed this march nine times during his New York City concerts with the band.65 Goldman also premiered Erik Leidzen’s Band Virtuosities during this tour, which may have been commissioned through funds garnered during this trip.66 Overall, his experience in San Francisco was not what he had hoped for, but the trip did produce a march that is still performed to this day and a premiere for a work written for the wind band. During this time Goldman continued pursuing the idea of encouraging prominent composers of the day to write music for the wind band. Percy Grainger premiered Handel in the Strand with the Goldman Band on July 16, 1940 and Roy Harris premiered his Cimarron Overture on July 3, 1941. However, neither of these pieces were listed as commissioned by Goldman.67 William Schuman challenged Goldman on his policy of inviting composers to write original compositions for his band, but not offering a fee for their work, in a 56
letter written in 1942: My willingness to write you a piece without a commission has only to do with my personal feelings toward your organization and my long friendship with Dick (RFG). I think that composers should not be asked to write special works without definite offers of money.68 Goldman respected Schuman and welcomed his point of view. Goldman’s attitude toward commissioning composers to write for the wind band began to change at this point. Beginning in the summer series of 1942, more of the premieres that were performed by the Goldman Band were listed as commissioning projects (Canto Yoruba, Pedro Sanjuán, July 16, 1942; Festive Occasion, Henry Cowell, June 21, 1942; A Legend, Paul Creston, July 16, 1942).69 SILVER JUBILEE CELEBRATION The onset of World War II made planning for the 1942 concert series difficult. Air raid warnings, blackouts, and civil defense procedures presented issues for Goldman to address while making arrangements for the summer season. However, the Mayor of New York, Fiorello La Guardia, agreeing with the sentiment shared by Florence Guggenheim during World War I, felt that “music was important, too”70 and encouraged Goldman to proceed with his planning. The season was billed as the Silver Jubilee, in celebration of
the 25th year of the Goldman Band. For the Silver Jubilee, Goldman programmed a unique concert event. On July 21, 1942 the Goldman Band performed the very first concert of music that was written specifically for the wind band. The program consisted of these compositions: Christmas March: Edwin Franko Goldman Spring Overture: Leo Sowerby Canto Yoruba: Pedro Sanjuán Jericho: Morton Gould A Legend: Paul Creston Newsreel in Five Shots: William Schuman First Suite in Eb for Band: Gustav Holst Festive Occasion: Henry Cowell A Curtain Raiser and Country Dance: Richard Franko Goldman The Lost Lady Found: Percy Aldridge Grainger Folk Song Suite: Ralph Vaughan Williams71 Carl Buchman cited the accomplishments of the Silver Jubilee concerts in an article he wrote for Modern Music: With the Silver Jubilee concerts of the Goldman Band this summer one sensed that an important and neglected medium had finally come of age. The occasion had inspired a dozen-odd American composers to write for the band
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. with breadth of concept and dignity of utterance hitherto reserved almost entirely for the orchestra medium. For the most part it was as though men who had previously worked only oils were now essaying for the first time tempera or goache, with corresponding pleasures in the limitations and advantages as well as the novelty of the medium. The results were impressive.72 Goldman continued to encourage serious composers of national and international acclaim to write music for the wind band through letters and dozens of handwritten postcards.73 Richard Franko Goldman wrote about his father’s passionate pursuit of excellent original repertory for the wind band: Dr. Goldman had vigorous ideas on band instrumentation, and on how the band should play, but others had just as strong convictions on these points. His greatest contribution lies unquestionably in the area of band repertoire. He saw clearly the change in the band’s status, and had the imagination to deal with it.74 The Silver Jubilee concert featured music of artistic gravity and significance. Noted composers of contemporary orchestral music (Gustav Holst, William Schuman, Morton Gould, and Ralph Vaughan Williams) had their wind band compositions performed at this SUMMER 2026
