CBDA Bulletin Spring 2024

CALIFORNIA BAND DIRECTORS ASSOCIATION BOARD OF DIRECTORS

Dan Bryan President

Trish Adams Executive Administrator

Amy Villanova CBDA Ensemble Host

Susan Willmering Vice President

Patrick Dandrea Secretary

Michael Tackett Exhibit Host

Dr. Kaitlin Bove DEIA Rep

Jeanne Christensen President Elect

Ryan Dirlam CASMEC Coordinator

Ashley Crow CBDA Logistics Coordinator

Jazareth Valencia NCBA Rep

Dr. Jeff de Seriere Treasurer

Yasmine Brackens Student Host

Katie Carbajal CBDA Logistics Coordinator

Dan Sedgwick NCBCDA Rep

Detlefsen Past President

Katie Gilchrist All-State Coordinator

David Green Director of Communications

Cathy Olinger SCSBOA Rep

CBDA is a nonprofit association consisting of band directors from all levels of music education. CBDA provides the AllState Jr. and High School honor groups for students and a state convention each February for directors. Join or renew CBDA membership here.

The CBDA Bulletin is the official publication of the California Band Directors Association, Inc. Published three times a year: Spring, Fall, and Winter.

Subscription price is included in the CBDA annual dues. The opinions expressed in the magazine are those of the author(s) and do not necessarily represent an official position of the Association. CBDA does not necessarily endorse any product or service advertised in this magazine. Access emails at cbda.org

Jeff

PRESIDENT’S MESSAGE

Greetings!

As the year unfolds, we at the California Band Directors Association take pride in reflecting upon our recent achievements and endeavors while looking forward to what we have in store for the future. I am so proud of the work our organization has done this past year. Here’s a glimpse into the notable highlights over the past several months:

Inaugural Participation in CASMEC Sacramento: CBDA proudly participated in the first-ever CASMEC Conference held in Sacramento, CA, this past February. Collaborating with esteemed partner organizations such as CAJ, CMEA, CCDA, and CODA, CBDA contributed to the success of this milestone event. We eagerly anticipate the continuation of this conference in the coming years, fostering a thriving environment for music educators and enthusiasts alike.

Phenomenal CBDA All-State Honor Ensembles: The CBDA All-State Honor Ensembles showcased exceptional talent and artistry under the guidance of distinguished guest conductors. We extend our gratitude to Damon Talley, Julie Giroux, Shelley Jagow, M.J. Wamhoff, and Adam Wilke for their outstanding contributions to our ensembles, enriching the musical experience for all involved.

Music Sale for Mike Gangemi Scholarship Foundation: CBDA embarked on a meaningful initiative to support the Mike Gangemi Scholarship Foundation by selling a collection of music accumulated over the years for our all-state ensembles. Through the generosity of conference attendees, we have raised several thousand dollars to assist future allstate students with financial needs, embodying our commitment to nurturing young musicians.

Navigating Challenges at CASMEC: Despite facing unexpected challenges, including a massive storm causing flooding and flight cancellations in San Jose, CBDA rose to the occasion. We extend heartfelt appreciation to CBDA Board Members and the dedicated staff of the Sheraton Grand for their swift action in providing additional accommodations, ensuring the well-being of our all-state students amidst adversity.

Premiere Performances of Social Impact Consortium Pieces: The debut performances of “An Evening Raga for Concert Band” by Aakash Mittal and “V.O.C. Helsman of the Seat” by Sruthi Rajasekar marked a significant milestone for CBDA’s Social Impact Consortium. This groundbreaking initiative commissioned not one but two remarkable compositions, fostering cultural exchange and artistic innovation. We express our gratitude to the guest composers for their exceptional contributions and eagerly anticipate forging new partnerships as part of this esteemed project.

Looking ahead, CBDA continues its mission by participating in Arts Advocacy Day in Sacramento alongside partner organizations, highlighting the importance of arts education. We are also excited to announce our partnership with the California Orchestra Directors Association this September to expand our Super Saturday offerings for prospective all-state students.

Furthermore, after a successful first year in Sacramento, CBDA is already planning to expand and enhance the CASMEC experience for everyone next year. We look forward to welcoming you to Sacramento again as we strive to make this event even more enriching and enjoyable for all participants.

I am deeply proud of what CBDA has achieved and excited about our future endeavors as we continue to advance music education and excellence across California. Thank you to everyone who has contributed to our successes, and we look forward to continuing this journey together.

Dan Bryan

President, California Band Directors Association

Dr. Jeff de Seriere

CBDA Treasurer

Jeffrey de Seriere is the director of Large Instrumental Ensembles at Cabrillo College. He is also associated with the Catalyst Wind Collective (formerly True Brass Choir) as its Artistic Director and CEO. Jeffrey was previously a doctoral teaching assistant at Northwestern University where he was a conducting student of Dr. Mallory Thompson.

Prior to pursuing his doctoral studies, Jeffrey was an active music educator, adjudicator, and clinician in Southern California. From 2012-2016, he served as the Assistant Director of Bands at Mayfair High School in Lakewood, CA, where he helped run the award-winning Monsoon Marching Corps, Wind Ensemble, and Symphonic Band. In 2014 he began teaching at the Orange County School of the Arts in Santa Ana, CA leading the Symphonic Band, coaching chamber ensembles, teaching courses in music theory and music education, and eventually became the coordinator of the nationally recognized Frederick Fennell Wind Studies Program.

In 2017 he was appointed Director of Instrumental Music at the newly founded California School of the Arts – San Gabriel Valley in Duarte, CA. During his tenure as Director of Instrumental Music at CSArts-SGV, he conducted the Wind Ensemble, Philharmonic Strings, and Music Theatre Ensemble. Under his direction, the ensembles at CSArtsSGV gained recognition as “Superior” ensembles at local and regional music festivals. The Musical Theatre Ensemble was also nominated for the “Best Student Orchestra” award for their 2018 production of Pippin and 2020 production of In the Heights by the John Raitt Awards for Youth. While teaching at CSArts-SGV, Jeffrey was also a lecturer in music education at California State University, Long Beach from 2018-2020. In 2021 Jeffrey was recognized with the “Rising Star” award in music education by the Southern California School Band and Orchestra Association.

New Board Members

Dan Sedgwick NCBCDA Rep

Daniel Sedgwick grew up surrounded by musicians. His grandfather taught music for 35 years and his mom is a working musician and teacher. Daniel started as an instrumentalist at the age of ten, when he was talked into playing clarinet for his grandfather’s band. Although he originally wanted to start on the saxophone he agreed to the clarinet because he heard a high school student play so beautifully that he was convinced clarinet was the place to start.

Daniel started his college career at beautiful Santa Barbara City College. While there he played clarinet in the concert band, and symphony, and alto sax in the jazz band. He was the featured soloist with the symphony playing the Mozart clarinet concerto. He was accepted to several Southern California music departments but when it came down to making his choice he followed his heart and went to Humboldt State University so he could be with his high school sweetheart, Lisa. While there he studied with Ken Ayoob, played lead clarinet and saxophone, graduated, married Lisa, worked for his secondary teaching credential, adopted Sam, the Labrador, and applied to graduate school.

For the next two years Daniel studied in Eugene at the University of Oregon. He studied clarinet with Dr. Wayne Bennett and earned his master’s degree in clarinet performance in 2008. Daniel and Lisa had their first child, Nicole, in July of 2007. In the Fall of 2008 he started his new life as the full time band and choir director of Del Norte High School. In January of 2010 Daniel and Lisa had their second child Layla.

In addition to teaching at Del Norte High School, Daniel plays lead alto saxophone and clarinet for the Tsunami Swing and for the local theater group Lighthouse Repertory Theatre. Currently the family lives within blocks of Del Norte High School and they feel very much at home in Crescent City.

4-Year Members

Cecilia Anderson, Homestead High School, French Horn

Orion Arroyo, Valley Christian High School, Bb Bass Clarinet

Kayla Bak, Newbury Park High School, Bb Clarinet

Eleonora de Cal, Dougherty Valley High School, Flute

Hyeongjoo (Jayden) Ham, Saratoga High School, Bb Clarinet

Jesse Hu, Diamond Bar High school, Oboe

Andrew Hwang, Henry M. Gunn High School, Viola

Ben Kreinces, Newbury Park High School, Tuba

Nathan Lee, Saratoga High School, Trumpet

Jaehyun Lim, Saratoga High school, Bb Clarinet

Marshall Lin, San Luis Obispo High School, Bb Clarinet

Caleb Liu, Canyon Crest Academy, Bassoon

Brayden Louie, Irvington High School, Percussion

Fernando Medina Chavez, Hanford West High School, Trumpet

Aaron Ng, Franklin High School Elk Grove, Flute

Obinnaya Okezie, Stockdale High School, Baritone Saxophone

Zane Panizza, James Logan High School, French Horn

Keilah Park, Orange County School of the Arts, French Horn

Atom Paz, Buchanan High School, Violin

Noah Plank, Patrick Henry High School, Percussion

Sonia Rao, Clovis North High School, Violin

Cameron Rhees, Diamond Bar High School, French Horn

Karlin Rhees, Diamond Bar High School, French Horn

Serena Rinehart, Thousand Oaks High School, Trumpet

Dylan Rosen, Diamond Bar High School, Bb Bass Clarinet

Giada Scattini, Carmel High School, Bb Clarinet

Joshua Tang, Santa Monica High School, Bb Bass Clarinet

Rohan Venkatesan, Homestead High School, Euphonium

Angela Wang, Diamond Bar High School, Flute

Evelyn Wang, Prospect High School, Flute

Henry Zhao, Mission San Jose High School, Piccolo

Corey Zhong, Diamond Bar High School, Bb Clarinet

President’s List

4, 5, and 6 Year Members

5-Year Members

Lucas Blietz, Westlake High School, Percussion

York Bourgeois, Francis Parker School, Trumpet

Qiaolun Gao, Lynbrook High School, Percussion

Emily Gonzalez, Ventura High School, Trumpet

Alexander Lee, Irvington High School, Percussion

Connor McKeown, Santa Monica High School, Bb Clarinet

Jessica O’Brien, West Ranch High School, Piccolo

Zachary Piesner, Calabasas High School, Bassoon

Carson Ruhnke, Santiago High School, Trombone

Julian Wilsen, University High School, French Horn

Jason Yang, Clovis North High School, Viola

6-Year Members

Casey Coutin, Long Beach Polytechnic High School, Trumpet

Edward Kim, Diamond Bar High School, Tenor Saxophone

Award Winners

Lisa Butts

2024 CASMEC Medal of Honor

Lisa Butts has been a tireless advocate for jazz and music education in California, and more specifically, the Central Valley, for decades. She has been at every CASMEC/All-State Conference since she started teaching and has been president of CAJ, CBDA, CMEA Central Section, and the Tulare/Kings Music Educators Association. She has been honored by many of the organizations she has participated in, including the 2006 CBDA Distinguished Service Award, 2008 CMEA Jazz Educator of the Year, 2016 Grammy Quarter Finalist, 2017 CBDA Lifetime Achievement Award, and a 2020 CAJ Hall of Fame Inductee, among others.

