NBA Journal – Spring 2024

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

EXECUTIVE COMMITTEE

Randall Coleman, President

Jason Fettig, President-Elect

Matt Temple, Vice-President

Rebecca Phillips, Immediate Past President

Scott Tobias, Executive Secretary-Treasurer

PROJECT & COMMITTEE CHAIRS

Al & Gladys Wright Distinguished Legacy Award, Rebecca Phillips

Alfred Young Band Composition Contest, Audrey Murphy Kunka

AWAPA Commission, David Gregory

Citations & Awards, Heath Nails

Constitution & By-Laws, Jason Fettig

Corporate Relations, Gary Smith

Foster Project NBA Representative, Wolson Gustama

Hall of Fame of Distinguished Band Conductors Board of Electors, Thomas Fraschillo

Inclusion, Diversity, Equity, & Awareness, Ingrid Larragoity & Elizabeth Peterson

Marching Band Committee, Adam Dalton & Bobby Lambert

Merrill Jones Composition Contest, Paul Popiel

National Programs of Excellence, Myra Rhoden

NBA Foundation, Susan Creasap

Nominating Committee, Rebecca Phillips

Research Grants, Brian Silvey

Selective Music List – Concert, Arris Golden

Selective Music List - Jazz, Steve Shanley

Selective Music List – Marches, Col. Don Schofield

William D. Revelli Composition Contest, Matthew McCutchen

Young Composer Jazz Composition Contest, Richard Stichler

Young Composer Mentor Project, Frank Ticheli

Young Conductor Mentor Project, Linda R. Moorhouse

Educational Purposes OF THE NATIONAL BAND ASSOCIATION

To promote and empower band performances throughout the world.

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

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

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

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

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

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

NBA Journal Editor, Matthew D. Talbert

NBA Journal Layout & Design, Nash P. McCutchen

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

Recently I read a quote that went something like this:

“One of the most underrated secrets to success is to start before you’re ready.”

Somehow, it is time to write my final message to you as President of the NBA. It seems that at every turn over the past two years, at some point I’ve felt that I wasn’t quite ready, yet had to start anyway. I hope that our organization can find some successes from our work over the past two years. I am incredibly proud of the work we have been able to do, but it has definitely taken a village to make things happen.

I must take a moment to express my gratitude, respect and love for our outgoing Past President, Dr. Rebecca Phillips. Becky has been there with an answer to every question, a solution to every issue and a suggestion to make things better. I couldn’t have asked for a better mentor and sidekick than Becky. After eight years on the NBA Executive Committee, Rebecca will be able to breathe a sigh of relief and enjoy a bit more free time. If I know her, though, she’s already filled that “extra” time with another way to help our

profession. Thank you, Rebecca, for your incredible service to our organization.

It has been an honor to serve on the Executive Committee with our Vice-President, Matt Temple. Matt is the consummate professional and always works tirelessly on each project he undertakes.

The National Band Association simply would not function without our Executive Secretary, Dr. Scott Tobias. Scott has an incredible amount of institutional knowledge about our organization and has always amazed me at how he’s able to take care of his “real” full time job and take care of everything that NBA needs as well. Scott has also been an incredible sounding board for me throughout the past two years.

As the new biennium begins, we also welcome Professor Jason Fettig to his term as President of our organization. It has been wonderful getting to know Jason and working with him over the past two years. There is no doubt he will be amazing as he serves the upcoming biennium as President. He is a brilliant and thoughtful leader with an exciting vision for our organization.

RANDALL COLEMAN

Continued on next page

I hope that our organization can find some successes from our work over the past two years. I am incredibly proud of [what] we have been able to do, but it has definitely taken a village to make things happen.

President's Message, cont.

We also congratulate Elva Kaye Lance on her election to the role of Vice-President for the upcoming biennium. With Jason, Matt, and Elva Kaye on the team, we can all agree that NBA is in wonderful hands!

This past biennium’s slate of division and state chairs, our elected and appointed board members and committee chairs have all done incredible work over the past two years and have made my term as President so very enjoyable. Thank you all for your time, energy, and dedication. I can’t thank you enough!

As we all work toward the end of another school year, we are excited to welcome our 2024 class to the Young Composers and Conductors Mentoring Project this June in Washington, D.C. Thanks to Col. Don Schofield and the United States Air Force Band for hosting again this summer, and thanks to our project chairs Dr. Linda Moorhouse and Dr. Frank Ticheli. Also, coming up soon will be the William Revelli, NBA/Merrill Jones and the NBA/ Alfred Young Band Composition Contests. Keep an eye on the website for information and application details. These projects are some of NBA's “crown jewels” and I hope you will take advantage of the many opportunities offered. As my time as President comes

to a close, I want to thank each of you for the honor of serving you in this role. It has been the highlight of my career to be able to give back to our profession by representing the National Band Association as President. I have been incredibly fortunate throughout my career to have had many wonderful opportunities to come my way and I still have a difficult time looking at the list of the NBA Past Presidents and trying to wrap my head around my name being added to that list. So many of the names on that list have been influential in my career – both near and far – many of you having an impact on me without you even realizing it. I never imagined when I first joined NBA as a first-year band director in 1982 that I would one day have the opportunity to serve as President. I look forward to the next two years serving as your Immediate Past President and supporting President Fettig as he moves our organization forward.

My best to you and your students for a safe and restful summer. In closing, I’m reminded of another special quote:

“No one can whistle a symphony; it takes the entire orchestra to play it!”

It has been such an honor to work alongside the Executive

It has been the highlight of my career to be able to give back to our profession ...

Committee and entire Leadership Team for NBA over the past two years. Thank you for being such an important member of our orchestra. As always, please do not hesitate to reach out if I can be of service to you or your program.

Randall Coleman President

The National Band Association

Happy Summer, fellow NBA members! With the dawn of summer comes a sense of growth and renewal, and an opportunity to “reset” after the slog of our many professional and life responsibilities. Although I hope that most of us love what we do for a living, finding the necessary inspiration and energy to serve others can sometimes feel like it must be manufactured, rather than coming from a natural wellspring. Please know that this is normal, and you are definitely not alone!

Moving to the profession of teaching has been a beautiful gift to me, because it has required me to think in new ways about why we do what we do. I am (we are) not only charged with embodying the spirit of vulnerability, community, collaborations, and expression in our own work, we are also charged with trying to find a way to explain the importance of that effort to others, and then help them tap into their own wellspring. And THEN, help them to learn how to sometimes dig deep and “manufacture” it—only when absolutely necessary.

What a challenge, to say the least, but a very noble one! This is all to say that now is the perfect time to deliberately tap into the

natural well. After the difficult work that so many of you have done this year to make music, support music, and teach music through the special world of band, don’t hesitate to turn your attention to yourselves. There are beautiful experiences, people, and places all around us that will serve to recharge our batteries and our inspiration, and those things are as much a part of our musicmaking as is the metronome, tuners, fundamentals, and repertoire. Music is first and foremost about being human, and bringing our humanity, our lives, and our passions to the band room and to the stage. As many of us embark on summer adventures, I challenge you to think about each experience in musical terms. How can you bring these feelings your will experience back to your classrooms and back to the podium? How can this period of “recharge” and rest be not only about building back your energy and resilience, but also about cultivating a fresh and inspired take on why we all do this in the first place year after year?!

I am excited to have a break from the routine (and email), for sure; but I am also excited to immediately start to imagine the next chapter of my musicmaking and teaching through the experience of my upcoming

PROF. JASON K. FETTIG

adventures. I hope you all have a truly wonderful summer, and I cannot wait to celebrate those ideas and inspirations together in the NBA in the fresh year to come.

Professor Jason K. Fettig President-elect National Band Association

After the difficult work that so many of you have done this year ... don’t hesitate to turn your attention to yourselves.

MATT TEMPLE

Greetings NBA Members! Another biennium has come to a close.