concert. In addition, there were four works on this performance that were premiered during earlier concerts that summer of 1942 in New York. They included Paul Creston’s A Legend on June 16, Henry Cowell’s Festive Occasion on June 21, Sowerby’s Spring Overture on June 27, and Sanjuán’s Canto Yoruba on July 16.75 Goldman subsidized these four pieces by commissioning projects, either through access to funding from the Guggenheim Foundation or utilizing his own personal funds.76 These compositions may have reflected Goldman’s change of heart, inspired by Schuman, regarding the commissioning of composers to write music for the wind band. Finally, Percy Grainger’s The Lost Lady Found was the last movement of his Lincolnshire Posy, which was premiered in its entirety by the Goldman Band in 1937.77 This performance became a monumental event in the development of wind band repertoire. This was the first public performance of a concert completely devoted to original wind literature. One can imagine the sense of pride and accomplishment that Goldman must have felt when he realized that his vision for the future of wind band music was being fulfilled through this concert. The period during World War II saw Goldman remaining active with promoting and implementing
the concert series each summer. He also composed marches that reflected the country’s mood during this period. Hail Brooklyn was premiered on June 16, 1943 and the first performance of the Illinois March was on June 19, 1943.78 After the war, Goldman still attracted composers to write original compositions for the Goldman Band. Noted French composer Darius Milhaud premiered Suite Française on June 14, 1945.79 Milhaud also presented two marches, Gloria Victorius and In Memorium for the July 14, 1946 concert.80 Other noted composers contributed original works for band: Aram Khachaturian performed Armenian Dances on July 5, 1945;81 Morton Gould premiered Ballad for Band on June 20, 1946;82 and William Grant Still debuted From the Delta on June 13, 1947.83 During this period, Goldman also commissioned works by Philip James, E. F. G. Overture (July 5, 1945),84 and Dai-Keong Lee, Joyous Interlude (June 12, 1946) to be premiered by the Goldman Band.85 The financing for these two commissioning projects was most likely supported by funds from the Guggenheim Foundation. LEAGUE OF COMPOSERS Special events marked the coming of the 1948 New Year. Goldman turned 70 years old on January 1 and the League of Composers sponsored a celebratory concert in his honor on January 3 at Carnegie Hall.86 Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. The League of Composers was established in 1923 with the express purpose of promoting contemporary music for all genres.87 The League’s contribution to this particular project highlighted their desire to support writing music specifically for the wind band and encouraging bands across America to support this movement by programming these compositions. The Goldman Band, conducted by Walter Hendl and Percy Grainger, presented a unique concert of music written by significant composers for the wind band. This concert helped to validate the band repertory that Goldman had fostered during his career. The program consisted of the following selections: Toccata Marziale: Ralph Vaughan Williams Suite Française: Darius Milhaud Shoonthree: Henry Cowell Canto Yoruba: Pedro Sanjuán The Power of Rome and the Christian Heart: Percy Aldridge Grainger Commissioned by the League of Composers Theme and Variations, Opus 43a: Arnold Schoenberg Three Pieces written for “Le Quartorze Juillet”: Romain Rolland La Marches sur la Bastille: Arthur Honegger Prelude: Albert Roussel La Palais Royal: George Auric 58
Symphony No. 19: Nicholas Miaskovsky88 Richard Franko Goldman commented on the significance of this concert for his father’s legacy: The program is one which any musician or musical organization might well be proud, for the solidity and substance of the musical content. Of the works presented, the Milhaud (Suite Française), Schoenberg (Theme and Variation for Wind Band, opus 43-a), Grainger (The Power of Rome and the Christian Heart), Cowell (Shoontree), and Sanjuán (Canto Yoruba), all had received their first performance by the Goldman Band. It is certainly not unjustified to assert that a program such as this one marks a new era in band music.89 Composer Virgil Thomson wrote a critique of the concert for the New York Herald Tribune. Thompson had been skeptical of the band movement up to this point in time, but wrote a glowing tribute to this performance: This writer has long preferred band music in military vein to the ambitious efforts in that medium of orchestral composers. But last night revealed to him a justification for Dr. Goldman’s effort to found a more thoughtful repertory. When composers like Cowell and Roussel
