2022 NBA Journal, Summer Edition by seven1five

VOLUME LXII, NO. 4 | SUMMER 2022 OFFICIAL PUBLICATION OF THE NATIONAL BANDFEATURINGASSOCIATION Reimagining Work-Life Balance, Part 1, pg. 42 Iconic Legacy…Vision for the Future

DECEMBER 19 – 22, 2022 | BOOTH 825 You Are Invited GENERAL MEMBERSHIP MEETING TUESDAY, DECEMBER 20, 2022 Time and Location TBD NationalBandAssociation.org 2 NBA JOURNAL

For guidance on how to submit a peer-reviewed article, please see page 65. Articles are published at the discretion of the editor and may appear in a later journal edition.

Immediate Past President’s Message

About the Academy of Wind and Percussion Arts

2022 Merrill Jones Memorial Young Composers Band Composition Contest for Grade III/IV Concert Band

Past Presidents

It's a Wrap! Another Successful Young Composer/Young Conductor Mentor Project Completed –Linda Moorhouse

President’s Message

We welcome and future editions of the NBA Journal. Peer-reviewed and non-peer reviewed articles are accepted. Please note the following deadlines for submission:

How to Submit Peer-Reviewed Research Articles to the NBA Journal –Matthew Talbert 65

A Project for the Band Literature Class –Gary Barton

JOURNAL EDITION

Lessons Learned from an Out-of-this-World Opportunity –Lisa Werner

nor

Mission Statement

NBA WANTS TO HEAR FROM YOU

President Elect's Message

NBA Awards & Contests

Board of Directors 2020 - 2022

Be the Pride of Your Community –Joseph Carver

Repetitive Stress Syndromes: Defining, Recognizing, Preventing, and Addressing –Brian Toy, Douglas T. Owens, and Thomas Parchman 45

encourage members to submit articles for inclusion in

Colors, Pyramids, 3-D Movies, and the Mona Lisa; Teaching for Understanding - Blend, Balance, and Calrity –Joel L. Denton

Remembering James F. Keene

Slow and Steady: Beginning Band –Eric Sokolowski

3SUMMER 2022 VOLUME LXII, NO. 4 | SUMMER 2022

NBA 2021 William D. Revelli Composition Contest

"The Nature of Trees" a Commission by the IU NBA Chapter –Jason H. Nam

Unlocking the Potential of Second-Tier Collegiate Concert Bands –Jermie S. Arnold 58

A Fresh Take: Understanding and Evaluating Fischer Tull's Sketches on a Tudor Psalm, 50 Years Later –Joseph Leites 51

DEADLINE

Articles presented in the NBA Journal represent views, opinions, ideas and research by the authors and are selected for their general interest to the NBA members. Authors’ views do not necessarily represent the official position of the National Band Association, does their publication constitute an endorsement by the National Band Association.

Vice President’s Message

Please submit your article in Word document format to NBA Journal Editor Matthew Talbert at talbertm@ohio.edu.

Reimagining Work-Life Balance, Part I –Amy I. Acklin 42

Executive Committee/Project and Committee Chairs

2022 National Band Association Young Composer/Conductor Mentor Project: Participant Perspective –Benjamin Pouncey 40

Winter Edition (February) January 1 Spring Edition (May) April 1 Summer Edition (August) July 1 Fall Edition (November) October 1

Young Composer Jazz Composition Contest, Richard Stichler

NBA Journal Editor, Matthew D. Talbert

4 NBA JOURNAL COMMITTEES & EDUCATIONAL PURPOSE

EXECUTIVE COMMITTEE

Educational Purposes OF THE NATIONAL BAND ASSOCIATION

William D. Revelli Composition Contest, Matthew McCutchen

Marching Band Committee, Adam Dalton & Bobby Lambert

PROJECT AND COMMITTEE CHAIRS

Alfred Young Band Composition Contest, Audrey Murphy Kunka AWAPA Commission, David Gregory Citations & Awards, Heath Nails

Constitution & By-Laws, Col. Jason Fettig Corporate Relations, Gary Smith

Foster Project NBA Representative, Wolson Gustama

Al & Gladys Wright Distinguished Legacy Award, Rebecca Phillips

To encourage quality students to pursue careers in music

Young Conductor Mentor Project, Linda R. Moorhouse

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

Nominating Committee, Rebecca Phillips Research Grants, Brian Silvey

To promote a spirit of cooperation and continued dialogue among directors, performers, the music industry, and all other band support organizations at all levels

Selective Music List – Concert, Arris Golden

Hall of Fame of Distinguished Band Conductors Board of Electors, Thomas Fraschillo Inclusion, Diversity, Equity, & Awareness, Ingrid Larragoity & Elizabeth Peterson

Selective Music List - Jazz, Steve Shanley

To promote the excellence of band performance throughout the world

Randall Coleman, President Col. Jason Fettig, President-Elect Matt Temple, Vice-President Rebecca Phillips, Immediate Past President

Scott Tobias, Executive Secretary-Treasurer

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

Selective Music List – Marches, Col. Don Schofield

Young Composer Mentor Project, Frank Ticheli

Merrill Jones Composition Contest, Paul Popiel National Programs of Excellence, Myra Rhoden NBA Foundation, Susan Creasap

NBA Journal Layout & Design, Nash P. McCutchen

To promote pride and continued enthusiasm among band directors

react to change. We are living in a time where change is all around us. Some good, some not so good. How we react to change is how we will be remembered. This is also the change of seasons for the National Band Association. The beginning of a new biennium has marked a change for our organization for more than 60 years. New people with new viewpoints will be bringing their energy to our Board of Directors. I am looking forward to working with these wonderful and passionate educators as we discuss what potential changes might be beneficial for the NBA. As our society and profession has evolved over the past 60 years, so must our organization be willing to examine all that we do to do our best to serve our members. Being open to change is essential for growth and I look forward to working with our new Board of Directors and we continue to mold our organization and continue the legacy built by those who came before us.

5SUMMER 2022

Continued on next page

we are surroundednowby the change of seasons for many of those in our profession, I always seem to find myself reflecting on what has transpired over the past year and what I can look forward to in the coming year. The end of the summer months and the beginning of a new school year has always brought me joy and excitement. Of course, the times during the summer months that we get a few moments to relax and unwind are priceless, but the energy and anticipation around the new school year has always been a driving force for me. I always try to embrace this change and try to make sure my exuberance was visible to everyone around me, especially my students.

There are a multitude of benefits that come from being a member of the National Band Association. Our projects and programs are some of the most impactful in our profession. One such project that the NBA sponsors is the Young Composer and Conductor Mentoring Project. The 2022 YCCMP recently concluded with three young conductors and three young composers having the incredible opportunity to work with the United States Air Force Band and hone their skills with the guidance of 8 mentors. This project took place over three days in Washington DC and is an opportunity for the

critical component of a healthy life; better stated, how we

Change is a

healthycomponentcriticalofalife...Howwereacttochangeishowwewillberemembered.

RANDALL COLEMAN

participants that is like no other in our profession. Thanks to the organizers Linda Moorhouse and Mark Camphouse and to our hosts Colonel Don Schofield and the US Air Force Band. This project takes place every other year, so our next YCCMP

PRESIDENT’S MESSAGE

This past year has been one full of professional changes for me, none of which were a part of my plan. That plan had me finishing the 2023 –2024 school year at the University of Alabama and then, after what would be 42 years of teaching, easing into a new phase of relaxed retirement. There was certainly a shift in that plan in the spring of 2021 when I accepted the Director of Bands position at the University of Tennessee at Chattanooga. This was a destination that wasn’t a part of my plan, yet the past year has been one of the most rewarding times of my career. I have been welcomed into a very special family at UTC and have quickly grown to love my new hometown of Chattanooga.Changeisa

6 NBA JOURNAL

Midwest are our only opportunity to have those all-important face to face gatherings. With the calendar for this year’s conference, make note that our Board of Directors Meeting, our State and Division Chair Meeting and our General Membership Meeting and Reception will all take place on Tuesday, December 20. I hope to see you all in Chicago in a few short months for our annual pilgrimage to the Windy City for rejuvenation, celebrating and networking. Not to mention all the wonderful food that we seem to be able to find in Chicago!

President’s Message, Randall Coleman, cont.

At the conclusion of the YCCMP, the NBA Executive Committee met for two days of planning for the new biennium. I am honored to work with the members of the Executive Committee, Jason Fettig, Matt Temple, Rebecca Phillips, and Scott Tobias, as we work to guide our organization for the next two years. Much thoughtful and energetic discussion took place as we continue to build on the accomplishments of the past and work toward the future of the NBA. Some of the initiatives that you will be hearing about include Collegiate Student Chapters, a Marching Band Committee and continued input from our IDEA Committee. One of the major talking points from our Executive Committee Retreat was a discussion about our Corporate Members. Our Corporate Members provide invaluable resources to teachers and to our profession and we are honored that these businesses have chosen to support the National Band Association and our members. As we all remain in a recovery mode from the pandemic to some degree, the Executive Committee voted to reduce the Corporate Membership fee from $500.00 to $250.00 for the current biennium. We hope that his small gesture will assist our corporate partners as they continue to build back after the pandemic closures.

will take place in the summer of 2024. If you are a young composer or conductor, this event needs to be on your calendar.

Our profession is recovering from two of the most challenging years that we could have ever imagined. I hope that we can make the National Band Association a beacon of change as our profession evolves, building on the legacy that has been forged by so many who have guided the organization over the past 60 years. I look forward to hearing from you with your ideas and suggestions. Please do not hesitate to reach out to me if I can be of assistance to you or your program in any way.

Randall Coleman NationalPresident Band Association

As this past year has been one of significant change for me professionally, it has also provided me many moments for reflection. As I close my first Journal message to you as President of the National Band Association, I would be remiss without taking a moment to reflect on this moment of my professional life and wonder “how in the world did I ever find myself here”? Over the past four years as a member of the Executive Committee I have had the great fortune to observe several NBA Past Presidents in action. I have given my best to be a successful student as I watched these leaders work. Additionally, many of the NBA

I encourage you all to make plans to be in Chicago for the Midwest Band and Orchestra Clinic and put our NBA meetings and events on your convention calendar. The meetings that take place during

PRESIDENT’S MESSAGE

Past Presidents have been my friends, colleagues, and mentors my entire career. It is one of the greatest honors in my career to have the opportunity to serve as the President of the NBA.

COL. JASON K. FETTIG

Continued on next page

What I love most about the NBA is that it is an organization that empowers its members at all levels. Our strength lies in the dedication and enthusiasm of our membership, And all those who serve their membersfellow...

7SUMMER 2022 PRESIDENT-ELECT'S MESSAGE

What I love most about the NBA is that it is an organization that empowers its members at all levels. Our strength lies in the dedication and enthusiasm of our membership, and all those who serve their fellow members; from division and state chairs, to representatives to each of our many constituents and committee members of all kinds. To everyone who has served the NBA, and to those who have chosen to serve in this particular biennium, thank you! Every member should have a voice in our organization, and we want to hear from you. This community is strongest when we each feel ownership of the work we are doing together to advance the wonderful opportunities inherent in being a part of bands. Indeed, there have been many suggestions as to how we can continue to adapt, update and advance the NBA’s ideals and goals, and many of those suggestions are currently being incorporated into our agenda for this biennium. The most important of these is inclusivity and access to music at all levels, and the Executive Committee is committed to ensuring that we deliberately create those opportunities and recognize those who have made that a priority in their own service.

my fellow member of the National Band Association: I am deeply grateful for the opportunity to write this message to each of you as the new President-Elect of this incredible and historic organization. After meeting with my colleagues on the Executive Committee earlier this summer to make plans for this biennium, I feel a bit like I’ve been shot out of a cannon! There is much to be done to ensure the continued success of this Association and its members, and to build upon the wonderful work of the leadership teams that have come before us. I feel so fortunate to have the combined expertise, dedication and experience of our present team, including President Randall Coleman, Past President Rebecca Phillips and the continued service of Executive Secretary Scott Tobias after his recently-concluded term as Past President. I want to give a special shout out to our Vice President Matt Temple, who not only helps me to keep bald band directors in style, but more importantly has already been an amazing resource for me as I become acclimated to my leadership responsibilities in the NBA. I am honored to serve alongside this exceptional team.

This organization is truly one of a kind in our profession, and its ethos aligns perfectly with my ongoing service in “The President’s Own” United States Marine Band. “Band” as an institution unto itself has planted roots into our artistic communities all over this nation, and the NBA has long been charged with providing an inclusive, practical and motivating thread that binds

together our professional, collegiate, school and community ensembles. At its best, like the Marine Band, the NBA is the biggest cheerleader and advocate for musicians everywhere who have invested themselves in our community, and these institutions are such valuable tools in advancing the power and influence that music possesses to bring people together to share our experiences and our passions with each other.

As we all embark on our various adventures this fall, I want to leave you with a thought. Making music and teaching music is inherently difficult, let alone when our attentions are often divided in a thousand different directions. In times when I am overwhelmed, burned out, or simply exhausted and unmotivated, I always take a moment to remind myself why it is that I embarked on this career in the first place. When I remember to make my way back to the music and remember how it makes me feel to create something with others that can be truly magical, I am rejuvenated. Always remember that beyond any doubt, music matters.

President-Elect’s Message, Jason K. Fettig, cont.

Always remember that beyond any doubt, music matters.

8 NBA JOURNAL

I very much look forward to getting to know as many of you as I can during these next two years, and I stand ready to serve you and this wonderful organization in any way that I can.

PRESIDENT-ELECT'S MESSAGE

Jason K. Fettig NationalPresident-ElectBand Association

The NBA ... wishes to stay current with the values and aspirations of current and future members by updating morePurposesEducationalourtobeinclusiveandwelcomingofall.

me. I guess people are more likely to recognize the Director of “The President’s Own” U.S. Marine Band than the Director of Bands at New Trier High School. Nonetheless, we have identified a few markers that may help you distinguish us.

As we begin the new biennium, I want to emphasize that the National Band Association is truly an organization for everyone. Unlike some of our other esteemed band organizations, you do not need to be elected for membership in NBA. Every lover of bands is welcome to join, whether you teach in a private or public school at any grade level, direct a community band or service band, work in the music industry, or simply want to stay abreast of the band movement. Please take a moment to reach out to a colleague or two whom you think would enjoy membership in the NBA. The strength of our organization is in the diversity of its membership.

Continued on next page Greetings

You may have noticed by now that Jason and I are doppelgangers. I have been mistaken as Col. Fettig multiple times in the past. Strangely, I don’t believe people have mistaken him for

9SUMMER 2022 VICE-PRESIDENT’S MESSAGE MATT TEMPLE

biennium is akin to when I watch any of the Marvel Avengers movies. It’s that palpable sense of momentum that is created by assembling a team of highly dedicated and widely respected directors in our profession. We welcome people to a variety of elected and appointed positions, such as state chairs, division chairs, middle and high school representatives, many of whom have served the National Band Association for multiple years. I am personally thrilled to continue my work on the Executive Committee alongside Randall Coleman, Rebecca Phillips, and Scott Tobias, each of them in a new leadership role. Lastly, we are elated to welcome PresidentElect Col. Jason Fettig to the team.

As you can see in the photo, Col. Fettig often wears his military uniform whereas I typically wear a traditional tuxedo for performances. For those of you who notice more nuanced details, Jason wears a gold wedding band whereas I wear a platinum one. I am also a few inches taller than the Colonel, a fact that I will not too soon let him forget as any good brother would. On a personal note, we discovered this summer that we both have boy/ girl twins, though this is likely to confound the issue here further. All joking aside, Jason brings a wealth of experience and knowledge to the Executive Committee that will greatly benefit our organization.

fellow National Band theexcitementmembers!AssociationTheIfeelatbeginningofeach

I trust that, by now, your fall activities are well under way and the band members in your own groups are sufficiently charged for the year ahead. Being the leader of a band requires a lot of planning and energy upfront for your group to be successful. Please be mindful of how you pace yourself over the course of a year. I think it’s important to acknowledge that work/life balance can be very difficult in our profession at times. Becoming more aware of this critical balance was one of the resounding lessons of the pandemic for me.

Matt Temple Vice NationalPresidentBand Association

Vice-President’s Message, Matt Temple, cont.

10 NBA JOURNAL

Best wishes in all that you do!

welcoming of all. We are excited to share them with you soon.

To that end, the Inclusion, Diversity, Equity, and Awareness Committee (IDEA) has proposed some changes to the Educational Purposes of the National Band Association. These changes have been reviewed by the Executive Committee and will be submitted to the Board of Directors and then the general membership for their approval. Remarkably, the original Educational Purposes were written in such a thoughtful and forward-looking manner that they served our organization well for over 60 years. The NBA, however, wishes to stay current with the values and aspirations of current and future members by updating our Educational Purposes to be more inclusive and

VICE-PRESIDENT’S MESSAGE

As you enjoy another year of musicmaking and learning, please don’t hesitate to reach out for assistance with any of your endeavors. The National Band Association is a robust and comprehensive band organization that is here to support your needs, whether it be providing mentors, awards, research grants, project sponsorships, and much more.

Ihope

As I often share with music education students, I believe it takes proficiency at two of these three characteristics to be a good ensemble director. However, in my experience, the very best directors achieve high levels in all three of these areas. Reflection on these three characteristics takes quiet moments of self-reflection, with no distractions. The ability to find quiet time to think is an important part of our life-long learning process and pursuit of the highest of standards for ourselves, and our

11SUMMER 2022 IMMEDIATE PAST-PRESIDENT’S MESSAGE REBECCA PHILLIPS

Remember:ensembles.the

• What am I doing to be professionally goal-oriented, both for myself and for my ensemble members?

• What aspects of organization, musicianship, and my personality with my ensemble are going well in my personal

• How am I improving my ability to meet deadlines in a timely fashion?

each of us found time to rest and rejuvenate at some point over the summer. Most of us already began our ensemble seasons by the time this journal arrived. However, I encourage each of us to make an effort to find quiet reflection time once a week this fall, even if only for 20 minutes, to reflect on three important characteristics that help define a highly effective ensemble director: organization, musicianship, and personality.

• What am I actively doing to become more organized in my work setting?

• Am I teaching my students to meet deadlines so they learn the importance of this basic life skill?

questions below should not be considered all at once. Take the entire fall; plan weekly quiet times; reflect on several of these questions during each quiet time. Only then can we begin to re-establish our short and long-term personal, professional, and ensembles goals. (Note: the term “student” below can be replaced by ensemble member for our community, New Horizons, and professional groups. The overall concepts do not change!)

The ability to find quiet time to think is an important part of our life-long learning process and pursuit of the highest of standards for ourselves, and our ensembles.

• What aspects of organization, musicianship, and my personality with my ensemble are going well in professional/learningmy setting?

ORGANIZATION

• How am I helping my students become more organized so they are more personally and professionally successful in the future?

life?

• What areas within each characteristic need improvement for my students' overall education and enjoyment? (Remember, we as ensemble directors are promoting life-long learners and lovers of music!)

• What specifics within each characteristic need improvement for my overall professional happiness and sanity?

• Am I actively participating in my district, state, and national music organizations so that my sphere of influence becomes greater and my opportunity to interact with other professional musicians is

MUSICIANSHIP

to become self-guided learners for their successful future in both music and life?

12 NBA JOURNAL

• Am I creating an environment in which my students feel like they are a part of the decision-making process in ensembles? (This is not a collection of ignorance; this is guided learning and guided decision-making skills.)

• Is my personality and my techniques of motivation increasing the production of each individual in my ensemble and the overall enrollment in my classroom?

• Am I establishing healthy and positive musicians?bothrelationshipsprofessionalwithmycolleagues,musiciansandnon-

• What experiences am I giving my students so that each individual can become the best possible musician? (solos, chamber groups, youth orchestras, church or holiday gig experience, All-State, private lessons, etc.)

• What books am I reading that help to fill in my learning gaps about music history, compositional techniques, composers' biographies, musical styles, music literature, leadership?

• What journals and trade magazines am I currently reading to keep up with current trends in music research, teaching techniques, advances in instrument construction, new composers, and new works?

activities for my students, thus keeping them from the very best experiences and opportunities available?

Ultimately,increased?we

IMMEDIATE PAST-PRESIDENT’S MESSAGE

• Am I contributing to the overall goals that the my principal has set for my school?

• Am I setting a good example in how I speak to my students? Do I treat them with respect, expect them to treat me with respect, and expect them to treat each other with respect?

• Am I empowering my students

Immediate Past President National Band Association

(Can also be defined as leadership)

• Am I teaching life-long skills within my rehearsals/classroom to help influence and build a person who will positively contribute to society, the arts, and the future of music?

• What am I doing to increase the individual musicianship of each student?

• Have I created an environment in my classroom/ensemble that is safe and healthy for each individual?

• Am I burning my students and their parents out with too many fundraisers, too many weekend activities, and unnecessary evening activities?

• What am I actively doing to improve my personal musicianship?

• Am I not providing enough

hope to first determine where we are right now in our careers and where we hope to be in the future. These questions should help each of us design a plan for continued learning. I highly suggest revisiting these questions every six months or so; add self-guiding questions to the list; keep a written log of thoughts and goals; take definitely note of successes and improvements!

Rebecca Phillips

• How often am I reading the New York Times "Arts" section or the arts section of other major newspapers to keep up with the latest trends in music, visual arts, theater, and dance?

Immediate Past-President’s Message, Rebecca Phillips, cont.

• What recordings am I listening to of professional ensembles or soloists?