Compared to the last NBA biennium, which occurred during the pandemic, this one flew by quickly! It’s amazing to think that the same students who I met online for the first time four years ago are now graduating seniors. My own twins are seniors this year and will be leaving for college this fall. I am always fascinated by the cyclical nature of school music programs. I sometimes wonder what it would be like if I had one more year with my oldest students. How much further would they grow as an ensemble? I also marvel at the obvious fact that the students

It's satisfying to reflect on the many unique experiences we have shared together that will never be replicated by the same group ...

who I teach are always between the ages of 14-18 and somehow, I keep getting older. The students, of course, keep me young at heart.

Most of them anyways.

Whether it’s the end of an NBA biennium or the close of a school year, I am always filled with gratitude. It’s satisfying to reflect on the many unique experiences we have shared together that will never be replicated by the same group ever again. I am thankful for the opportunity to serve the NBA membership alongside the other Executive Committee members. In addition to being great leaders, they are exceptional people. Congratulations to outgoing President Randall Coleman on another outstanding biennium. We say farewell to Past President, Rebecca Phillips, whose time on the Executive Committee concludes this year after eight years of service.

I look forward to serving as the President-Elect under the direction of incoming President, Jason Fettig. Now that he wears civilian clothing, however, it will be that much harder to distinguish us from one another. Lastly, thanks to Executive-Treasurer,

Scott Tobias, who keeps us organized and heading in the right direction at all times.

Have a wonderful summer, and I hope you feel rejuvenated in time for the fall semester!

Matt

Temple

Vice President National Band Association

Greetings from the National Band Association! I hope each of you have planned for a wonderful summer, with opportunities to rest and rejuvenate with family and friends over the next couple of months.

This will be my final message to the NBA as part of the Executive Committee. As this biennium ends, I reflect on the fantastic service members have offered to the profession through the NBA. To the current Board of Directors, Division, State, and Project Chairs along with their committee members, your service to the association has been exceptional and I am grateful for the example you set for our profession. To the membership, you are the backbone of the NBA and it has been an honor to serve as an officer of this organization for the past eight years. Your commitment to the NBA, the largest professional band organization in the world, is incredible!

I offer my sincerest thanks to Matt Talbert, editor of the NBA Journal, and Nash McCutchen, Designer of the NBA Journal. Your dedication to this extremely important and historical quarterly document for the association is invaluable and I appreciate the immense hours it requires

for a creative layout and quality content.

My heartfelt thanks to Randall Coleman as he moves from the office of President into the office of Immediate Past-President. Randall worked tirelessly to move this organization out of the pandemic era by re-establishing our partnerships with the music industry and bringing back sponsorships for many of our marquee projects. He has worked with Arris Golden, chair of the Selected Concert Band Music List, to lead the NBA in launching a new searchable database of music for the membership. Randall, your calm approach to all NBA matters throughout your tenure as president has been outstanding.

Next, I offer my utmost thanks to Vice-President Matt Temple as he moves into the office of President Elect. Matt’s quiet leadership and thoughtful wisdom makes him one of the most tremendous assets to the future of the NBA. Matt is a selfless leader who establishes clear communication and leadership to any task he assumes. I could not imagine my time on the NBA Executive Committee without Matt, and I am thankful for his clear vision for the NBA over the next six years.

Scott Tobias graciously took over the reins of NBA Executive Secretary in June 2022, bringing

DR. REBECCA PHILLIPS

to this task his years of experience and leadership on behalf of the NBA. In addition, he took on a second demand by serving as the NBA Office Manager over the past two years. Scott’s tireless efforts serve the membership day in and day out and we are so grateful for him. I am additionally thankful the Executive Committee will work to find a suitable NBA Office Manager to assist Scott over the next several months.

Now, we congratulate Jason Fettig and welcome him as the new President of the National Band Association. Jason has a tremendous amount of leadership and service experience as former leader and conductor

Continued on next page

... you are the backbone of the NBA ... Your commitment to the NBA, the largest professional band organization in the world, is incredible.

of the “President’s Own” United States Marine Band and now as the Director of Bands for the University of Michigan Bands. He has served the NBA for over a decade and we thank him for what he has already accomplished on behalf of the membership. His

vision will lead the organization through the next two years. The NBA is in great hands!

The new NBA Executive Committee will have representation from our community bands, collegiate bands, military bands, and secondary school bands and. The team brings a wealth of knowledge, leadership, and a wide variety of experiences to the table. As a past president, I will continue to urge those who make decisions on behalf of the National Band Association to allow space for new generations of band directors to step into leadership positions so that our organization and profession remains fresh and

relevant. I encourage you to contact Jason Fettig and Matt Temple and let them know you are willing to serve the profession via the National Band Association. My hope is we continue to encourage an organization that embraces ALL current and future band directors. Thank you and all my best!

Dr. Rebecca Phillips

Immediate Past President National Band Association

"So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it ..."

–Aaron Copland

Be part of the world’s largest professional organization for bands, dedicated to promoting the musical and educational significance of bands and the attainment of a high level of excellence for bands and band music. The NBA is open to anyone and everyone interested in bands and stands ready to serve all members of our thriving musical community.