and Schoenberg can express themselves as fully through the wind ensemble as they have done in these works, we have the beginnings of a new and noble repertory for what has always been a noble assemblage of instruments.90 The concert featured the premiere of Percy Grainger’s The Power of Rome and the Christian Heart. The piece was commissioned by the League of Composers specifically for this concert.91 Other significant works from Goldman’s summer concerts were Darius Milhaud’s Suite Française, which was premiered by the Goldman Band during the 1945 season.92 Pedro Sanjuán’s Canto Yoruba93 and Schoenberg’s Theme and Variations, opus 43a94 had both been commissioned and premiered by the Goldman Band. This historic event was notable on several levels. The concert was significant in that it was performed during the winter months, as opposed to the normal series of band concerts performed during the summertime. The fact that it was staged indoors at venerable Carnegie Hall, the bastion of classical music performance, attached credence to the fact that the wind band was coming of age in the minds of serious lovers of classical music. After the success of this concert, Goldman became more intentional Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. about scheduling commissioning projects on a yearly basis. With the help of his son Richard, Goldman was able to utilize the League of Composers to support commissioning projects for works premiered from 1949 to 1952. The Goldman Band premiered A Solemn Music for Band by Virgil Thompson on June 17, 1949;95
conducting.102 Celebration Overture by Paul Creston was premiered at the 1955 ABA convention in Elkhart, IN.103 The Creston piece was also performed later that season with the Goldman Band on June 17, 1955.104 Santa Fe Saga by Morton Gould was premiered at the 1956 ABA convention in Santa Fe, NM.105
Tunbridge Fair (which was originally
titled Intermezzo for Symphonic Band) by Walter Piston with the composer conducting on June 16, 1950;96 Canzona for Band by Peter Menin on June 15, 1951;97 and Mademoiselle, A Ballet for Band by Robert Russell Bennett on June 18, 1952.98 Beginning in 1952, Goldman began to focus his commissioning projects through funds provided by the ABA. The first of these commissions was Singing Band by Henry Cowell. The composition was commissioned by the ABA for the 1952 convention in Columbus, OH.99 However, the piece was not premiered until presented by the Goldman Band on June 18, 1954 with the composer conducting.100 Pageant by Vincent Persichetti was premiered at the ABA convention in Miami, FL on March 7, 1953 by the University of Miami Band with Persichetti conducting.101 Chorale and Alleluia by Howard Hanson was premiered by the United States Military Academy Band for the ABA convention at West Point, NY on February 26, 1954 with Colonel William Santelman (director of the United States Marine Band) SUMMER 2026
OSTWALD COMPOSITION CONTEST Beyond these commissioning projects, Goldman and the American Bandmasters Association looked for avenues to further encourage contemporary composers to write original music for wind bands. In order to do so, the ABA created a composition contest to recognize and promote the most significant work written for wind band each year. Composers were encouraged to submit their scores to a panel of adjudicators from the ABA to be considered for this award. To finance this endeavor, the ABA enlisted the help of two associate members of the organization to fund an annual wind band composition prize to be awarded each year. Ernest and Adolph Ostwald, owners of the Uniform by Ostwald Company, had expressed a desire to ABA member Lt. Col. Williams F. Santelmann to help promote concert bands.106 They were subsequently encouraged by Edwin Franko Goldman to fund a band composition contest for the ABA.