PERSONALITY

Have a wonderful fall, friends!!

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

Servicecomposers.activitiessuch

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

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

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

NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS

by Dr. William Moody

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

Revised in December 2009

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

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

John Paynter March 5, 1972

L. Howard Nicar, Jr. October 16, 1996

Elizabeth Ludwig Fennell December 17, 1997

James T. Rohner December 15, 2005

Russell Hammond December 14, 1999

James Croft April 16, 2011

Al G. Wright March 7, 1969

Karel Husa December 15, 1982

Merle Evans December 20, 1986

Nilo Hovey December 16, 1980

Paul V. Yoder

H. Robert Reynolds December 18, 1996

Frank B. Wickes December 18, 2008

Frederick Fennell August 3, 1975

Frank Battisti December 21, 2006

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

William J. Moody December 18, 2003

David Whitwell December 20, 2007

Frank W. Erickson December 17, 1986

Harry Begian December 14, 1983

Warren Benson December 14, 1988

Edward Lisk December 17, 2015

J. Clifton Williams December 18, 1984

Edgar Gangware December 19, 1991

Toshio Akiyama

Karl L. King

November 10, 1962

Vaclav Nelhybel December 13, 1978

W J Julian December 16, 1992

Howard Hanson December 13, 1978

Harry Mortimer August 3, 1975

Earl Dunn December 16, 2004

Neil A. Kjos December 17, 1986

Hugh E. McMillen December 17, 1986

Raoul Camus December 19, 2002

Claude T. Smith December 16, 1987

William F. Ludwig December 14, 1999

Richard Floyd December 18, 2014

July 23, 1971

February 11, 1973

James Neilson December 13, 1978

ABOUT AWAPA

Clare Grundman December 15, 1982

November 25, 1961

AWAPA RECIPIENTS LISTED BY DATE AND YEAR OF PRESENTATION

If the recipient is not able to be present at that meeting, the award is presented at another prestigious band event where the recipient is properly honored and recognized. The award consists of a silver statuette, a silver medallion, and an engraved certificate. The Academy of Wind and Percussion Arts represents the highest honor which the National Band Association can confer on any individual.TheNBA represents the best there is in a great, proud profession. When we honor our very best, we bring honor on our organization and on our profession. A list of the past recipients of the AWAPA Award is literally a “Who’s Who” list of some of the greatest leaders involved in the band movement during the past six decades. The list includes an international cross section of important individuals representing all aspects of the band world, who have rendered remarkable service to bands.

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

John Bourgeois December 14, 1988

Victor Zajec December 16, 2004

Harvey Phillips December 21, 1995

Arnald Gabriel December 16, 1980

Traugott Rohner

Trevor Ford December 16, 1981

Donald Hunsberger December 19, 1990

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

Mark Kelly December 15, 2011

Paula Crider December 15, 2011

Linda R. Moorhouse December 15, 2016

The

William D. Revelli

Richard Crain December 19, 2019

Kenneth Bloomquist December 18, 1996

Ray Cramer December 17, 2009

Harold D. Bachman

Harry Guggenheim

Mark Hindsley March 2, 1978

Richard Franko Goldman

John Whitwell December 20, 2018

Loras John Schissel December 15, 2020

Alfred Reed December 12, 1979

Glenn Cliffe Bainum February 21, 1965

Normal Dello Joio December 12, 1984

Bobby Adams December 19, 2013

Geoffrey Brand December 20, 1995

August 18, 1969

Paul Bierley June 14, 2003

Roger A. Nixon July 12, 1972

Vincent Persichetti December 16, 1981

Bruce Leek December 16, 2021

Leonard Falcone December 12, 1979

Francis McBeth December 12, 1984

January 9, 1965

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

Morton Gould December 15, 1982

Richard Strange December 20, 1995

George S. Howard December 16, 1976

Jan Molenaar July 11, 1974

Thomas V. Fraschillo December 21, 2017

December 13, 1970

December 18, 1969

Arthur Gurwitz December 17, 1997

John M. Long December 20, 2001

Sir Vivian Dunn March 2, 1973

Al G. WrightHonorary Life President

15SUMMER 2022 NBA PAST PRESIDENTS

Kenneth Bloomquist 1980 - 1982

Roy

George S. Howard 1970 - 1974

2016 - 2018 Scott

Edward W. Volz 1966 - 1968

John R. Bourgeois 1994 - 1996 Keene 1996 - 1998

1978 W

Thomas Fraschillo 1998 - 2000 CriderGregory 2002Linda Moorhouse 2004- 2006 Adams Hamilton 2008-

William J. Moody -

James K. Copenhaver 1984 - 1986

Robert E. Foster 1992 - 1994

2009

Frank B. Wickes 1988 - 1990 Edward S. Lisk 1990 - 1992

1962

William D. RevelliJ 1978Julian-1980

John

2016 Scott

2020

Paula

PAST PRESIDENTS OF THE NATIONAL BAND ASSOCIATION

F. Earl Dunn 1974 - 1976

John Paynter - 1966 Honorary Life President

James Neilson 1982 - 1984

1962

2020 Rebecca

James Croft 1986 - 1988

James

2006- 2008 Finley

1968

1960

1976

2002 David

2000

2004

Bobby

John Culvahouse 2009- 2012 M. Long President 2012Holder-2014 Good 2014Casagrande TobiasPhillips -

2010 Honorary

2018

2022

Richard

1970

Director of Bands and Professor of Music University of Chattanooga,ChattanoogaTennessee-Tennessee

State University

TIFFANY

Colorado PRESIDENT Randall

16 NBA JOURNAL NBA BOARD OF DIRECTORS 2022 —2024

HITZ Director of Bands and Music Department Chair Rachel Carson Middle School Fairfax County, Virginia ELEMENTARY, MIDDLE SCHOOL & JUNIOR HIGH SCHOOL REPRESENTATIVES HIGH SCHOOL REPRESENTATIVES COLLEGE / UNIVERSITY REPRESENTATIVE CHIP DE STEFANO Director of Bands McCracken Middle School Skokie, DelTRACYIllinoisLESLIEDirectorofBandsWebbMiddleSchoolLasVegas,Nevada SUSAN W.H.DirectorWATERSofBandsOliverMiddleSchoolNashville,TennesseeJERELLHORTONDirectorofBandsVestaviaHillsVestaviaHills,AlabamaBRIAN COVEY Director of Bands Lockport Township High Lockport,SchoolIllinois BOBBYWandoDirectorLAMBERTofBandsHighSchoolMountPleasant,SCCHAD PearlDirectorKAMEIofBandsCityHighSchoolHonolulu,Hawaii ARRIS GOLDEN Associate Director of Bands Michigan State University East Lansing, Michigan APPOINTED REPRESENTATIVES MILITARY/PROF.BANDS LT. COL. UnitedDeputyTOVENDANIELCommander&AssociateBandmasterStatesArmyBandWashington,D.C. COMMUNITYBANDS BURCH-PESSESMICHAELDirectorofBandsPacificUniversityForestGrove,Oregon MUSIC INDUSTRY MIKE MILLER Fred J. Miller Inc. Miamisburg, OH AT-LARGE REPRESENTATIVES CRAIG AARHUS Associate Director of Bands Mississippi Starkville,UniversityStateMississippi COL. Retired,GRAHAMLOWELLUnitedStatesAirForceBandWashington,D.C. MARKUniversityDirectorHEIDELofBandsofIowaIowaCity,Iowa DIANE KOUTSULIS Retired Music Educator Las Vegas, Nevada COL. UnitedCommanderSCHOFIELDDONandConductorStatesAirForceBandWashington,D.C. DIVISION CHAIRS EASTERN ANDREW YOZVIAK Director of Bands West Chester University West Chester, Pennsylvania SOUTHERN COREY SPURLIN Associate Director of Bands Auburn Auburn,UniversityAlabama NORTH CENTRAL THAD CedarDirectorDRISCOLLofBandsRapidsJeffersonHighCedarRapids,Iowa SOUTHWESTERN DUSTIN SEIFERT Director of Bands Eastern New Portales,UniversityMexicoNewMexico INTERNATIONAL HENK SMIT Education Specialist Dutch National Institute of Cultural Education and Voluntary Arts Groningen, Middelstum The Netherlands, Europe NORTHWESTERNWESTERN/ NATE BrighamAssistantSEAMONSProfessor;YoungUniversityProvo,Utah NORTHWESTERNWESTERN/ DAHN PHAM Director of Bands Washington State University Pullman, Washington

VICE-PRESIDENT

PAST-PRESIDENTIMMEDIATE Phillips Director of Colorado Fort Collins, Coleman

Rebecca

Matt NewDirectorTempleofBandsTrierHighSchoolWinnetka,Illinois SECRETARY-TREASUREREXECUTIVE Scott Morgantown,WestDirectorTobiasofBandsVirginiaUniversityWestVirginia PRESIDENT-ELECT Col. Jason K. Fettig Director, United States Marine Band Washington, D.C.

Bands

Mentor Award Citation of Excellence Outstanding Jazz Educator Citation of Merit for Marching Excellence Outstanding Musician Award Outstanding Jazz Musician Award Music Camper Award Band Booster Award FREE NBA AWARDS FOR OUR MEMBERS TO USE OF THE FOLLOWING AWARDS CAN BE FOUND ON OUR WEBSITE: The NBA/William D. Revelli Memorial Band Composition Contest The NBA/Merrill Jones Memorial Band Composition Contest The NBA Young Composers Jazz Composition Contest The NBA/Alfred Music Young Band Composition Contest NBA Hall of Fame of Distinguished Conductors Academy of Wind and Percussion Arts (AWAPA) Award Al & Gladys Wright Distinguished Legacy Award Programs of Excellence Blue Ribbon Award NATIONALBANDASSOCIATION.ORG/AWARDS-RECOGNITION NBA NEWS

Nam Indiana University Sue Samuels Furman University (SC)

Shanti

Golden Michigan State University Jennifer Hamilton Red Mountain High School (AZ) Chadwick Kamei Pearl City High School (HI) Tremon Kizer University of Central Florida John Thomson Roosevelt University (IL)

Arris

Jason

Simon University of Oklahoma

18 NBA JOURNAL NBA NEWS NATIONAL BAND ASSOCIATION 2022 FORTY-FIFTH ANNUAL NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST WHO MAY ENTER: Dr. Matthew McCutchen (e-mail: mccutchen@usf.edu) Attn: NBA Composition Contest School of Music University of South Florida 4202 East Fowler Ave., MUS 101 Tampa, FL 33617 ENTRYREQUIREMENTS:MATERIALS:AWARD ENTRY DEADLINE: AAnyoneworkfor Concert Band/Wind Ensemble. Recommendations as to style, form, length, and instrumentation are outlined in the contest rules. A pdf of the full score plus a digital audio recording of a live performance or recording session must be sent to the chair. $5000 November 1, 2022 FORMS & MATERIALSNBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST COMMITTEE Matthew McCutchen, University of South Florida, Chair CONTEST RULES & PAST nationalbandassociation.org/composition-contestsWINNERS: Terry Austin Virginia Commonwealth University Marcellus Brown Boise State University (ID) Catherine Sinon Bushman St. Cloud State University (MN) Colonel Jason Fettig United States Marine Band (DC) Diane Koutsulis Retired (NV)

19SUMMER 2022 WHO MAY ENTER: Dr. Paul Popiel at ppopiel@ku.edu | Attn: NBA/Merrill Jones ContestENTRYREQUIREMENTS:MATERIALS:AWARDENTRYDEADLINE: Anyone 40 years of age or younger (birthdate on or before November 1, 1982)Awork for concert band with no restrictions as to style or form. Compositions must be for GRADE III/IV CONCERT BAND and must not exceed eight (8) minutes in Fulllength.score, MP3 audio file, and entry form $2,000November 1, 2022 FORMS & MATERIALSNBA/MERRILL JONES MEMORIAL COMPOSITION CONTEST COMMITTEE Paul Popiel, University of Kansas, Chair LCDR Kelly Cartwright U.S. Navy Fleet Band Activities Chris Chapman Central Michigan University Brooke Johnson Miami University (OH) Sarah Labovitz Arkansas State University Nan Moore Retired (KY) Charles Page Valley View High School (AR) CONTEST RULES & PAST nationalbandassociation.org/composition-contestsWINNERS: Scott Pierson Yelm High School (WA) Mickey Stisher Retired (IN) Brian Walden Old Dominion University 2022 MERRILL JONES MEMORIAL YOUNG COMPOSERS BAND COMPOSITION CONTEST for GRADE III/IV CONCERT BAND NBA NEWS

James

Professor Keene earned undergraduate and graduate degrees from The University of Michigan, where his major professors included Dr. William D. Revelli, Elizabeth Green and Larry Teal. Previous to his appointment at The University of Illinois, Professor Keene taught at all levels, including building nationally recognized programs at East Texas State University (now Texas A & M-Commerce) and at The University of Arizona. He was in constant demand as conductor, clinician, and adjudicator of bands and orchestras, appearing in those capacities in 45 states and on five continents.

IN MEMORIAM

F. Keene retired from the University of Illinois in 2008, where he held the titles of Director of Bands and Brownfield Distinguished Professor of Music. Appointed in 1985, he was only the fourth to hold the Director of Bands position since 1905.

His ensembles produced an extensive recording series on several labels. These recordings have been broadcast on National Public Radio in the U.S., as well as such diverse places as the United Kingdom, Tokyo, Warsaw, Tel Aviv, Sydney and on Vatican Radio.

Directors of the historic Goldman Memorial Band of New York City as well as a frequent guest conductor of that iconic ensemble. For several years he was chairman of the ABA/ Ostwald Composition Contest and was a member of the Editorial Board of The Journal of Band Research. Up until his death, he served on the Board of Directors of the John Philip Sousa Foundation.Inaddition to membership in several professional and honorary societies, Prof. Keene was an Evans Scholar, Past-President of the Champaign Rotary Club, and a Paul Harris Fellow of the Rotary International Foundation. In 1993, he was named honorary member of the Board of Directors of the International Percy Grainger Society and was presented with the coveted Grainger Medallion in recognition of his noted performances of Grainger's music in recordings and on five continents. In 2002, he was named Honorary Life Member of The Texas Bandmasters Association, only the fifth person so honored in their 65-year history, and in 2009, he was installed into the Bands of America Hall of Fame in Indianapolis, Indiana. In 2013 he was honored as MuofOutstandingInternationalBandmastertheyearbyPhiBetainaceremonyat

Prof. Keene was Past-President of The American Bandmasters Association and served as Chairman of the Board of Directors. He was a Past-President of The National Band Association, having previously held several other NBA offices. Additionally, he was a member of the Board of

Remembering

NBAJAMESPAST-PRESIDENTF.KEENE

the Midwest International Band and Orchestra Clinic in Chicago, and in 2018, he was presented with The Midwest Clinic Medal of Honor.

During his tenure at Illinois, the Symphonic Band and Wind Symphony, under his direction, were selected to perform for every major music conference in the U.S., toured throughout the U.S. and Europe, and his ensembles performed in America's most prestigious concert halls including several appearances at historic Orchestra Hall in Chicago, as well as Carnegie Hall and Lincoln Center in New York.

BY JOSEPH CARVER

warmups, your parade to the stadium, or your postgame routine. Can you play in a tailgate area? How about in front of or at local businesses? The extra performances will enhance the gameday experience and create a sense of school pride which is generated by your band!

Marchingus.bands

can be seen and heard in marching band slogans across the country, “Please welcome, The Pride of *insert town name here* ... the high school marching band!”. We advertise our marching band using buzz words like “tradition and pride” in an attempt to demonstrate the marching band’s connection to its local community. However, as educational and philosophical program goals ebb and flow, why is it important to maintain a balance between community involvement and the demands of other program standards and expectations?

21SUMMER 2022 continued on next page PERSPECTIVE

parade coincided with a community carnival which was scheduled by the amusement ride company’s availability and sliding cost scale. As directors, we are used to overseeing the schedule and know what works with our personal family and our band family. What I was missing and what mattered is that it was not about me. This performance, and others like it, made our band the pride of our community. It was a celebration of the community, founded on tradition, and the band’s performance was a highlight and thank you to all who supported

I remember, as a young director in rural Ohio, becoming frustrated by a local community festival parade of which our high school marching band was one of the main entries. This event happened at the worst part of the year, early summer; a time when the last year’s marching band was dissolved and partly graduated, and the next year’s marching band had nothing but a welcome letter. This frustration was aided by the fact that my family vacations and personal summer plans were often dictated around this event. I recall at one point, after I had accumulated some years in my position, even toying around with the idea that the band would not march in the parade because the organizers could not commit to a date. The summer

have a rich history of being tied to local communities. Over a century ago, this might have included a local group who played for local gatherings, ceremonies, parades, and perhaps even weddings or funerals. Today, our marching bands are deeply tied to our country’s love of football and the pageantry which these groups create for local Friday nights. For some schools, home Friday night football games are a huge community gathering. More people will see your band at a football game than any of your concerts and contests. Directors should seize the opportunity to showcase their band in the best way possible as it is likely that some community member’s opinions will be formed by what they see at football games. Bands can increase their visibility by performing before and after the game. Think about ways to invite the community to view your

Band programs who prioritize the community investment will reap the benefits of community support.

As the marching arts continue to evolve, the popularity of marching

Joseph Carver, Ph.D., is assistant professor of music, associate director of bands, and director of the Western Thunder Marching Band at the University of Wyoming. In addition to directing the Marching and Athletic bands, he conducts the Symphonic Band and teaches undergraduate classes in music education. Dr. Carver earned his Ph.D. in music education from The Ohio State University, and a M.M. and B.M. in music education from Ohio University. Carver was a music educator for nine years in the public schools of Ohio where he primarily served as a high school band director.

BE THE "PRIDE" OF YOUR COMMUNITY

you will gain respect that can come in handy the next time your band needs fundraising or volunteer support. The power of a mutual community relationship can be endlessly beneficial.

PERSPECTIVE

Community support is a two-way street. The ways in which your band interacts with the local community will greatly impact the support which is given in return. Marching band programs are a large public voice for our schools. Even though schedules can get busy, programs should try to go beyond football games and festival performances. By participating in local ceremonies and festivals, or the grand opening of local businesses,

band competitions and festivals is a priority with many programs. These performances can be a great way to involve the community, but directors should be mindful of the perception that competitions and festivals are more important than football games and parades. Don’t forego a community performance opportunity on Friday night just because you have double header of competitions the next day.

Be the Pride of your Community, Joseph Carver, cont.

22 NBA JOURNAL

Mr. Joel L. Denton served as Director of Bands at Ooltewah High School for thirtyseven years. He currently serves as an adjunct instructor of Instrumental Music Education at Lee University. Mr. Denton is an elected member of the East Tennessee Band and Orchestra Association Hall of Fame and the Tennessee Bandmasters Hall of Fame. He currently serves as President-Elect of the Tennessee Music Education Association and as Tennessee State Chair of the National Band Association. He is very active as an adjudicator, clinician, and consultant.

out to some friends with whom ideas concerning these concepts have been shared through the years. Their ideas have provided great insight into my thoughts concerning these concepts and the methods I now use to teach them. I am choosing to begin with the concept of blend. As Scott Rush, Retired Director of Fine Arts in the Dorchester District 2 (SC) and author of the Habits of a Successful Band Director/Musician series, states, “In my experience, there has to be either one unified sound coming from the section or one blended color in texture before you can decide its ROLE within the texture or apply the various teaching strategies for balance that we use (percentages, etc.).” I might add this is one of the fundamental reasons why matching tone and tuning is so incredibly important. Since each instrument has a sound color, then we may assume that at times composers choose to blend two instrument colors to create a new sound color for their composition. As an example, we might take the sound color of the Horn and the sound color of the Alto Sax to create a new sound color. To help students understand this, we could use red for the Alto Sax sound and blue for the Horn sound. Combined together we would have a purple sound color. This would work equally well in creating a new sound

The following is a reproduction from an earlier article written for Conn-Selmer.

23SUMMER 2022 PEDGOGY Continued on next page

COLORS, PYRAMIDS, 3 - D MOVIES, AND THE MONA LISA; TEACHING FOR UNDERSTANDING –BLEND, BALANCE, AND CLARITY BY JOEL L. DENTON

Much has been written blend,creatingaboutbalance,andclarity in the band /ensemble sound, but the evolution of newer orchestration methods, the addition of electronics, and the virtuosic development of all the instruments have required us to think differently, at times, about all of the above music making ideas. In fact, it seems many times they are thought of as being the same, when in actuality all three are uniquely different and important in creating a memorable musical performance. Since most people are visual learners (approximately 75%), I like visual examples that are easily understood by students/musicians to explain these concepts, thus the title of the article. I also like formulas that help to create those images. Here are some thoughts on teaching the differences to your students and in the process creating a much stronger understanding of how, when, and what they should be listening for in each.Inwriting this article, I reached

from the yellow of the Flute and the red of the Alto Sax or the red of the Clarinet, which is different from the Alto Sax, to create an orange sound or the different red of the Clarinet and the blue of the Horn to create a different shade of purple. To further support this effort, we can create new instruments – Hornaphone, Flutaphone, or Clarihorn as opposed to Saxahorn, Saxalute, or Horninet. While the students/musicians will laugh at this, the mental picture is

When we think of balance, many think of the concept of the pyramid of sound. Francis McBeth explains this concept in great detail in his text, Effective Performance of Band Music. He presents the idea of the double pyramid of sound with the instruments divided by families –woodwind and brass are assigned in the balance from highest to lowest with the lower/larger instruments representing the bottom of the sound and the higher/smaller instruments representing the top of the pyramids. Due to changes in orchestration, he would later discuss the need for a more singular balance using one

• Group 3: Horn, Alto Sax (15% of total ensemble volume)

• Group 1: Tuba, Bari Sax, Bassoon, Bass Clarinet (45% of total ensemble volume)

Continued on next page

• Melody – 40%

which we will discuss next in the article. These require two different skills of listening.

firmly in place. Both the colors and the new instruments work for creating strong visual pictures for your ensemble. This is also an opportunity for collaboration as we can decide how purple or orange the color should be. In the South, I might ask the ensemble to listen and help decide if we want Tennessee orange or Auburn, Florida, or Clemson orange? In the Southwest, you might choose between Texas and Oklahoma State orange, and in the Mid West you could use Illinois for one of the orange colors. Your ensemble members will be very aware of how those colors look and consequently understand how dark or bright the new color should be blended. I have heard Roy Holder, Retired Director of Bands at Lake Braddock High School (VA), use soup as another visual example of blend. In a great soup, the ingredients are perfectly blended to create the wonderful flavor of the soup. This is just like a wonderful ensemble sound that is produced when all the instrument sounds/textures are perfectly blended.