NBA MISSION STATEMENT FOR DIRECTORS OF SCHOOL BANDS BY DR. WILLIAM MOODY | REVISED IN DECEMBER 2009

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

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

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

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

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

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

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

NBA ACADEMY OF WIND & PERCUSSION ARTS NBA AT ITS BEST

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

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

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

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

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

William D. Revelli

November 25, 1961

Karl L. King

November 10, 1962

Harold D. Bachman

January 9, 1965

Glenn Cliffe Bainum

February 21, 1965

Al G. Wright

March 7, 1969

Harry Guggenheim

August 18, 1969

Paul V. Yoder

December 18, 1969

Toshio Akiyama

December 13, 1970

Richard Franko Goldman

July 23, 1971

John Paynter

March 5, 1972

Roger A. Nixon

July 12, 1972

Traugott Rohner

February 11, 1973

Sir Vivian Dunn March 2, 1973

Jan Molenaar July 11, 1974

Frederick Fennell August 3, 1975

Harry Mortimer August 3, 1975

George S. Howard December 16, 1976

Mark Hindsley March 2, 1978

Howard Hanson December 13, 1978

James Neilson December 13, 1978

Vaclav Nelhybel December 13, 1978

Leonard Falcone December 12, 1979

Alfred Reed December 12, 1979

Arnald Gabriel December 16, 1980

Nilo Hovey

December 16, 1980

Trevor Ford December 16, 1981

Vincent Persichetti December 16, 1981

Clare Grundman

December 15, 1982

Morton Gould December 15, 1982

Karel Husa December 15, 1982

Harry Begian December 14, 1983

Francis McBeth

December 12, 1984

Normal Dello Joio

December 12, 1984

J. Clifton Williams December 18, 1984

Frank W. Erickson December 17, 1986

Neil A. Kjos

December 17, 1986

Merle Evans

December 20, 1986

Hugh E. McMillen

December 17, 1986

Claude T. Smith December 16, 1987

Warren Benson December 14, 1988

John Bourgeois December 14, 1988

Donald Hunsberger

December 19, 1990

Edgar Gangware

December 19, 1991

W J Julian December 16, 1992

Geoffrey Brand

December 20, 1995

Harvey Phillips

December 21, 1995

Richard Strange

December 20, 1995

L. Howard Nicar, Jr.

October 16, 1996

Kenneth Bloomquist December 18, 1996

H. Robert Reynolds

December 18, 1996

Elizabeth Ludwig Fennell December 17, 1997

Arthur Gurwitz

December 17, 1997

Russell Hammond December 14, 1999

William F. Ludwig

December 14, 1999

John M. Long

December 20, 2001

Raoul Camus

December 19, 2002

Paul Bierley

June 14, 2003

William J. Moody December 18, 2003

Earl Dunn December 16, 2004

Victor Zajec

December 16, 2004

James T. Rohner

December 15, 2005

Frank Battisti December 21, 2006

David Whitwell December 20, 2007

Frank B. Wickes

December 18, 2008

Ray Cramer December 17, 2009

James Croft April 16, 2011

Paula Crider

December 15, 2011

Mark Kelly

December 15, 2011

Bobby Adams

December 19, 2013

Richard Floyd

December 18, 2014

Edward Lisk

December 17, 2015

Linda R. Moorhouse

December 15, 2016

Thomas V. Fraschillo

December 21, 2017

John Whitwell

December 20, 2018

Richard Crain December 19, 2019

Loras John Schissel

December 15, 2020

Bruce Leek

December 16, 2021

Julie Giroux

December 20, 2022

Frank Ticheli December 20, 2022

Gerald Guilbeaux December 21, 2023

John Stoner December 21, 2023

PAST PRESIDENTS OF THE NATIONAL BAND ASSOCIATION

Al G. Wright 1960 - 1962 Honorary Life President

William J. Moody 1968 - 1970

William D. Revelli 1976 - 1978

James Neilson 1982 - 1984

Frank B. Wickes 1988 - 1990

John R. Bourgeois 1994 - 1996

Paula Crider 2000 - 2002

Bobby Adams 2006- 2008

John M. Long 2010 Honorary President

Scott Casagrande 2016 - 2018

John Paynter 1962 - 1966 Honorary Life President

George S. Howard 1970 - 1974

W J Julian 1978 - 1980

James K. Copenhaver 1984 - 1986

Edward S. Lisk 1990 - 1992

James Keene 1996 - 1998

David Gregory 2002- 2004

Finley Hamilton 2008- 2009

Roy Holder 2012 - 2014

Scott Tobias 2018 - 2020

Edward W. Volz 1966 - 1968

F. Earl Dunn 1974 - 1976

Kenneth Bloomquist 1980 - 1982

James Croft 1986 - 1988

Robert E. Foster 1992 - 1994

Thomas Fraschillo 1998 - 2000

Linda Moorhouse 2004- 2006

John Culvahouse 2009- 2012

Richard Good 2014 - 2016

Rebecca Phillips 2020 - 2022

NATIONAL BAND ASSOCIATION 2024 – 2026 BOARD

OF DIRECTORS

2024-2026 Board of Directors

Jason Fettig President Matt Temple President-Elect

Elva Kaye Lance Vice-President

Randall Coleman Past President

Scott Tobias Executive Secretary

Chip De Stefano Elem/MS Representative

Tiffany Hitz Elem/MS Representative

Tracy Leslie Elem/MS Representative

Audrey Murphy Elem/MS Representative

Brian Covey HS Representative

Melissa Gustafson-Hinds HS Representative

Jerell Horton HS Representative

Bobby Lambert HS Representative

Arris Golden Univ./College Rep.

Craig Aarhus At-Large Representative

Linda Gammon At-Large Representative

Mark Heidel At-Large Representative

Mary Schneider At-Large Representative

Will Talley At-Large Representative

BIOGRAPHIES 2024 – 2026 BOARD OF DIRECTORS

Elementary/Middle School Representative

Chip De Stefano received both his Bachelor of Music in Trombone Performance and Master of Music Education Degrees from Northwestern University. While at Northwestern, he studied conducting with John P. Paynter, Steve Peterson, and Don Owens, and trombone with Frank Crisafulli and Art Linsner.

Mr. De Stefano became Director of Bands at McCracken Middle School in Skokie, Illinois in 1996. Under his direction, the McCracken Middle School Symphonic Band has made multiple appearances at the Illinois Music Education Association (ILMEA) All-State Conference, University of Illinois Superstate Concert Band Festival, CBDNA/NBA NorthCentral Division Conference, and NAfME North Central Division Conference. In 2006 and 2013

the Symphonic Band received an invitation to present a concert at the Midwest Clinic: An International Band and Orchestra Conference. The McCracken Middle School Symphonic Band was awarded the Sudler Silver Cup in 2007, the National Band Association Blue Ribbon Award in 2016, and the Mark of Excellence National Award in 2023. Mr. De Stefano’s professional affiliations include the Illinois Music Education Association, the National Band Association, Phi Beta Mu, and Phi Mu Alpha Sinfonia. In 2022 he was honored with membership in the American Bandmasters Association.

Mr. De Stefano is active nationally as a clinician, guest conductor, and adjudicator. He’s conducted honor bands, festivals and camps in Singapore, Florida, Georgia, Kentucky, Maryland, Michigan, Missouri, Nebraska, Nevada, New Hampshire, New Jersey, Ohio, Tennessee, Virginia, Wisconsin, and throughout Illinois. In addition, he has presented conference sessions at the Midwest Clinic, ILMEA All-State Conference, Iowa Bandmasters Conference, Nebraska Music Educators Association State Conference, New England Band Director Instituted, Arkansas Tech University Band

Director Workshop,NBA/IGSMA Band Director Workshop, Illinois State University Band Director Workshop and DuPage County Music Clinic. Mr. De Stefano is a recipient of over twenty National Band Association Citations of Excellence. He was awarded the Chicagoland Outstanding Music Educator Award in 2001, the IGSMA Barbara Buehlmann Young Conductor Award in 2004, the IGSMA Cloyd Meyers Memorial Award in 2011, and the Skokie Award for Artistic Excellence in 2016.

TIFFANY HITZ

Elementary/Middle School Representative

Tiffany Hitz is Director of Middle School Bands at Robinson Secondary School in Fairfax County, VA. She received her Bachelor of Music in Music Education from Virginia Commonwealth University (VCU) and her Master of Music in Music

Continued on next page

CHIP DE STEFANO

Education from Boston University. In addition to teaching in Fairfax County, VA since 2001, Mrs. Hitz maintains an active schedule as a clinician, guest conductor, and adjudicator throughout the United States.

A member of the National Band Association (NBA), Mrs. Hitz currently serves on the organization’s Board of Directors as a Middle School Representative and as the Virginia State Chair. She also assists with the Dr. William P. Foster Music Education Alliance “Award of Excellence.” Active as a member of the Virginia Music Educators Association, Mrs. Hitz serves as Chair of the Virginia Band and Orchestra Directors Association (VBODA) Adjudicator Training Committee and is a member of the VBODA Selective Music List Committee.

Mrs. Hitz is a 2023 recipient of the Bandworld Legion of Honor from the John Philip Sousa Foundation. She is also a former nominee for the Grammy Music Educator Award and was previously recognized by School Band and Orchestra Magazine as one of the Fifty Directors Who Make a Difference. She is an inducted member of Phi Beta Mu International Bandmasters Fraternity and American School Band Directors Association. She is particularly proud to have

received the 2018 Outstanding Music Education Alumni Award from her alma mater, VCU School of the Arts.

Mrs. Hitz is a contributing author in the book Women in Wind Band, released in late 2023. She is a National Board Certified Teacher and has served as both school and county Lead Mentor for new teachers.

Mrs. Hitz continues to teach privately and perform as a hornist and is a regular member of the Fairfax Wind Symphony. She spends her summers teaching at music camps including UNCG’s Summer Music Camp, the University of Maine’s Summer Youth Music Camp, and the Middle School Concert Band Camp at the Music for All Summer Symposium.

TRACY LESLIE Elementary/Middle School Representative

Dr. Tracy Leslie was invited to join the faculty, to create and build the instrumental music

Director Biographies, cont.

education program at Del Webb MS in Henderson, Nevada upon the school’s opening in 2005. Her work with the Del Webb Bands followed the development of highly successful music programs at Thurman White MS in Henderson, Nevada and Roy Martin MS in Las Vegas, Nevada. Tracy Leslie was awarded an Outstanding Teaching Award in 2005-06 by CCSD. Dr. Leslie has served as an adjunct Instructor of Music Education at the University of Nevada, Las Vegas.

Tracy Leslie has commissioned new works and transcriptions for advanced middle school bands, including recent publications Piccadilly by Erik Satie, Chernomor’s March by Mikhail Glinka, and The Nightingale by Peter I. Tschaikovsky edited and orchestrated expressly for her by Col. John R. Bourgeois (RET) Director Emeritus of “The President’s Own”. Additionally, Dr. Leslie commissioned the David Holsinger composition Fanfare for the Glorious Naycart for the CCSD Honor Band.