Dr. Gary Gilroy

Dave Goedecke Lifetime Achievement Award

The Dave Goedecke Lifetime Achievement Award honors a California band director who has exhibited a lifetime of achievement in music education at the state level. Gary P. Gilroy’s journey in music began humbly, yet with a quiet determination that would come to define his illustrious career. From his formative years at Moreau Catholic High School to the acclaimed halls of Beyer High School, Gilroy’s passion for musical excellence was evident, garnering national recognition and prestigious accolades along the way.

In 1993, Gilroy’s path led him to California State University, Fresno, where his tenure as Associate Director of Bands marked the beginning of a transformative era. With a steadfast dedication to nurturing both talent and character, Gilroy guided the bands to unprecedented heights, while quietly cultivating a legacy of excellence that continues to reverberate throughout the musical landscape.

Beyond the confines of academia, Gilroy’s influence has extended far and wide, his baton weaving threads of inspiration across continents. His service to the California Band Directors Association has been characterized by a quiet commitment to the advancement of music education, leaving an indelible mark on the organization’s history.

And amidst the notes and rhythms, let us not overlook Gilroy’s own compositions—subtle yet profound reflections of his creative spirit and unwavering dedication to the craft.

Lisa Butts retired after 19 years as Director of Bands at Hanford West High School and 33 years of teaching overall. She attended the College of Sequoias in Visalia, earning her Associate of Arts Degree in 1981. She finished her Bachelor of Arts in Music at California State University, Fresno, in 1983. In 1998, she completed her Master’s Degree in Music from Southern Oregon University, studying under notable conductors Frederick Fennell, John Bourgeois, and Alfred Reed. Mrs. Butts studied conducting under the tutelage of Robert Halseth, Stan DeRusha, Mallory Thompson, Jerry Junkin, Craig Kirchoff, John Whitwell, and H. Robert Reynolds. She is currently a free-lance trumpet player and plays with several groups, including the Sequoia Winds and The Hal Magnie Big Band. She is active as an adjudicator throughout the Central Valley and was guest conductor for the Fresno Madera County Music Educator’s Jr. High Honor Jazz Band in 1998, 2006, and 2016. She has conducted the Tulare Kings Music Educators Association Honor Jazz Band in 2001, 2006, 2009, and 2015 and the Stanislaus Music Educators Association High School Honor Jazz Band in 2019. She conducted the Tulare Kings Music Educators Jr. High Honor Concert Band in 2002 and 2018, the Bakersfield City Schools Jr. High Honor Band in 2011, and the Madera City Schools Jr. High Honor Band in 2019.

Mrs. Butts is an adjunct professor of music at West Hills College. She has a cool husband, Bill, and two cats: SweetsPouncer and Molly.

As we honor Gary P. Gilroy with a lifetime achievement award from CBDA, let us reflect on the quiet brilliance of a maestro whose legacy will continue to resonate for generations to come.

Galen Lemon

Don Schmeer Friend of Music Award

Dr. Phil Vallejo

Distinguished Service Award

The California Band Directors Association is thrilled to bestow upon Galen Lemmon the prestigious Don Schmeer Friend of Music Award in recognition of his exceptional contributions to percussion education. Galen, who has served as the percussion coordinator at the California AllState Music Education Conference (CASMEC) since 2019, brings decades of experience and passion to his role.

For over 20 years, Galen served as the percussion professor at San Jose State University, shaping the talents of countless aspiring musicians. Alongside his academic endeavors, he dedicated himself to private instruction, honing the skills of students across generations while maintaining an active schedule as a professional percussionist.

Phil served as the President of the California Band Directors Association from February of 2018 until February of 2020. During his term, Phil focused on expanding access of CBDA resources to a younger generation of band directors. He created the CBDA Conducting Workshop at the California All State Music Educators Conference. Prior to his time as President, Phil served as the coordinator for CASMEC, alongside Jeff Detlefsen.

At the heart of Galen’s work lies the intricate task of curating musical experiences for CASMEC attendees. From meticulously selecting repertoire to coordinating equipment logistics, Galen ensures that each percussion ensemble has the tools needed for success. His commitment to quality instruments ensures that students perform at their best during the conference—a testament to his unwavering dedication to their musical development.

However, Galen’s impact extends far beyond the confines of CASMEC. His legacy as an educator is evidenced by the multitude of students he has guided to the prestigious all-state conference year after year. Many of the educators in attendance, either former students of Galen or those whose students have benefited from his mentorship, attest to his profound influence on percussion education in California.

In honoring Galen Lemmon, CBDA recognizes not only his years of hard work and dedication but also his role in setting a new standard for percussion education in the state. His tireless commitment to excellence has enriched the musical landscape of California and inspired generations of percussionists and educators alike.

Currently, Phil is proud to serve as the Director of Bands at Marshall University, where his other teaching duties include conducting, music education, and graduate courses, as well as conducting the Marshall Wind Symphony. Prior to his appointment at Marshall University, Phil served as the Associate Director of Bands and Director of the Cowboy Marching Band at Oklahoma State University.

During his time in California, Phil served as the Director of Instrumental Music at James C. Enochs High School in Modesto, CA, and also served as the Assistant Conductor for the Modesto Symphony Youth Orchestra. He is a proud alumnus of the Santa Clara Vanguard Drum and Bugle Corps and the Santa Clara Vanguard Cadets Drum and Bugle Corps.

Phil earned his Doctorate of Musical Arts in Wind Band Conducting at Arizona State University and holds a Bachelor of Arts Degree in Music Education, as well as a Master of Arts Degree in Music Performance in Conducting from California State University, Fresno.

As we present this well-deserved award to Galen, we express our deepest gratitude for his invaluable contributions to music education, and we eagerly anticipate the continued impact of his passion and expertise in the years to come.

In 2019, the Western Bands Association awarded the Spirit of WBA Award to Phil, recognizing and honoring his commitment and dedication to collaborating with the organization and other educators to help offer better experiences for students and educators. In 2017, the California Music Educators Association awarded the President’s Award to Phil, recognizing and honoring him for his extraordinary accomplishments in music education.

Phil and his wife Courtney enjoy spending time with their children in their new home in West Virginia.

Through My Music: Empowering Girls to Lead

by Dr. Myra K. Rhoden

and Dr. Zandra Bell-McRoy

We have had the privilege of conducting middle and high school students in various honor ensembles all over the country. Participating young ladies would often ask if we were really high school band directors in charge of all things for the program, including marching band. They were not asking because they questioned our credentials. They asked because they seeked advice on how to be a leader in their school band programs. Many of them expressed that their band directors saw something in them that they did not yet see. Consistently, they would tell stories of how they had been named drum major or section leader, or was appointed to another leadership position. The young ladies were worried because they were shy, or small, or felt they didn’t possess the confidence to do the job. It was never a question of skill…they were honor band musicians. Why would they feel as if their band director was wrong about their leadership potential? From this came the idea of the Athena Music and Leadership Camp. We created a place for middle and high school young women to grow and blossom both as leaders and musicians. We will explore how empowering your young ladies “through their music” can help improve your overall music program.

The Issue

There is available research that indicates gender differences in the areas of self-assessment, self-promotion, self-awareness, and actionable feedback. Although there

is no gender gap when evaluating others, young ladies may underestimate their performance when evaluating themselves. In addition, studies show that women are less likely to self-promote than men. What does this mean when asking students if they are interested in leadership positions? How will this manifest when students are asked to identify strengths and weaknesses?

Women may more quickly align their confidence and self-awareness with peer feedback. Research says that women will also make adjustments according to feedback received, positive or negative. Consider how this may affect the young ladies in your program if offered criticism from peers regarding leadership abilities, musicianship, or physical characteristics.

Bridging The Gap

In 2009, the Athena Music and Leadership program was created as a space for young women to achieve musical excellence while improving confidence and leadership skills. Led by successful, professional women in music, the faculty serve as positive role models who continue to make an impact on the lives of the young ladies who attend. Although many Athena alumnae may major in music education, the goal is not to create the next generation of band directors, but to develop the next generation of leaders in their field of choice. Participants identify who they are as musicians, know they can create music at a high level, and recognize that, through their music, they can do anything. The program is designed to connect middle schoolers who are just beginning to learn how to play, high schoolers who are perfecting their skills, and college students who are learning to teach and inspire, with professionals who have been teaching anywhere from 1 to 40+ years. The signature leadership and empowerment seminars embrace inclusivity and collaboration while shaping confident, well-rounded individuals who will contribute positively to their band programs and to society.