PEDGOGY

Colors, Pyramids, 3-D Movies ..., Joel L. Denton, cont.

pyramid with the instruments being assigned the same position in the balance based on range and size. This is still a common practice in thinking about balance. A visual example of this is how Roy Holder often presents balance as a beautifully created salad with the appropriate amounts of greens, other vegetables, cheese and possibly meat or croutons. I have also found ideas of instrument group percentages from Richard Saucedo, Retired Director of Bands at Carmel High School (IN) and prolific composer, to be a great resource in helping students to develop their listening and understanding. Richard provides these instrument group percentages for balance:

• Group 4: Trumpet, Clarinet, Oboe, Flute, Piccolo (10% of total ensemble volume)

24 NBA JOURNAL

If we think of balance as vertical listening and blend as listening into the ensemble, then clarity is our listening horizontally or dimensionally forward through the ensemble. Our listening creates dimensions that produce clarity for our listeners in the audience. This concept is often missing in performances that most times produce a wall of blurred sounds making it difficult for the audience member to understand exactly what they should be hearing or listening for. A great visual example of this is attending a 3-D movie and forgetting to put your glasses on. As the movie begins, our viewing is blurry; however, everything is exactly where it is supposed to be we just don’t have the lenses to produce the clarity of the three dimensions. When putting our glasses on, the lenses then create the three dimensions and the wonderful and exciting clarity of the moving parts. Is this not how music should be heard? Yes, except in music we often have more than three dimensions of sound occurring at the same time and they should be moving and changing places in the sound making the music come alive. These dimensions represent Melody, Counter-Melody and Harmony, Accompaniment –both chords and rhythmic, and Long Tones – most times low tones. Dr. David Vandewalker, Coordinator of Performing Arts in Fulton County (GA), uses these percentages for creating this clarity:

• Group 2: Trombone, Baritone, Euphonium, Tenor sax (30% of total ensemble volume)

• Counter-Melody/Harmony –30%

When we train our students to listen with this idea of balance, some would say vertical listening, we create a darker sonority for our ensemble. I would also challenge training to listen as we do for tone and tuning to create our most vibrant sonority. That would be individual, trio, section, family, and ultimately to the ensemble. By doing this, we have the opportunity to immediately improve our tone, tuning, blend, and balance which will produce the desired sonority for the ensemble. I will interject that we must not confuse balance with clarity,

to my friends: Roy Holder, Scott Rush, Richard Saucedo, and David Vandewalker for agreeing to allow me to use their thoughts in this article.

the front dimension for a while and then move back for the melody that may then move back for the counter melody before soaring through to the front again. Think of this as an air battle in a 3-D Star Wars movie where the fighters are constantly changing positions. This is what makes 3-D movies so exciting and what makes music so enjoyable and memorable for listening! Since much published music often assigns an ensemble dynamic, I have found that using the 3-D and Mona Lisa ideas and assigning priority for where each part should be is a great way to teach, understand, and ultimately produce clarity in the ensemble. Until the students fully grasp this idea, this process may be a little time consuming, but the process will be musically worth it. Once the students understand this listening concept, they will begin to recognize where their parts should fit and start to adjust and make decisions on their own. Another visual aid is to have students think of longer notes (longer than a quarter note) as listening lenses to help provide clarity just like the 3-D lenses do in the movie. To do this have the students listen for and move out of the way of moving parts anytime they are playing longer tones – open notes. This will allow the moving lines/rhythms to help the music move forward while creating more interest and better clarity for your audience.

In closing, it is paramount that we that we develop beautiful blend to produce the amazing colors the composers have asked us to create and that we perform with great balance to create the wonderful sonority of the band sound. But for our performances to produce lasting musical memories for our audience, we must perform

Colors, Pyramids, 3-D Movies ..., Joel L. Denton, cont.

with incredible clarity that allows the music to be alive and to emotionally and intellectually move our audience without requiring them to listen through the blur to hear all the excitement and energy of our performance.Thisquoteon

Emotion by William Sloane Coffin in his book “Credo” is a constant reminder of why we work so hard to perform with all these qualities: “The longest, most arduous journey is from the head to the heart.”

When we can produce this, our performances will be most Amemorable.specialthank

• Long Tones – 10%

The ground and water right behind her are about 30% of the picture and represent the Counter-Melody and Harmony. The trees behind the water are approximately 20% of the painting and represent the Accompaniment. The sky behind all and at the top of the painting is about 10% and represents the Long Tones. Now, what is interesting about music is that it is not stationary but alive and moving, so these different parts are always changing dimensions. The ostinato accompaniment may be in

Best of luck in all your musical endeavors!

PEDGOGY

• Accompaniment – Chords and Rhythmic – 20%

When using these percentages, the ensemble creates listening dimensions or clarity that as I like to say, “Keep the important things important!” Another fantastic visual aide for this is Leonardo da Vinci’s Mona Lisa. David and I are both fascinated with this picture and use it to demonstrate clarity. Here’s a little history on the Mona Lisa. da Vinci carried it around for sixteen years and never really finished it, yet it is the most recognizable portrait ever painted! When he finally turned it over to the gentleman who commissioned him to paint it, da Vinci had accomplished a technique no one else before him had used – multiple dimensions on a 2-dimensional canvas. When you look at the Mona Lisa, she appears to be coming forward in the picture. As a matter of fact, there are four dimensions created in the picture and they are almost perfectly sized to use David’s percentages. The Mona Lisa represents the melody and is almost 40% of the painting.

25SUMMER 2022

26 NBA JOURNALContinued on next page NBA STUDENT GROUP SPOTLIGHT

Cait Nishimura, Composer

ARTICLE BY JASON H. NAM INDIANA BLOOMINGTON,UNIVERSITYINDIANA

National Band Association at the Indiana University Jacobs School of Music (Bloomington, IN), recently completed a project successfully organizing a commission for composer Cait Nishimura to write a new piece for wind band. The NBA-IU worked in collaboration with Indiana University’s Center for Rural Engagement (rural. indiana.edu) in creating a consortiumstyle commissioning agreement with Nishimura, resulting in a truly unique and meaningful relationship with four high school band programs in rural Indiana—Paoli High School (Bill

The IU chapter of The National Band Association aims to promote the excellence of band throughout their community at Indiana University. They encourage the composition of wind literature and assist any

"THE NATURE OF TREES" A COMMISSION BY THE IU NBA CHAPTER

Jason H. Nam serves as assistant professor of music in bands at the Indiana University Jacobs School of Music, where he directs the Concert Band and teaches undergraduate courses in instrumental conducting, adminis tration of school bands, and wind literature.

Nam keeps a busy schedule as a conductor, adjudicator, and clinician across the United States. Nam currently serves on the selection committee for the National Band Association/ William D. Revelli Band Composition Contest and holds professional memberships in the College Band Directors National Association, National Band Association, Indiana Music Education Association, and Pi Kappa Lambda music honor society.

at Indiana University. The student chapter’s efforts were additionally supported by the IU Center for Rural Engagement’s “Quality of Place” initiatives and the Jacobs School of Music’s Office of Entrepreneurship and Career Development. The project was underwritten by an IU Student Foundation Metz Grant.

The

Laughlin and Christian Karkosky, Directors), Salem High School (Bonnie Harmon, Director), Brown County High School (Matt Finley, Director), and Southridge High School (Lannie Butler, Director). A project two years in the making, the collaboration culminated in a sideby-side event in February of 2022 wherein the high school students from Indiana communities of Paoli, Salem, Nashville, and Huntingburg received sectional coaching from IU music students, rehearsals with IU Jacobs School of Music faculty, a side-by-side performance recording session, as well as a virtual Q&A session with the composer. The engagement and outreach to specific rural high school band programs in the state was centered in the spirit of service to these communities. The high school band programs now have their names listed in the printed score of Nishimura’s new grade 3 band piece, The Nature of Trees, and were able to share a meaningfully creative experience in collaboratively working to bring a new piece of music to life. While advised by Dr. Jason H. Nam, faculty sponsor and IU Jacobs School of Music Department of Bands faculty, the consortium project was planned, led, and implemented by outstanding undergraduate music students of the National Band Association student chapter

Group Photo, with Cait Nishimura joining virtually, at the premier event

emotions, including moments of joy, yearning, hesitation, nostalgia, and of course, hope."

More information about Cait Nishimura’s works for band can be found at caitnishimura.com.

Conducting.Intheprogram

"The Nature of Trees is dedicated to everyone in the music education community. To me, The Nature of Trees love, resilience, patience, strength, whatthiseveryoneco-createmore.interconnectedness,adaptability,andsomuchThenatureoftreesistoanenvironmentinwhichcanthrive,andIthinkistheperfectmetaphorforwedoinmusiceducation.

The Nature of Trees, Jason H. Nam, cont.

President:individuals:Madeline McCarthy

NBA STUDENT GROUP SPOTLIGHT

and all of those interested in band, while seeking to foster relationships between students and faculty within the IU Department of Bands/Wind

Webmaster: Delaney Ruble

Secretary: Cristina Sarrico

note to Cait Nishimura’s The Nature of Trees, the composer writes:

Treasurer: Ash Bangia

The project was started by the board led by Ava Traum in 2021, and realized by the 20212022 Executive Board with the following

27SUMMER 2022

Vice President: Paul Yoo

This piece was commissioned by the National Band Association at Indiana University to be premiered by the IU Concert Band, conducted by Dr. Jason Nam. The students asked me to create a piece that would explore the emotional experience of returning to band after an extended hiatus due to the COVID-19 pandemic. I wanted to give them something hopeful, but I also wanted to be honest. This chapter of our lives has been tumultuous, heartbreaking, and transformative; we are not returning to the world we knew before. Writing this piece meant facing these feelings and allowing them to exist alongside gratitude and optimism. And so, this piece includes a wide spectrum of

still working on this? This will be the tenth year of my teaching career and I am still refining and trying to improve my

Mr. Sokolowski holds a Bachelor’s degree in Music Education from the University of the Cumberlands and a Master’s degree in Percussion Performance from Eastern Kentucky University. He also holds a Rank I Certification in Music Education from Eastern Kentucky University. He is a Performing Artist/Clinician for Innovative Percussion drumsticks and mallets.

Whatmethod.follows

28 NBA JOURNAL Continued on next page PEDAGOGY

side of the spectrum, my method of rehearsing the exercises so much causes its own host of issues. Primarily, when dealing with beginning students, this becomes boring to the entire room (especially percussion). As it turned out, in the beginning, students were not interested in perfection and wanted to have fun and play their instruments.

Eventually, part of the routine will be how to hold the instruments and better sit in the chair. The teacher’s role is to reinforce and properly maintain this routine until it becomes a habit. The ultimate goal is that

Then my struggle to find a balance between pacing vs. mastery began. It seemed to be the primary goal of the beginning class. How do I teach them solid fundamentals, but keep the pace of the class energetic and interesting? Would it surprise anyone to know I am

BY ERIC SOKOLOWSKI

Eric Sokolowski is the Director of Bands at the Model Laboratory School on the campus of Eastern Kentucky University in Richmond, Kentucky, where he teaches elementary, middle, and high school band and class guitar. He has served on the instructional and design staffs for several award-winning marching band programs throughout Kentucky.

making. We work to get the logistical parts taken care of and use this as an opportunity to focus on classroom expectations, behavior, and the physical rules of sitting in a chair. Having a smooth logistical transition for your class will save time, which is always in short supply.

Onmaterial.theother

When

I started my career in unofficiallikeeducation,musicIfelttherewasanraceto

is my current approach to the beginning band class. It still favors the slow and steady approach but feels like a good balance for my classroom. My beginning classes have varied in size from 13 students to 45, but I try to keep the same approach regardless of the number of students. Smaller or larger groups will have advantages and disadvantages, but some degree of flexibility will always be required. My approach is one of many, and while it works for me, it may not work for everyone. My class is broken into: Routine (5 minutes), Breathing (5 minutes), Rhythms (5 minutes), Method Book (25 minutes), and Music (10 ROUTINEminutes).(5MINUTES)Thisportionoftheclass will change based on the time of year. At the beginning of the year, we focus on the very basics: how to walk into the room; where to put your school supplies; and where to put your instrument, chair, music, etc. We focus on sitting on the front portion of the seat, having good posture, and keeping our feet flat on the floor. The quicker we develop a classroom routine, the quicker we can focus on more important aspects of music-

SLOW AND BEGINNINGSTEADY:BAND

finish the method book as quickly as possible. Some colleagues consider it a sign of pride to be deep into the method book, as if the number correlated with the quality of the program. I took an alternate path. I decided to stay on an exercise until it was perfect. I was after good sounds and rhythmic perfection. As I learned later, this was as detrimental for my students as sprinting through the book may prove for others. The obvious issue with sprinting is not fully absorbing the educational intent of the

Rhythmic development in the method books I have used feels slow. There is a lack of complex rhythms, primarily to focus on tone production from the wind players. They typically move a little quicker for percussion, but the early part of the year is very basic. The percussion section ends up getting stuck playing the same quarter note for weeks while the band tries to master the concert F. What I have done to combat this boredom is provide a slideshow of rhythms starting extremely basic, that get progressively more difficult throughout the year. I have made around 200 of these and every day a new rhythm is introduced. I have the class clap and count the rhythms. We break it down, and model it. Keep in mind, if I do not feel mastery of the rhythm from the group, I will reintroduce that rhythm the next day. (Basically, if it sounds like applause, it probably needs a little more work.) I want the group to be ahead rhythmically from the book as much as possible. I also use these rhythms in the percussion section when the winds are working long tones or exercises that are repeated frequently. Again, this is another opportunity to walk around the room and look at sitting technique and hands in the percussion section. Also, sometimes students master the rhythm quickly or

PEDAGOGY

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(5 MINUTES)

METHOD BOOK (25 MINUTES) (SINGING, CLAPPING, HARMONY DIRECTOR)Themethod

book is the bulk of my classroom focus. The time used will vary depending on the success of the other tasks. In the early days of the method book, time is spent working on fundamental sounds and introductory notes. As in all previous sections, introduce new concepts with modeling, clapping, singing, etc. I like to use a harmony director to model the exercises as well as give students confidence when singing. It is critical to get them singing early and often. Much like the routines established at the beginning of class, singing will become second nature.

even immediately. There is no reason to take all five minutes if they are nailing it. Move on!

Slow and Steady: Beginning Band, Eric Sokolowski, cont.

I use a metronome to keep this steady, and eventually elect a student to run this part every day. While this is happening, I am walking around, looking at seat technique (feet, back, front of the seat posture), and when students have instruments in hands, are they holding them correctly in the non-playing position? This breathing process will evolve into playing long tones with the same

RHYTHMSday.

students become efficient in entering the classroom, are quickly ready to go with instruments in hand, and know how to dismiss at the end of class. Eventually, the time needed will be minimal and can be phased out, as it will become part of the daily class routine. A successful band needs successful BREATHINGhabits.(5MINUTES)Breathing,asitrelatesto a wind instrument, can be awkward for the untrained. Students have to be taught to take a deep breath from the bottom of their lungs, and then learn how to exhale. The fundamentals of developing breath control are here. There are countless methods and books available for this, so pick your favorite. I go for a simple quick method. Early on, I have my students breathe in for four counts and out for four counts. Then in for three counts and out for five counts, in for two counts and out for six counts, and eventually in for one count and out for six counts. We’ll also do this pattern in for two counts and out for four, eight, twelve counts, etc. My focus here is showing students they can actually take deep breaths quickly. I also have them “hiss” or “sizzle” through their teeth when they breathe out to provide a little resistance.

While students are playing the exercise, I will rotate through each student. Much like every part of my class, I am away from the podium visually inspecting the students’ posture, technique, and sound. It is critical to their success that you see every student and make corrections constantly. If they have poor technique, that will eventually turn into a habit, which then becomes extremely difficult to correct as time passes. Those beginning exercises are good for developing air but are less than interesting for the percussion. I will move the percussion further in the exercises than the wind players. For instance, if we are on number 5 with the band, the percussion may be on number 20. I’m not concerned that the parts line up, I just want to feed the content to the students, as they need it. For the long tone

breathing intervals. We do unison notes and some chords when we learn enough notes. All the while, I am walking around the classroom reinforcing proper instrument and seat techniques. It will be very easy for this to become rote, but it must be done with intent and consistency every

29SUMMER 2022

THEMyGOALSgoalis that students have a positive experience in class. They are learning and the act of music making is fun. As you can see, I spend the bulk of my time walking around inside the band arc. I strive to speak to every student by name every day of class. I also use my eyes more than my ears, particularly at the beginning. I will state the obvious, but these suggested

Slow and Steady: Beginning Band, Eric Sokolowski, cont.

This may surprise many, but I spend only a small portion of the class on literature. Particularly for beginners, you may not start working on music until the end of the first semester. I focus on fundamentals and good habits during the first half of the year. For my beginners, we do a demonstration concert of all we have learned during class. It is a mini-lesson on stage. We do our routine, breathing, rhythms, and play our exercises from the method book. When we do get to literature, I dedicate the end of class. The first year I did this was very scary, because I was worried about my concerts. As it turns out, it felt like they learned it quicker, with less frustration. I adopted this routine for my older classes as well, and it has been working. Keeping in mind, when we get closer to concerts, we spend more time on the music and process of how a concert works.

times are not in stone. For that matter, the exercises in the books can be repeated, skipped, and tailored to whatever fits your class. Above all, the purpose of these suggestions is not to be THE end-all approach to teaching. It is just my current approach. As I said in the beginning, there are as many methods and approaches as there are many teachers. Consider this approach a potential tool in the educational toolbox.

Another method I use early is having the wind players face the percussion during the class. There are days where the percussion is going to struggle, particularly with keyboard instruments. It allows me to be in front of the band, while staying in the percussion. It also gives the students a different perspective of the class. A small change that keeps it varied in the room. It also moves the percussion to the front of the ensemble. As a percussionist myself, sometimes we are forgotten in the back of the room and I want to avoid that feeling.

is to always be moving and correcting hands and faces, posture, etc. I am not concerned with ensemble sound at this point, just creating players with good individual student habits.

PEDAGOGY

MUSIC (10 MINUTES)

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exercises, if the daily rhythm needs more repetition, I will use that as well. I usually keep that rhythm on the screen for the duration of class.

content review helps me with the repetition.Thegoal

Pacing will vary, but there is a point where the majority will understand the concept. The human brain learns skills based on repetition, but that doesn’t make for an exciting class. Once a concept is learned, it becomes part of the review we do on a daily basis. I usually review ten exercises back. So, if we are on number thirteen, I usually go back to three and we hit those again. If you are walking around the room, you will learn your group and what they need. Eventually, my review will evolve into selected exercises that I feel are important and not necessarily the previous ten. It’s important to do the repetition, but not drill it into the ground. As I mentioned in the beginning, there is a line between sitting on an exercise and sprinting. On one hand, the skills develop with repetition and reinforcement, but at the same time, as they learn more content, the early stuff will become easier. Find a balance between these. For me, my

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my proposal extended beyond the band classes to include the

whole school, it was music centric. I created sound waves using my trombone. I looked at what drumming was like without gravity and used a metronome to measure reaction time. I created a dice rolling probability experiment that mimicked Mozart’s chance compositions when I paired the results with student-composed melodies. Throughout the whole process, my students learned so much. However, I learned some pretty

Lisa Werner serves as Band Director at St. Bruno Parish School in Dousman, Wisconsin and Senior Symphony Orchestra Manager with the Milwaukee Youth Symphony Orchestra. She has an instrumental music education degree from UW-Whitewater, and a masters degree in conducting from the American Band College through Southern Oregon University.

you ever had an experience that you looked back on and thought “I can’t believe I just did that!”? When’s the last time you took a flying leap way outside of your comfort zone? This year I had a few amazing opportunities present themselves to do just that. I am the girls scout co-leader for my 2nd grade daughter’s brownie troop with a few other moms, one of whom is a science teacher at our local middle school. She told me about a new program that was running through Carthage College in Kenosha, WI that is called the Embedded Teacher Program, and encouraged me to apply. I filled out the relatively short and easy application in August, and didn’t bother to tell my husband I did it. I figured I didn’t have a chance of getting selected, since they were only accepting 10 teachers from around the country into the program, and the requirements said you had to be a STEM teacher to be eligible.