Dr. Leslie currently serves as Assistant Producer and Continuity Editor for the UNLV Wind Orchestra. Her most recent publications with the UNLV Wind Orchestra series include Grammy

Continued on next page

Director Biographies, cont.

listed recordings Concerto for Marienthal (K11178), Marquee Mojo (K11185), Lost Vegas (K11195), Ventanas (K11199), The Return (K11217), 24K Gould (K11222), Quaternity (K11223), Joe's Tango, and soon to be released - Espresso Express.

Tracy Leslie received a Bachelor of Music Education Degree and a Master of Music Education Degree from UNLV in 1993 and 1999 respectively and graduated Cum Laude. She was awarded the Outstanding Music Education Graduate Award from the UNLV School of Music in 1993. Dr. Leslie received a Doctorate of Musical Arts Degree in Wind Band Conducting at UNLV in 2008.

In 2021, Dr. Leslie was inducted into the Nevada chapter of Phi Beta Mu. She also serves as the Southern Nevada representative to this organization.

Dr. Leslie maintains membership status in the National Band Association, National Association for Music Education, Nevada Music Education Association, Southern Nevada Band Association, and the Nevada Education Association. Tracy Leslie co-hosted the 2001 National Convention of the prestigious American Bandmasters Association.

Elementary/Middle School Representative

Ms. Audrey Murphy is in her first year as Band Director at East Cobb Middle School in Marietta, Georgia. Prior to this appointment, she was Band Director at Hopewell Middle School in Milton, Georgia from the opening of the school in 2004 until 2023. Under her direction, Hopewell ensembles earned consecutive Superior ratings in performance evaluations and appeared as guest performing ensembles at the University of Georgia Middle School Band Festival, the Music for All Southeastern Regional Concert Band Festival, and the Music for All National Concert Festival.

The Hopewell Middle School Symphonic Band also performed as a featured ensemble for the Georgia Music Educators Association In-Service Conference in 2010 and 2019.

A native of Columbia, South Carolina, Ms. Murphy is a graduate of East Carolina

University. She has performed as a clarinetist with the Long Bay Symphony Orchestra, the Charlotte Civic Orchestra, the Capital City Opera Company of Atlanta, Tara Winds, the Georgia Wind Symphony, and Atlanta-based woodwind quintet Highland5.

Ms. Murphy has served as a guest clinician and adjudicator throughout the United States. She has received the National Band Association’s Citation of Excellence on four occasions for her contributions to the field of concert band. She is also a recipient of the North Fulton Jaycees Outstanding Young Arts Professional Award and was named 2010-2011 Hopewell Middle School Teacher of the Year. In 2022, she was featured in the “50 Directors Who Make a Difference” issue of School Band and Orchestra Magazine. Ms. Murphy is currently chair of the Alfred Music Young Band Composition Contest for the National Band Association.

Continued on next page

AUDREY MURPHY

Director Biographies, cont.

High School Representative

Brian Covey is the Visual and Performing Arts Chairman, in addition to serving as Director of Bands at Lockport Township High School. Mr. Covey was appointed Director in 2003 after serving two years as Associate Director of Bands. While maintaining the Department, he conducts the Wind Symphony and the Freshman concert ensemble in addition to overseeing the athletic performance ensembles. Prior to joining Lockport High School, Mr. Covey attended the University of Illinois at Urbana-Champaign where he earned his Bachelors of Music Education degree, a Masters of Music Education degree at VanderCook College of Music, and an additional Masters in Educational Administration from The University of St. Francis.

Under his direction, the concert ensembles at Lockport Township

High School have performed at numerous competitions and festivals throughout the state and country, consistently receiving Superior ratings. The Wind Symphony has become a nationally respected ensemble with performance highlights including the Illinois Superstate Festival at the University of Illinois (every year since 2004), the National Association for Music Education National Conference (2008), the Illinois Music Education Conference (2001, 2010, 2022), The Music for All National Concert Band Festival (2006, 2008, 2016, 2018), The World Association for Symphonic Bands and Ensembles International Conference (2009), and The Midwest International Band and Orchestra Clinic (2008, 2013, 2021). The Wind Symphony has been named a Mark of Excellence National Wind Band Honors National Winner (2010, 2013, 2016, 2020) and in 2008 was awarded the John Philip Sousa Foundation Sudler Flag of Honor.

Mr. Covey has served as an adjudicator and clinician for many local and regional schools. He holds numerous Citations of Excellence from the National Band Association where he serves as a High School Representative on the Board of Directors, been awarded the “Chicagoland Educator of the Year”, the “Mildred Jackson

Lockport Township High School Teacher of the Year Award”, and was highlighted in School Band and Orchestra Magazine. He is an elected member of the prestigious American Bandmaster's Association, Phi Beta Mu International Bandmaster's Fraternity, American School Band Directors Association, and is the Illinois Music Education Association’s State Band Division Immediate Past-President.

Melissa Gustafson-Hinds is in her sixteenth year as Director of Bands and Performing Arts Chair at O’Fallon Township High School in O’Fallon, Illinois. In addition to her teaching duties at Dr. Gustafson-Hinds serves as the Illinois Music Educators Association Band Division President. She is a recent inductee into the American Bandmasters Association. In her time at OTHS, she has brought the band program to new heights in music

Continued on next page

BRIAN COVEY

MELISSA GUSTAFSON-HINDS High School Representative

Director Biographies, cont.

excellence and has recently earned the honor of the John Philip Sousa Sudler Flag (2023) and John Philip Sousa Sudler Shield (2024) for the OTHS Band Program. Under her direction, the OTHS Marching Panthers have been consistent Bands of America (BOA) Regional and Super Regional finalists, Grand National Semi-Finalists, and a Grand National Finalist in 2018. In 2015 and 2022, the band marched in the Tournament of Roses Parade in Pasadena, California. The Marching Panthers recently performed in the 2023 Macy’s Thanksgiving Day Parade. The concert ensembles performed at Carnegie Hall in May 2014, and the Wind Ensemble has performed at the Illinois Superstate Concert Band Festival, Music For All National Festival, ILMEA State Convention, and the Midwest Clinic. The O’Fallon Township Band Program was honored with the NBA Program of Excellence Blue Ribbon Award (2019), along with multiple Music For All Advocacy Awards.

Dr. Gustafson-Hinds is originally from Monmouth, Illinois. She attended Illinois State University, earning a bachelor's in music education and graduating with University honors. Dr. Gustafson-Hinds earned her master's degree in music education from the University of Illinois, Urbana-Champaign, in

2000, an educational leadership endorsement from Southern Illinois University Edwardsville, and her Doctorate Degree in Teaching and Learning, with an Emphasis in Music from the University of Missouri St. Louis in 2010. She has been teaching in Illinois public schools for 30 years, getting her start in the Unit 5 District in Normal, Illinois, with teachers who helped guide her career.

Dr. Gustafson-Hinds is married to Evan Hinds and together, they have a daughter named Evelyn, who is 8.

JERELL HORTON High School Representative

Jerell Horton has been the band director at Vestavia Hills since 2006. He is a graduate of Samford University. Prior to his appointment at Vestavia Hills High School, he served as the assistant director at Pizitz Middle School and Vestavia Hills High School. While at Vestavia Hills, the bands have consistently earned

superior rating at District and State concert band assessments. The Vestavia Hills Wind Ensemble performed at the 2011 Alabama Music Educators Conference, and the Music for All National Concert Band Festival in 2013. The Vestavia Hills High School Rebel Marching Band performed in the 2010 London New Year’s Day Parade in London, England and the 2018 St. Patrick’s Day Parade in Dublin, Ireland. In January 2024, the Rebel Marching will perform in the Rome New Year’s Day Parade. The Vestavia Hills High School band was awarded the National Program of Excellence Southern Division Blue Ribbon Award presented by the National Band Association. Mr. Horton has served as an honor band clinician within the states of Alabama, Tennessee, Mississippi, and Georgia. He is also on staff for the Auburn Summer Marching and Leadership Camp and the Music for All Summer Symposium. Mr. Horton is a National Board Certified teacher and was named to SBO magazine’s 2014 list of 50 Directors Who Make a Difference. Mr. Horton was honored to serve on 2017 and 2022 Music for All Tournament of Roses teaching staff. He is married to Monica Horton (also an educator) and they have four children, Madina Jaimes, Israel, Chism, and Loula Grayce.