The first winner of the Ostwald Competition was revealed at the ABA Convention in Santa Fe, NM in 1956. Clifton Williams was awarded the $500 prize for his composition Fanfare and Allegro, which was premiered at this convention.107 The Ostwalds continued to fund the competition until 1969 when they sold their company to the Macmillan Ward-Ostwald company. The competition continued under their financial support until 1981 when the Conn Company and the National Association of Band Instrument Manufacturers supported the funding responsibilities for the competition. Eventually the ABA endorsed the competition with funds generated by the newly established ABA Foundation in 1985. The Ostwald Competition has continued to recognize and reward excellence in wind band composition almost every year to the present time.108 GOLDMAN MEMORIAL COMMISSIONS The ABA convention of 1956 held in Santa Fe, NM was originally organized as a tribute to the career and accomplishments of Edwin Franko Goldman.109 However, in a circumstance eerily similar to the timing of Sousa’s death, Goldman died at age 78 on February 21, 1956, less than a month before the 1956 convention was to begin. Upon Goldman’s death, Richard Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. Franko Goldman immediately began a series of Memorial Commissioning Projects in order to honor his father’s legacy.110 Richard established the project to acknowledge his father’s seminal contribution to the promotion of original compositions for wind bands during his career. These works were all premiered by the Goldman Band with Richard conducting: March With Trumpets by William Bergsma, June 19, 1957;111 Praeludium and Allegro by Vittorio Giannini, June 18, 1958;112 The People’s Choice by Douglas Moore, Junet 17, 1959;113 A Walt Whitman Overture by Norman Lloyd, June 15, 1960;114 and Night Fantasy Robert Ward, June 20, 1962.115 GOLDMAN’S LEGACY Edwin Franko Goldman began his career as a bandmaster when he was appointed as the conductor of the New York Military Band in 1911. His days as a trumpet player with the Metropolitan Opera Orchestra and as a professional musician performing in concert bands around New York City provided him with the opportunity to assess the quality of the ensembles making music during that time. He decided right from the beginning that he was going to make every effort to improve the quality of the band concerts that he conducted with his ensembles.116 In order for the quality of the repertoire to improve, he needed to enlist the help of preeminent composers to write original music 60
for the wind band so that it would have its own artistic voice.117 Early on, Goldman had help from friends in the music world who began to write music for the New York Military Band. He was fortunate to be friends with Percy Aldridge Grainger who wrote numerous compositions for Goldman from 1918 until Goldman’s death in 1956. During this time, a vast majority of these compositions were written for Goldman’s Band free of charge (Children’s March: Over the Hills and Far Away, Colonial Song, Gumsuckers March).118 As the Goldman Band grew in stature, he was also able to encourage notable composers such as Henry Hadley, Henry Cowell, and Darius Milhaud to write music for his ensemble gratis.119 Later on, Goldman found ways to fund competition and commissioning projects for composers to write original music for the wind band. Goldman’s 1920 Band Composition Contest awarded Carl Busch the prize for his composition A Chant from the Great Plains.120 The ABA (led by Goldman) commissioned Respighi’s Huntingtower Ballad,121 Grainger’s Lincolnshire Posy,122 and Hanson’s Chorale and Alleluia.123 The Guggenheim Foundation provided funds for early commissioning projects with the Goldman Band, such as Hadley’s Flower Suite,124 Roussel’s A Glorious Day,125 and Creston’s A Legend.126 The League of Composers commissioned
works for the Goldman Band such as Grainger’s Power of Rome and the Christian Heart,127 Thomson’s A Solemn Music for Band,128 and Piston’s Tunbridge Fair.129 The ABA’s Ostwald Band Competition Contest rewarded composers of wind band music beginning in 1956 and has supported this competition to the present day.130 Even after his death in 1956, his son Richard preserved his father’s legacy by funding wind band composition projects through the Goldman Memorial Commissions.131 Goldman’s life-long pursuit of encouraging prominent composers to write music for the wind band has inspired many band organizations to continue this practice. The College Band Directors National Association has engaged contemporary composers to write original compositions for winds. Other organizations such as the National Band Association and the American School Band Directors Association have funded wind band composition contests and commissions. State public school band director organizations across the country are now active in commissioning composition projects for students who play in middle school and high school band programs. In addition, composers of wind band music are now seeking individual consortium projects to fund their pursuit of making a living writing music for the wind band. Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. Edwin Franko Goldman’s objective was to elevate the status of the concert band to be on an artistic level commensurate with the symphony orchestra. To reach this goal, Goldman created a musical identity for the wind band that remained true to its heritage, yet expanded to include the genre of original music written for the wind band. The music produced by established composers, who he recruited, advanced the wind band to a place of legitimacy in the world of classical music. The multitude of organizations who currently commission compositions with serious composers is an ongoing testament to Goldman’s broad vision for the wind band movement. END NOTES
9. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 16. 10. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 17.
12. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 20.