LESSONS LEARNED FROM AN OUT-OF-THIS-WORLD OPPORTUNITY

I submitted a series of band studentdesigned experiments for round 1 and was denied. I found out 3 days before the deadline for resubmission that I needed to start from scratch, as my experiment ideas were not supportable on the flights. This also happened to be 4 days before my Catholic school’s first Christmas concert in person since 2019. It was a stressful week, to say the least. I spent that whole weekend doing sound and music experiments to see what might be able to be adapted in an interesting way for zero gravity. I eventually found a few ideas and submitted them, after having the band students I work with pick out what they were most interested in learning.

to submit proposals for experiments to fly on a parabolic flight through the Zero G Corporation in Fort Lauderdale, Florida.

Fast forward a week and a half later when I got email acceptance into the program. Participating in the program got me a 2-day workshop that featured information on the current NASA Artemis mission, microgravity facts and experiments from the National Space Society, and a tour of the Carthage microgravity lab. At the end of the workshop, we were invited

31SUMMER 2022 PERSPECTIVE

Lisa enjoys performing in jazz ensembles and local pit orchestras. Mrs. Werner is a National Board Certified teacher and is also certified by National Geographic and as a Google Educator. Lisa is constantly looking for new ways to connect music to other content areas for the students in her classroom.

Have

BY LISA WERNER

In all of the winter festivities, I forgot about my proposals for a while, which was appreciated after all of the stress that weekend. On January 12, I received an email from the program director inviting me to fly my experiments in the spring! I was awestruck. I went from thinking I would not even get into this program to getting to be one of four teachers who gets to fly in the zero-gravity flight!Though

32 NBA JOURNAL PERSPECTIVE Continued on next page

powerful lessons as well:

Also, all of that insecurity was coming only from myself - the other teachers in the program were incredibly encouraging and supportive of the music teacher amongst them.

use music in some of their classrooms to help teach their content standards!

Lessons Learned from an Out-of-this-World Opportunity, Lisa Werner, cont.

1. It would have been very easy to get distracted by my thoughts of not being good enough to be in this program. I have not had a science class since 2000, so my science isn’t as strong as those teachers who are teaching the subject every day to their students. There were many moments where I wanted to give up and say ‘I’m not good enough. I don’t deserve this.’ Instead, I remembered that this is how some of my students feel in my classroom when they are learning to cross the break on the clarinet or lip trill on the trumpet. If I expect them to hang on and keep trying, then I had better work to persevere as well.

2. Because of my involvement in this program, I received an offer to attend the Space Exploration Educators Conference in Houston last February through the Wisconsin Space Grant Consortium. This was an incredible experience meeting educators in all subject matters who had a love for space exploration. I got so many fun and engaging ideas from teachers who don’t teach music. It was really cool to hear how science, math, and technology teachers

3. Also, at this conference I had the opportunity to meet a few astronauts. While my STEM educator colleagues were asking questions like “how can I better prepare my students for a career with NASA?” I chose to ask, “were you a musician, and if so, how did those skills help to get you where you are now?” All but one astronaut had played instrument(s) at one time, and many of them still perform. The astronaut who did not play an instrument had a story about how music factored into his mission anyway - he was orbiting the earth due to a bad

I also used this with the beginning band I teach as well. We took the concert Bb pentatonic scale and assigned each note to one side of the die. Before I left, we worked together to compose rhythms for our composition. After my flight, we took each roll of the die, translated it to the pitch assigned to that number, and dropped it into our rhythmic composition. These students also performed their composition on the same spring concert, calling their piece “Gonna Fly Meow.” Both pieces turned out really well, and the students couldn’t believe how well their compositions sounded.

33SUMMER 2022 PERSPECTIVE

Lessons Learned from an Out-of-this-World Opportunity, Lisa Werner, cont.

For those of you who are not familiar with a parabolic (or ‘zero g’ flight), an adapted commercial airplane flies in a series of parabolas, or hills, to create moments of zero gravity followed by double earth’s

My second experiment jumped off of that same idea but took things a bit farther. I had a clear plastic tube that was sealed on one end and filled with Styrofoam beads. I then closed off the other end of the tube with a rubber band and attached this to my trombone. The middle school band students and I calculated the resonance of the tube (it turned out to be an E on my trombone), and I played that note into the tube on the parabolic flight. This produced a beautiful 3-dimensional standing wave in the tube. I was able to create additional standing waves using other pitches while in 0 g, despite only the E working for me on the ground.

The third experiment I did involved drumming at different tempos, testing how easy or difficult it is to respond to stimulus and also determining how challenging it may be to control stick rebound in zero gravity. Shocker: it actually didn’t feel any different at all!

gravity (also called 2 g). Each moment of 0 and 2 g is roughly 22 seconds. I got to experience 30 of these parabolas. The challenge is finding experiments that can be done in that time period.

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I performed 4 experiments. The first experiment involved a container of cupcake sprinkles in a deli container, topped with an onion saver from the grocery store. I attached this to my trombone and played notes from the harmonic series to see the change in the sprinkles’ behavior as the pitch went higher.

Throughout this whole experience, I worked to tie this adventure into every grade level and subject at

weather delay before returning from space, and he listened to the Moody Blues album “Days of Future Passed.” The first track is about day beginning and lined up perfectly with the sunrise he experienced in orbit. The whole album is about the passing of time during the day, and the final track played as the astronaut experienced sunset. He said it was so perfectly timed that it caused such a deep emotional reaction for him. One of the astronauts who played an instrument mentioned that the same skills necessary for improving as a musician are the skills you need as an astronaut. Where musicians need to work over and over on a musical passage or skill to get it as close to perfect as possible, and train the muscles to do it consistently, astronauts train the same way. They do things over and over again for muscle memory, because if they ‘forget’, their lives could be in danger.

4. My favorite lesson happened on the zero g flight. I was playing my trombone for my first experiment, and people from around the plane started coming over to see what I was doing. It wasn’t that my experiment was that ground-breaking…it was that even in zero gravity music draws an audience!

My final experiment was much less scientific. I had a cheese ball container with a big foam die inside. As the die experienced 0 g, it would

float and roll, and as we came out of that, it would land on a random number - a simple probability exercise. I linked this to concert band by first teaching the students about Mozart’s chance compositions. I then had the middle school band students compose two measure melodic ideas using the Bb blues scale (they picked the scale from choices I gave them). The students were actually asked to write a one-measure idea, but they found they had more to say, so they begged for 2 measures! I then split the band into groups and assigned them a number to correspond with each side of the die. When their number popped up in their parabolas, we put that student’s musical idea into our composition. We then performed this piece, which the students named “Dicey Breakfast” because they weren’t sure how I would fare on my morning ‘vomit comet’ ride, on our spring concert 7 days after my flight.

Lessons Learned from an Out-of-this-World Opportunity, Lisa Werner, cont.

• “I learned to never give up on my dreams, no matter how impossible they seem.”

• “Even researchers like to listen to the trombone- probably because they know it’s the best instrument.”

• “Music is so cool that it can be connected to everything, even space!”

• “You can do anything if you put your mind to it.”

• “I thought writing music was hard, but it’s so much fun I want to write longer stuff.”

• “This was super cool to be a part of. It changed me because it showed me that you can do anything.”

Student engagement and reactions were awesome. At the end of the school year, I surveyed the students to see what the whole experience had taught them. Some of my favorite answers were:

Interestingly enough, I know we all worry about the amount of time we have to rehearse with our students. It often feels like it is never enough, and this probably causes music teachers to hesitate to do more of these experiences with the students they work with. Let me assure you that even with my students having not played at all in the last year and a half due to Covid-19, and these experiments/projects going on during class, the concert band students learned their music faster and deeper than they usually have done. However, the most priceless part of this amazing experience was watching the deep connections they made with their music, their instruments, and their classmates as a result of this shared adventure. The motto for NASA’s Jet Propulsion Laboratory is “Dare Mighty Things,” and is often used in many of the space education materials I have received. I issue a challenge to you all to “dare mighty things” for you, the students you work with, and your band programs! You never know where your next adventure will take you and your band program!

our school. The art teacher and I teamed up to have each student create a mission patch for this flight. The Physical Education teacher incorporated ‘astronaut training’ for the students. The Spanish teacher taught the students music and spacerelated words in Spanish. I went into the 3K and 4K classes to teach them about the moon with puzzles. I visited the 1st graders to show how each instrument makes sound in their sound wave unit. The 8th grade science class worked with me to design the holsters for attaching the experiments to my trombone. The older students demonstrated our experiments to the younger students in the school, and for the parents and community at our spring concert. Throughout the whole process, every student in our school was engaged in the entire journey, with the band students leading the experience.

• “Keep working hard on what you really want to accomplish, because you can get there with the right amount of work.”

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• “I felt like I had been involved with every aspect of this experience, even though I couldn’t go on the flight with you.”

PERSPECTIVE

When we shared our work in class, there was the expected discussion of length of the programs, musical balance, and whether selections were appropriate for the group. For me though, the most striking part of the discussion was Mr. Ebbs’ challenging of some of the pieces as worthy of being included on any program. We didn’t expect to be discussing the quality of the music and we certainly didn’t agree on everything, but by doing so Mr. Ebbs forced us to consider what is arguably the most important consideration when

Gary Barton retired from the La Porte, Texas Independent School District after thirty-seven years of teaching in five states. He received the Bachelor of Music Education from the University of Louisiana-Monroe and the Master of Science in Education from Indiana University. A Past President of the Arkansas School Band and Orchestra Association and Past 2nd Vice-President of the National Band Association, he has written for numerous publications and has done clinics and presentations in sixteen states.

BY GARY BARTON

35SUMMER 2022 PERSPECTIVE Continued on next page

you follow the many Facebook band director pages you may notice that there are topics that appear fairly regularly. I’ve recently seen multiple requests for sharing activities that people use in band literature courses that have a significant and long-lasting impact. I’m not going to be sharing any new or unique ideas, but rather I’m going to revisit a fairly standard assignment and discuss how it was done in the past, followed by how that project is just as valuable today but enhanced by our access to twenty-first century

Mr. Ebbs kept two boxes of miniature scores in the staff room in the band department. He told us we could use them as a reference if we wanted, in addition to the band library. Publishers would create small study versions of their publications and they would have them on display at conventions where they were free for the taking. Recordings were only available on records and primitive, flimsy sound sheets and the internet was non-existent, so these miniature scores were a primary avenue for advertising. Though still not standardized today, there really wasn’t a grading system for reference. Pieces would be marked “medium-easy”, “easy”, “advanced”, for example, but didn’t necessarily include ranges, rhythmic considerations, or other technical specifications that are provided today. Unless we already knew pieces, we had to rely on studying the scores to determine

A PROJECT FOR THE BAND LITERATURE CLASS

We were to create three concert programs: one for middle school band, one for small high school band, and one for advanced high school band. At this time, school concert bands were often larger than today’s bands. If a school had 90 band students, then they were probably all in the same performing group as opposed to creating two independent

1977:resources.CREATING CONCERT PROGRAMSAsagraduate student at Indiana University in 1977, I was in the band literature class taught by Frederick Ebbs, then Director of Bands. As is done in most classes, we were assigned to create concert programs. Mr. Ebbs was never one to rest on stale curriculum, so my experience may not match that of past or eventual students in the class, but I’ll present how we did it in 1977.

where to place them on our programs.

ensembles as is frequently the case today. With this in mind, we were creating programs for one band performing a full evening program, with the exception of the middle school being limited to more of a halfhour to forty-five-minute program. The need to balance a program considering audience appeal was more of a concern than it might be today if a concert includes three ensembles with each only playing three to four pieces. Stamina was also more of a concern if bands were playing longer programs.

This assignment is basically the same as the first except students will create the three programs using pieces of their own choosing. Perhaps allow a certain percentage of pieces from the three short lists provided earlier, but there needs to be plenty of incentive for the students to seek out pieces on their own. Most publishers provide scores and recordings on their websites. Encourage students to explore

the publishers on the internet; this is real on-the-job practice. Point out that all music should be considered, not only new music. This assignment should be given more time than the first one.

PERSPECTIVE

FAST FORWARD TO THE TWENTYFIRSTToday,CENTURYexcept for the task of finding pieces to program, this assignment is not much different from how we did it in 1977, but the impact can be greatly enhanced using modern resources. I would suggest three separate but related assignments.Assignment #1

Assignment #2

A Project for the Band Literature Class, Gary Barton, cont.

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Pick festival/contest programs. If the university is in a state that has a prescribed list, create appropriate programs using the state’s format. Ask for any march followed by two pieces from the prescribed list. Even if a student doesn’t eventually teach in the state, this is good practice. Since only three pieces are needed for each program and a pool of titles is already provided, this assignment will require about the same amount of time as the first assignment.Creatingconcert programs in

choosing music for our students.

Assignment #3

band literature classes is not a new idea. If approached as such, it can be invaluable practice in searching out quality literature, making decisions about musical balance, and potential for instruction and curriculum. Some assignments could be done with a partner or with a group. Think outside the box. Provide guidelines and boundaries while at the same time allowing freedom for exploration. With today’s resources from books to the internet, creating programs can be much more than simply listing titles.

Provide the students with three short lists, one for each level of ensemble. Perhaps ten to fifteen pieces could be included on each list. Include a timing for each piece. Specify an approximate length for each program. Ask the students to create a program from each list. Allow some crossover of pieces with the idea that there is great music available that is appropriate for any band whether middle school or advanced high school. Some Clare Grundman and Percy Grainger pieces immediately come to mind. This is more of a practice activity and shouldn’t require many days.

selected on the strength of their compositions. This year’s composer mentees included Henry Dickson, Trevor Smith, and Michael Standard. Mentor composers included Mark Camphouse, Kevin Day, Dr. Viet Cuong, and Dr. Thomas Duffy, who remarked,

Composerafternoon.participants were

YCCMP

addition to an open forum with a panel of musicians from the band. In addition to preparing the works of the composer participants, the conductor participants were asked to select an older lyrical composition to conduct on the concert, a work which also served as an “ice breaker” with the band. The project culminated in a live-streamed concert from the U.S. Air Force Band’s rehearsal hall on Wednesday

the summer of 2000, the National Band Association launched the first of its two Mentor Projects, the Young Composer Mentor Project. The brainchild of composer/ conductor Mark Camphouse, the idea of the first mentor project was to pair young aspiring composers with working veteran composers for an intense three-day collaboration. This soon led to the implementation of the Young Conductor Mentor Project in 2004. Now 22 years later, more than 75 young composers and conductors have distinguished themselves through participation in the mentor projects, which since 2004 places a strong emphasis on the importance of composer-conductor interaction. And all of this is done under the mentorship of working professionals who serve as composer and conductor mentors.Sincethe

“The mentors donate their professional services and serve as mentors because they are genuinely committed to encouraging and nurturing future generations of especially promising and gifted young composers and conductors. They, too, are making a difference.”

Delayed a year because of the pandemic, the 2022 YCCMP took place June 12-15 in Washington, D.C. and began on Sunday evening with “quartet meetings” of mentors and mentees. From Monday to Wednesday, all sessions and rehearsals took place on Joint Base Anacostia-Bolling in Historic Hanger 2, home of the United States Air Force Band. Monday morning began with a U.S. Air Force Band history lesson and tour led by the band’s current Commander and Conductor, Col. Don Schofield. This was followed by separate sessions for composers and conductors, and then the first rehearsal with the U.S. Air Force Band. The day concluded with private lessons and evaluations. Over the course of the event, the young conductors had four rehearsals with the U.S. Air Force Band, in

37SUMMER 2022

“It was a pleasure to serve as a NBA composer mentor for the second time, with composer mentor Viet Cuong, who was my composer mentee in this very program twelve years ago! We must have done something right––Viet is a master composer and a wonderful clinician. I look forward to the time when I am collaborating as equals with Michael, Trevor, and Henry (this year’s mentees). The NBA Composer/Conductor Mentor experience was a wonderfully comprehensive experience. We were all were privileged to work with Colonel Schofield, who expanded the usual composition and conducting mentoring experiences by offering unique insights to leadership, mission, focus, credibility, and balancing work and life. I was a mentor, but I learned so much!”

projects’ inception, composer and conductor mentors have donated their professional services, thereby directly helping to keep the event tuition-free for participants. Mark Camphouse notes,

During the three-day event, the young composers and conductors work in collaboration to present a concert of the young composers’ compositions conducted by the young conductors. Many alums of this biennial joint mentor project (YCCMP) have gone on to have highly successful careers as conductors, composers, and educators at the high school and college-university level, and with professional military bands. The National Band Association is fortunate to have the United States Air Force Band, one of the world’s premier music ensembles, as a partner in the last three mentor projects.

The conductor participants were selected through a national audition that included a rehearsal video, performance video, analysis paper,

IT’S A WRAP! ANOTHER SUCCESSFUL YOUNG COMPOSER/YOUNG CONDUCTOR MENTOR PROJECT COMPLETED

YCCMP

It's a Wrap, 2022 YCCMP, Linda Moorhouse, cont.

The Young Composer and Young Conductor Mentor Projects (YCCMP) are among the National Band Association’s most successful and treasured projects. The National Band Association would like to thank the 2022 YCCMP’s composer and conductor mentors for their contributions and expertise this summer. The NBA also thanks Col. Don Schofield and the members of the United States Air Force Band for their participation and technical and logistical assistance. There is no question that partnering with the United States Air Force Band has been paramount to the stature and success of the recent projects. As NBA Past President Scott Tobias remarked,

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“One of the truly special aspects of the Young Conductor/Composer Project is the involvement of the United States Air Force Band. The members of the band not only afforded the participants an

With the young composers, Mark Camphouse noted, "2022 composition mentees were, by far the strongest I can remember since the inception of the Project in 2000. Their works were remarkably mature, well-crafted and developed, beautifully orchestrated, and truly compelling. I must acknowledge the valuable contributions made by my wonderful George Mason University doctoral conducting assistant Samantha Clarke, who assisted me in the composer selection process and provided indefatigable logistical help during the four-day Project. The three distinguished composers who joined me on the '22 Composer Mentor Team (Tom Duffy, Viet Cuong, and Kevin Day) went above and beyond both personally and professionally in providing composer mentees with a truly memorable

curriculum vitae, and application letter. The selected conductors were Tyler Ehrlich, Ben Pouncy, and Ceon Rumphs; all had teaching experience. Conductor mentors included Col. Don Schofield, Dr. Rebecca Phillips, Dr. Scott Tobias, and YCCMP project coordinator, Dr. Linda R. Moorhouse.

exceptional professional ensemble to conduct, but were also generous with their feedback and sincere desire to help the participants be successful.”

Information about the 2024 YCCMP will be available on the NBA website by December 2023, if not before. Until then, congratulations to the 2022 YCCMP participants for a truly successful and inspiring event!

and enriching experience. Rapport among composer and conductor mentees was super-positive and a joy to witness. And the men and women of The United States Air Force Band were truly magnificent as always."

In the summer of 2019, NBA Past President Paula Crider retired as chair of the Conductor Mentor Project. This summer Mark Camphouse completed his last event as chair of the Composer Mentor Project. The National Band Association is indebted to Mark Camphouse for his vision, dedication, and supervision of the Composer Mentor Project for 22 years, and to Paula Crider for her leadership with the Conductor Mentor Project for 15 years. Their good work to establish and build these successful projects will last long into the future.

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This year’s six YCCMP mentees were exceptional. All were proactive in beginning their initial inquiries and conversations with one another before June. When it came time to meet in Washington, D.C, it was very evident scores were studied and conductors were well prepared for rehearsals. Each conductor worked diligently with their paired composer to bring forth the vision of the composer’s works. It was heartwarming to watch the conductor-composer interactions blossom into warm friendships over the course of the event, as well.

39SUMMER 2022 2022 YOUNG COMPOSER/YOUNG CONDUCTOR MENTOR PROJECT CONCERT WITH THE UNITED STATES AIR FORCE BAND WASHINGTON, D.C. JOINT BASE ANACOSTIA BOLLING, HISTORIC HANGER 2 JUNE 15, 2022 2:00 PM RALPH VAUGHAN WILLIAMS ........................................................................... Rhosymedre TREVOR SMITH ............................................................ Palette and Spectrum for Wind Band Ben Pouncey, conductor DWAYNE MILBURN .......................................................................................... Meditation MICHAEL STANDARD ........................................................... Five Frames for Redemption for Wind Ensemble Tyler Ehrlich, conductor E.O. EXCELL/JOHN NEWTON ...................................................................... Amazing Grace WILLIAM HIMES, Arr. HENRY DICKSON .............................................................. Witching Hour for Wind Ensemble Ceon Rumphs, PROGRAMconductor It's a Wrap, 2022 YCCMP, Linda Moorhouse, cont. YCCMP

From a conducting perspective, emphasis was placed on the importance of utilizing appropriate gestures to best convey the intended sound without the need to provide verbal explanation. This approach both strengthened my conducting

40 NBA JOURNAL YCCMP Continued on next page

2022 NATIONAL BAND ASSOCIATION YOUNG COMPOSER/ CONDUCTOR MENTOR PROJECT: PARTICIPANT PERSPECTIVE

and enriching experience. During this summer’s event, three young composers were paired with three young conductors in the rehearsal and performance of three works for wind band written by the participating composers. Throughout the process, all six participants received valuable instruction from highly esteemed professional mentors who provided guidance during rehearsals, as well as met with participants individually to review rehearsal footage and provide feedback. The event was hosted by the United States Air Force Band at Joint Base Anacostia-Bolling in Washington, D.C. The opportunity to learn from these phenomenal musicians through this collaboration was a once in a lifetime experience that furthered my understanding of conducting gesture, fostered the collaboration of composers with conductors, and emphasized the significance of strong leadership on and off the podium.