Continued on next page

Director Biographies, cont.

BOBBY LAMBERT

High School Representative

Bobby Lambert, Director of Bands at Wando High School in Mount Pleasant, SC, hails from Cherokee, NC. He holds degrees in music education and saxophone performance from universities in North Carolina and Massachusetts. Lambert served as assistant band director at Marian Catholic High School in Chicago Heights, IL, from 2001 to 2013, achieving success in marching and concert bands. In 2005, he founded a leadership program for 1200 students and 50 faculty members.

Since 2013, Lambert has led the Drum Major Institute for Bands of America, attracting 600 students annually. Joining Wando High School in 2014, Lambert, with colleagues Lanie Radecke and Dr. Andrew Blair, has propelled the Bands of Wando to regional and national acclaim. Their achievements include multiple state championships, four

BOA Regional Championships, and three top-eight BOA Grand National appearances.

Lambert's ensembles have performed at prestigious events such as the Midwest Band and Orchestra Clinic. He owns Lambert Leadership, offering consultation nationwide and co-hosts the podcast, That Band Life. Lambert provides personal coaching and has conducted honor bands across multiple states. He is affiliated with professional organizations like Phi Beta Mu and ASBDA, and he was honored by the Marian Catholic Fine Arts Hall of Fame and the American Bandmasters Association. Lambert resides in South Carolina with his daughters, Maria and Olivia.

ARRIS GOLDEN University / College Representative

Dr. Arris Golden is the Assistant Director of Bands and Associate Director of the Spartan Marching Band at Michigan State University (MSU). In this capacity, Dr.

Golden teaches the MSU Concert Band, academic courses in conducting, marching band techniques, is coordinator of the MSU Performing Arts Camps, and assists with all aspects of the MSU Band Program.

Dr. Golden maintains an active schedule with engagements throughout the United States and internationally as a guest conductor, clinician, and adjudicator. Dr. Golden’s professional affiliations include the College Band Directors National Association and the National Band Association. Currently, she serves on the Board of Directors of National Band Association (College/University Representative) and as Chairperson of the National Band Association’s Selective Music List Committee.

Continued on next page

Director Biographies, cont.

At-Large Representative

Dr. Craig Aarhus is Associate Director of Bands and Associate Professor of Music at Mississippi State University. At MSU, he codirects the Famous Maroon Band and basketball pep bands, conducts Wind Ensemble "B," the Concert Band, and Campus Band, and teaches Conducting and Brass Techniques in the Department of Music. He also currently serves as the area coordinator for Music Education in the department. As a member of the band faculty, Dr. Aarhus has been part of a team that has helped lead the band program to unprecedented growth, making it currently one of the largest bands in the Southeast.

A native of Alabama, Dr. Aarhus received his Bachelor of Music Education degree from Auburn University and his Master of Arts and Doctor of Musical Arts degrees in Conducting from The University of Iowa. Prior to his appointment at MSU, Dr.

Aarhus was a successful high school and middle band director in the public schools of Lanett, Tallassee, and Mobile, Alabama.

Dr. Aarhus has been involved in the National Band Association for several years as the State Chair for Mississippi (2009-2012), Southern Division Chair (2012-2016), and as the College/University Representative (2016-18).

Currently, he serves as an elected member of the Board of Directors, helping with social media for the organization. Additionally, he is a member of several professional organizations including the College Band Directors National Association, Pi Kappa Lambda, Phi Mu Alpha, Tau Beta Sigma and the Mississippi Bandmasters Association. He is also the PastPresident of the Delta Chapter of Phi Beta Mu International Bandmasters Fraternity and recently completed a ten-year tenure as a Governor for the Southeast District of Kappa Kappa Psi. Dr. Aarhus has been an adjudicator and clinician throughout the Southeast, Midwest, and in Canada, and is a contributing author to five volumes of the popular Teaching Music Through Performance in Band series.

LINDA J. GAMMON

At-Large Representative

Linda J. Gammon is the director of the Virginia Winds Academy Junior Band. Prior to assuming this position, she directed middle school bands in Fairfax County, VA for over 30 years. She received her Bachelor of Science degree in music education from Clarion University of Pennsylvania and a Master of Arts degree in conducting from George Mason University.

Under Ms. Gammon’s direction, her middle school performed multiple times at the Virginia Music Educators Association Professional Development Conferences and the 1993 and 2000 Mid-West Band and Orchestra Clinic in Chicago. In 1997 Ms. Gammon and the Robinson Middle School Symphonic Band were awarded the prestigious John Philip Sousa Foundation Sudler Silver Cup Award, the highest honor

Continued on next page

CRAIG AARHUS

bestowed on a middle school band program.

She is a Past President of the Virginia Music Educators Association, Virginia Band and Orchestra Directors Association, and Fairfax County Band Directors Association. Linda also served as the VMEA State Executive for 6 years following her retirement. In 2003 she was recipient of Women Band Directors International Scroll of Excellence, 2007 Virginia Outstanding Music Educator of the Year Award, and 2014 Fairfax County Band Director of the Year. In 2018 she was inducted into the Phi Beta Mu Hall of Fame, 2019 the VBODA Hall of Fame and in 2020 VBODA Phil Fuller Award for her contributions to music education in Virginia. In 2021 Ms. Gammon received the James Madison University Dr. Gary K. Ritcher Outstanding Service in Music Education Award and the VMEA Lifetime Achievement Award. In 2023 she was elected into the prestigious American Bandmasters Association.

RICHARD MARK HEIDEL

At-Large Representative

Richard Mark Heidel is Director of Bands at the University of Iowa where he oversees the band program. Ensembles under his direction have performed at numerous conferences including those of the American Bandmasters Association, College Band Directors National Association, Music Educators National Conference, Iowa Bandmasters Association, Wisconsin Music Educators Association, Illinois Music Educators Association, and National Band AssociationWisconsin Chapter.

Prior to his appointment to the Iowa faculty in 2008, Dr. Heidel served as Director of Bands at the University of WisconsinEau Claire, and Shippensburg University. In addition to his university teaching experiences, Heidel was a high school band director in Texas for nine years.

Director Biographies, cont.

Dr. Heidel has been distinguished with memberships in numerous honor societies including Phi Mu Alpha Sinfonia, Pi Kappa Lambda, Kappa Kappa Psi, Phi Eta Sigma, Phi Kappa Phi, Kappa Delta Pi, Pi Nu Epsilon, and Golden Key. He was the recipient of the Outstanding Musician award at Texas Tech University in 1985 and 1986, and in 1997, he received the A. A. Harding award at the University of Illinois for the "highest possible achievement, service, and devotion to the University Bands." In 2002, Dr. Heidel was named to the "Who's Who Among America's Teachers," and in 2003 and 2010 he received the Citation of Excellence from the Wisconsin Chapter of the National Band Association. In 2005, he was initiated into Sigma Alpha Iota as a National Arts Associate, and in 2008, he was elected to membership into the prestigious American Bandmasters Association. Dr. Heidel received the Collegiate Teaching Award from the UI College of Liberal Arts and Sciences in 2012, and Citations of Excellence from the National Band Association (2016, 2022) and the Wisconsin Concert Band Association (2023).

Dr. Heidel has appeared as guest conductor and clinician in more than 35 states, Washington, D.C.,

Continued on next page

Director Biographies, cont.

the Canadian provinces of Ontario and Manitoba, Ireland, Vietnam, and Austria. Heidel has published more than 30 articles, and he has served on the Board of Directors of the NBA and ABA, is the State of Iowa Representative for CBDNA, and is Past President of the Big Ten Band Directors Association.