How Directors Can Help

Band is one of the few classes where the teacher witnesses a student’s musical and personal growth over an extended period of time. Because of this, directors have the unique opportunity to make a tremendous impact on a student’s life. Recognizing that all of our students will not be music educators, experiences in band can help develop leadership potential that may be used in all professions. Here are a few ideas regarding positive ways to influence the lives of the young ladies in your classes.

Recognize: Appreciate quiet leadership in girls. Listen to your young ladies’ voices regardless of how loud or quiet they may be. Understand that young ladies may not exhibit traditionally “masculine” leadership qualities. This includes assertiveness, competitiveness, and expressing oneself confidently. Look for the quiet leaders in the ensemble while understanding that gender is not an indicator for success or aptitude.

Encourage: Approach and encourage young ladies who have leadership potential. Ask them what they are most proud of and what skills they want to develop. Listen to what they have to say, then help them achieve those goals.

Develop: Remember that leaders are created, not

born. Help students identify their personal strengths and recognize their areas for growth. Although leadership training and development is for all, there may be some skills that will be approached differently by girls. Recognize those areas and make the adjustment in your training plans. Include: Be intentional about the inclusion of young ladies on your leadership teams, even at the highest levels. Try your best to ensure that the team reflects your membership. Be mindful of your interactions with women in leadership positions. Provide opportunities for your students to see women as leaders and role models.

About The Athena Music And Leadership Camp

The Athena Music and Leadership Camp (AthenaCamp. com) is a unique experience designed to empower young women through music, leadership training, and mentorship. Held annually, the camp brings together talented musicians, industry professionals, and mentors to inspire, educate, and empower the next generation of leaders across all professions, through their music. Learn more at AthenaCamp.com.

About The Authors

Dr. Myra K. Rhoden is the founder of the Athena Music and Leadership Camp (AthenaCamp.com), an all-girls music program created to promote musical excellence while emphasizing leadership skills. She also serves as the Director of Bands and Fine Arts Department Chairperson at Fayette County High School (GA). Rhoden frequently serves as a guest conductor for state, regional, and university honor bands and is honored to have presented sessions at The Midwest Clinic, various national, state and regional conferences, and for school systems and professional development clinics throughout the United States and Canada. She is honored to be a member of the Phi Beta Mu International Bandmasters Fraternity, serves as a Conn Selmer Educational Clinician and was elected to the prestigious American Bandmasters Association in 2023.

A native of Monroe, Georgia, Dr. Zandra Bell-McRoy has been a music educator since 2002. Upon graduating from the University of Georgia in 2001 with degrees in music and music education, Dr. Bell-McRoy has served as a middle and high school band director in Georgia and is the Virtual Professional Learning Community Lead for 6-12 Band with the Georgia Department of Education. Dr. Bell-McRoy received her Doctor of Education in Music Education from the University of Georgia under the direction of Dr. Roy Legette in 2014. While studying at the University of Georgia, she served as a Graduate Teaching Assistant earning awards for teaching and being selected to participate in the Future Faculty Program. She maintains an active research presence, being invited to present her research at conferences and symposia across the country. Dr. Bell-McRoy has numerous professional affiliations and serves as a flutist with Tara Winds. She is an active clinician and adjudicator and resides in Monroe, Georgia with her husband, Darvin McRoy.

EMPOWERING YOUNG WOMEN THROUGH MUSIC

Athena Music & Leadership Camp

JUNE 23-27, 2024 | REINHARDT

UNIVERSITY, ATLANTA, GA

The Athena Music and Leadership Camp was the first to provide middle school and high school young ladies a five-day, music camp experience while emphasizing leadership and team-building skills.

Open to any middle or high school female student musician who plays a brass, woodwind, or percussion instrument, Athena strengthens musical excellence through three main points of emphasis: performance fundamentals, theoretical understanding, and music appreciation. Our leadership and empowerment workshops focus on confidence building, communication skills, and self-awareness.

Located on the picturesque campus of Reinhardt University in Waleska, Georgia, students enjoy rehearsing and performing in the beautiful Falany Performing Arts Center.

Enrollment is open now through May 31, 2024. There are limited slots available so don’t delay!

Managing Student Stress and Anxiety through Marching Season

by Dr. Karen Koner and Abigayle Gerdes

As a high school band director, when you reflect upon marching season you may think about the importance of the ensemble for the football team, the school spirit associated with the group, or the relationships formed amongst the band members. However, you may also experience a different reaction that includes thinking about busy schedules, long hours, and stressful travel with students. Marching band directors during this fall season may struggle with work-life balance (Shaw, 2014) and experience stress from the feedback they receive from adjudicators. Additionally, band directors may have concern over the influence of competition on their students, their work being judged by others, and the impact competitions or feedback may have on their role as a credible educator with their students (O’Leary, 2019).

This stress is not only felt by band directors, it can also be experienced by the high school students as well. High school students already experience high stress from exams and assessments (Robinson et al., 2009) and being involved in a highly competitive ensemble, such as marching band, that takes a lot of rehearsal time may increase this stress level. For music students this stress may exhibit itself in the form of anxiety or performance anxiety. Performance anxiety has been defined as “the experience of persisting, distressful apprehension about and/or actual impairment of performance skills in a public context, to a degree unwarranted given the individual’s musical aptitude, training, and level of preparation” (Salmon, 1990, p. 3). Music performance anxiety (or MPA) is typically experienced by musicians and can include symptoms such

as tense muscles, feeling faint/sick, churning in the stomach, increased heart rate, shaking, or trembling (Kenny, 2016). While there is no quick fix to managing stress and anxiety, there are some things that may assist. In this paper, we provide suggestions and tools to manage student anxieties through marching season.

Have an Open Discussion about Anxiety with Your Students

One of the first steps in working with anxious students is to learn more about their anxieties. For example, do your students struggle with anxiety in other aspects of their lives or is it specific with music performance situations? Additionally, what types of anxiety symptoms are they experiencing? Something that can be helpful is to share with your students your own performance anxiety struggles to show students they are not alone in such challenges.

To learn more about your students’ anxiety struggles, one idea is to have students complete a Google Form or an exit ticket. A short form (as seen in Figure A), can allow you as their teacher to check in with them but in a written form, to provide a more safe space for the students in case they do not want to share in front of their classmates or may not feel comfortable sharing face to face. One of the most important questions to include in the form is the final question asking if the students have anything else they would like to share. Through this open ended question, students have a platform to discuss anything that might not otherwise be addressed.

Another suggestion is to have students reflect upon their anxiety or performance anxiety through a video reflection. During the COVID-19 pandemic while teaching through distance learning platforms at San Diego State, I decided to have students complete video reflections for certain assignments rather than written reflections to allow me to feel more connected with them during this stressful time. I quickly discovered how this video platform served as an open opportunity to share all types of stressors and anxieties they were experiencing during the stay at home orders. The video was a safe space where they were just talking into a camera, typically in a space they were alone, and not editing themselves as they may have for a written assignment. Following the pandemic, I have left the option for students to complete video reflections instead of writing if they would like that platform to share additional thoughts or ideas. While it is not practical to watch video reflections once a week, implementing during stressful or anxious times during marching season may assist you to know how your students are feeling and make decisions on how to work with them.

Breathing Techniques

Deep diaphragmatic breathing techniques can assist with controlling stress levels and nervousness (Lucas & Kerr, 2016). As band directors, we talk about breathing and breath support several times throughout a rehearsal, so it seems like a natural fit that we can integrate deep breathing techniques to assist students with tone and intonation, while also assisting our stressed, anxious, and nervous students. There are two breathing technique exercises that we recommend to try with your ensemble.

Three-Part Breath

1. Have students sit up straight on their chairs with good posture (not leaning into the backs of their chairs). Have students rest their hands on their stomachs and instruct them to start breathing in and out of the nose.

2. Guide students to take a few deep breaths through their diaphragm and feel how their hands move out and back.

3. Have students slide their hands to the side of their rib cages. Guide them through taking a deep breath through the diaphragm and then through the rib cage. Have them exhale in the opposite direction (first exhale through the rib cage and then through the diaphragm)

4. Have students slide their hands up to their chest/ heart. As they inhale, guide them to breath in through the diaphragm, then the rib cage, and then up through and open the chest. Have them exhale the opposite (chest, then rib cage, then diaphragm).

5. Have students repeat this three-part breath pattern at least three times.

Box Breathing

1. Have students sit up straight on their chairs with good posture (not leaning into the backs of their chairs.

2. Using either a metronome or instrumental music with a steady beat, have students inhale 4 beats, exhale 4 beats, inhale 4 beats, and exhale 4 beats. This will create four sides of a box.

a. Each inhalation should be through the mouth and each exhalation should be out through the

mouth with an appropriate embouchure.

b. Inhalations and exhalations must last for the entire four beats, focusing on a steady air stream.

3. Begin with one box and add more boxes at the beginning of rehearsals throughout the concert cycle. Counting inhalations and exhalations will help students internalize pulse and focus on a steady breath.

Mindfulness

A mindfulness practice can induce relaxation and improve focus and attention (Kabat-Zinn, 2003) and has been proven to assist musicians with performance anxiety (Diaz, 2018). When first engaging students in a mindfulness practice, it can be difficult to know where to start. However, there are several mindfulness techniques we have utilized during the rehearsal process that are geared toward musicians. The Mind’s Ear by Bruce Adolphe (2013) has several “exercises for improving the musical imagination.” There are five sections; (1) exercises to be done in silence; (2) exercises involving groups; (3) exercises using musical instruments; (4) the feeling of an idea and; (5) exercises in composing. Beginning rehearsal with an exercise to be done in silence helps your ensemble to settle their bodies and their minds. You will lead your students through an exercise and then ask the corresponding questions to the ensemble. As you progress through this section of the book student’s will be asked to hear musical excerpts, different timbres, chords, etc. Asking students to visually hear different aspects of music will not only quiet their anxious minds, but will improve active listening in your ensemble during rehearsal.