The

Benjamin Pouncey, a native of Columbia, South Carolina, is currently pursuing a Masters of Music in wind conducting from Colorado State University and is in the studio of Dr. Rebecca Phillips. Mr. Pouncey most recently served as Director of Bands at Ashley Ridge High School (Summerville, SC). Prior to Ashley Ridge, Mr. Pouncey was co-Director of Bands at DuBose Middle School (Summerville, SC) where the DuBose Symphonic Band was a featured ensemble at the 2018 South Carolina Music Educators’ Conference. Mr.

National Band Association isMentorComposer/ConductorYoungProject(YCCMP)anincrediblyunique

BY BENJAMIN POUNCEY

Collaboratingexperience.with

a composer on the performance of their music was a valuable learning opportunity. Participants met in their pairings throughout the event to discuss the music in detail as well as make musical adjustments as needed. Conductors experienced the importance of developing detailed musical interpretation in order to ensure clarity and remain efficient in rehearsal. This collaboration also emphasized the responsibility of the conductor to effectively bring the composer’s compositional voice to life. Witnessing this take place in real time was a powerful experience, while also providing a deeper and more meaningful understanding of music through the process.

In addition to the musical responsibilities of a conductor, lessons in leadership were implemented into the experience. Key tenets included how to communicate effectively, how to be a visionary, and how to best serve and show respect for the musicians of an ensemble. Providing the ensemble members with what they need to be successful was part of the valuable lessons gained in servitude leadership, through this opportunity, that will be carried on for a lifetime.TheYCCMP

final performance was held Wednesday, June 15th in

vocabulary and accentuated the importance of implementing movement in a manner that most clearly and effectively communicates to the musicians. The power of trust in an ensemble was also discussed. In many cases conversation took place regarding not only the information the group needs to be successful, but perhaps more importantly the information that is superfluous. The art of providing space for the ensemble members to express while also being clear and effective as a conductor was a powerful takeaway from the

Pouncey earned his Bachelor’s Degree in music education from the University of South Carolina.

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Beeler.Iam

honored to have had the opportunity to participate in the 2022 NBA Young Composer/Conductor Mentor Project and I am incredibly grateful to have received the information and instruction from the renowned professional conductor and composer mentors. Thank you very much to the National Band Association, the United States Air Force Band, and everyone involved in making this experience possible.

the United States Air Force Band facility on Bolling Air Force Base. The program featured Witching Hour by Henry Dickson, conducted by Ceon Rumphs, Palette and Spectrum by Trevor Smith, conducted by Ben Pouncey, and Five Frames for Redemption by Michael Standard, conducted by Tyler Ehrlich. Additional featured works included Amazing Grace arranged by William Himes, Meditation by Dwayne Milburn, and Rhosymedre by Ralph Vaughan Williams, arranged for band by Walter

2022 NBA Young Composer/Conductor Mentor Project, Benjamin Pouncey, cont.

YCCMP

A large-scale study by Carl Hancock (2009) examining music teacher attrition and retention indicated that music positions in secondary schools turnover yearly at 16%, resulting in 19,000 vacancies a year. Interestingly, in examining teacher exit surveys, Hancock (2016) found that only 1% of former music teachers were dissatisfied with "teaching," noting that other areas (lack of administrative support, constant need for advocacy,

OVERVIEWsystems.Iamwriting

INTRODUCTION

to share my personal narrative of how work has impacted my family, and likewise, how family has impacted my work. For years, I have been asked by friends to share my journey as a collegiate band director as it relates to being a working mom in the profession. My story is not meant to provide a model for how it is "supposed" to be, but simply to pass along what has worked for me and my family.

Other researchers have conducted case studies of music teachers and noted behaviors that lead to satisfaction in work-life balance. For example, Fitzpatrick (2013) and Shaw (2014) found that marching band directors who proactively used worklife strategies improved their balance over time. They also found these teachers set boundaries and work expectations and had strong support

courses in conducting and music education. I am on a 12-month contract, recently earned the rank of full professor, and keep an active guest conducting and publishing schedule.

salary, to name a few) influenced teachers' decisions to leave the profession. Post-pandemic data on this topic will be interesting as we hear of historic rates of teachers in all subjects pursuing other lines of work.

42 NBA JOURNAL PERSPECTIVE Continued on next page

These

BY AMY I. ACKLIN

I thought of work-life balance as a personal topic. I didn't feel a deeper sense of responsibility until my own music students shared with me their trepidations about entering the profession due to worklife demands. Examining research, it is clear that my students are not the only ones feeling this way. National trends on music teacher attrition and burnout are sobering.

"Work hard, play hard, and know the difference between the two."

The part of my job that brings me the most joy is working with my college students, however, there is no doubt that my family is the brightest part of my life. I have been married for 23 years to Chad - the most remarkable human I know. We have two amazing children - Adeline (11) and William (8). Perhaps the most important lesson we have learned since being parents is that you must make decisions that are right for you

WORK-LIFEREIMAGININGBALANCE, PART 1

Amy Acklin serves as Professor of Music and Associate Director of Bands at the University of Louisville. Under her direction, the UofL Symphonic Band performed at the 2016 CBDNA Southern Division Conference and the 2015 Kentucky Music Educators Association Professional Conference. Dr. Acklin serves as the National Band Association KY State Chair and is the recipient of the 2021 UofL Distinguished Teacher Award and the 2019 KMEA College/University Teacher of the Year Award. She holds B.M. and M.M. degrees from the University of Louisville and a Ph.D. in Music Education/Instrumental Conducting from Florida State University.

wise words were spoken often during my doctoral studies at Florida State University by scholar and teacher, Dr. Clifford Madsen. This adage has resonated with me throughout my career, especially when discussing work-life balance topics with my students.Foryears,

I love what I do. I'm the Associate Director of Bands at the University of Louisville where I run a Division I Athletics Band program, direct the UofL Symphonic Band, and teach

PRACTICAL LIFE HACKS

43SUMMER 2022 PERSPECTIVE Continued on next page

The best piece of advice I can pass along to all teachers is to create systems for uninterrupted workflow and uninterrupted family/personal time. Learning how to minimize interruptions has been key for me in navigating tenure-track expectations and feeling satisfaction as a parent. It started with reassessing tasks and realizing that I'm in the driver's seat of choosing when and if I get things done.Creating

Lastly, I've learned that you must be brave and ask your supervisors at work for changes when needed. It’s OK to ask for a private room for nursing. It’s OK to ask if your schedule can be changed - even if only temporarily. With my first child, I was hesitant to ask for such things, but I did with my second child and found that coworkers were appreciative of knowing of my needs and were happy to help. The latitude of accommodations will be different for everyone, but it is important to brainstorm possibilities with your supervisor ahead of time.

structured activities and blocks of time for the kids to know when I am available.Forcreating family time boundaries, I schedule an out-ofoffice email reply when traveling. Chad takes it one step further and fully uninstalls his email app from his phone. We make dinner as a family a priority and make it a tech-free zone by putting electronics in a different room. If I still have work emails or phone calls when I get home, I finish them in the car before walking into the house. My kids know that by the time I walk in the kitchen, I am fully focused on my family.

child was born, I brought a pack-and-play to my office so that I would always be prepared in an emergency if they needed to come to my school. I didn't use it often, but it was a relief knowing that everything wasMythere.jobinvolves

There can be a general sense that working moms always feel guilty because it's impossible to give adequate time to both work and home. I simply refuse to accept that mindset. I am proud to be a working mom and would not want it any other way. There weren't many models in higher education where I saw how to balance both worlds, so I have worked to develop systems to help me "thrive" versus "drown" amid the many spinning plates. For me, compartmentalizing my responsibilities works best.

FINDING TIME TO FOCUS

systems to focus takes planning, financial resources, and at times, the willingness to work during nontraditional hours. I do not mix work and home. For example, if I am working from home in the summer, I have a babysitter hired to keep care of the children. Other weeks, my children are enrolled in summer camps. When getting a babysitter is not an option, I create a schedule with

and YOUR family, regardless of what works for everyone else. This takes a dose of confidence and humility, as well as the ability to laugh at yourself through many trials and errors.

bring built-in babysitting with me. This required extra finances and time but was worth all the sacrifice. For example, when William was 5 months old, I took him with me to The Midwest Conference. One of my best friends traveled with us and babysat him in the hotel room while I attended meetings. I did not attend a single concert that year but still met all my professional obligations.

Chad also made a laundry organizer for us where everyone has their own "bin." This has worked great during intense work weeks where the only thing to worry about is putting clean clothes in everyone's container. Folding then becomes optional and usually doesn't happen until the marching band season is finished.

Reimagining Work-Life Balance, Part I, Amy Acklin, cont.

The following examples are not one-size-fits-all solutions but will give you an idea of how I manage my work responsibilities. I went to band camp with a two-week old. It’s not that I didn’t take 6-weeks of maternity leave, it’s just that I took 2 weeks at the beginning and then 4 weeks at the end of the academic year which allowed me to have an extended vacation. I had a huge support system that allowed me to do this as well as doctor approval.Wheneach

quite a bit of travel, so when my children were babies, I tried to take them with me when I was able, including multiple bowl games and conferences. I would also

MODELING BALANCE FOR OUR STUDENTSNotonly have I changed my family life to better accommodate work, but I have also made changes in my work schedule to have better balance at home. I have found that my students deeply appreciate when I

Hancock, C.B. (2016). Is the grass greener? Current and former music teachers’ perceptions a year after moving to a different school or leaving the classroom. Journal of Research in Music Education, 63(4), 421-438. 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, 63-80.

PERSPECTIVE

In December, I'll have the opportunity to present more on this topic at The Midwest Clinic, along with my husband and dear friends Dr. Matt McCutchen (Director of Bands at the University of South Florida) and his beautiful wife, Nash. Our session, "Take Your Job and LOVE It: Reimagining Work-Life Balance" will be research-based and focus on music teacher retention, attrition, and burnout as well as current family policy trends in the business world. Chad and Nash will also share their stories from the spouse perspective of navigating family life while being married to busy band directors. We would love to have you join us if you are

Fullable.disclaimer

I have also extended this idea into other ensemble settings. For example, there are times I need to schedule additional weekend rehearsals with the UofL Symphonic Band to prepare for a high-profile event (recording session, conference, special concert, etc...). Anytime I schedule additional rehearsals, I cancel classes later in the semester to give them time back. It might not match exactly, but I get close, and students are always thankful. Likewise, with the UofL CMB, I mark out pre-planned R&R days throughout the semester to give them personal time after an intense run of performances.

closing, I hope you will find something helpful in this article, regardless of whether you are a working parent. This is an exciting time where wellness, mental health, and work and family issues are starting to be discussed. These conversations are long overdue for the band profession. We can all learn from one another's journey through this world as together, we try to make life better for the next generation of teachers. Most importantly, I hope you will take pause and reflect on ways you can better prioritize the demands of work and life, so that the best part of your job - TEACHING MUSIC, can stay front and center for a long and healthy Fitzpatrick,REFERENCEScareer.K.R.(2013).

Hancock, C. B. (2009). National estimates of retention, migration, and attrition: A multiyear comparison of music and nonmusic teachers. Journal of Research in Music Education, 57(2), 92-107.

- I've had as many struggles as successes in work-life balance. The reality is that my work and family life is a dichotomy of messy, vibrant, exhausting, and rich experiences. It is a human experience that happens to be marked by the unique chapter of raising children. The mechanics of "how" I manage both worlds are rooted not in the particulars of each day, but more in a mindset of reimagining what is possible and choosing to be engaged as a musician and parent. I've learned to lower the bar, laugh at myself, and enjoy this special season of life.

am intentional about how I use their time. For example, the UofL CMB band camp used to be one week from 9am-9pm. That schedule was hard on my family because it functioned as if I were out of town. I changed the schedule the following year to 8am5pm each day and added several days to the camp. I simply told my students I needed to be home for dinner each day with my family. This was a seismic shift in our program.

throughout our calendar year, both for ourselves and those we serve - our students. The job will never do this for us.In

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There is no denying that the music profession is demanding and time consuming and that certain performance events will require a huge sacrifice of clock hours. However, as teachers, we can improve the health and sustainability of our programs if we play the long-game and intentionally plan for balance

In creating better balance for my own life, this in turn created better balance for my students. They were thrilled with the change. Having their evenings free gave them flexibility to participate in other school events, like rushing for a fraternity or sorority, working a part-time job, or having down time to hang out with their friends. It also increased the students' motivation and improved the culture of the program. To this day, band camp is one of our favorite times of the entire UofL CMB season.

Reimagining Work-Life Balance, Part I, Amy Acklin, cont.

NEXT STEPS

Motherhood and the high school band director: A case study. Bulletin of the Council for Research in Music Education, 196, 7-23.

45SUMMER 2022 PEER–REVIEWED Continued on next page

A state licensed and nationally certified athletic trainer, Dr. Brian J. Toy is an Associate Professor in the Department of Exercise, Health and Sport Sciences at the University of Southern Maine. He received the B.S. degree from SUNY Cortland, the M.S. degree from Marshall University, and the PhD from the University of Toledo. Dr. Toy has served USM as the Director of Athletic Training Education, Department Chairperson, Associate Dean, and Interim Dean of USM College of Nursing and Health Professions, and Lewiston Auburn College. He is the author of Primary Care for Sports and Fitness: A Lifespan Approach.

Key words/phrases: repetitive stress syndrome; overuse injury; musculoskeletal injury; neurologic condition; musicians’ health

BY BRIAN TOY, DOUGLAS T. OWENS, AND THOMAS PARCHMAN

Fry, 1988). Thus, the purpose of this article is to review the most common types of RSSs that occur to musicians. Furthermore, risk factors associated with these conditions, the strategies used to prevent such injuries from occurring, the signs and symptoms commonly associated with these conditions, and the course of action a musician should take when experiencing a RSS are also discussed.

Repetitive Stress Syndromes: Defining, Recognizing, Preventing and Addressing

MusiciansABSTRACTof all ages and skill levels are at risk of developing a range of overuse musculoskeletal and neurologic injuries that result from playing a musical instrument. Otherwise referred to as Repetitive Stress Syndromes (RSSs), these conditions occur due to a variety of reasons, some of which can be avoided through the implementation of simple preventative measures. However, since all who play a musical instrument are at risk of developing one or more of these conditions, musicians should maintain a basic understanding of those RSSs that result from practicing and performing. Furthermore, so that an emerging overuse condition does not ultimately impede on an individual’s ability to play, musicians should know the common signs and symptoms related to a developing RSS. Finally, musicians should be ready to seek medical attention from a qualified health care provider when an overuse injury occurs.

INTRODUCTIONAconsiderable amount of scholarly literature is published on the types of overuse musculoskeletal and neurologic injuries that result from playing musical instruments. Indeed, it is reported that up to 60% of musicians can expect to suffer some type of overuse injury trauma from playing (Abréu-Ramos and Micheo 2007; Guptill and Zara, 2010). Such medical conditions occur in musicians across every family of instruments, and players of all ages and skills are affected. These disorders affect a variety of body parts including the back, neck, shoulders, arms, elbows, forearms, wrists, hands, fingers, thumbs, legs and feet (Shoup, 1995). Abréu-Ramos and Micheo (2007) and White (2017) also report that medical conditions that affect the muscles of the face and mouth, including those that make the lips, jaw, and tongue move, occur because of playing a musical instrument. Otherwise known as chronic injuries (Dawson, 2006), overuse syndromes (Fry, 1988), and cumulative trauma disorders (Ostwald et al., 1994), these Repetitive Stress Syndromes (RSSs) are some of the most common injuries suffered by those who play musical instruments (Abréu-Ramos and Micheo, 2007;

REPETITIVE STRESS SYNDROMES: DEFINING, RECOGNIZING, PREVENTING AND ADDRESSING

PEER–REVIEWED

conditions (Lederman, 1995; Lederman and Calabrease, 1986).

Disorders that result in an inflammatory response, otherwise known as “itis” conditions, are also classified as RSSs. These include inflammation of a tendon, also known as tendinitis (Lederman, 1995); tenosynovitis, an inflammation to the sheath that surrounds a tendon (Hochberg and Newmark, 1987); and epicondylitis, an inflammation which occurs on the inside and/or outside of the elbow resulting from overusing the muscles which move the wrist and fingers (Knishkowy and Lederman, 1986). Though all musicians, and most body parts, are at risk of developing an itis condition, the elbow, forearm, wrist and hand of the percussionist are particularly vulnerable due to the forces placed on these structures when playing percussion instruments whereas shoulder tendinitis commonly occurs in string players and wind instrumentalists (Chong et al.,Repetitive1989).

Repetitive Stress Syndromes ..., Toy, Owens, and Parchman, cont.

stress caused by playing a musical instrument can also adversely affect the many peripheral nerves located throughout the body. Classified as “peripheral” since they reside outside of the brain and spinal cord, when activated, these nerves cause skeletal muscles to contract and work in harmony to produce coordinated body movements. Peripheral nerves also provide the body with the ability to respond to sensory stimuli such as touch, changes in body position, and pain. When under undue stress, a peripheral nerve can be injured at any point along its path as it travels from the spinal cord to its end in

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either a skeletal muscle or the skin. When an injury occurs to a nerve going to a muscle, the function of that muscle is affected; when an injury occurs to a nerve going to the skin, a sensory deficit, such as numbness or tingling in an extremity, is the outcome. In certain instances, a singular nerve goes to both a muscle and the skin. Thus, damage to such a nerve can cause both muscle, and sensory deficits. Certainly, pain can be

REPETITIVE STRESS SYNDROMES COMMONLY EXPERIENCED BY MUSICIANSIngeneral, a RSS results from the motions associated with playing a musical instrument for an extended period (Hochberg and Newmark, 1987). When such motions chronically stress human tissue, commonly soft tissue, beyond the tissue’s physical limits, the development of a RSS is a typical outcome (Ostwald et al., 1994). Common RSSs caused by this type of overuse include fibromyalgia, a condition classified by generalized joint pain (Knishkowy and Lederman, 1986); muscle tears, also referred to as muscle strains (Shoup, 1995); impingement syndromes, where soft tissues such as a muscle’s tendon or a nerve become entrapped within an anatomical confined space (Toy and Healy, 2009); and general muscletendon overuse (Knishkowy and Lederman, 1986). Furthermore, it is reported that certain musicians are at higher risk for developing specific types of RSSs. For example, Hochberg and Newmark (1987) found that pianists tend to develop muscle-tendon overuse conditions of the fingers and wrist due to the constant movement of these body parts during play whereas AbréuRamos and Micheo (2007) report that shoulder impingement syndrome, where a tendon of a shoulder muscle becomes entrapped, typically occurs to symphony orchestra musicians, such as violinists. This is because these musicians are required keep the shoulders in an elevated position for extended periods during play. Other conditions, such as fibromyalgia, seem to affect a variety of instrumentalists, making many musicians vulnerable to developing this and other like

Dr. Douglas T. Owens is the F. Ludwig Diehn Endowed Chair of Instrumental Music Education, Graduate Program Director, and former Chairperson of the F. Ludwig Diehn School of Music at Old Dominion University in Norfolk, VA. He earned the B.M.E and M.M. degrees from the University of Colorado Boulder, and the Doctor of Arts degree from the University of Northern Colorado. Dr. Owens has published research in Medical Problems of Performing Artists, the National Band Association Journal and The Instrumentalist. He directs the ODU Jazz Orchestra and serves as a concert band and jazz ensemble guest conductor and clinician.

When a peripheral nerve disorder affects a skeletal muscle, at times the involved muscle begins to contract involuntarily. Otherwise known as a focal dystonia, and commonly referred to as a “muscle cramp” (Lim and Altenmuller, 2003), when this happens a musician loses the ability to voluntary control the muscle(s) needed to play an instrument (Altenmuller, 2010; Ostwald et al., 1994). For example, a focal dystonia of the upper extremity can affect the muscles located in the forearm, wrist and hand. Thus, in these instances the trumpet player may lose fine motor control when attempting to depress a valve during play while the string instrumentalist may not be able to finger notes accurately (Ostwald et al., 1994). Furthermore, a focal dystonia can also affect the muscles that control the lips, jaw, and tongue. In these cases, the wind instrumentalist, such as the flutist, may struggle to produce the necessary sounds associated with a specific piece of music (White, 2017). Interestingly, male musicians seem to be at a fourtimes greater risk of developing a focal dystonia as compared to females (Lim and Altenmuller, 2003).

Still other conditions, such as motor control disorders and muscle cramps, can be classified as either a muscle injury or peripheral nerve disorder depending on the damaged tissue that is causing the condition (AbréuRamos and Micheo, 2007).

As with the tendons of skeletal muscles, peripheral nerves can become entrapped within small spaces in which they travel. Peripheral nerves can also become damaged, or bruised, by positioning large, heavy objects, such as musical instrument, on over an unprotected peripheral nerve for an extended period. Regardless of whether a peripheral nerve is entrapped or bruised, the body regions supplied by that nerve

Repetitive stress syndromes often produce a variety of signs and symptoms that alert a person to a developing medical condition. Whereas signs are visible, objective evidence that an abnormality is present, a symptom is subjective, meaning that only the person

Repetitive Stress Syndromes ..., Toy, Owens, and Parchman, cont.