MARY K. SCHNEIDER

At-Large Representative

Mary K. Schneider is Professor of Conducting and Director of Bands at Eastern Michigan University where she conducts the EMU Wind Symphony, teaches graduate and undergraduate courses in conducting and music education, and oversees the comprehensive university bands program. Prior to this appointment, Dr. Schneider held a teaching position at the University of Minnesota School of Music and had a successful career as a secondary school instrumental music educator.

conductor and clinician, Dr. Schneider’s recent engagements include serving as an adjudicator for the Music For All National Concert Band Festival, Illinois SuperState Concert Band Festival, the Thailand International Wind Symphony Competition, and the Victoria School Music Festival in Melbourne. Schneider has served as a guest conductor of the New England Conservatory Wind Ensemble, Dallas Winds, Sydney Conservatorium of Music Wind Symphony, Concordia Santa Fe, U.S. Air Force Band, Blue Lake Fine Arts Camp Festival Band, Wheaton Municipal Band, and is a frequent guest conductor of regional and all-state honor bands throughout the United States.

book series, Teaching Music Through Performance in Band, she has presented on the topic of wind band repertoire at the Midwest International Band and Orchestra Clinic in Chicago, and is a frequent invited lecturer on the celebrated American composer, John Corigliano, and his Symphony No. 3 for large wind ensemble, “Circus Maximus.”

Schneider holds a doctoral degree in conducting from the University of Texas at Austin, and degrees in horn performance and music education from the New England Conservatory of Music, and the University of Connecticut, having graduated with Distinction in Performance honors from the former.

Active nationally and internationally as a guest

Elected to the American Bandmasters Association in 2013, Dr. Schneider served as President of the North Central Division of the College Band Directors National Association from 2021-2023 and currently serves on the Music Education Committee of CBDNA, and as Michigan Chair for the National Band Association. A strong advocate for new wind music, Schneider has participated in commissioning and/or premiering over three dozen works for band, and her ensembles frequently collaborate with a diverse group of composers. In addition to published articles in the GIA

WILLIAM TALLEY

At-Large Representative

William Talley is the Director of Bands at Ohio University, where he directs the wind symphony and teaches graduate and undergraduate courses in

Continued on next page

conducting and wind literature. Dr. Talley received his Doctor of Musical Arts degree from the Eastman School of Music in Rochester, NY, where he served as the associate director of the Eastman Wind Orchestra and the assistant director of the Eastman Wind Ensemble. While a student at Eastman, Talley was a recipient of the Frederick Fennell Conducting Fellowship, the Walter Hagen Conducting Prize, and was the first recipient of the newly established Donald and Polly Hunsberger Endowed Conducting Scholarship.

Prior to attending Eastman and receiving a Master of Music degree in conducting from the University of South Carolina, Talley taught for 15 years in the Asheville City Schools district in Asheville, NC. He was the recipient of many awards and recognitions in teaching during his tenure at Asheville High School, including being selected as Asheville City Schools Teacher of the Year for the 2013-2014 school year.

Dr. Talley has served as a presenter, clinician, and adjudicator across the country, and he is an active arranger and transcriber of music for wind ensembles.

Director

DO YOU HAVE

• Research relevant to the field that you would like to share?

• Professional advice or tips that might help other band directors?

• Something to say?

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

Winter Edition (published in February)

Spring Edition (published in May)

Summer Edition (published in August)

Fall Edition (published in November)

*Articles are published at the discretion of the editor and may appear in a later journal edition or not at all.

**For guidance on how to submit a peer-reviewed article, please see page 43.

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

NATIONAL BAND ASSOCIATION AWARD WINNERS

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

Academy of Wind and Percussion Arts (AWAPA) Award

Al & Gladys Wright Distinguished Legacy Award

NBA Hall of Fame of Distinguished Conductors

Programs of Excellence Blue Ribbon Award

The NBA/Alfred Music Young Band Composition Contest

The NBA/Merrill Jones Memorial Band Composition Contest

The NBA/William D. Revelli Memorial Band Composition Contest

The NBA Young Composers Jazz Composition Contest

FREE NBA AWARDS FOR MEMBERS TO USE

Mentor Award

Citation of Excellence

Outstanding Jazz Educator

Citation of Merit for Marching Excellence

Outstanding Musician Award

Outstanding Jazz Musician Award

Music Camper Award

Band Booster Award

2024 MERRILL JONES MEMORIAL YOUNG COMPOSERS BAND COMPOSITION CONTEST FOR GRADE III/IV CONCERT BAND

Anyone 40 years of age or younger (birthdate on or before November 1, 1984)

REQUIREMENTS:

ENTRY MATERIALS:

FORMS & MATERIALS:

A work for concert band with no restrictions as to style or form. Compositions must be for GRADE III/IV CONCERT BAND and must not exceed eight (8) minutes in length.

Full score, MP3 audio file, and entry form emailed to Paul Popiel

SUBJECT: Attn: NBA/Merril Jones Contest NBA/MERRILL

Dr. Paul Popiel (email: ppopiel@ku.edu) | Attn: NBA/Merrill Jones Contest

CONTEST RULES & PAST WINNERS: NationalBandAssociation.org/composition-contests

Lt. Cr. Kelly Cartwright

U.S. Navy Band

Chris Chapman Central Michigan University

Brooke Johnson University of Delaware

Paul Popiel, University of Kansas, Chair

Sarah Labovitz Arkansas State University

Nan Moore Retired (KY)

Charles Page Valley View High School (AR)

Scott Pierson Yelm High School (WA)

Mickey Stisher Retired (IN)

Brian Walden

Virginia Wind Symphony

2024 FORTY-SEVENTH ANNUAL NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST

WHO MAY ENTER: Anyone

REQUIREMENTS:

ENTRY MATERIALS:

$5000 AWARD: November 1, 2024 ENTRY DEADLINE:

A work for 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.

FORMS & MATERIALS:

Dr. Matthew McCutchen (e-mail: mccutchen@usf.edu)

Attn: NBA Composition Contest School of Music

University of South Florida, 4202 East Fowler Ave., MUS 101 Tampa, FL 33617

CONTEST RULES & PAST WINNERS: NationalBandAssociation.org/composition-contests

NBA/WILLIAM D. REVELLI MEMORIAL BAND COMPOSITION CONTEST COMMITTEE

Matthew McCutchen, University of South Florida, Chair

Terry Austin

Virginia Commonwealth University

Marcellus Brown

Retired (ID)

Catherine Sinon Bushman

St. Cloud State University (MN)

Arris Golden

Michigan State University

Jennifer Hamilton

Red Mountain High School (AZ)

Chadwick Kamei

Pearl City High School (HI)

Tremon Kizer

University of Central Florida

Diane Koutsulis

Retired (NV)

Tonya Mitchell-Spradlin

Penn State University

Jason Nam

Indiana University

Sue Samuels

Furman University (SC)

Col. Don Schofield

United States Airforce

Shanti Simon

University of Oklahoma

John Thompson

Roosevelt University (IL)

2024 NATIONAL BAND ASSOCIATION ALFRED YOUNG BAND COMPOSITION CONTEST

Anyone WHO MAY ENTER:

REQUIREMENTS:

ENTRY MATERIALS:

AWARD:

ENTRY DEADLINE:

$2000 AWARD: July 15, 2024

A work for jazz band with no restrictions as to style, form, or length.

Full Score (PDF)

MP3 recording of specified instrumentation

Entry Form: bit.ly/nbayoungband

The winning composition will be recognized at the NBA General Membership Meeting at the 2024 Midwest Clinic, will appear in the NBA Journal and will be announced through the NBA Facebook Page.