Visualizing marching band drill is another guided meditation that is geared toward the musician’s mind. This visualization can be done outside on the performance field or indoors if you do not have access to your practice space but would like to “rehearse” drill. The visualization can be led by playing an audio recording of the marching band show music, perhaps their latest performance, or you can lead them through verbally. Visualizing the drill will help to calm their anxieties before a performance, during a particularly stressful rehearsal block, or can be done when a physical break is needed but you want to keep the ensemble mentally engaged.

Finally, consider inviting a yoga instructor to a block of band camp. Not only is yoga a tool for reducing anxiety and stress, but it can also be a tool to get their bodies moving in ways they have not tried before. Having a certified yoga instructor in the rehearsal will help the band director to lead sessions throughout the season and also allows an opportunity to have a guest in your ensemble. Beginning a rehearsal block with yoga instead of the standard stretches provides students with mindfulness activities they can use in other aspects of their lives. The more mindfulness practices we share with our students the more they will start to make connections between stress and anxiety related to marching band and what they are feeling in their everyday lives. By modeling these mindfulness practices, you will encourage your students to engage in similar activities outside of the

rehearsal when they are feeling anxiety or stress.

Before, During, and After Performances

When working with students with anxiety or performance anxiety, it is important to give them tools to work through a performance. Prior to a performance, lead your students through a short breathing exercise or visualization. By leading all the students through such exercises, you will not be singling out the students with anxiety but also providing them an opportunity to work through their anxieties before they take the field.

While students are performing on the field, if they feel anxious, encourage them to tap into some breathing exercises between pieces. One deep inhale, holding the breath for four counts and exhaling as long as they possibly can, can start to slow down the heart rate and can be done in the few seconds in between pieces. Additionally, depending on the structure of your marching band show, you can have your drum major lead the ensemble through one round of box breath with only the drum major doing the physical movement but the other band members visually following along. This can be done during the time it takes for the guard to reset or any time there is a resetting of the props.

Following the performance, provide your students a platform to reflect upon their performance and what types of anxieties they may have felt. Do your students experience higher levels of anxieties for competition days over football games? If so, this allows you as the director to try and brainstorm ways to assist the students during those high anxiety situations.

Mindful Tools

There are some helpful tools to use during your rehearsals to assist your students or to encourage them to try at home. The first is to encourage students to experience physical activity of some sort to work through anxieties. Physical activity helps combat anxiety as it eases false panic about situations (Bernhard, 2021). It does need to be intense activity to assist but can be short and simple. For example, if students seem to be stressed and anxious, instead of having a sitting break during a marching band rehearsal, have them take a short walk around the field. They can walk as quickly or as slowly as they may need for it to still be effective. In addition, if the physical activity can take place outside and in nature, it is even better. Spending time in nature can reduce physical and psychological stress (Ewert & Chang, 2018). Encouraging your students to visit a place of natural beauty during their weekends or off time, can assist with their overall stress levels and anxieties.

For students who may experience high anxiety, a glitter jar can be a highly effective tool. To create a glitter jar, as seen in Figure B, you will just need a few simple items; a mason jar, water, clear glue, glitter, and food coloring if you would like to add color. Add the water, glue, glitter, and food coloring to the jar. The amount of glue you add will impact the speed in which the glitter will fall. Once the ingredients have been added, simply shake the jar and watch the glitter fall. We have both worked with students who have entered our offices or classrooms having high anxiety and this has

proven to be effective every time. As the student watches the glitter fall, it creates a space in which they will clear their mind and just focus on the visual of the glitter. We have sent them home with students who are high anxiety and created small ones for anxious students to keep on hand.

Figure B.

Another tool to work with anxious students is to have them take a mindful minute. Prior to a performance or a rehearsal, it can also be effective to lead your students through a mindful minute as a group. Have students close their eyes and set a timer for one minute. During this minute ask students:

What can you hear?

What can you smell?

What can you see?

What can you feel?

What can you taste?

By having students tap into their senses for one minute, this will alleviate the space within their mind to worry about upcoming performances, rehearsals, etc. By setting the timer, it will also alleviate your stress of it taking too long prior to a performance or rehearsal. Additionally, as a nice by-product of this exercise, it can assist with classroom management by having all students be silent for one minute.

Conclusions

Educators and researchers have seen an increase in anxiety in students following the COVID-19 pandemic (Wilson et al., 2021) and as music educators it is important for us to be equipped with tools to work with these students to continue to support and educate these young musicians. As music educators, we typically model for students how

we want a rhythm to sound or characteristic tone on their instrument, however, it is also important to model healthy life habits and stress management ideas. Starting the rehearsal with just a short breathing or mindfulness exercise can set the tone for the rehearsal and also model ideas for students to try at home. Having a mindful approach can assist your students who may be suffering from anxiety or performance anxiety and give them tools to be successful as a young musician.

References

Adolphe, B. (2013). The mind’s ear: Exercises for improving the musical imagination for performers, composers, and listeners (2nd edition). Oxford University Press.

Bernhard, H. C. (2021). Managing stress in music education Routledge.

Diaz, F. M. (2018). Relationships among meditation, perfectionism, mindfulness, and performance anxiety among collegiate music students. Journal of Research in Music Education, 66(2), 150-167. https://doi. org/10.1177/0022429418765447

Ewert, A. & Chang, Y. (2018). Levels of nature and stress response. Behavioral Sciences, 8(49). https://doi. org/10.3390/bs8050049

Kabat-Zinn, J. (2003). Mindfulness-based interventions in context: Past, present, and future. Clinical Psychology, 10(2), 144-156. https://doi.org/10.1093/clipsy.bpg016

Kenny, D. (2016). Kenny music performance anxiety inventory (K-MPAI) and scoring form.

Lucas, L. J. & Kerr, S. (2016). Remembering to breathe: The challenges and rewards of teaching mindfulness practices to pre-service teachers. The Journal of Educational Thought, 49(3), 253-264. https://www.jstor. org/stable/26372377

O’Leary, E. J. (2019). A phenomenological study of competition in high school bands. Bulletin of the Council for Research in Music Education, 220, 43 – 61. https:// doi.org/10.5406/bulcouresmusedu.220.0043

Robinson J. A., Alexander D. J., & Gradisar, M. S. (2009). Preparing for year 12 examinations: Predictors of psychological distress and sleep. Australian Journal of Psychology, 61(2), 59-68. https://doi. org/10.1080/00049530701867821

Salmon, P. G. (1990). A psychological perspective on musical performance anxiety: A review of the literature. Medical Problems of Performing Artists, 5(1), 2-11. https://www. jstor.org/stable/45440271

Shaw, R. D. (2014). The work-life balance of competitive marching band teachers: A multiple case study. Bulletin of the Council for Research in Music Education, 200, 6380. https://doi.org/10.5406/bulcouresmusedu.200.0063

Wilson, O. W., Holland, K. E., Elliot, L. D., Duffey, M., & Bopp, M. (2021). The impact of the COVID-19 pandemic on U.S. students’ physical activity and mental health. Journal of Physical Activity & Health, 18(3), 272-278. https://doi. org/10.1123/jpah.2020-0325

About the Authors

Dr. Karen Koner serves as associate professor and coordinator of music education at San Diego State University. As a specialist in instrumental music education, she teaches undergraduate courses focusing on K-12 teaching strategies, rehearsal techniques, lesson planning, and curriculum. Dr. Koner holds a Doctor of Philosophy in Curriculum and Instruction in Music Education from the University of Maryland, as well as additional degree from the University of Arizona.

Dr. Koner’s research interests encompass topics related to music teacher education with a specific lens of examining current needs of pre-service music educators in her home state of California, as well as mental health, stress management, and mindfulness techniques of music educators and students. She has presented her research and work internationally and nationally through music education professional conferences in Glasgow, Scotland, Tel Aviv, and throughout the United States. Dr. Koner’s research can be found in journals such as the Update: Applications of Research in Music Education, Contributions to Music Education, and International Journal of Music Education

Outside of her work as a music teacher educator, Dr. Koner can be found instructing yoga, with a specialty in Restorative, Yin, & Hatha yoga practices. She currently teaches a course she designed called Yoga and Mindfulness for the Musician at SDSU for the undergraduate and graduate music students. She also enjoys combining

her love of yoga and music teacher training by working with musicians and educators on techniques to increase health awareness in the music classroom.

Abigayle Gerdes is an instrumental conductor at San Diego State University as well as in the K-12 public schools. Originally from Northwestern Pennsylvania, Abbie holds a Bachelor of Science degree in Music Education from Indiana University of Pennsylvania (IUP) and a Master of Music degree in Conducting from San Diego State University (SDSU).

Professor Gerdes has been the director of the SDSU Concert Band since Spring of 2016. Under her direction the ensemble has performed works by living, BIPOC, and underrepresented composers as well as giving premiere performances of commissioned works for the group.

Professor Gerdes teaches full time instrumental music in the Ramona Unified School District where she directs the concert and marching bands. Her students have participated in research studies focused on the effects of mindfulness routines in band rehearsals, the results of which have been published in Update: Applications of Research in Music Education and Contributions to Music Education In addition to her teaching responsibilities, she is a member of National Association for Music Education, College Band Directors Association, and the California Music Educators Association.

Off the podium, Professor Gerdes can be found spending time with her husband Michael and doodle Wally.