47SUMMER 2022 PEER–REVIEWED Continued on next page

Though not as common as muscle and nerve injuries, overuse also affects ligaments, tissues that hold joints together, and bones. Injuries to ligaments result in sprains whereas overuse conditions of the bone result in the bone weakening and cracking, otherwise known as a fracture (Knishkowy and Lederman, 1986, Shoup, 1995).

are affected. Such conditions can damage either the nerves going to skeletal muscles, the skin, or both. This can lead to a numbing of the skin, tingling sensations distal to the site of injury, feelings of coldness to the affected region, and a weakness of the affected muscles (Toy and Healy, 2009). When an entrapment occurs at the wrist the outcome is often carpal tunnel syndrome, the most common peripheral nerve disorder in musicians (Dawson, 2006; Knishkowy and Lederman, 1986). Ultimately affecting hand function, carpal tunnel syndrome is very prevalent in string and keyboard instrumentalists (Dawson, 1999; Lederman, 1995).

SIGNS AND SYMPTOMS OF REPETITIVE STRESS SYNDROMES

Dr. Thomas Parchman holds the rank of Professor at the University of Southern Maine Osher School of Music. He has held that position and has been the Principal Clarinetist with the Portland Symphony Orchestra since his arrival in Maine in 1984. Dr. Parchman holds the Doctor of Musical Arts degree from the University of Southern California, the Master of Music degree from Northwestern University, and Bachelor’s degrees in both Music Education and Performance from Southern Methodist University. Dr. Parchman regularly performs as a member of the Portland Symphony Orchestra and the Rhode Island Philharmonic and performs recitals throughout New England.

suffering from the condition can report that bodily harm has occurred. For example, obvious bruising on the skin and swelling of a body part are signs since these are visible abnormalities whereas pain and numbness are symptoms since only the person affected by these feelings can relate that they are occurring (Toy and Healy, 2009). Nevertheless, recognizing signs and symptoms that result from bodily harm are critical in

associated with any peripheral nerve disorder (Toy and Healy, 2009).

Repetitive Stress Syndromes ..., Toy, Owens, and Parchman, cont.

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increase the potential for a person to develop a medical condition. Intrinsic risk factors include aspects specific to an individual that the person may or may not have the ability to change (Chong et al., 1989). For example, age, gender, body size and joint hypermobility, or joint laxity, are risk factors over which a person has little control. In contrast, extrinsic risk factors are those things a musician can control. These include playing technique such as holding the instrument incorrectly, using an instrument that is either too big or too small, and not using or incorrectly using instrument straps, harnesses and other supports (Dawson, 2006; Horvath, 2008; Lederman and Calabrese,1986).

Typically, the first indication that a RSS is developing occurs during a rehearsal session with pain in the affected body region being the initial telltale symptom that something is

RSSs from occurring should be a primary goal of all musicians, these conditions still occur even to those who use good prevention techniques. Thus, though incurring a RSS may seem like an unavoidable disaster to some, there are some simple things musicians can do to assure a developing RSS does not become a major issue. Indeed, employing early recognition and management strategies to address RSSs that do occur is important for the musician’s general and performance health (Lederman, 1995). Furthermore, properly addressing RSSs when they occur decreases both recovery time and the chance that the RSS will affect the musician’s performance for extended periods (Guptill and Azara, 2010).

Risk factors are those aspects that

For example, since the majority of the weight of wind instruments is typically concentrated on the right hand (Hochberg and Newmark, 1987), alleviating this pressure may help prevent injuries in this region. Indeed, Fry (1988) states that using supporting structures to decrease the weight of instruments such as the clarinet and oboe aides in preventing and treating right thumb injuries to those who play these instruments. Thus, sound individual practice techniques are needed to decrease the chance that a musician will develop a RSS (Dawson, 2006; Horvath, 2008). Furthermore, increases in playing time and intensity, often associated with ensemble rehearsals or individual practice sessions, poor seated or standing posture, and the specific dexterity associated with playing a difficult piece of music are also associated with the development of RSSs (Knishkowy and Lederman, 1986). Fortunately, by implementing various injury reducing intervention

strategies, these factors can be controlled to some extent (Chong et al., 1989). According to Dawson (2006) and Horvath (2008), this can be accomplished by assuring good posture while playing, avoiding undue long rehearsal sessions, taking periodic breaks from playing, and decreasing the intensity of rehearsal sessions. In addition, properly warming up, stretching and strengthening the body parts used while playing can also decrease the chance of developing a RSS (AbréuRamos and Micheo 2007; Chong et al., ADDRESSING1989).

of the cause, common signs and symptoms of physical bodily harm include the following: pain and warmth (Dawson, 2006); aching, burning, tiredness, fatigue, and a feeling of fullness (Ostwald et al., 1994); swelling, weakness, tenderness, muscle cramping, muscle stiffness, muscle spasm, tingling, numbness, and a loss of function and dexterity (Knishkowy and Lederman, 1986). Although many signs and symptoms of a RSS exist, all do not have to be present to indicate a problem has occurred. For example, pain may be the only indicator that something is wrong and, unfortunately, many musicians report that “playing through pain” is a perfectly acceptable way to address the onset of a musculoskeletal or neurological condition (Lockwood, 1988; Shoup, 1995). Unfortunately, in some cases this philosophy results in the musician not seeking medical help until the person’s performance is affected (Frederickson, 2002). Furthermore, recognize that the symptom of pain can differ between and among affected individuals and is usually based on factors such as the severity of the person’s injury, the type of tissue injured, and the nature of the injury itself. For example, one person might describe pain as a dull, throbbing ache whereas another person might use the terms sharp and burning to describe the pain caused by a RSS (Dawson, 2006).

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addressing the health care needs of musicians.Regardless

RISK FACTORS AND PREVENTION STRATEGIES FOR REPETITIVE STRESS SYNDROMES

and disability associated with the onset of a Abréu-Ramos,REFERENCESRSS.A.M., & Micheo, W. F. (2007). Lifetime prevalence of upper-body musculoskeletal problems in a professionallevel symphony orchestra. Medical Problems of Performing Artists, 22(3), 97-104. https://doi Altenmuller,org/10.21091/mppa.2007.3022E.,&Jabusch,H.C. (2010). Focal dystonia in musicians: Phenomenology, pathophysiology, triggering factors, and treatment. Medical Problems of Performing Artists, 25(1), 3-9. https://doi.org/10.21091 Chong,mppa.2010.1002J.,Lynden, M., Harvey, D., & Peebles M. (1989). Occupational health problems of musicians. Canadian Family Physician 35, 2341-2348.

not right. At times, this initial phase of injury is associated with a feeling of muscle tightness and/or fatigue of the affected area as such injuries are commonly in response to overusing the body part. At this point, the musician should immediately stop performing and ask a few questions to access the situation with the goal of determining the root cause of the problem (Table 1).

Did I warm-up my muscles sufficiently prior to rehearsal?

OTJR: Occupation, Participation and Health, 25(1), 4-8. 10.1177/153944920502500102https://doi.org/

Amcorrectly?Iusing my instrument’s harness or strap properly or do I need to add a harness or a strap to support my Isinstrument?myposture correct or do I need to change position?

Is it time to retire for the day?

Music Educators Journal, 88(6), 38-44. https://doi.org/ Fry,10.2307/3399804H.J.(1988).The treatment of overuse syndrome in musicians: Results in 175 patients. Journal of the Royal Society of Medicine, 81(10), 572-575. Guptill,10.1177/014107688808101007https://doi.org/C.,&Zaza,C.(2010).Injuryprevention:Whatmusicteacherscando.

Music Educators Journal, 96(4), 28-34. Guptil,10.1177/0027432110370736https://doi.org/C.,Paul,S.,&Zara,C.(2005).Treatmentpreferencesofinjuredcollegestudentmusicians.

Dawson, W. J. (2006). Playing without pain: Strategies for the developing instrumentalist Music Educators Journal, 93(2), 36-41. https: Frederickson,doi.org/10.1177/002743210609300218K.B.(2002).Fittoplay:Musicians’healthtips.

If modifying the activity or ending a rehearsal altogether does not address

Table 1. Questions to Determine Potential Repetitive Stress Related Challenges

Am I holding my instrument

CONCLUSIONMusiciansare at an increased risk of developing any number of RSSs that result from playing a musical instrument. Thus, musicians should become educated on those factors that place them at greater risk for developing such conditions. Furthermore, musicians should become familiar with the signs and symptoms associated with the most common RSSs that are connected to performance. Finally, musicians should understand and implement specific strategies to prevent RSSs from occurring and should not hesitate to seek early medical attention from a proper health care provider when experiencing the pain

Is the rehearsal too intense?

Am I playing a piece of music that exceeds my current physical Iscapabilities?myrehearsal too long?

Repetitive Stress Syndromes ..., Toy, Owens, and Parchman, cont.

the pain and discomfort caused by playing, the musician should seek immediate medical attention from a qualified health care provider regardless of severity or type of tissue injured, as doing so will directly affect how well the condition heals. Thus, all musicians should become knowledgeable about available health care services where they live and work so proper medical treatment is assessable when needed. Certainly, this includes securing access to a primary health care provider prior to the need arising as it can take days, if not weeks, to get an appointment with a health care provider with whom a patient has no relationship (Guptill and Zaza 2010; Guptill, et al., 2005). Furthermore, a musician who seeks medical attention from a health care provider who has expertise in the field and who is knowledgeable about the physical and emotional demands of the musician would greatly benefit the performing artist (Guptill et al., 2005; Lederman and Calabrese, 1986).

Dawson,pmc/articles/PMC2280293/https://www.ncbi.nlm.nih.govW.J.(1999).Carpaltunnelsyndromeininstrumentalists:Areviewof15years’clinicalexperience.M edical Problems of Performing Artists, 14(1): 25-29.

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Simply put, this is called “listening to your body” which allows the musician to make needed adjustments to rehearsal sessions to assure a burgeoning RSS does not become a major issue.

Have I taken adequate breaks during my rehearsal?

Medical Problems of Performing Artists, 10(3), 100-105. Toy, B. J., & Healy, P. F. (2009). Primary Care for Sports and Fitness: A Lifespan Approach. F. A.

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Medical Problems of Performing Artists, 1(3), 85-89. Lederman, R. J. (1995). Treatment outcome in instrumentalists: A long-term follow-up study. Medical Problems of Performing Artists, 10(5), Lederman,115-120.R.J.,& Calabrese, L. H. (1986). Overuse syndromes in instrumentalists. Medical Problems of Performing Artists, 1(1), Lim,7-11.V., & Altenmuller, E. (2003). Musicians’ cramp: Instrumental and gender differences. Medical Problems of Performing Artists, 18(1), 21-26.

Repetitive Stress Syndromes ..., Toy, Owens, and Parchman, cont.

White,Davis.J. (2017) Musician’s focal dystonia: Strategies, resources and hope. The Flutist Quarterly, 42(2), 26-35.

Hochberg, F. H., & Newmark J. (1987) Doctor, it hurts when I play: Painful disorders among instrumental musicians. Medical Problems of Performing Artists, 2(3), 93-97. Horvath, K. A. (2008). Adopting a healthy approach to instrumental music making. Music Educators Journal, 94(3), Knishkowy,https://doi.org/10.1177/00274321080940030730-34.B.,&Lederman,R.J.(1986).Instrumentalmusicianswithupperextremitydisorders:Afollow-upstudy.

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Lockwood,mppa.2003.1005https://doi.org/10.21091/A.H.(1988).Medicalproblems in secondary school-aged musicians. Medical Problems of Performing Artists, 3(4), 129-132. Ostwald, P. F., Baron, B. C., Byl, N. M., & Wilson, R. R. (1994). Performing arts medicine. Western Journal of Medicine, 160(1), Shoup,PMC1022254/https://www.ncbi.nlm.nih.gov/pmc/articles48-52.D.(1995).Surveyofperformance-relatedproblemsamonghighschoolandjuniorhighschoolmusicians.

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A FRESH TAKE: UNDERSTANDING AND EVALUATING FISHER TULL’S SKETCHES ON A TUDOR PSALM, 50 YEARS LATER BY JOSEPH LEITES

Figure 1 Continued on next page

Fisher

As is alluded to in the title of this work, Tull’s Sketches on a Tudor Psalm draws inspiration from a sixteenth-

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Joseph Leites is a Graduate Teaching Assistant at the University of Louisville, where he assists with direction of the university athletic and concert bands. He is currently pursuing an M. M. in instrumental conducting at UofL, where his primary supervisors and conducting teachers include Frederick Speck, Amy Acklin, and Jason Cumberledge. Prior to graduate studies, he earned a B. M. in Music Education from the University of Florida, where his primary supervisors and conducting teachers included Barry Hartz, Jay Watkins, and Chip Birkner.

Thoughworks.hisbody of work is heavily influenced by Medieval and Renaissance music, Tull used a wide range of rhythmic and harmonic exploration to foster a unique and intriguing compositional sound, which causes 78% of his still-printed repertoire to be considered a grade V or higher in the wind band repertoire1. Some of Tull’s other most popular works include Toccata (1969)2, The Final Covenant (1979), and A Passing Fantasy (1992).

HISTORICAL CONTEXT

century setting of the Second Psalm by Thomas Tallis. In particular, the main melodic material comes from Tallis’ “Why fum’th in Sight”, a fourpart setting for SATB choir. This was made popular previously in Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis for Double String Orchestra (1910). Tull revisited the setting of this psalm found in the Episcopal Hymnal, which is the same version used by Vaughan Williams. He discovered some differences between this and the original setting done by Tallis, but the two settings largely contained the same harmonic content as shown in Figure 13.

A point of intrigue, as discussed by the composer in his own personal recollection of the piece in 19774,

Tull (1934-1994) was an American composer from Waco, Texas. Tull earned all three of his degrees from the University of North Texas: a B. M. in music education (1956), a M. M. in music theory (1957), and a Ph.D in music composition (1965). Tull held faculty positions at Sam Houston State University in Huntsville, Texas beginning in 1957, including time as the chair of the music department from 1965 to 1982. His catalog of over 80 compositions includes works for orchestra, band, and chamber ensemble, but he is mostly known for his band

oboes and horns playing the melody found in motifs 5 and 6.

main theme for Sketches is the first four motifs played in succession by a solo alto saxophone, in an attempt to mimic the unmetered nature of the source material.

is Tallis’ frequent switch between resolving cadences in both minor and major instances. The concept of altering between tonalities even within the same phrase contradicts the late Renaissance and early Baroque practice of the Picardy third to resolve works of music that began in minor modes5. Transcribed up a semitone into the key of F, Tull’s realization reflects the inner voice movement from the minor tonality to the major tonality in the first measure of Sketches as depicted in Figure 26, adding the major seventh scale degree in the lower

THEMEsaxophone.Thefirst

a minor third. An ostinato begins in the first clarinet, alto clarinet, bassoon and celesta; all have different

• Introduction, mm. 1-10

the brass and percussion performing the harmonic statement shown in Figure 2. This occupies the first three full measures, followed by an embellishment on motif 2 in the low woodwind (bass/ contrabass clarinet and bassoon) and low brass (baritone and basses). The motif as it appears in this instance is shown in Figure 48:

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STRUCTUREvoices.

rhythms, with the aim to be a murky background to the first statement of the theme in m. 12 in a solo alto

A Fresh Take ..., Joseph Leites, cont.

Tull achieved this by continuously switching time signatures between 5/4, 4/4, and 3/4. Following this solo, the next portion of the theme is presented in the horns, the melody of which comes from motifs 3 and 4. This dark, brooding moment is followed briskly by a more inviting sound as the final statement of this first theme subsection is rounded out by the

The next theme appears in m.

Continued on next page

motifs serve as the source material presented largely unaltered in opening thematic passages, and are then molded into multiple sets of variations during the middle section, weaving together into the closing statement of the INTRODUCTIONpiece.Theworkbeginswith

the original hymn. These motifs are shown above center in Figure 37: 2

Sketches on a Tudor Psalm is a singlemovement work, but stills has plenty of content due to its length of nearly twelve minutes. In order to determine the overarching thematic ideas of the work, it should be broken into sections:

• Theme, mm. 11-87

• Restatement and coda, mm. 267-

Figure

• Variations, mm. 88-266

An335important set of building blocks for the foundation of this structure is a grouping of motifs derived from

FigureThese3

FigureWoodwinds4

enter in m. 6, echoing the brass harmonic movement and followed by another iteration of motif 2, this time transposed down

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The final subsection of the theme statement is a striking difference from the first 71 measures, a quasi-scherzo based on the fifth and sixth motifs in the upper woodwinds. With a marking of stesso tempo, Tull shifted to using rhythms more commonly found in 6/8 time, similar to techniques used by composers like Gustav Holst in his Hammersmith or Second Suite in F. This switch allows for the scherzando sensation to continue from mm. 72-80, with one measure of unison eighth notes that breaks this feeling in m. 78.

Figure 5

33, in a fanfare shared by trumpets, trombones and percussion. This intermission portion from mm. 33-41 leads into a broader, more grandiose statement of the motifs in order. It is characterized by dense chordal construction in the brass with a new harmonic addition to the material in the woodwinds, and the theme reaches its peak in m. 56. The closing statement of the theme in its more elegant presentation decays into the sixth phrase, which is further decorated by a horn obligato statement that adds to the gentle nature of this moment.

In the next variation, the main melodic idea performed by the cornets, horns and trumpets who present a triumphant statement into a fermata in m. 186, followed by a

VARIATIONSThefirstallegro subsection of the variations is a hard departure from anything performed to this point. The percussion section plays jagged rhythmic interjections, which lay the foundation for the trombone section that presents similar content. A thematic variation is performed by the horns and echoed by the trumpets, in which Tull and modifies motif 1 using a 6/8 bar followed by a 5/8 bar, returning back to 3/4 time and expanding on the trombone figure by adding double tongue figures

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in the middle and high brass. This ostinato serves as a reflection of the accompaniment material found in the woodwind voices in the early statements of the piece. In m. 111, all B-flat and bass clarinets enter the texture and sustain in their low register, ultimately leading to a melodic statement that sounds as a retrograde inversion of motif 3, which is shown in Figure 59.

A Fresh Take ..., Joseph Leites, cont.

These thematic variations continue through to m. 150, the point in which the 6/8 - 5/8 alternation returns. The horns, baritone, trombone, cornet, and trumpet present variations on motifs 1, 1a, and 2, which are supported by the bass and contrabass clarinet, bassoon, and baritone saxophones in an extended version of the closing cadence in motif 1. This first set of variations from mm. 151-159 is followed by a pronounced woodwind feature. This cycle is almost directly replicated, and then the woodwinds once again take charge with another rhythmically motivated moment, moving into another percussion heavy transition section beginning in m. 177.

Continued on next page

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This downbeat begins the next set of variations, this time including material from motifs 2, 2a, and 6. Tull once again used 5/8 and 6/8, but without switching back and forth this time. The phrase begins with a two measure statement in 3/4 time of material from motif 6, followed by three measures of 5/8 with the same material being rhythmically diminished and passed up through the brass and saxophones until the downbeat of a 4/4 measure at m. 206. This variation is closed at mm. 210-211 with a final statement in the brass. The angular rhythmic material that is presented throughout the ensemble from mm. 212-238 is pulled from all of the different motifs, and leads back into a quasi-scherzo section imitative of the beginning at m. 239. Tull utilizes a similar technique of rhythmic diminution to begin the section after in a shorter span of time

dense harmonic texture across the ensemble into another fermata in m. 188. Another percussion interlude leads to a similar statement to the previous, this time with the melodic material transposed up a fourth. The thick, indistinguishable harmonic texture across the ensemble is further accentuated this time not with a fermata, but with a rhythmic accelerando leading into the downbeat of m. 200.

The coda, based on material from motifs 1 and 3, begins at m. 311 with another scherzo that is even more reminiscent of the beginning of the work. It is characterized mostly by upper woodwinds and trumpets until m. 327, at which time the low brass returns with the opening motif 1 statement, driving to a percussion heavy ending in which a timpani solo drives into the final chord of the piece, a widely scored A major chord to finish this large-scale master work.

process, using ten criteria, by which to determine whether or not a piece has serious artistic merit10. Each study defines each part of this three word phrase: serious is described inasmuch “…as demanding earnest application, requiring considerable care and thought, sincerely motivated, important and significant,”; artistic is explained as “...conformable to the standards of art, characterized by taste, discrimination, judgment and skill in execution, Intenofcompositionevaluativeliteraturetousehistoricaliningenuityindirect(4)(3)thecontrast,balancejudgedtenquality,claimbeautiful,”;aestheticstillrequirements–modernsatisfyingdictionariesgivingthepreferreddefinitionofasrelatingtoasenseoftheandmeritdefinedas“...atocommendation,excellenceinanddeservingesteem.”11Thecriteriapresentedformusictobeagainstare(1)form,reflectingbetweenrepetitionand(2)shapeanddesign,withimpressionofconsciouschoice,craftsmanshipinorchestration,sufficientlyunpredictable,(5)notandobvious,(6)consistentquality,(7)consistentinstyle,(8)indevelopment,(9)genuineidiom,and(10)transcendenceofimportance.Conductorscanthesethreeideasandtencriteriaevaluatewhetherornotpotentialispedagogicallyfulfilling.Accordingtothemostrecentstudycompleted,“...amustattainascore…80.0%andberatedbyatleastmembersoftheratingpanel.”12thiscontext,

Continued on next page

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ARTISTICResearchersMERIThave created a

A Fresh Take ..., Joseph Leites, cont.