36. American Bandmasters Association First Annual Program (Middleton, OH: March 13-16, 1930).
13. Robert Steven Belser, “Original Works for Concert Band Premiered or Commissioned by Edwin Franko Goldman, Richard Franko Goldman, and The Goldman Band 19191979” (doctoral dissertation, University of Iowa, 1994), 22. 14. Goldman Band Program Book, 1919. 15. Douglas Frederic Stotter, “The Goldman Band Programs, 1919-1955” (doctoral dissertation, University of Iowa, 1993), 174. 16. Goldman Band Program Book, 1920. 17. Goldman Band Program Book, 1919. 18. Goldman Band Program Book, 1919. 19. Goldman Band Program Book, 1929.
2. R. F. Goldman, The Wind Band, 236.
21. Ryder, “The March Compositions of the Goldman Library,” 8.
5. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 16. 6. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 17-18. 7. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 18. 8. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 18.
34. Johnston, “On the Go,” 107-108. 35. Myron D. Welch, “The Goldman Band Library: Part I,” Journal of Band Research 19, no. 2, (Fall 1984): 28.
20. Donald Dean Ryder, “The March Compositions of the Goldman Library” (doctoral dissertation, University of Iowa 1999), 8.
4. Donald R. Lowe, “Carl Busch and the First Goldman Band Composition Contest: A Pivotal Point in the Historical Evolution of Modern Wind Band Repertoire,” Journal of Band Research 14, no. 1, (Fall 1978): 16.
33. Johnston, “On the Go,” 107.
11. Goldman Band Program Book, 1920. (College Park, MD: Edwin Franko Goldman papers, Special Collections in Performing Arts, University of Maryland Libraries).
1. H. W. Schwartz, Bands of America (New York: Double Day & Co., 1957): Richard Franko Goldman, The Wind Band: Its Literature and Technique (Boston: Allyn and Bacon, 1962), 85.
3. Edwin Franko Goldman, Musical Courier, (New York, October 18, 1924): quoted in Kirby R. Jolly, “Edwin Franko Goldman and the Goldman Band” (doctoral dissertation, New York University, 1971), 116.
32. Johnston, “On the Go,” 106.
22. Ryder, “The March Compositions of the Goldman Library,” 8. 23. Goldman Band Program Book, 1922. 24. Goldman Band Program Book, 1925.
37. Victor J. Grabel to Edwin Franko Goldman, March 26, 1930, (College Park, MD: Edwin Franko Goldman papers, Special Collections in Performing Arts, University of Maryland Libraries). 38. Alan L. Davis, “A History of The American Bandmasters Association” (doctoral dissertation, Arizona State University, 1987), 50. 39. Davis, “A History of The American Bandmasters Association,” 50-51. 40. American Bandmasters Association Second Annual Program, (Boston, MA: April 9-12, 1931). 41. American Bandmasters Association Second Annual Program, (Boston, MA: April 9-12, 1931). 42. American Bandmasters Association Second Annual Program, (Boston, MA: April 9-12, 1931). 43. American Bandmasters Association Third Annual Program,” (Washington, DC: April 14-17, 1932). 44. Goldman Post Cards, (Goldman Autograph Collection, Bentley Historical Library, University of Michigan).
25. Goldman Band Program Book, 1930.
45. American Bandmasters Association Third Annual Program,” (Washington, DC: April 14-17, 1932).
26. Herbert N. Johnston, On the Go: The Life and Work of Edwin Franko Goldman (Unpublished Manuscript, 1980), 105.
46. Davis, “A History of The American Bandmasters Association,” 52.
27. Johnston, “On the Go,” 105. 28. Johnston, “On the Go,” 105. 29. Johnston, “On the Go,” 106. 30. Johnston, “On the Go,” 106.
47. Edwin Franko Goldman, “Address to Members of American Bandmasters Association,” American Bandmasters Association Third Annual Program, (Washington, DC: April 14-17, 1932), 4. 48. E. F. Goldman, “Address to Members of American Bandmasters Association,” 4.