Harmony in Percussion: Enhancing the Overall Percussionist (and the Entire Music Program) through Indoor Percussion

by Caleb Rothe

Introduction

In just three decades, indoor percussion has exploded in popularity and participation and evolved from a niche activity into a pivotal component of scholastic music programs across the United States. Today, it is a foundational element of some of the most dynamic and acclaimed band programs nationwide. However, as its popularity soars, a critical question arises: Does indoor percussion truly enhance our music programs, or might it, in some respects, constrain the musical growth we seek to nurture?

Critics suggest that an emphasis on winter percussion could confine our percussionists, narrowing their musical horizons, and potentially detracting from or negatively impacting our program’s stage ensembles. This article confronts these concerns head-on, aiming to dispel prevalent myths and unequivocally highlight the harmonious relationship between indoor percussion and the enrichment of our comprehensive music programs.

Leveraging insights from nationally esteemed music educators and my own direct experiences, we’ll explore why indoor percussion isn’t just a sideshow activity but should be considered a core component of any comprehensive scholastic music program. This exploration invites us to reconsider the role of indoor percussion within our music

programs, recognize its potential as a catalyst for growth, and celebrate the boundless opportunities it presents for our students.

The Role of Indoor Percussion in Modern Music Education

Think of a ‘typical school band percussionist.’ Maybe you’re imagining the classic scene: students in the back of the band room, somewhat disorganized and more than a little disengaged, lost in a sea of rests or on a quest for that elusive triangle beater. While this caricature may still find resonance in the corridors of middle schools, it is steadily becoming an outdated notion in high schools throughout our state. But what’s driving this change?

The answer, I propose, is rooted in the emergence and integration of indoor percussion within our music programs. More precisely, the transformation is attributable to a combination of factors inherent in a well-structured indoor percussion program, whether focused on marching or concert percussion. These include:

• Specialized Instruction: Offering targeted instruction to students who might otherwise be overlooked, ensuring that every percussionist receives the attention and instrument-specific expertise they

need to flourish.

• Year-Round Coaching: Extending percussion learning beyond just marching band season through continuous instruction in percussion pedagogy and keeping students actively involved and invested in their musical growth through every part of the year.

• Enhanced Engagement: Drawing students into a discipline they are passionate about increases their overall engagement and enthusiasm for music and performance.

• Quality Literature: Providing percussionists with robust literature that is as compelling and challenging as that of their wind and string counterparts, thus enriching their educational experience.

• Higher Standards & Accountability: Elevating expectations for percussion students, fostering a culture of excellence within the ensemble, and enhancing opportunities for personal and collective accountability.

Traditionally, percussionists in a stage band might feel peripheral, often engaging with literature that pales in complexity and richness compared to the winds or strings. This, coupled with limited instruction typically offered by educators less familiar with percussion intricacies, and the scant feedback from festival evaluators (whose percussion input, let’s be honest, frequently focuses only on tempo or volume), has historically relegated percussionists to the margins of the band room—both literally and figuratively.

However, when our percussionists are elevated from the back of the ensemble to become a featured or showcased voice instead, when we entrust them with literature that demands their full engagement, and when we hold them to a standard of primary music makers rather than mere contributors of auxiliary color, we witness a profound transformation.

Indoor percussion serves as a pivotal outlet for this metamorphosis. It offers a stage where percussionists are not just participants but instead become the main characters. By providing instrument-specific instruction, elevating expectations, and creating spaces where percussionists can lead with their creativity and musical insight, we invest in

their development as musicians and performers.

Embracing indoor percussion as a core element of the music program represents a triple win: for the percussionists, who receive the education and spotlight they deserve; for the music program, which benefits from the heightened standards and engagement; and for the school community, which enjoys richer, more varied musical offerings. The positive ripple effects—what I like to call the “halo effect”— of such an investment are immeasurable, uplifting the entire music program to new heights of excellence and inclusivity.

Personal Journey: A Testament to Transformation at Ayala High School

During my tenure as one of the percussion directors at Ayala High School from 1997 to 2009, I witnessed firsthand the transformative power of indoor percussion on hundreds of my students. Starting with a modest Percussion Scholastic A (PSA) group, the program grew, improved, and expanded to eventually encompass both a marching Percussion Scholastic World (PSW) group and a Percussion Scholastic Concert World (PSCW) group. Along the way, we not only experienced great success with our percussion ensembles, including multiple World Championships, but also played a pivotal role in helping elevate Ayala’s entire music program to statewide recognition.

The impact of our indoor percussion program extended far beyond trophies and titles. The “halo effect” of these successes indeed underscored our mission—not just to excel in one aspect but to uplift the entire music program.

Quality Begets Quality: At Ayala, we used the growing indoor percussion groups to drive percussion participation in the concert bands, which had previously been challenging. Initially, we set a clear expectation: the continuation of our indoor percussion group was contingent upon students fulfilling their obligations in wind ensemble, symphonic band, and concert band. In those early days, while the allure of indoor percussion captivated many, their enthusiasm for participating in traditional stage bands was pretty lukewarm, mainly due to the issues I previously mentioned. However, as the quality of our indoor percussion groups grew and as students started participating in both our marching and concert percussion groups, our percussionists became model music program students. Our percussion students emerged as exemplars within the music program—punctual, prepared, meticulous, and among the most diligent. The discipline and skills honed in indoor rehearsals seamlessly translated to the concert hall, significantly enhancing the overall music program. The once-desperate search for stage band percussionists evolved into an abundance of eager students, ready to expand their musical journey, and demonstrating the profound, positive ripple effect indoor percussion can have on all facets of a music program.

Get Them in the Door: I’ve often shared a simple truth at education conferences: we can only teach the students who are in our room. Our percussion program’s visibility and appeal played a crucial role in attracting a broader range of students at Ayala, including those without prior musical experience. The “cool factor” of indoor percussion acted as a magnet, drawing walk-on participants intrigued by the

energy and dynamism they observed. This underscores a fundamental goal in music education that we all share: to fill the room. After all, the transformative power of learning to play an instrument (any instrument!) unfolds only when students take that first step to engage. For many, it happens in 5th grade when they “start band.” But what about the others that weren’t enticed then or by those instruments? Is that the end? For us, indoor percussion proved to be a big draw and served as a gateway for many students, including those who eventually became standout members of our wind ensemble and top jazz band despite a late start. Their introduction to music came not from traditional recruitment methods but from the inspiration sparked by an indoor percussion performance. In doing so, we didn’t just add names to a roster; we ultimately altered the course of additional lives.

Success is Contagious: Ayala’s percussion program was at the forefront of our school’s ascent to prominence on both state and national stages—a development some directors might view with apprehension, fearing it could overshadow other parts of the music program. However, my experience has shown that excellence in one area often acts as a springboard, elevating the entire program to greater heights. Intriguingly, concerns about overshadowing are typically only voiced over “non-core” elements like color guard or indoor percussion. Questions about a high-achieving wind ensemble detracting from the marching or jazz bands are virtually unheard of. Yet, in practice, success within any segment of a band program tends to inspire and elevate the whole, fostering a culture of achievement and excellence. Balancing resources to ensure no single component dominates is part of our responsibility. Still, it’s a task that, when handled well, leads to all aspects of a program flourishing. One has to look no further than some of the finest school music programs in the country, where the evidence of this positive dynamic between stage bands and indoor percussion groups is clearly visible, and the results are indisputable.

Voices from the Field: Insights from Leading Educators

In preparation for this article, I reached out to three

nationally renowned figures in music education. All three of these incredible directors have overseen dynamic, robust school music programs with world-class stage ensembles that also happen to feature incredible indoor percussion groups. I wanted to know whether they, too, had seen gains and benefits from their students who participate in indoor percussion and what impact their indoor group has had on their whole program. Here is what they shared.

Jay Webb, Retired Director of Bands at Avon High School, Indiana

“We have five concert bands, so there is a lot of repertoire to get through. Our percussionists needed to be prepared for their contributions to the concert program as well as their drumline responsibilities. The discipline and attention to detail the members acquired while involved in the marching arts directly applied to the details and discipline to be on task when needed in the concert programs. In addition, their absolute control and musicianship added to the expression/ interpretation of their required parts. Their growth of musical maturity greatly contributed to the overall whole of our program. That is in great contrast to the typical “concert band/drum head” that is so typical in some programs.

There are so many benefits it is sometimes hard to quantify. Indoor percussion has been a significant motivating factor for our percussionists to be leaders of our concert program. Both musically and from a discipline perspective, it has contributed significantly to the overall achievement of our whole program.”

Darrin Davis, Executive Director of Fine Arts and Director of Bands, Broken Arrow High School, Oklahoma

“The Broken Arrow Indoor Percussion group has had a tremendous impact on the depth and quality of our percussion program, particularly in relation to the concert bands at Broken Arrow High School. The indoor percussion activity is a symbiotic ensemble that works hand in hand with the development of our concert bands. Since the formation of the Broken Arrow Indoor Percussion group, our complete band program has seen a significant growth in acceptance for our concert ensembles to perform at many of the nation’s most highly regarded events like the Midwest Clinic, the Music For All National Festival, and the American Bandmasters Convention.

Without question, I see a musical and emotional maturity transform our percussionists through the Indoor Percussion program that has become quite active in the WGI events. Our percussionists enjoy a greater sense of pedagogical detail of their craft, a development of their social and life skills, and an even larger commitment to something bigger than the individual. Quite simply, if not for the implementation of Broken Arrow’s Indoor Percussion program, I’m not sure the full program successes of the Broken Arrow Bands would be as fulfilling.”

Tonya Mashburn, Executive Director of Bands, Lambert High School, Georgia

“I am an advocate for a comprehensive music education curriculum that fosters versatile skills, enabling musicians to

excel in diverse performance environments, regardless of size, style, purpose, or venue. We aim to cultivate a lifelong passion for music-making, empowering students to thrive in any musical setting. My teaching approach encompasses a broad spectrum, with a focus on both marching/rudimental and orchestral/chamber techniques. This dual emphasis forms a symbiotic relationship, with each aspect complementing the development of the other.