The final section of this carefully crafted work begins with the harmonic motif from the beginning of the piece from mm. 267-269, at which point a rhythmically augmented version of the whole theme is performed. This theme is not presented in its entirety right away; rather, it is broken into bite-sized motif statements. This material builds through a major rallentando into m. 298, where the mixed-meter chorale returns in a more dramatic iteration of itself. This thematic material continues through to m. 310.

The subject of musical form in this context does not refer to a predetermined compositional process (i.e sonata allegro, rondo); rather, this concept of form implies a proper balance of contrasting ideas in the piece. For a single movement piece of this length, Sketches has a wide variety of content balanced throughout each section. The chorale style sections, the scherzando feel at varying points in the work, and the variations on each set of motivic material ensure that no one idea is repeated too frequently. It seems reasonable, then, to agree that Sketches would meet this criterion of serious artistic merit.

The next criteria in the list is the concept of conscious shape and design. Tull previously composed works using a theme-and-variations concept, so he took advantage of his skills in this area to develop his sketches on Thomas Tallis’ Tudor psalm. As the breakdown of the work in the “Structure” section shows, Tull’s purposeful distribution of motivic

RESTATEMENT AND CODA

as the brass section plays the motif 6 material over the course of five quarter note pulses, which is followed by the upper woodwinds playing the same material in a single 5/8 measure. This figure is then repeated in an alteration of 5/8 and 2/4 measures, returning to the sporadic accents this time played in the upper woodwinds. Tull then transitioned out of this final variation by using the chimes to ring out material from motif 6 into the downbeat of m. 267.

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Sketches on a Tudor Psalm received a score of 73.3%. This composite score was attained through a rating process designed in the first evaluative study in which 20 reviewers used a 5-point Likert type scale. These reviewers used a slightly

altered version of the scale that read as such: “…0—The composition is not familiar, 1—strongly disagree that the composition meets the criteria of serious artistic merit, 2—disagree that the composition meets the criteria of serious artistic merit, 3—undecided as to the serious artistic merit of this composition, 4—agree that the composition meets the criteria of serious artistic merit, and 5—strongly agree that the composition meets the criteria of serious artistic merit.”13 For the sake of pedagogical validity there is reason to present an argument in support of Sketches on a Tudor Psalm in its standing as a work of serious artistic merit.

• Page 13: mm. 55-60, first full ensemble statement of motif 3

Through both his compositional actions and his words in prose, Tull shows his explicit intent for shape and design of his music. His in-depth description of this piece of music provides a direct connection to the composer and his original intent for the content of this work. For these reasons, Sketches meets this criterion of serious artistic merit.

For the sake of this kind of study, determining the level of craftsmanship in orchestration demands a further understanding of that phrase. For this instance, the evaluative studies define this criteria as “...the composer’s control over texture and color.”15 As is described in the “Structure” section, Tull makes use of so many different variations of ensemble sizes and groupings, and rarely uses the entirety of the score throughout the work. In fact, when looking through the score, a conductor can find exactly six pages that have full ensemble engagement:

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• Page 36: Another large impact moment on fermata, leading into next phrase

A Fresh Take ..., Joseph Leites, cont.

• Page 54-55: Final chorale statement before the end

The next two criteria deal with consistency as a central factor. This

In order to contextualize the content of Sketches, it is important to dive into the background of the composers writing music at the same time as Tull. Works of this era, the late-1950s through the mid-1970s, “… resemble[d] a cubist painting more than a canvas from the 18th century: background and foreground simply run into each other willy-nilly, and tonal “progress” is hardly to be traced.”16 There is certainly a similar influence between Persichetti and Tull; Persichetti’s main influences as a composer were those of Igor Stravinsky, Bela Bartók, Aaron Copland and Paul Hindemith.17 Consequently, Fisher Tull’s primary composition teacher at the University of North Texas was Samuel Adler, whose own primary composition teachers included, at different points, Hindemith and Copland.18 This tonal unpredictability is clearly passed down over time through these different giants of the wind band compositional tradition. On top of the constantly shifting tonality, Tull

"In conclusion, I reassert my respect for all conductors who approach the score with the proper balance of scholarly intellect and musical instinct. In my opinion, there is no such thing as a single, definitive interpretation of any work; there is, rather, an ongoing collaboration between composer and conductor, both seeking a common goal. It is my hope that these comments encourage this objective."14

Continued on next page

Throughout the rest of the work, there is a skillful dispersion of tutti and ensemble scoring in combination with smaller, chamber-like groups of players, even invoking the typical woodwind quintet scoring with the horn obligato in m. 62. So then, this work meets the orchestration criterion of serious artistic merit.

• Page 59: Final chord of the piece

The fifth tenet of serious artistic merit, “not direct and obvious”, could benefit from a little bit more background. In the each study, this concept is derived from another music scholar’s work, Leonard B. Meyer’s Music, the Arts and Ideas: Patterns and Predictions in Twentieth-Century Culture. To paraphrase, Meyer’s ideas strived to ensure that musical works of value that establishes tendencies and does not meet the most probable goals in the most direct ways.19 In the ways of establishing tendencies, Tull’s use of the theme-and-variations style lends itself in support. As the motifs drawn from the source material are performed in their entirety at the beginning and dispersed throughout, they become more legitimized through their different variations. In a more condensed version of this thought process, YouTube music educator and theorist Adam Neely popularized the idea that “… repetition legitimizes,”20 referencing the repeated rhythmic patterns in the first movement of Beethoven’s Symphony No. 5. With the repetition of motivic material and the previously mentioned unpredictability in tonality driving the musical content away from the most probable goals in their most predictable ways, this work meets this criterion of serious artistic merit.

uses a wide array of changes in time signature and varying rhythmic schemes to augment the sense of unpredictability over the course of this work. The unpredictability factor in tonality and rhythm certainly support the argument that Sketches meets this criterion.

• Page 35: Large impact moment on fermata

material throughout the multiple sections is indicative of his conscious development of the musical content. The composer recounted in his own analysis of the piece:

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The penultimate criterion seeks to ensure that a work of the repertoire is genuine in its idiom. The definition provided by the authors of each study suggests: “There is much wind-band music which is permeated with melodic, and particularly, harmonic clichés, exuding the sound of commercial music while attempting to parage under the banner of artistic respectability…”.22 As the title suggests, Sketches on a Tudor Psalm is a collection of the composers ideas of “sketches” on the titular psalm, the source material being Tallis’ hymn that had later been used in the Episcopal Hymnal. Logic then suggests that with in harmonic and melodic ingenuity and Tull’s truth to his word in the title, this piece meets thisThecriterion.finalstep in evaluation of serious artistic merit deals with the historical transcendence of the work. The evaluation of the first nine criteria should serve as an indicator of this work’s importance in the repertoire; the problem is that this

• Ingolf Dahl, Sinfonietta for Concert Band (1964) -98.9, 99.0, 97.8

These works and their respective scores between the three studies present a challenge to a work like Sketches on a Tudor Psalm. This argument is also in no way an effort to disparage the knowledge and thought processes taken by the evaluators in each aforementioned study; rather, this serves as an individual case study on one piece in the repertoire. That being said, the consort of material that is musically gratifying for both conductor and student support the argument for Sketches as a work with valuable artistic merit. This work is certainly worth keeping in or adding to the library of a high school or college level wind band group and would greatly benefit all parties involved in its preparation and performance.

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Continued on next page

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• Paul Hindemith, Symphony in B-flat-99.9,(1951)99.0, 98.9

• Aaron Copland, Emblems (1964) -80.0, 95.0, 93.3

sixth criteria, consistency in quality, strives to ensure that no sections of a piece serve as trivial or harmful to the end goal of that work. This can be applied to symphonies or suites with multiple movements, as well as one movement works like Sketches For this work, conductors can use the division of sections as delineated earlier to evaluate its consistency in quality. The musical content, as it has been described over the course of this analysis, does not appear at any point to truly dip in quality neither vertically or horizontally in the score, supporting the argument that this work meets the quality criterion of serious artistic merit.

The consistency of another aspectstyle-is next. This criterion aims to ensure that the composer avoids moving into passages in their work that serve as “…trivial, futile, or unsuitable…”21 Rather, the consistency of style ensures that the composer remains true to their original goals and treats their work with a sense of practicality moving from section to section over musical time. In this case, the theme-and-variations style is key. The purposeful use of different motivic materials to develop themes and concepts over time and eventually weave them together supports the argument for this particular criterion.

• Vincent Persichetti, Symphony no. 6, Op. 69 -92.6,(1956)93.0,88.9

• Karel Husa, Music for Prague 1968 (1968)-94.0, 100.0, 98.9

The eighth criterion of serious artistic merit, deals with ingenuity in development. This does not require a composer to invent new ways to write music. It instead asks evaluators to ensure that this work does not copy or closely imitate the works of other composers sharing similar styles. One comparable work to Sketches would be W. Francis McBeth’s Chant and

Jubilo (1963). These works both draw inspiration from ideas in early music, with McBeth’s channeling even earlier ideas of early church organum than Tull’s use of psalmody. The difference between the two is the complex harmonic language and altering temporal sensations for the audience members. Another key concept to Sketches is the from.selectionwouldofthistheme-and-variationsfrequently-mentionedstyle.However,isamuchdifferentappearancetheme-and-variationsthanmostexpectduetotheextensiveofmotivicmaterialTulldrewForthisreason,

Sketches has an argument to meet this criterion.

is where the evaluation becomes somewhat complicated. The largest force working against Sketches on a Tudor Psalm in regards to its standing in the field of serious artistic merit is the wide body of material that encapsulates the rest of the wind band repertoire. In the twenty short years prior to the publication of Sketches, these are some of the pieces the entered the repertoire23:

A Fresh Take ..., Joseph Leites, cont.

3Fisher Tull, “Analysis of Sketches on a Tudor Psalm”, Journal of Band Research (re-engraved for publication)

8Fisher Tull, Sketches on a Tudor Psalm. New York, NY: Boosey & Hawkes, 1972.

10Acton Ostling, Jr, An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit, Ph.D. diss., The University of Iowa, 1978, 12. 1211Ibid.Towner, 142.

14Tull, 7 15Towner, 238

A Fresh Take ..., Joseph Leites, cont.

Clifford. An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Second Update, Ph.D. diss., University of Nebraska, 2011.

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Tull, Fisher. “Analysis of Sketches on a Tudor Psalm.” In Journal of Band Research, 13(1) (1977). 20-27. Edited by James Neilson. Troy, Dunnett,Alabama.Ben. “Picardy Thirds.” Music Theory Academy. 20 June Tull,major%203rd.Picardy%20Third,to%20create%20a%2third/#:~:text=What%20is%20a%2understanding-music/harmony/picardy-https://www.musictheoryacademy.com2022.Fisher.

Sketches on a Tudor Psalm. New York, NY: Boosey & Hawkes, 1972.

Home School Blog. 1 December Eastmancom/2020/12/01/vincent-persichetti/https://walkerhomeschoolblog.wordpress2020.SchoolofMusic.

17Wayne S. Walker, Vincent 18walkerhomeschoolblog.comPersichetti.UniversityofRochester,SamuelAdler. esm. 2019rochester.edu/about/portaits/adlerTowner,16AdamNeely,“RepetitionLegitimizes” 1978,fromrespective2322217,www.youtube.com/watch?v=LlmTWlaWs_o.https://Aug2017.Towner,17Towner,19Eachworkisaccompaniedbyitsthreescores,listedinchronologicalorder,thethreeevaluativestudies(OstlinginGilbertin1993,andTownerin2011)

1WRP Admins, Fisher Tull, Wind Repertory 2Project.Winner of the NBA Ostwald Award

Goza, David. Coming to Terms with Persichetti’s Pageant. Arkansas Band and School Orchestra Association. Walker,Resources/GozaComing_to_Terms.pdfhttps://www.asboa.orgWayne.

Gilbert, Jay. An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit: A Replication and Update, Ph.D. diss., Northwestern University, Towner,1993.

REFERENCE LIST

Ostling Jr., Acton. An Evaluation of Compositions for Wind Band According to Specific Criteria of Serious Artistic Merit, Ph.D. diss., The University of Iowa, 1978.

16David Goza, Coming to Terms with Persichetti’s Pageant. ASBOA Resources.

Vincent Persichetti. Walker

Samuel Adler. Neely,adler/www.esm.rochester.edu/about/portraits/https://Adam.“RepetitionLegitimizes–Hownottosuckatmusic#2”.YouTube.7August2017.https://www.youtube.com\watch?v=LlmTWlaWs_o.

9Fisher Tull, “Analysis of Sketches on a Tudor Psalm”, Journal of Band Research (re-engraved for publication)

13Ostling, 34

WRP Admins, “Fisher Tull”. windrep.org, last edited 20 July 2021.

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END NOTES

54Ibid.BenDunnett, Picardy Thirds, www. 76musictheoryacademy.comIbid.FisherTull,“AnalysisofSketches on a Tudor

Psalm”, Journal of Band Research (re-engraved for publication)

David Hedgecoth’s 2012 study of mid-level collegiate bands found that “Conductors of mid-level or second bands do not perceive themselves or their students as second best.”7

Doctor Jermie Arnold was appointed as the Director of Bands at the Bob Cole Conservatory of Music at California State University Long Beach in 2022. He served as Associate Director of Bands from 2012-2022. Dr. Arnold is also the Director of the Bob Cole Conservatory of Music. He is the principal conductor of the Wind Symphony and teaches courses in conducting, wind band literature, and music education. Dr. Arnold completed his DMA in 2014 from George Mason University and received his master and bachelor’s degrees from Brigham Young University.

2016 study of the mid-level choir member's perception of conductors strategies to facilitate ensemble identity revealed that ensemble members hold very different opinions regarding the effectiveness of conductors development of ensemble identity. They write that the quality of the ensemble, the quality of the repertoire, providing unique performance opportunities, and developing community among ensemble members are a few of the strategies that students identify as effective in developing a positive mid-level ensemble identity.1 They conclude that conductors who use these strategies encourage singers to make choir a priority in their school schedules. 2

In 2017 Dakon and Major replicated and expanded their original study to survey top-level choir member’s perception of conductor’s strategies to create identity. The purpose of this study was to, “draw conclusions about the similarities and differences between top- and mid-level choristers' perceptions toward directors’ ensemble identity-building strategies and the factors that affect dedication and enrollment.”3 They found that “top-level choristers tended to identify more, feel more dedication to, and want to remain with their current choirs. In contrast, mid-level choristers often enjoyed their choral experience but were more mobile and in greater pursuit of more prestige.”4

UINTRODUCTIONniversity

BY JERMIE S. ARNOLD

Another 2017 study conducted by Marci Major focused on the perspectives of mid-level choral directors. Major asserts that organizational identity contributes to the overall positive or negative perception of a group and has significant implications for group outcomes.5 Major found the need for choral directors to recognize the importance of “mid-level identity phenomenon and the impact identity building efforts can make to facilitate stronger mid-level ensembles.”6

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requirepopulationslargeprogramsmusicthathavemusicstudentoftenseveral

UNLOCKING THE POTENTIAL OF SECOND-TIER COLLEGIATE CONCERT BANDS

performance ensembles. A music school with 150 to 200 band students, for example, likely has two or three concert bands which are often differentiated by experience through an audition process. The audition process separates students into ensembles based on a hierarchy–the premiere/ top-level ensemble, the second-tier/mid-level ensemble, and the JacobtiermusicalandconcertofThissecond-tierthepastdevelopimproveensembletheyrarelySecondorganizationsareinternationallyoftenensemble.third-tier/lowest-levelPremiereensemblescommissionnewworks,tourandnationally,andoneoftheprimaryrecruitingforamusicschool.andthird-tierensemblesenjoythesesameopportunities;serveastraininggroundswheremembersexpandandtheirmusicalskillsandmusicalmaturity.Overthedecadefewstudiesconsiderchallengesandopportunitiesofcollegiateconcertbands.studyfocusesontheperceptionsdirectorstowardthesecond-tierbandalongwithstrategiestechniquesusedtounlockthepotentialoftheseensembles.Littleresearchexistsaboutsecond-ormid-levelcollegiateensembles.M.Dakon,andMarciL.Major’s

58 NBA JOURNAL

Continued on next page

As a college music student, I always wanted to perform with the top ensembles. I remember one particular year when I worked extra hard on the placement audition materials. My audition could not have gone better, and I eagerly anticipated a positive result. Before the results were posted my studio teacher called me into the office and informed me that I was being placed in the second orchestra. Even though my teacher encouraged me and tried to help me feel good about this opportunity I was devastated. To be sure, playing in the second orchestra was a great opportunity but that was not my plan, nor did it match my goals. Frankly, I went into the first rehearsal with skepticism and disappointment. While I made the best of the situation and learned a lot, that experience never left

Continued on next page

My Journey

Hedgecoth also revealed that second bands are composed mainly of music education students, and repertoire selection tends to include more popular pieces as opposed to traditional or standard pieces.8 He also concludes that the mission of the school of music is not a significant factor in the overall approach to the ensemble but that ensemble goals center on the music making process.9

Yearsme.

Brian Cardany’s broader study of “elite” university band programs considered band member’s attitudes toward repertoire and their overall band experience. Cardany found that student’s attitude toward repertoire and their overall experience did not greatly differ between programs, but that differences within the programs mid-level ensembles did exist.10 He notes that in the top ensembles attitudes are generally positive about repertoire and overall band experience while this positive attitude varies more among mid- and lowerlevel ensembles.11 These differences are likely a result of the varied types of academic majors in the ensemble and the differing levels of musicianship.12 Cardany’s study sheds light on the overall attitudes of wind band players in various programs but does not, however, consider the conductors' perceptions and attitudes. Perceptions and attitudes among mid-level ensemble members are important factors in the overall experience of the music student; however, only one study addressed the conductors’ perceptions with mid-level ensembles. While the point of view of the conductor of mid-level ensembles can positively or negatively impact the attitudes of the ensemble members, little research exists in this area. Using a qualitative approach, I

later, as a junior high band director in a program that had four concert bands, I experienced something similar from the director’s point of view. Each year after auditions, my students felt a mixture of emotions–everything from elation to disappointment. I found myself consoling and encouraging some students while congratulating others. Often the students placed in the second ensemble seemed disappointed and lacked motivation to make the best of the opportunity. As a result, the second group was always the most challenging to teach.

After seven years teaching at the junior high level, I assumed a new role as a University Professor where I primarily conducted the Symphonic Band, our second tier ensemble. As I observed the audition process in my first year, I noticed a similar dynamic among students when ensemble placement results were posted–elation and disappointment. I was excited for the students to join my ensemble, but some were less than enthusiastic. During each rehearsal, I worked hard to help these students feel valued and needed, and strived to inspire them to become their best musical self. While I have made great progress helping the students who feel disappointed to be in the second-tier ensemble unlock their potential and fully embrace the musical opportunities of this group over the past eleven years, I recognized that there are many factors that contribute to the challenging nature of second-tier ensembles.

59SUMMER 2022

I originally planned to interview five conductors at their institutions followed by observing a rehearsal with their second-tier ensembles. I completed three in-person visits prior to COVID-19 disrupting travel in the United States. After examining

from universities across the nation whose music programs paralleled the size and scope of my institution (see table 1, next page). My institution attracts over 450 students who perform in three concert bands, two orchestras, three choirs, two jazz choirs, and three jazz bands. By selecting conductors from similar-sized institutions, I controlled for context while still acquiring diverse perspectives.

PARTICIPANTSIselectedconductors

Unlocking the Potential ..., Jermie S. Arnold, cont.

investigated conductors’ perceptions of the challenges and opportunities for mid-level collegiate concert bands to unlock the musical potential of these RESEARCHgroups.METHOD

PEER–REVIEWED

Approach to Ensemble Rehearsal

Each participant in this study expressed, in their own way, that their approach to rehearsal with the second-tier ensemble was the same as if they were conducting the toptier ensemble. However, participants clarified that while their musical expectations do not change, some rehearsal techniques are different due to the wide level of musical abilities typically encountered in a second-tier ensemble.Professor IV said, “I keep the expectations high with a different level of music.” Professor VII noted, ”There is more pedagogical teaching in the second group.” In my observation of Professor I‘s rehearsal I noted their specific focus on music

Professor VI 24 Assoc. Director of Bands 51,000 6 2nd Band

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This idea of “appropriately different” was enlightening and so I asked a few conductors to offer examples of what was “appropriately

Professor IV 45 Assoc. Director of Bands 33,000 4 2nd Band

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Table 1. Participant Profiles

Professor VIII 16 Director of Bands 34,000 2 1st and 2nd Band

the data from my first three visits, I recognized that the interviews provided the most information compared to the rehearsal observations. Subsequently, I pivoted to ZOOM to complete the remaining interviews without a rehearsal observation. By shifting to ZOOM, I could expand the study from 5 to 8 conductors who represented 10 different universities. Using a semi-structured interview format, each conductor was interviewed for approximately one hour. I digitally recorded, transcribed, and archived data collected from these interviews. To protect the identities of the conductors, I reference each individual as Professor I, Professor II, FINDINGSetc.Sixcategories

Continued on next page

emerged from the collected data: 1) approach to ensemble rehearsal, 2) selection of

Professor V 6 Assoc. Director of Bands 33,000 3 2nd Band

repertoire, 3) rehearsal strategies, 4) student accountability, 5) “second band syndrome,” and 6) second-tier ensemble philosophy.