31. Johnston, “On the Go,” 106. Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. 49. E. M. Clifford to Edwin Franko Goldman, October 12, 1931, (College Park, MD: Edwin Franko Goldman papers, Special Collections in Performing Arts, University of Maryland Libraries). 50. Stotter, “The Goldman Band Programs,” 127. 51. Stotter, “The Goldman Band Programs,” 52. Davis, “A History of The American Bandmasters Association,” 70. 53. Davis, “A History of The American Bandmasters Association,” 70. 54. Ward Miller, “Grainger’s Lincolnshire Posy premiered on this date in 1937,” March 6, 2016, https://www.drwardmiller. com/articles-and-news/2015/03/graingerslincolnshire-posy-premiered-on-this-dayin-1937. 55. Miller, “Grainger’s Lincolnshire Posy premiered,” March 6, 2016. 56. Miller, “Grainger’s Lincolnshire Posy premiered,” March 6, 2016.
94. Goldman Band Program Book, 1946.
71. Jolly, “Edwin Franko Goldman and the Goldman Band,” 145.
95. Goldman Band Program Book, 1949.
72. Carl Buchman, “Composers Dedicate Works to the Band,” Modern Music, XX (November-December, 1942), 46-48: quoted in Jolly, “Edwin Franko Goldman and the Goldman Band,” 146. 73. Goldman Post Cards, (Goldman Autograph Collection, Bentley Historical Library, University of Michigan). 74. R. F. Goldman, The Wind Band, 87: quoted in Jolly, “Edwin Franko Goldman and the Goldman Band,” 146. 75. Goldman Band Program Book, 1942. 76. Belser, “Original Works for Concert Band,” 51-52. 77. Goldman Band Program Book, 1937. 78. Goldman Band Program Book, 1943. 79. Goldman Band Program Book, 1945.
57. Goldman Band Program Book, 1937.
80. Goldman Band Program Book, 1946.
58. American Bandmasters Association Eighth Annual Program, (Milwaukee, WI: March 5-7, 1937).
81. Goldman Band Program Book, 1945.
59. Belser, “Original Works for Concert Band,” 80. 60. Johnston, “On the Go,” 148. 61. Johnston, “On the Go,” 148. 62. Kirby R. Jolly, “Edwin Franko Goldman and the Goldman Band” (doctoral dissertation, New York University, 1971), 110. 63. Johnston, “On the Go,” 150. 64. Belser, “Original Works for Concert Band,” 80. 65. Ryder, “The March Compositions of the Goldman Library,” 501. 66. Belser, “Original Works for Concert Band,” 78. 67. Belser, “Original Works for Concert Band,” 78-80. 68. Johnston, “On the Go,” 215. 69. Goldman Band Program Book, 1942.
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70. Johnston, “On the Go,” 158.
82. Goldman Band Program Book, 1946. 83. Goldman Band Program Book, 1947. 84. Goldman Band Program Book, 1945. 85. Goldman Band Program Book, 1946. 86. R. F. Goldman, The Wind Band, 89-92. 87. “A Legacy of Music,” The League of Composers, http://leagueofcomposers.org, accessed on September 11, 2025. 88. R. F. Goldman, The Wind Band, 93. 89. R. F. Goldman, The Wind Band, 92: quoted in Jolly, “Edwin Franko Goldman and the Goldman Band,” 149. 90. Virgil Thomson, “Music,” The New York Herald Tribune, January 5, 1948: quoted by Jolly, “Edwin Franko Goldman and the Goldman Band,” 150-151. 91. Belser, “Original Works for Concert Band,” 57-58. 92. Goldman Band Program Book, 1945. 93. Goldman Band Program Book, 1942.