The winning composition will be considered for publication in Alfred Music’s premiere Young Symphonic Band Series (or other appropriate series) as part of an upcoming catalog. If it is accepted for publication, a $2,000 advance on future royalties will be awarded once the piece is brought to market. See contest rules for more information. -

CONTEST RULES & PAST WINNERS: NationalBandAssociation.org/composition-contests

NBA/ALFRED YOUNG BAND COMPOSITION CONTEST COMMITTEE

Gregory Denson

Cheek Middle School (TX)

Arris Golden

Michigan State University

Tyler Grant

Holy Innocents' Episcopal School (GA) / Composer

Tiffany Hitz

Robison Secondary School (VA)

Christopher Shumick

Milton High School (GA)

Audrey Murphy, East Cobb Middle School (GA), Chair

A DELIBERATE PRACTICE APPROACH TO SCORE STUDY AN UPDATED APPROACH TO INCREASING ARTISTRY AND MUSICAL DEPTH WHILE MAXIMIZING TIME ON TASK

ISAAC BRINBERG

There are countless articles, books, presentations, and workshops that discuss the score study process; different methods of audiation, score marking, analysis, diagramming, and emotional comprehension foster many customizable approaches. One approach developed outside of the musical domain, but which can be adapted to score study, is the notion of deliberative practice. Ericsson (Peak 2016) pioneered principles of deliberative practice by examining similarities in practice strategies of experts across disparate disciplines (athletes, artists, scholars, and entrepreneurs) such as slow practice, focused repetition, well-planned goals that build sequentially, and frequent

feedback loops. The common theme across these disciplines is the value of a sophisticated, wellarticulated, well-defined mental representation that synthesizes the necessary emotional, cognitive, and behavioral skills to be a disciplinary expert. The mental representation provides the expert with a foundation to recognize patterns and solve problems more effectively and efficiently than a non-expert. Conductors can use deliberate practice strategies to make score study more efficient and effective through building a strong mental representation of the music.

Effective score study is crucial to develop a compelling, musical interpretation while also informing rehearsal and pedagogy. The better our

Continued on next page

Dr. Isaac Brinberg currently serves as the Wind Ensemble Director and Tuba Instructor at Augusta University in Augusta, GA. He completed his Doctor of Musical Arts in Wind Band Conducting at the University of Illinois Urbana-Champaign. Dr. Brinberg received his Master of Music in Wind Conducting at the University of Missouri-Kansas City Conservatory and earned his Bachelor of Music Education from Indiana University.

Dr. Brinberg’s research has recently focused on Chen Yi, nontraditional concert venues, tuba pedagogy, and cultural diplomacy. He has presented at several CBDNA Division conferences, the College Music Society Great Plains Regional Conference, and virtually through the CBDNA webinar series. He has been published in the Journal of Band Research and has contributed to The Instrumentalist and The Collective. Dr. Brinberg is a member of CBDNA, ITEA, GMEA, and Kappa Kappa Psi.

A Deliberate Practice Approach to Score Study,

Isaac Brinberg, cont.

aural image, the better we can rehearse, conduct, and perform the music. Our aural image is what Ericsson defines as mental representation, which is “a mental structure that corresponds to an object, an idea, a collection of information, or anything else, concrete or abstract, that the is brain is thinking about” (Ericsson 58). The goal of practice, according to Ericsson, “involves developing ever more efficient mental representations that you can use in whatever activity you are practicing” (Ericsson 59). This is another lens to view the score study process, one focused on constructing a vivid internalization, comprehension, and expression of a score.

In his book, Ericsson outlines principles of deliberate practice from studying experts across many disciplines. These include: 1) pushing outside of your comfort zone; 2) creating specific goals for each practice session; 3) developing tasks that sequentially lead to the defined goals; 4) focused effort on each task while practicing and 5) a feedback loop based on evaluating the focused effort and adjusting practice strategy for subsequent sessions (Ericsson 99-100). These deliberate practice ideas are like the individual practice you have done on your instrument or voice: slow repetition, focus on isolated

musical variables, sequential mastery of small musical segments, and constant feedback loops and self-reflection. All these deliberate practice strategies can be used during the score study process.

In this article, I connect five elements of score study (listed below) with Ericsson’s idea of mental representation to develop a detailed interpretation of the musical score. The elements form an external-internalexternal framework, where study begins through gathering information about the musical score, developing an internal mental representation, and then preparing to conduct and rehearse the ensemble. These elements are non-linear, and understanding one element should lead to revelations and new questions that require revisiting other elements. I also highlight several applications of deliberate practice techniques to score study, such as slow practice, focused repetition, feedback loops, and sequentially linked practice sessions. My goal is for you to have clear takeaways and actionable items for your own professional practice.

• Contextualization: understanding a composition and composer’s background

• Noticing: gleaning and organizing notation

information from the page

• Internalization: connecting context and noticing into musical imagination

• Preparation: turning internalization into a comprehensive pedagogical plan

• Realization: synthesizing internalization with preparation for rehearsal and performance

CONTEXTUALIZATION

Contextualization is an external process of gathering necessary background information before studying the music. I start by reading a brief composer biography, composition program notes, and scholarly articles available about the work. This does not require a huge time investment, just enough to create initial understanding. I also listen to multiple recordings (when available), with and without the score, to build an initial aural framework of the composition. This enables a better start for detailing a vivid mental representation of the piece. Listening to many different recordings helps inspire and sharpen one’s own interpretation.

NOTICING

Noticing involves gathering all information from the ink on the page. Often paired with

contextualization, I do multiple perusal “pass-throughs” of the work to cultivate a macrostructure of the piece, such as thematic or formal analysis. As I develop the macrostructure, I focus on one section at a time and slowly study phrase by phrase, paying attention to all printed details. The key is to not rush through—some passages may be easier or harder to initially digest. While detailing phrasal analysis, I select appropriate analytical techniques that best serves that musical moment, such as harmonic or motivic analysis. For example, in a choral passage, I would use harmonic analysis since that is the primary musical idea of that passage. I avoid applying one analytical technique through the entire work, instead selecting specific techniques that best serves understanding the composer’s intent.

INTERNALIZATION

Internalization is the process of transforming the external, analytical segments (contextualization, noticing) into your interpretation of the music. This leads to asking questions about the composition and composer’s intent. The most worthwhile question is: why did the composer write the music this way? You may notice a theme is repeated but with different orchestration, or a new countermelody is introduced. How do noticing these details

A Deliberate Practice Approach to Score Study, Isaac

inform your musical decisionmaking? This creates an internal feedback loop, where noticing yields questions, which leads to new noticing and questions that refine the internalization of the music.

I believe active methods are key: singing, humming, playing on the piano/your instrument, moving, and wind patterns are quick feedback loops for sharpening internalization during score study. Consider the opening statement of the Chaconne from Holst’s First Suite in E-flat. You may sing or audiate that passage as an initial step to form the preliminary foundation of a mental representation. Can you sing that opening statement a dozen different ways? Different phrase shapes, tempos, color, shading, breaths, points of emphasis, character? Can you hear each of those ways with the most vivid sounds in your mind’s ear? Record yourself singing a short passage on your phone and listen back to it, exploring different possibilities. The more vivid the audiation, the more expressively intentful your interpretation.

PREPARATION

The focus of preparation is sharpening mental representation of the musical score through pragmatic conducting and rehearsal items. As you internalize the score, you may come across

Brinberg, cont.

pedagogical considerations for your students that will influence how you teach and rehearse. On a macro level, this effort involves planning your rehearsal cycle, including how to introduce different concepts and sections and which fundamentals prepare and reinforce these concepts in the repertoire. With the Holst example, there are many opportunities to teach ensemble listening skills through identifying the musical roles of each voice. This effort also includes connecting your mental representation to gesture, practicing different ways to communicate your internalized aural image of the music to the ensemble.

Preparation also includes score marking for rehearsal and performance. There are so many existing systems, and you most likely have one you have developed or adapted. My suggestion is to emphasize how noticing and internalization informs score marking. I have found that better mental representation of a score leads to fewer score markings because my aural image makes the music feel “inevitable”—one phrase feels like it must lead to the next. If you emphasize noticing and internalizing in your process before score marking, you may

Continued on next page

A Deliberate Practice Approach to Score Study, Isaac Brinberg, cont.

also experience this same feeling of musical “inevitability.”

REALIZATION

Realization is your externalized mental representation of the music, a synthesis of contextualization, noticing, internalization, and preparation. The previous areas focus on building your mental representation with vivid clarity and strength. This area involves the physical and logistical preparation for the first rehearsal. Practice conducting through portions of the score. Can you lead your own internalized interpretation of the work with specific and musical conducting that conveys your beliefs about the music? Does every breath, gesture, facial expression, and movement connect to your interpretation, or are there “empty” habitual gestures? Do short “selfie” videos of yourself conducting and singing a phrase (10-30 seconds), then watch with the sound on and off. This can reveal the effectiveness of your work and measure progress through focused repetition. As someone who has struggled with watching personal conducting footage, doing this has helped my self-evaluation.