Professor III 30 Assoc. Director of Bands 44,000 4 2nd Band

Professor VII 16 Director of Bands 40,000 2 1st and 2nd Band

Participant Years Teaching Title School Size # of Bands Primarily Conducts

making. There was a macro approach to the piece being rehearsed. When technical issues appeared, they drew attention to them, took a moment to break them down out of context, then put them back into context while maintaining the focus on the music. When asked about this in the interview Professor I said, “Music is always first, I don't worry too much about the technical. I work to let musicians grow musically on their own.” Professor I went on to say that with the second-tier group, “You [have] to teach them. You have to take things apart and then put them back together.” Professor VI said it another way, “my approach is different, not less than the [top ensemble]. It is appropriately different.”

Unlocking the Potential ..., Jermie S. Arnold, cont.

Professor II 6 Assoc. Director of Bands 31,000 5 2nd Band

Professor I 5 Assoc. Director of Bands 50,000 4 2nd Band

• Play example recordings (P5)

Ensemble/Technical Skills (P2, P4, P5, P6, P7, P8)

• Singing, scales, chorales, breathing exercise, Remington’s (P4, P5, P6, P7, P8)

Selecting appropriate music for the second- and third-tier ensembles can be especially changeling. All eight participants emphasized the importance of selecting a wide variety of literature that would both challenge and help ensemble members feel successful. In fact, Professor V said the most important thing was, “first and foremost… the repertoire that I choose.”Inselecting the literature Professor II said that they carefully consider the strengths and weaknesses of the ensemble and then select music that fits those needs. Professor III said, “I try to have a variety of literature at varying grade levels so the Music Education students have an opportunity to learn grade 3 pieces.” Professor V emphasized the importance of repertoire selection when they commented, “I think really really carefully about the repertoire that I select. With a music major ensemble like this it’s really important that they’re playing repertoire of quality; high level repertoire that has opportunities for creating great art and great music, but also has a chance and ability for them to breathe a little bit and an opportunity for them to

"I will often stop while we are in the middle of rehearsing and ask them, ‘why did we go back to do that?’ or ‘Music Education majors this is why we are counting out loud’ or I will do more rehearsal techniques that they’re going to use when their teaching. I’ll have trumpet’s buzz a part, everyone sing, or sing the French horn note [then have] horns play the note, those kinds of

61SUMMER 2022

Selection of Repertoire

Considering that many of the students in these ensembles are music education majors, participants also commented that they take special care to point out specific techniques and skills these students may need as future teachers. Professor III said it best when they said they draw attention to rehearsal techniques for Music Education majors because “that is what they will be using in their future teaching.” They then described what this looks like in their ensemble rehearsals,

• Pieces rehearsed from end, or middle (P3)

different” in their approach to their ensembles. While discussing the various musical elements a conductor can focus on like rhythm, articulation, balance, and blend, Professor II said, “I spend more time on tone, and listening. I do everything I can to boost their confidence to improve their performance.” Professor I said they spend more time on directed listening to increase ensemble awareness and emphasized, “I work with them on being more consistent.”

• Pre-concert recording check (P2)

PEER–REVIEWED

grow.”Considering the appropriateness of the level and amount of literature Professor VI said, “It’s not necessarily the challenge of the repertoire, it's the amount. I tackle big repertoire but in smaller RehearsaltimeRehearsalhighlightthebutstrategiesantheirmentionedofofensemblesoftenREHEARSALdoses.”STRATEGIESWiththewidemusicalabilitiesassociatedwithsecond-tierrehearsalstrategiesareparticularimport.Belowisalistrehearsalstrategiesspecificallybytheparticipantsinrehearsals.Thisisbynomeansexhaustivelistofrehearsalusedbytheseconductors,issignificantbecausethesearestrategiestheyfeltimportanttoduringtheinterviews.schedulegivenaheadof(P1,P2,P3,P4,P5,P6,P8)Order

• Benjamin Zander-white sheet rehearsal (P1)

Professor VII spent time discussing the need to build ensemble skills in the second-tier ensembles and quoted a former teacher who said, "I used to think my job was to teach my students how to play but I realized my job was really to teach them how to listen."

rehearsal techniques and I’m always talking about them as in things they can be doing. I am always trying to teach that these are rehearsal techniques they can use for all levels of ensembles. I ask students to use their down time in rehearsal wisely, ‘ask yourself why am I choosing to prioritize something over something else, are you hearing what I am hearing?’ I really try to get in there and get them to think that way."

Rehearsal Recordings (P1, P2, P5, P6)

• Ends with slow piece (P3)

• Composers full names on board Sectionals(P3) (P1, P2, P4, P5, P6, P7, P8)

Continued on next page

Unlocking the Potential ..., Jermie S. Arnold, cont.

• Midterm recording check (P2)

V said in their first rehearsal they tell the students, “I understand some of you may be disappointed with your placement in this ensemble but you must know that I am going to do everything possible to make you the best musician that I can." In their opinion Professor V believes the second band syndrome feeling goes away very quickly once the students see the level of music that has been selected and the expectation for musical Professorexcellence.Isaidthey

• Large section work

hold a “Principal Player Meeting.” They suggested that most of these secondrate feelings exist in the principal players of each section because they missed the top ensemble by one person. I observed this meeting right after Professor I’s rehearsal. In this meeting Professor I encouraged the students to be mentors and provide leadership to their sections. They were given administrative responsibilities including, sectionals, attendance, and music distribution. They were encouraged to take more musical ownership of the rehearsal process by policing for mistakes in their sections. They were also advised to look for section members who were struggling and then reach out to help them.

• Verbal reminders (P2, P3, P5, P6, P8)

Orpheus Music Approach

• Tradition of excellence must be maintained (P3, P8)

62 NBA JOURNAL

• Principal players play, others finger along or air only ( P5, P8)

PEER–REVIEWED

• One on one conversations about expectations

Accountability

• Students should have their parts prepared before rehearsal (P1-8)

» Follow-up with listening deadline

• Take things in smaller chunks but at tempo (P6)

• Reward Excellence Written reminders

RecordWoodwind/PercussionBrass/andpostrehearsals

• Point out specific mistakes then ask how soon can they be addressed

• “Your job is to be prepared…”

Holding students accountable reinforces classroom expectations. Teachers inform students of their expectations in various ways; syllabi, posted classroom rules, and verbal instructions to name a few. Below are some of the expectations and methods of accountability shared by theExpectationsparticipants.

• Rehearsal comments (P6)

• “In the professional world…”

David Hedgecoth says, “second band syndrome is a term that has been loosely used in musical circles when referring to ensembles that are not considered the top auditioned ensemble. In most cases, second band syndrome references the attitudes of ensemble members believing themselves to be secondrate musicians and students.”13 In this study participants were asked if they thought their ensembles felt like second-rate musicians. Of the eight participants five thought, at least to

When I asked Professor I specifically about this meeting he said, “I’m trying to encourage [the principal players] to work together and make it about the music.”

Unlocking the Potential ..., Jermie S. Arnold, cont.

Listening to individual players

Sectionals (P1, P2, P4, P5, P6, P7, P8)

• Students expected to listen and make notes in music (P6)

Student Accountability

Professor VIII had this valuable insight about expectations and accountability, “you also have to know how far you can push them until, "enough is enough." There is a balance to be able to know the groups so you can keep the high standard but not push them away…”

• no conductor (P2)

• Going down the line (P4, P6, P8)

Professor V offered this insightful comment about rehearsal strategies, “every rehearsal and almost every time I stop [the ensemble], I give them one piece of technical feedback and one piece of musical feedback. This helps to direct my [comments] to them so I feel like I am addressing [what ] the students need.”

Second Band Syndrome

some degree, that their students, at least initially, felt like second-rate musicians. These five participants were then asked what, if anything, they did to help students overcome thatProfessorfeeling.

Continued on next page

• “There is a tradition of excellence…”

• Disguised repetition/Isolation of parts (P4, P5)

• Be able to perform the music on the first day (P2, P6)

Second-tier Ensemble Philosophy

"I don’t approach Symphonic Band as the second group. I approach it as our group together. I just want it to be the best it can be. Let me take you from where you are, let me help you step to the next level… that has to be my attitude. If I let my attitude

students may feel they are secondrate but because Professor VIII has three concert bands, the students are excited to play in the second band. Professor VIII capitalizes on this and said, “I hold them to the same standard as the top group. I make that very clear from day one.” Professor VIII also gave the second band special opportunities the top band did not have. Professor VIII mentioned playing at chapel performances, graduation, and other special events. Professor VIII also said this really alleviates the second band syndrome because the ensemble has been given special assignments to represent the university that the top band did not get.

Unlocking the Potential ..., Jermie S. Arnold, cont.

Continued on next page

"My philosophy throughout my whole experience has been, the students will meet your expectations or at least attempt to meet your expectations so, if you lower them because they are not the flagship ensemble, then that is on you as the … conductor, that's not on them. So, if you set a low standard because they are the second ensemble … then they will probably get to where your tolerance level is or your expectations."

63SUMMER 2022

Professor VII said,

Professor VIII said, “the most important thing is that they feel honored and respected” and Professor VI simply said that conducting the second-tier ensemble is, “different, not CONCLUSIONless.”Different,not

PEER–REVIEWED

Professor II also felt that a conversation with the entire group at the first rehearsal was important to dispel any ill feelings and to set the expectations high. They said that the first speech might include things like, "Everything is a learning opportunity! Here are the things you will learn and get to do. This group plays as good as many other institution’s top band. You might be disappointed but here are the great things we will get to do. What lens will you choose to look through?” Professor II also mentioned some other things they do to alleviate the second band syndrome including, playing great literature, having the same number of rehearsals as the top band, similar ensemble size to the top band, and performing their own concerts so they are not “second” to any group. Professor II continued saying, “This also helps students see that the groups are ‘different’ (literature) but the ‘same’ (overall expectations).”ProfessorVII

Professor VIII said that some

I said, the level of the ensemble should not matter, their goal is to make the best music regardless of the level. They expect their group to sound like the top group and they are going to keep working on that until they get there. Professor IV offered this insight about their personal attitude and how it can affect the group.

"I feel I really resonate with these students. I get to implement a lot of motivational ideas and marry that with high level music making. I think we are all at our best musically when we can share our love of what we are doing with them. It is super rewarding to have a successful concert and see them smiling and see them enjoying what they did."

less is the perfect way to describe the second- and third-tier

At the conclusion of the interview, I asked each participant if they had anything else they felt would be important to share. Some participants decided to share some philosophical thoughts about the opportunities and challenges faced by second-tier ensembles.Professor

characterized this as “PAT,” Post Audition Trauma. To help combat PAT, Professor VII spoke to the students and would say, "I know you may be a bit disappointed that you did not make the top band, but you are MY top band, so I'm going to treat you as I would treat the top band." Professor VII felt this went a long way to overcome PAT. When Professor VII was at their first university, teaching the third-tier ensemble, they noticed the second-tier ensemble was always the first to perform; with a performance on the 6th rehearsal. Professor VII said this really pushed those students to help them see their importance in the band program.

Professor V said they absolutely enjoy working with these students.

[become negative] it kills the group from the ground up. I try to look at it and recognize that every [student] in the top of the sections that I have ends up in the top groups….maybe I was a part of that process."

ensembles. Certainly, the comments made by all eight participants reflect this principle. To be certain there are challenges with these ensembles namely, PAT, varied musical abilities and experience, and varied majors to name a few, but the ultimate goal of each of these conductors is to inspire high-level music making in their ensembles. To attain that goal these participants carefully consider repertoire, approach to rehearsal, rehearsal strategies, student accountability, and ways to build a positive ensemble culture that minimizes the second band syndrome. In every instance these conductors chose to create a musical culture in the second-tier ensemble that is equal to not different or less than the top ensemble. Any conductor who has felt that their second- or third-tier ensembles are plagued with the “second band syndrome” need only to consider the strategies and techniques used by these eight participants to unlock their ensembles true musical Cardany,BIBLIOGRAPHYpotential.BrianM."Attitudes

Bulletin of the Council for Research in Music Education, no. 212 (2017): 27–55. Dakon,bulcouresmusedu.212.0027.https://doi.org/10.5406/JacobM.andMarciL.Major.

Toward Repertoire and the Band Experience among Participants in Elite University Wind Band Programs." Order No. 3210109, Arizona State University, 2006. http://csulb.idm. oclc.org\ Dakon,docview/305356082/se-2?accountid=10351.toward-repertoire-band-experience-among/com/dissertations-theses/attitudes-login?url=https://www.proquestJacobM.andMarciL.Major.“ChoristerPerceptionsofCollegiateTop-LevelChoralExperiences:ReplicationandExtension.”

Unlocking the Potential ..., Jermie S. Arnold, cont.

“Singer Perceptions of Collegiate Mid-Level Choral Experiences: A Descriptive Study.” Journal of Research in Music Education 64, no. 1 (2016): 108–27. http://www.jstor.org/ Hedgecoth,stable/43900329.DavidMcKinley. "Factors Influencing the Programming Practices of Conductors of Mid-Level Collegiate Ensembles." Order No. 3528014, The Ohio State University, 2012. Major,docview/1080532787/se-2?accountid=10351.influencing-programming-practices/com/dissertations-theses/factors-idm.oclc.org/login?url=https:/www.proquest.http://csulb.MarciL.“BuildingIdentityinCollegiateMidlevelChoralEnsembles:TheDirector’sPerspective.”

Journal of Research in Music Education 64, no. 4 (2017): 435–53. http:// 1ENDwww.jstor.org/stable/44631465.NOTESDakon,JacobM.andMarciL.Major,

educational significance of bands and the attainment of a high level of excellence for bands and band music.

The NBA is open to anyone and everyone interested in bands and stands ready to serve all members of our thriving musical community.

“Singer

toorganizationJDON’TMEMBERSHIPDOITALONE!ointheworld’slargestprofessionalforbands,dedicatedpromotingthemusicaland

JOIN or RENEW TODAY NationalBandAssociation.org/join

3Dakon, Jacob M. and Marci L. Major, “Chorister Perceptions of Collegiate Top-Level Choral Experiences: Replication and Extension,” Bulletin of the Council for Research in Music Education, no. 212 (2017): 27–55, -influencing-programming-practices/www.proquest.com/dissertations-theses/factors2012,OrderConductorsInfluencing76jstor.org/stable/44631465,EducationPerspective,”Midlevel54org/10.5406/bulcouresmusedu.212.0027,https://doi.42-43Ibid.,49.Major,MarciL.,“BuildingIdentityinCollegiateChoralEnsembles:TheDirector’sJournalofResearchinMusic64,no.4(2017):435–53,http://www.436.Ibid.,453.Hedgecoth,DavidMcKinley,"FactorstheProgrammingPracticesofofMid-LevelCollegiateEnsembles,"No.3528014,TheOhioStateUniversity,http://csulb.idm.oclc.org/login?url=https:// 131211docview/305356082/se-2?accountid=10351,repertoire-band-experience-among/com/dissertations-theses/attitudes-toward-oclc.org/login?url=https://www.proquest.StatePrograms,"ParticipantsRepertoire1098158.docview/1080532787/se-2?accountid=10351,Ibid.,158.Ibid.,159.Cardany,BrianM.,"AttitudesTowardandtheBandExperienceamonginEliteUniversityWindBandOrderNo.3210109,ArizonaUniversity,2006,http://csulb.idm.223.Ibid.,208-2011.Ibid.,209,216.Hedgecoth,"FactorsInfluencing,”74-75.

Perceptions of Collegiate Mid-Level Choral Experiences: A Descriptive Study,” Journal of Research in Music Education 64, no. 1 (2016): 108–27, http://www.jstor.org/stable/43900329, 2120Ibid., 124.

PEER–REVIEWED

64 NBA JOURNAL

A traditional NBA Journal article is most often written from the perspective of the author’s unique experiences in life, music, and/ or the profession. These articles are of extraordinary value, as they often present a number of ideas that have been effective for the author and may also be effective for the reader. A research article is most often written as a continuation of ideas presented in previous articles, with the motivation drawn from combining the findings of those previous articles and the author’s own experiences, experiments, or observations. In building the article in this way, the validity of the information is heightened beyond the

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

SUBMITTING PEER-REVIEWED RESEARCH Continued on next page

65SUMMER 2022

Dr. Russell Gavin, former chair of NBA’s Research (and Editorial) committees, shares his thoughts on the layout and value of these types of articles:Anumber of peer-reviewed research articles may read like other articles found in the NBA Journal, with the author outlining their thoughts on a subject while using citations to support the premise of the issue being discussed. Other research articles will take on a bit more of a scientific approach. These articles begin with a review of literature summarizing the research on the topic that already exists, while simultaneously presenting the reader with the rationale driving the current article. A method section follows, describing what actually happened in the research, then a results and analysis

traditional article. These articles are also of extraordinary value as they may also impact the way the reader approaches the subject material in a potentially more generalizable way. When incorporating the peerreview process, the an author’s article now has a final layer of review (for accuracy) utilizing other experts within the same subject matter.

Matthew Talbert is Associate Professor of Music Education at Ohio University. Joining the faculty in the fall of 2016, his responsibilities include teaching undergraduate and graduate courses in music education, with additional teaching responsibilities in the Patton College of Education.Talbertearned a Ph.D. in Music Education from the University of South Carolina (2012), a Master of Music in Music Education from Appalachian State University (2005), and a Bachelor of Music in Music Education from Appalachian State University (2004).

The

difference between a peer- reviewed research article and the articles traditionally published in the NBA Journal is best described as a difference in the vetting process and source material. To have an article appear as “peer-reviewed” in the NBA Journal means recognized researchers and scholars in the field of music/music education will read, evaluate, and then recommend whether or not an article should be published, revised or rejected. This process is widely recognized as an indicator of quality scholarship in a particular discipline or field. Other names for these types of articles are “scholarly” or “refereed.”

The Traditional Research Layout and Value of the Research Article

BY MATTHEW TALBERT

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

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

Figures: Tables and figures may be included with the manuscript, however, these must be publishable in black and white. It is the author’s responsibility to make sure any tables/figures are checked for accuracy before submission. Additionally, if any copyrighted materials are submitted, it is the author’s responsibility to provide documentation allowing the reproduction of these materials.

F. Ethical Requirements: It is the

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

author’s responsibility to ensure that no copyright issues have been violated by the submission, including images, charts, etc. Manuscripts already published in other journals can be submitted for consideration in the NBA Journal providing the author has permission to do so.

information should be listed on a separate cover page at the beginning of the submission. The cover page should also include up to five keywords/phrases that describe the contents of the manuscript.

Authors may not combine and/or mix styles within a single E.manuscriptTablesand

C. Cover Page: To ensure anonymity in the review process, the manuscript should contain no clues as to the author’s institutional affiliation or identity. Author’s name(s), address, institution affiliations, and pertinent

SILVEYBA@MISSOURI.EDUat./NationalBandAssociation OR SCAN

(1) Publication Manual of the American Psychological Association (7th edition, 2019),

(2) The Chicago Manual of Style(17th edition, 2017), or

Questions about submitting a peerreviewed article? Email Research Chair Brian Silvey BELOW

Submission of PeerReview Research Articles

D. Style Guide: Manuscripts should conform to one of the following style manuals:

always give a much clearer view of what the author was attempting to express.Asmentioned above, an ideal research article is adding to the research that came before it. This continuation and growth of knowledge is one of the defining characteristics of this kind of inquiry. At the end of the article, the reader is left with information that is not only new to them, but simultaneously new to the world. This level of investigation is of paramount importance in all areas of music and education, and the NBA is proud to present this new avenue for such exploration and Guidelinesthought.for

SUBMITTING PEER-REVIEWED RESEARCH

A. Submission Method: Manuscripts should be submitted as Microsoft Word attachments via email to the Editorial Committee Chair: Matthew Talbert at B.talbertm@ohio.edu.Length:Themanuscript should not exceed 25 pages and should include an abstract of 100-150 words in length on a separate page. We encourage the submission of short form articles (4-10 pages) as well as full-length articles.

(3) A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 9th edition, revised by Wayne C. Booth, Gregory Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff, Note:2018).

66 NBA JOURNAL

67SUMMER 2022

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2022 NBA Journal, Summer Edition

Articles inside

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

Unlocking the Potential of Second-Tier Collegiate Concert Bands –Jermie S. Arnold

A Fresh Take: Understanding and Evaluating Fischer Tull's Sketches on a Tudor Psalm, 50 Years Later –Joseph Leites

Repetitive Stress Syndromes: Defining, Recognizing, Preventing, and Addressing –Brian Toy, Douglas T. Owens, and Thomas Parchman

Reimagining Work-Life Balance, Part I –Amy I. Acklin

Lessons Learned from an Out-of-this-World Opportunity Lisa Werner

It's a Wrap! Another Successful Young Composer/Young Conductor Mentor Project Completed –Linda Moorhouse

2022 National Band Association Young Composer/Conductor Mentor Project –Benjamin Pouncey

A Project for the Band Literature Class –Gary Barton

Slow and Steady: Beginning Band –Eric Sokolowski

"The Nature of Trees" a Commission by the IU NBA Chapter Jason H. Nam

Colors, Pyramids, 3-D Movies, and the Mona Lisa; Teaching for Understanding - Blend, Balance, and Calrity Joel L. Denton

Mission Statement

Vice President’s Message

Executive Committee/Project and Committee Chairs

Remembering James F. Keene

Be the Pride of Your Community –Joseph Carver

Immediate Past President’s Message

President Elect's Message

President’s Message