96. Goldman Band Program Book, 1950. 97. Goldman Band Program Book, 1951. 98. Goldman Band Program Book, 1952. 99. American Bandmasters Association Eighteenth Annual Program, (Columbus, OH: March 7-9, 1952). 100. Goldman Band Program Book, 1954. 101. American Bandmasters Association Nineteenth Annual Program, (Coral Gables, FL: March 5-7, 1953). 102. American Bandmasters Association Twentieth Annual Program, (West Point, NY: February 25-27, 1954). 103. American Bandmasters Association Twenty-First Annual Program, (Elkhart, IN: February 16-19, 1955). 104. Goldman Band Program Book, 1955. 105. American Bandmasters Association Twenty-Second Annual Program, (Santa-Fe, NM: March 7-10, 1956). 106. ABA Ostwald Band Composition Contest, American Bandmasters Association, (unpublished, 1986): accessed through Davis, “A History of The American Bandmasters Association,” 101. 107. American Bandmasters Association Twenty-Second Annual Program, (Santa-Fe, NM: March 7-10, 1956). 108. ABA Ostwald Band Composition Contest, American Bandmasters Association, (unpublished, 1986): accessed through Davis, “A History of The American Bandmasters Association,” 102. 109. American Bandmasters Association Twenty-Second Annual Program, (Santa-Fe, NM: March 7-10, 1956). 110. Belser, “Original Works for Concert Band,” 59. 111. Goldman Band Program Book, 1957. 112. Goldman Band Program Book, 1958. 113. Goldman Band Program Book, 1959. 114. Goldman Band Program Book, 1960. 115. Goldman Band Program Book, 1962. Continued on next page
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PEER REVIEWED Edward Franko Goldman's Premiers and Commissions ..., Les W. Hicken, cont. 116. Johnston, “On the Go,” 64-65. 117. Edwin Franko Goldman, Musical Courier, (1924): quoted in Jolly, “Edwin Franko Goldman and the Goldman Band, 118. Belser, “Original Works for Concert Band,” 21-24. 119. Belser, “Original Works for Concert Band,” 78-79. 120. Lowe, “Carl Busch and the First Goldman Band Composition Contest,” 16. 121. American Bandmasters Association Third Annual Program,” (Washington, DC: April 14-17, 1932).
Goldman. College Park, MD: Edwin Franko Goldman papers, Special Collections in Performing Arts, University of Maryland Libraries, October 12, 1931. Goldman, Edwin Franko. “Address to Members of American Bandmasters Association,” American Bandmasters Association Third Annual Program, (Washington, DC: April 14-17, 1932). ____________________. Musical Courier, New York: NY, October 18, 1924. Goldman, Richard Franko. The Wind Band: Its Literature and Technique. Boston: Allyn and Bacon, 1962.
122. American Bandmasters Association Eighth Annual Program, (Milwaukee, WI: March 5-7, 1937).
Grabel, Victor J. Letter to Edwin Franko Goldman. College Park, MD: Edwin Franko Goldman papers, Special Collections in Performing Arts, University of Maryland Libraries, March 26, 1930.
123. American Bandmasters Association Twentieth Annual Program, (West Point, NY: February 25-27, 1954).
Johnston, Herbert N. On the Go: The Life and Work of Edwin Franko Goldman. Unpublished manuscript, 1980.
124. Belser, “Original Works for Concert Band,” 79.
Jolly, Kirby R. “Edwin Franko Goldman and the Goldman Band.” Doctoral dissertation, New York University, 1971.
125. Goldman Band Program Book, 1933. 126. Goldman Band Program Book, 1942. 127. R. F. Goldman, The Wind Band, 93. 128. Goldman Band Program Book, 1949. 129. Goldman Band Program Book, 1950. 130. ABA Ostwald Band Composition Contest, American Bandmasters Association, (unpublished, 1986): accessed through Davis, “A History of The American Bandmasters Association,” 102. 131. Belser, “Original Works for Concert Band,” 59.
BIBLIOGRAPHY “ABA Ostwald Band Composition Contest,” American Bandmasters Association, (unpublished, 1986). Belser, Robert Steven. “Original Works for Concert Band Premiered or Commissioned by Edwin Franko Goldman, Richard Franko Goldman, and The Goldman Band 19191979.” Doctoral dissertation, University of Iowa, 1994. Davis, Alan L. “A History of The American Bandmasters Association.” Doctoral dissertation, Arizona State University, 1987. Clifford, E. M. Letter to Edwin Franko
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“Legacy of Music, A.” The League of Composers, http://leagueofcomposers.org, accessed on September 11, 2025. Lowe, Donald R. “Carl Busch and the First Goldman Band Composition Contest: A Pivotal Point in the Historical Evolution of Modern Wind Band Repertoire.” Journal of Band Research 14, no. 1, (Fall 1978): 16-21. Miller, Ward. “Grainger’s Lincolnshire Posy premiered on this date in 1937,” March 6, 2016, https://www.drwardmiller.com/ articles-and-news/2015/03/graingerslincolnshire-posy-premiered-on-this-dayin-1937. Ryder, Donald Dean. “The March Compositions of the Goldman Library.” Doctoral dissertation, University of Iowa, 1999. Schwartz, H. W. Bands of America. New York: Double Day & Co., 1957. Stotter, Douglas Frederic. “The Goldman Band Programs, 1919-1955.” Doctoral dissertation, University of Iowa, 1993). Thomson, Virgil. “Music,” The New York Herald Tribune, January 5, 1948. Welch, Myron D. “The Goldman Band Library: Part I.” Journal of Band Research 19, no. 2, (Fall 1984): 26-30.