In Marching Ensembles, students build strength, endurance, and power while also honing skills in listening and communication over long distances and in varying acoustic conditions. The social and emotional benefits, coupled with increased practice hours, contribute to accelerated skill development and instill confidence in performance, ultimately enhancing students’ enjoyment and motivating them to continue pursuing instrumental music. Conversely, in Concert Ensembles, students refine instrument-specific techniques, nuances, and musical control. The acoustic demands of chamber music encourage heightened attention to sound resonance, fostering skills in matching, blending, and balancing within the ensemble.

By integrating skills from both environments, I have found students become adaptable musicians capable of excelling in any musical scenario. This approach enables students to adjust their performance techniques to suit diverse settings, thereby enhancing their ability to thrive in the ever-changing music-making landscape.”

Conclusion: Where Do You Go From Here?

Hopefully, this exploration into indoor percussion has illuminated its undeniable value—not merely as an extracurricular activity but as an essential, enriching facet of a comprehensive school music program filled with diverse, adaptable, and driven musicians. By providing specialized instruction, enhancing student engagement, elevating performance standards, and expanding access to challenging and engaging repertoire, indoor percussion fosters incredible growth within our percussion students and enhances

experiences across the full spectrum of our programs.

The insights from Ms. Mashburn, Mr. Webb, and Mr. Davis’ experiences further highlight that when our percussionists are given the spotlight, the entire program shines brighter. The discipline, commitment, and musicality honed in the indoor percussion ensemble echo through our wind ensembles, jazz bands, and concert halls, which helps uplift performance standards and mold future leaders. This symbiotic connection between indoor percussion and comprehensive music education programs suggests a promising path forward, one where every student is engaged and motivated, every talent nurtured, and every outlet for creative expression and personal growth is encouraged, supported, and championed.

In our continuous quest as educators to enrich the musical journeys of our students—deepening their comprehension, refining their skills, and broadening their emotional expressiveness—indoor percussion offers a unique pathway to help achieve these goals. It’s a wonderful component of a comprehensive music education program and is yet another way to help our students—every student—fully realize their potential.

About the Author

Caleb Rothe has been at the forefront of percussion education in Southern California for nearly three decades, shaping the talents of young musicians at notable institutions like Ayala HS, Rancho Cucamonga HS, Upland HS, and Pulse Percussion. Currently serving as the Percussion Education Coordinator for WGI Sport of the Arts and the President of the Southern California Percussion Alliance, his influence extends from local classrooms to international stages, where he’s been recognized as a clinician, adjudicator, administrator, and keynote speaker. Rothe’s creative, instructional, and administrative contributions have led his ensembles to win numerous WGI World Championships across multiple classes and led to his election to the WGI Hall of Fame in 2020. Beyond his contributions to the marching arts, Rothe is a dedicated professional educator for the Redlands Unified School District, where he has served as a teacher, department chair, and instructional coach for the past two decades. He lives in Fontana, California, with his wife, Kelly, and their two sons.

Diversification of Repertoire and its Implications on Quality

by Dr. Janet Song Kim

Introduction

Many of us have been entrenched by Diversity, Equity, and Inclusion (DEI) initiatives in recent years; some have been focused on these missions for their entire lives while others have been awakened over the past four years since our last large, collective reckoning with racial inequities. For those that might need a succinct definition of DEI, Robert Sellers from Univ of Michigan defines these terms as: Diversity is where everyone is invited to the party; Equity means that everyone has the opportunity to dance, and Inclusion means that everyone gets to contribute to the playlist (https://diversity.umich.edu/about/defining-dei/).

An often overlooked aspect of DEI in professional/ educational instrumental spaces is the perception of “quality literature” and its ensuing implications. While the renewed focus on diverse voices and composers has opened the door to greater exposure for marginalized communities, ensemble directors may be overwhelmed or unsure at times.

Yet, instrumental music educators might find

balancing DEI issues with repertoire and repertoire quality overwhelming. How might ensemble directors honor DEI initiatives while also engaging in quality literature?

In this article, the intention is to:

1. Confront the oppositional argument of “What about quality?”

2. Offer practical tips to consider re: how to continue your engagement

3. Provide my philosophical reasoning for why I partake in the diversification of music.

Engaging in an honest self-reflection of one’s definitions of and approach to “quality” literature is challenging and vulnerable work. Just as viewing changing student demographics with openness and enthusiasm may increase our empathetic connection to each other, our ability to see quality as reflexive may allow us to approach our music and fellow musicians with a similarly deepened sense of empathy.

What About Quality?

Directors often face skepticism, pushback, or dismissal in their requests to administrators for purchasing new music or engaging in conversations around diversity in repertoire selection.

A common argument I have been met with is often predicated on an interrogation of the importance and relevance of quality: “How is quality affected by the act of engaging in the diversification of repertoire?”

• This question always results in what I believe to be an etymological debate of sorts and leaves me with more questions than answers. Should quality be used as an adjective when quality, in its original form, was a noun that described the characteristics of any given subject matter? Those that might disagree because of previous studies (such as the Ostling, Gilbert, and Towner studies) of quality music, I invite you to articulate what exactly it is about the pieces you’ve written off that do not align with the descriptors detailed in those studies. Have you taken the time to truly listen and engage with the composers’ music you are disagreeing to purchase/program?

• In Gilbert, Towner, and Ostlings’ definitions of “serious artistic merit,” several musical parameters are listed for consideration when determining the quality of a piece. For one small example: Ostling talks about how “the composition should have Form and reflects a proper balance between repetition and contrast” — How much is too much repetition? How much is too much contrast? How do we know what is the proper balance aside from our own taste?

• These kinds of questions come up for every single part of their criteria for what one would consider “quality” music, or more accurately “high quality music with serious artistic merit.” Quality, in reference to music and its most original form as a word, is a list of descriptors that make any given song or piece of music unique.

• One way to think about the concept of quality is in relation to the ways in which a city or town might change over time. A given town’s demographics (along with its infrastructure, foliage, and landmarks) may evolve over a course of years. However, its very status as a town remains unchanged despite these developments. If you have taught in one high school in an area that has seen this kind of demographic change, I would hope that those demographic changes have not moved you to believe that the “quality of the student” has declined, but rather, that the qualities of those students have changed to more accurately reflect the difference in the predominant culture that presides in this area. Similar to these hypothetical students and demographic changes, the notion of repertoire quality viewed through an etymological lens develops over time to reflect changing social and cultural conditions.”

When choosing works from the current predominant demographic of composers within the wind band medium, we are met with the same composers repeatedly: Robert W. Smith, Brian Balmages, Frank Ticheli, Randall Strandridge, Robert Sheldon—and although the list extends far beyond the length of this article, the same, common names continue to appear in the J.W. Pepper catalog and in Google searches. It is the easiest, and seemingly, more practical, time-saving option to choose these composers because of your familiarity with their work and trust in them as composers and, ultimately, as people. Amidst the myriad demands placed on you throughout your day, turning to these composers and their literature may feel like the most logical solution. After all, these selections have been time-tested and programmed successfully; why not again? However, returning to the same library may keep you from engaging with or discovering music written by other composers

The argument can be made here that “I don’t like most music written by white men, and only like the select few who write quality music. How am I supposed to find music I enjoy by those who take up an even smaller percentage of that demographic of composers?”

• My answer to this question, simply put (and much easier said than practiced): You’re going to have to put in more work to dig out some composers you actually like. It’s a simple statement with a lot more work behind it than we typically have the energy or desire to put forth. However, if this is important to you, this type of intentional work will help diversify your repertoire organically by expanding the pool of composers you program.

How to Continue your Engagement

If diversifying your library to include composers from different walks of life is important to you, it is critical to acknowledge that the discovery and selection process should be an active, intentional part of your routine as a music educator. I may be “preaching to the choir” here, but much like learning an instrument, this commitment takes practice and dedication.

Here some considerations and “practicing” tips:

1. Taking 30-45 minutes per month can be enough to add new composers into your rotation. Do you have 30-45 minute to spare? Maybe it takes the form of 15 minutes of research/listening twice or three times a month, or maybe you’d prefer to sit down and get it all done in one go. In either case, the practice needs to happen, and as busy directors, intentionally setting a time to do it on a regular basis should be a priority.

a. Try to be intentional about seeking composers from different identities/cultures/backgrounds.

2. Listen to as much music as you can and diversify not only the music you consume for band, but at large, and opt to expand your overall exposure:

a. Listen to more ensembles that you wouldn’t typically listen to.

b. Check various resources such as state lists, international conference performances, etc.

c. Allow the YouTube/Spotify/Apple Music algorithm to take you for a ride—this can be a great way to enter into different styles and composers.

3. Be organized with your consumption of music; take the time to write down your impressions of every single piece you hear performed. Need a template for this? I’ve made an easy spreadsheet for you to copy and use here

4. If you can’t find the time to do this on a consistent basis throughout the school year, take a week during the summer to listen to as much music as you can and add to your document.

a. Set a timer and commit to researching/ skimming through music you don’t know for 30 minutes.

b. If your schedule permits, set aside a week every summer during which you spend an hour dedicated to listening to music in your catalog.

c. Continue to refine your tastes and priorities.

5. Stay connected to all resources possible, that you can, and utilize whatever time you’ve allotted towards this practice to peruse these resources and/or get involved with them:

a. State lists/MEA lists.

b. Local/National/International Conference Performance Lists: Midwest, MEA, SBA, WASBE lists.

c. Repertoire resources: Wind Repertory, AWWH (And We Were Heard), ICD (Institute for Composer Diversity), Diversifying the Stand, traditional Google searches, etc.

Why? Toward Intentional Engagement

I want to finish by elaborating upon my philosophy for why I engage in this practice so intentionally. Intentional engagement is the primary aspect I want to elaborate upon, as this pursuit to diversify the music my students perform has more to do with the quality of the music than it does the color of any given composer’s skin.

When we listen to Leonard Bernstein, Karel Husa, or David Maslanka, we can hear their personalities and parts of their lives. We can hear Bernstein’s energetic sociability and love for jazz; we can hear Husa’s sincere, empathic pain; we can hear Maslanka’s deep love for hymns, for humanity, and nature.

When we take on the task of studying, teaching, and performing music, we partake in the act of immersing ourselves in people’s stories and how they perceive and create in a world that generously gives human experiences. When we rehearse and perform music, we engage with qualities of that music presented to us by actual human beings. What better way to learn about someone’s most beautiful qualities as a person than to directly encounter and grapple with their artistic creations? Composers, have and always will, write about their own processing and reflections of modern society with all its beauty and complications.

I would hope that we all actively take it upon ourselves to subsist in the world with the most basic level of decency towards other humans. This intention, despite its

seemingly simple ask, requires the work of getting to know, understand, and empathize with others different from us. I commit myself to programming music written by a diverse group of composers (including all races, backgrounds, and cultures) to most deeply understand humanity’s place in this world. It is not to dismantle or subvert a system that currently exists, but to allow myself and my students to continuously enmesh with other humans’ lives (from the past and from present-day) to partake in an artistic act that brings us closer to a more empathic existence.

Does it result in promoting the representation of a more diverse population indicative of the beautiful integration of different races and cultures throughout the world? Yes.

Does it provide visibility for students from various backgrounds? Yes.

Does it open the door for more new compositions (upon which the very foundation of the wind band medium was built)? Yes.

At the end of the day, the effort you put into this kind of intentional engagement is what you will get out of it. If you do not try to find music that works for us, we must remember that the quality of the music we program is only impacted in how you can define it. These are all wonderful, outlying results of this practice, but getting to know more about different humans through their music making not only makes us better musicians; it makes us better people, overall.

About the Author

Dr. Janet Song Kim (any pronouns) is the Director of Wind Bands, Coordinator of Woodwinds, Instrumental Ensembles, Chamber Music, and serves as an Assistant Professor of Music at the University of Connecticut. In this role, they conduct the UConn Wind Ensemble in addition to teaching basic conducting, advanced instrumental conducting, instrumental pedagogy, chamber ensembles, and wind literature classes.

In addition to their role at UConn, they also actively compose original works and arrange traditional Korean folk music for Wind Bands. Kim is also an active guest conductor, and clinician, and has worked with honor bands and festivals across the United States, Canada, and South Korea. Most recently, they have presented at the 2023 Midwest International Band and Orchestra Clinic about the impact of thoughtful programming practices and tokenism.

Kim earned their doctor of musical arts degree in conducting from The Herb Alpert School of Music at the University of California, Los Angeles. Prior to this, they earned a master of arts degree in instrumental conducting from Indiana University of Pennsylvania and their bachelor of music degree in music education and jazz studies, magna cum laude, from Montclair State University. Their primary conducting teachers include Dr. Travis J. Cross, Dr. Timothy A. Paul, Dr. Jason Worzbyt, and Dr. Shelley Axelson.

Musical Fusion – The Alchemy of Pedagogy and Ensemble Programming by Dr. Gregory Xavier Whitmore

“At its’ essence, art is an alchemical process. Alchemy is a process of transformation.”

- Julia Cameron

Introduction

As many music educators will attest, the teaching and learning centered around the literature performed each concert season is one of the principle means through which many of the artistic and educational experiences our students will enjoy as participants in our music programs takes place. While every concert season is unique, each offering a bevy of performance opportunities ranging from large ensemble concerts to festivals and contests, chamber ensemble concerts, and more – the act of programming for each concert season is perhaps one of the most important facets of our work as practitioners of artistry and education – as this programming will deeply inform the participatory experience for our students. While we strive valiantly to program literature for each concert season that is both artistically nourishing and educationally viable for our students, we should aim for a similar “fusion” between our pedagogy and our programming. Indeed, our aim should be to merge those factors that are silently at work in guiding and shaping our literature selection each concert season with our pedagogical acumen in a kind of “artistic alchemy” - in order create a classroom/rehearsal environment that is transformed, artistically refreshing, and educationally vibrant.

“Artistic Alchemy”

The dictionary defines Alchemy as, “A seemingly

magical process of transformation, creation, or combination”. One may hear the term “alchemy” and draw an immediate association with science, chemistry, or medicine (and thus the requisite laboratory where experiments are actualized). However, when I think of any school band room, this also can be considered a “laboratory”. Indeed, artistic “magic” and “creation” often occurs in these musical spaces in every school, at every level of music education, each day. I contend that we as music educators can magnify the breadth and depth of the musical “magic” and heighten the cultivation of creativity in our ensembles for even greater artistic and educational effectiveness through the processes of “artistic alchemy” which follow.

Programming Curation Informs Pedagogic Innovation

I suggest that the literature to be programmed for our concerts is not “picked”, but “curated”. Through the more deliberative process of “curating” the literature for our concert seasons as opposed to the more arbitrary “picking” of the literature we will program; we have already begun to inform our pedagogy. Swiss Art Curator (and Artistic Director of The Serpentine Galleries in London) Hans Ulricht Obrist defines the actions of curating thusly: (1.) Filtering, (2.) Enabling, (3.) Synthesizing, (4.) Framing, and (5.) Remembering. Obrist’s actions of curating can find implementation in our pedagogy with our students accordingly:

The “Actions” Of Curating a Concert for Our Ensembles Involves:

1. Filtering – Suggestion: Discuss, explain, and

inform our students of our process of programming literature for each concert season. This discussion (both in and out of rehearsal) can highlight our processes, and the artistic considerations that inform why the music that is before our students made “the cut” for each concert.

1. Enabling – Suggestion: Increase our student’s agency within our ensembles. We should strive to enable our students to consider and discuss their own thoughts (in their own voice) regarding their interaction (artistic and otherwise) with the literature we have programmed. We can enable our students with opportunities to participate in these discussions both in and out of rehearsal. Additionally, we should strive to enable our student’s agency in the actual rehearsal/preparation process for each piece. We should empower our students to assist us by informing the process by which we plan and structure rehearsal elements over the course of a concert cycle.

2. Synthesizing – Suggestion: Every piece of music has two things: (1.) An inspiration, and (2.) A story to tell. Our students deserve the opportunity to know and fully understand the compositional elements that create the “character” of each piece we program. Our students deserve to know and deeply understand both the inspiration and the “story” of each piece we program.

3. Framing - Suggestion: Present opportunities for our students to develop a greater understanding of our concert program. During the curation process, we as music educators make conscious and deliberate choices to program certain pieces of music on a particular program. Our students deserve the opportunity to understand why each concert is framed and “flows” the way it does.

4. Remembering – Suggestion: Present opportunities for our students to know and fully understand how the literature we have programmed is, “The music of our time”, or emerges from the core of our repertoire. During the programming curation process, we make conscious choices concerning programming works that are either modern, or from the canon of our artistic medium. We should strive to connect characteristics of these works and find pedagogical opportunities to bring our students to a point of awareness and understanding as to how programming from both ends of the spectrum is artistically relevant and educationally important.

The Inquisitive & Collaborative Rehearsal

I suggest that we create opportunities in each rehearsal to connect our students to the literature we are preparing beyond the traditional experience of “play – prescribe - fix – repeat”. I advocate for “Inquisitive Agency” - asking questions of our students throughout the rehearsal process, providing an opportunity and possibility for student’s answers to impact the music-making, and inform the larger music making process. Specifically, we should work to transform our rehearsals to become more

inquisitive and immersive for our students. Consider the following suggestions towards a more inquisitive rehearsal environment:

1. Music Educator – “What do you think is the purpose of the rhythm, notes, etc. at a specific part of the piece?”

2. Music Educator – “How effectively are we executing the stylistic elements in a specific part of the piece?” “How can we improve our performance in this regard?”

3. Music Educator – “What measure is this particular music/phrase/section headed towards?”/ “How many measures long is the phrase we are currently rehearsing?”

4. Music Educator – “What suggestions do you have in order to better perform this music?”

5. Music Educator – “How true is our performance of this music to the character the composer has established for this piece?”/ “How can we improve our performance of this piece in this way?”

A Concert at Every Rehearsal.

Throughout the programming curation process, music educators often listen and study the literature under consideration, imagining the concert – the culmination of the artistic experience. I suggest that we consider more than just a single opportunity for our students and ourselves to have a high-level musical experience. I encourage music educators to actively prioritize the artistic, pedagogical, and interpersonal opportunities that exist within the rehearsal as well as the performance. We should strive to create a rehearsal environment where musicality, artistry, and collaboration can exist at each rehearsal - especially considering the imbalance of time we spend in rehearsal as compared to the time spent in performance.

“A concert at every rehearsal” requires a mindset shift/pedagogical shift to “performance” versus “repeated play-throughs.” Note: the performance mindset does not discount the need or understanding for technical rehearsal processes and pedagogy, however - it is an extension of that important and necessary work. Finding opportunities for a “concert in every rehearsal” means that while you will need to spend time addressing “notes and rhythms” – this cannot be the sole activity for our students during each rehearsal. I suggest that at each rehearsal we conclude the “notes and rhythms” aspect to our rehearsal with an attempt to “perform” the piece (or sections of a piece) that are being rehearsed. The performance-mindset consists of an elevated approach to the execution of the literature being prepared. This mindset can be established by stating to our students, “we have spent time rehearsing this music, now –let’s imagine we are on stage, and let’s perform this music.”