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PEDAGOGY The Orchestration ..., Tyron Barnes, cont.
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 Winter Edition (published in February) Spring Edition (published in May) Summer Edition (published in August) Fall Edition (published in November)
DEADLINE January 1 April 1 July 1 October 1
SUBMISSION Please submit your article in Word document format to NBA Journal Editor Matthew Talbert: 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 65.
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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 peerreviewed 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.”
also be effective for the reader. A research article is most often written as a continuation of ideas presented in previous articles, with the motivation drawn from combining the findings of those previous articles and the author’s own experiences, experiments, or observations. In building the article in this way, the validity of the information is heightened beyond the traditional article. These articles are also of extraordinary value as they may also impact the way the reader approaches the subject material in a potentially more generalizable way. When incorporating the peer-review process, the author’s article now has a final layer of review (for accuracy) utilizing other experts within the same subject matter.
A traditional NBA Journal article is most often written from the perspective of the author’s unique experiences in life, music, and/or the profession. These articles are of extraordinary value, as they often present a number of ideas that have been effective for the author and may
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:
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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).
A number of peer-reviewed research articles may read like other articles found in the NBA Journal, with the author outlining their thoughts on a subject while using citations to support the premise of the issue being discussed. Other research articles will take on a bit more of a scientific approach. These articles begin with a review of literature summarizing the research on the topic that already exists, while simultaneously presenting the reader with the rationale driving the current article. A method section follows, describing what actually happened in the research, then a results and analysis Continued on next page
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SUBMITTING PEER-REVIEWED RESEARCH How to Submit Peer-Reviewed Research to the NBA Journal, Matthew Talbert, cont. section(s) describing what the researcher found, if anything. The article closes with a discussion of the findings and how they may relate to the world. The article concludes with a list of references from which the author drew information and ideas. If you are inexperienced at reading research articles, you may want to read the discussion section first. This part of the article will explain how the information found in the rest of the article may impact you and others in the article subject community. Oftentimes this is the place where practical ideas will be most clearly expressed; however, taking in the entire article will always give a much clearer view of what the author was attempting to express. As mentioned above, an ideal research article is adding to the research that came before it. This continuation and growth of knowledge is one of the defining characteristics of this kind of inquiry. At the end of the article, the reader is left with information that is not only new to them, but simultaneously new to the world. This level of 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.
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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 the submission. The cover page should also include up to five keywords/phrases that describe the contents of the manuscript. D. Style Guide: Manuscripts should conform to one of the following style manuals: (1) Publication Manual of the American Psychological Association (7th edition, 2019), (2) The Chicago Manual of Style(17th edition, 2017), or
(3) A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 9th edition, revised by Wayne C. Booth, Gregory Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff, 2018). Note: Authors may not combine and/or mix styles within a single manuscript E. Tables and Figures: Tables and figures may be included with the manuscript, however, these must be publishable in black and white. It is the author’s responsibility to make sure any tables/figures are checked for accuracy before submission. Additionally, if any copyrighted materials are submitted, it is the author’s responsibility to provide documentation allowing the reproduction of these materials. F. Ethical Requirements: It is the author’s responsibility to ensure that no copyright issues have been violated by the submission, including images, charts, etc. Manuscripts already published in other journals can be submitted for consideration in the NBA Journal providing the author has permission to do so. Questions about submitting a peer- reviewed article? Email Research Chair Brian Silvey at
silveyba@missouri.edu
NBA JOURNAL
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