Fuse Programming You Believe In With Sound Pedagogical Planning.

“The biggest inhibiting factor in the selection of music is fear: my band can’t. I have seen it time and time again:

the biggest inhibitor of the ability of a band to play is the conductor’s fear of failure – my band can’t. Look first to the music that you love, then begin to plot how you can get there. A conductor once said to me, “I’m thinking about doing In Memoriam, but I don’t have the trumpets.” I looked at his trumpet section and said, “Who are those people sitting there?” The next concert he did In Memoriam. It wasn’t perfect, but the trumpet players, and the band, and the conductor(!) had a huge, exhilarating, life-changing experience.”

-David Maslanka

Composer David Maslanka’s statement above offers us a prescription for successful “artistic alchemy”. Additionally, Pacific Symphony Conductor Carl St. Clair states that we should program, “For the heart, for the soul, and for the fingers” of the students in our ensembles.

As we curate the programming for our ensembles, I believe that both David Maslanka and Carl St. Clair offer us a path forward. First, we curate/program music that we believe in with the consideration of our student’s experience with this music at the forefront of our artistic and educational deliberation. With our programming finalized, we should heed David Maslanka’s advice and plot (or “fuse”) those pedagogical skills, activities, and pedagogical extensions that will guide our students through the rehearsal process – with many artistic and educational opportunities along the way.

Pedagogical Extensions

Artistic Alchemy can be realized when music educators investigate and initiate pedagogical extensions that go beyond the normative rehearsal experience in the music classroom. Music educators should consider what enhancements/extensions can be initiated that support and inform the artistic/educational experience for participating students. The inclusion of unique, and innovative pedagogical experiences can inform the larger musical experience of preparing literature in rehearsal. Suggestions for “Pedagogical Extensions” could include the following:

1. Collaboration with local content area experts centered around the piece or style of music that you are performing. Note: Content-area experts can originate from any community or sphere of knowledge/experience (both formal and nonformal). Consider community musicians, cultural knowledge practitioners, local artists, folk/cultural music practitioners, etc.

2. The inclusion of classroom content support tools and experiences (e.g. any media that will inform musical preparation and understanding, interdisciplinary experiences with school faculty across academic areas).

3. Collaboration with composers, guest conductors, constructive adjudicators, and professional musicians.

4. The inclusion of opportunities for increased student engagement and involvement in the assessment and preparation process. (e.g. Student Ensemble

Adjudicators, Student Conductors, Student input/ decisions in ensemble preparation).

Conclusion

“The thing needful is improvement of education, not simply by turning out teachers who can do better the things that are now necessary to do, but rather changing the conception of what constitutes education.”

-John Dewey

In conclusion, I harken to educational pedagogue John Dewey, and his posit above concerning our efforts in the classroom as educators. Our 21st Century music students need and deserve music educators whom Dewey states, “can do better the things that are now necessary to do” (in this case - moving beyond simply “programming and playing” the literature of our concert seasons). Moreover, our 21st Century music students need and deserve a band program that offers the creative magic, and a transformative artistic/educational experience through a dynamic and immersive arts experience. In alignment with John Dewey, we as music educators must be able to think differently and act accordingly about what constitutes music education for the betterment of our students, and our art form.

About the Author

Gregory Xavier Whitmore is Conductor of the University Symphonic Winds at California State University Fullerton (CSUF). In addition to this artistic responsibility, Dr. Whitmore is an Assistant Professor of Instrumental Music Education and serves as Area Coordinator of the CSUF Music Education Department. Dr. Whitmore is also in his 10th season as Music Director of the Pacific Symphony Youth Wind Ensemble, one of only a handful of youth wind ensembles connected to a group one professional symphony orchestra (Pacific Symphony) in the United States.

Dr. Whitmore’s previous appointments in higher education include tenure as Director of Bands at Irvine Valley College (Irvine, CA), Mt. San Antonio College (Walnut, CA), and College of the Desert (Palm Desert, CA). Prior to his work in higher education, Dr. Whitmore spent 13 years as Director of Bands at Cathedral City High School (Cathedral City, CA).A proud Midwesterner and native of Ann Arbor, Michigan; Dr. Whitmore earned his bachelor’s degree in instrumental music education from The University of Michigan School of Music, Theater and Dance. While a student at Michigan, Dr. Whitmore performed in the University of Michigan Symphony and Concert Bands; and led the University of Michigan Marching Band as “Michigan’s Man Up Front” - Drum Major - from 1999 to 2001 – becoming the second Black Drum Major in the history of the University of Michigan. Dr. Whitmore received his master’s degree in music with an emphasis in wind conducting from California State University Fullerton. Dr. Whitmore holds a master’s degree, and a doctorate in music and music education from Columbia University (Teachers College) in the city of New York.

Jazareth Valencia

Northern California Band Association

Representative

NCBA Update

Hello from the Northern California Band Association!

As the school year comes to an end, I hope we are all planning time to reflect and recharge before diving into the next school year.

NCBA continues to expand our offerings in order to provide more opportunities for our directors and students. We want to thank our adjudicators, hosts, and volunteers for their work on our spring concert and jazz festivals. NCBA will now have five events next spring throughout April and May, be on the lookout for an email from our VP of clinics next school year!

The 28th annual All Northern Honor Band weekend for high school and middle school students took place at University of the Pacific this past January. We had over 200 students participate in our ensembles from 40 high schools and 25 middle schools all within Northern California. Looking ahead to 2025, we are back at Pacific the weekend of February 13th-16th with conductors Dr. David Vickerman (HS), Mario Sebastian (MS), and Mary Fettig (Jazz). We invite all members to send in auditions by December 1st to participate in this great opportunity!

NCBA will continue to offer multiple performance opportunities in the fall and winter seasons. Our fall band reviews will be back September 28th starting with the Preview of Champions at Pitman High School. Following our 13 fall competitions, two championship events are hosted by Rodriguez and Lincoln High School (Stockton). NCBA will also host several winter percussion, guard, and solo drum major competitions culminating in a two day championship event at Del Oro High School in 2025.

I want to thank every board member and director who volunteered their time for NCBA this past school year. We are committed to enhancing quality band programs through events hosted by our members, judges, and parent volunteers. I invite our members to our June general session meeting on Saturday, June 1st, at Inderkum High School. We are thankful to be a part of CBDA and we look forward to continuing our work into 2024-2025.

Happy Summer!!

NCBCDA Update

News from the Northstate!!

The Northern California Band and Choir Director’s Association is a half-century old organization dedicated to providing our young musicians a quality opportunity to perform with a phenomenal group with a world-class conductor in a major education hub in Northern California.

NorCal prides itself on taking place at three State Universities, giving our students access to and experience at a four-year school so that they can experience what it might be like to attend such a place. Founded by Dan Hiestand, this honor band and choir is something to mark on your calendars every year.

This Past year we held our annual event at Cal Poly Humboldt on January 18-20. During our honor weekend we had 4 honor ensembles: Concert Band - Dennis Llinás, Concert Choir - Rachel Sammet, Jazz Band - Rocky Winslow, and Jazz Choir - Bruce Rogers. The event was a huge success and it was a pleasure being in the North Coast again for our festival. The board is composed of 9 volunteers and we meet periodically throughout the year to organize and run the event. This coming year we will be at Chico State University and we look forward to making music with the finest high school musicians in the North part of our state. I am now serving as Past President and liaison to CBDA and Matt Bringedahl is now President of NCBCDA. If anyone ever has questions about our event, please do not hesitate to reach out.

Dan Sedgwick

Northern California Band and Choir Directors Association Representative

Cathy Olinger

President, Southern California Band and Orchestra Directors Association

SCSBOA Update

Greetings from the Southern California School Band and Orchestra Association (SCSBOA)!

SCSBOA is celebrating 87 years of a rich tradition of excellence in music education. We are looking forward to offering the SCSBOA membership of over 1,200 Elementary, Middle, and High School instrumental music directors the opportunity to attend the 2024 Fall Downbeat ‘Kick off’ workshop in August. All grade level of educators will have the opportunity for professional development, along with clinics for parade, drum majors, field, and fall adjudication training.

SCSBOA has seen exponential growth in membership of elementary and middle school directors. They are engaging, sharing ideas, and are connecting with likeminded professionals. The increase in membership reflects a positive momentum in music education across Southern California.

2024 Spring Review

SCSBOA offered 75 district festivals, 5 regional festivals, and 5 solo ensemble festivals throughout the 10 regional counties in Southern California. SCSBOA promoted 21 adjudicated jazz festivals, and a once-in-a-lifetime experience to participate in the Ellington Jazz event.

Save the Date

“Super Saturday” All-State and All-Southern honor group audition workshops will be offered on September 7th in the Irvine, CA area as a partnership with CBDA, CODA, and SCSBOA.

SCSBOA will provide adjudication for 68 field tournaments and numerous parades. SCSBOA will host 1A – 6A Field Tournament Championships on November 23, 2024. Directors can sign-up up through Competition Suite to reserve individual event date(s).

We would like to encourage music directors throughout the state to attend the SCSBOA Annual Professional Development Conference and Honor Group Performances on February 7th – 9th, 2025 at the Hyatt Regency Hotel in Garden Grove.

SCSBOA is committed to providing Southern California music educators with relevant teaching tools, connections, support, and professional growth opportunities for the 2024 – 2025 year. We look forward to working in collaboration with CBDA, CODA, and NCBA making a difference in Music Education together!

Unplug, renew, and enjoy a muchwelcomed summer!

CCDA offers four All-State Choirs. All of these ensembles will rehearse and perform at the California All-State Music Education Conference in January, 2025.

https://cbda.org/all-state-ensembles/auditions/

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