Returning to different recordings at the end of the score study process tests the strength of interpretative

beliefs. Take the Holst example again. I have my current mental representation of that opening Chaconne and as I compare it to many recordings, I can justify my interpretation because of my deliberate score study process. However, I also have discovered new interpretations that challenged my initial interpretation and changed by mental representation. You may have a favorite recording of the music you are studying. Listening to multiple recordings helps avoid getting stuck in an interpretative rut. Our interpretations evolve through repeated score study and performance of the work. Openness to change of interpretation is best when you have a strong mental representation as a point of comparison.

IMPLEMENTATION

There are effective ways to implement Ericsson’s deliberate practice methods in your busy professional lives. Record yourself singing through a melodic idea to workshop phrasing, ask more questions during the noticing process, or listen to multiple recordings at the end of the process to test your mental representation. The most efficient way to maximize deliberate practice is recording yourself in short bursts that allow for trialand-error repetition—avoid only recording “run-throughs” of larger

sections. Isolate one short section to record, reflect, and then cycle through the feedback loop several times in rapid succession. This fosters more focused practice on specific goals.

Self-reflection of your score study process is crucial to deliberate practice and takes patience to develop. Objectivity in your reflection helps reduce influence from your ego, which often clouds self-awareness of our musicianship and teaching effectiveness. When watching or listening to rehearsals, focus on one variable (movement, musicianship, pedagogy, etc.) at a time to observe and modify for next time. This isolation aids in defining and seeing measurable improvement in that area and reduces feeling overwhelmed. I block 15 minutes immediately after each rehearsal to reflect and make notes for next rehearsal since it is fresh in my mind.

Deliberate practice strategies are ways to augment your current methods to be more effective and efficient in your score study to better serve the composer, ensemble, and audience. By setting specific goals, implementing deliberate practice strategies, and selfreflection through the framework of the five score study elements,

Continued on next page

you can develop a strong mental representation of the music and grow your personal musicianship. I encourage you to try one new method during a rehearsal cycle with your ensemble or class this year.

A huge thank you to Walt Puyear, current doctoral student at the University of Michigan and Lecturer of Saxophone at Eastern Michigan University, for introducing me to the world of deliberate practice. If you want to learn more, I recommend Jason Haaheim’s blog (Principal Timpanist, Metropolitan Opera) as well as these books: 1) Peak: Secrets from the New Science of Expertise by Anders Ericsson; 2) Deep Work: Rules for Focused Success in a Distracted World by Cal Newport; 3) The Practicing Mind by Thomas Sterner.

I hope you find these suggestions helpful along your musical journey, and please feel free to contact me via email with questions or comments!

Email: ibrinberg@augusta.edu

Ericsson, Anders. Peak: Secrets from the New Science of Expertise. New York: Houghton Mifflin Harcourt Publishing, 2016.

A BEAUTIFUL THING ZACH TOLMAN

Saying that Kevin Day was born into a musically diverse family might be an understatement.

Day’s musical inspirations are eclectic, bridging various genres, artists, and styles. Day describes his writing as a fusion of many different styles. This fusion of diversity inspires Day to compose with a unique voice. As musicians, we are tasked with presenting a composer’s work to the audience; we give their creativity a voice. Because of this task, it is crucial that performers understand the composer and their intent. Author Erich Leinsdorf writes in The Composer’s Advocate,

“In seeking to understand a composer’s mental processes, a significant exercise is to examine the precise ways in which he emulated or transformed his models.” 1

Understanding a composer’s thinking and intent is the responsibility of any musician as they strive to perform the work with accuracy and a justifiable

interpretation. Insight is gained through score study, historical study, and understanding any model or other source material a composer emulates.

MUSICAL INSPIRATIONS

In an interview with Day, he shared that his father was a hiphop producer and his mother, a “gospel singer, go to church kind of person.” 2 Day recalls his father grilling outside on Saturday mornings while listening to artists such as Tupac Shakur, Boyz II Men, Sisters with Voices, and Jackson 5. After some time, his mother would come outside and tell his father to play gospel music. Gospel artists such as Kirk Franklin, Fred Hammond, and Tye Tribbett quickly replaced the R&B and hip-hop groups.

As a youth, Kevin Day began playing the piano in their church choir at age nine, a position he filled until he was twenty-one. As a church pianist,

“I was learning to play by ear … it was all very improvisatory.” 3 '

1 Erich Leinsdorf, The Composer’s Advocate (Yale University, 1981), 36.

2 Kevin Day, interview by author, Zoom, February 2, 2023.

3 Kevin Day, interview by author, Zoom, February 2, 2023.

Zach Tolman, a DMA candidate in wind band conducting and jazz studies minor at the University of Arizona, excels in directing the UA concert and athletic bands, drill writing, and music arranging. Selected as the 2024 UA School of Music Outstanding Graduate Teaching Assistant, he has accepted the position of Director of Bands and Professor of Instrumental Music at Northwestern Oklahoma State University. With nine years of experience teaching middle and high school bands in Wyoming, Tolman's ensembles consistently earned superior ratings. He held leadership positions and received accolades, such as the Wyoming Music Educators Association's "Young Music Educator of the Year" in 2017. A sought-after guest conductor and adjudicator, Tolman presents at national conferences and contributes to the Rocky Mountain region's music scene.

As Day progressed through public school, his pool of influences continued to grow. He played euphonium and tuba in his middle and high school orchestras and

Continued on next page

concert bands, where he was exposed to great composers such as Tchaikovsky and Grainger. These “worlds often never intersected” for Day growing up.4 While attending Texas Christian University, he joined the jazz ensemble and played piano. John Coltrane, Ella Fitzgerald, and Oscar Peterson became musical inspirations. It was at TCU that

“everything started to collide, and all the worlds I grew up with, that I kept separate began to now come into one place because I was involved in many ensembles at TCU, but I was also writing a lot more.” 5

Now, Kevin Day is “an internationally acclaimed composer, conductor, and pianist, whose music often intersects between the worlds of jazz, minimalism, Latin music, fusion, and contemporary classical idioms.” 6

He has won numerous composition awards, been commissioned by top ensembles in the world, and composed works for today’s top performers. His music merges several different musical worlds. Day’s childhood introduced him to a variety of

4 Ibid.

5 Ibid.

different genres and styles. Hiphop, R&B, classical, jazz, and gospel were all musical influences of his youth. In the program notes for his Concerto for Wind Ensemble, Day writes,

“I wanted to write something that reflected my upbringing as a young black man and the musical culture I grew up in, which hasn’t always been represented in concert band music.” 7

In Day’s interview, he described his writing as a

“sound that you can’t really categorize or can’t really put into a particular genre. I guess the word that we have for that now is fusion. You know, fusing ideas.” 8

His writing synthesizes his varied musical inspirations.

IN THE MUSIC

Excerpts from Day’s program notes highlight his ability to fuse the different musical inspirations from his life:

From Manhattan Nights for Symphony Orchestra: “I wanted to use my jazz, classical and minimalism influence and try to merge them to form something new.” (Note: In the Zoom

A Beautiful Thing, Zach Tolman, cont.

interview, Kevin Day discusses that looking back on the piece and knowing what he knows now, he would change that to post-minimalism).

From Havana: “… heavily influenced on Cuban music, rhythms, and percussion. I wanted to highlight different dance genres such as Salsa, Mambo, and Cha-Cha, while also making the piece in my own voice.”

From Concerto for Wind Ensemble: “My experience and the inspiration for this work come from a world of various intersections.” Day lists hip-hop, R&B, jazz, gospel, and classical music. “While these worlds had been separated in my head when I was growing up, in this work I intentionally wanted to merge them together in new fusions, paying homage to my parents, the culture I grew up in, and to the wind band world.”

In Blue Hour Skyline, Day shares that the piece depicts the busy nightlife that emerges as the sun sets. This is a similar idea to the inspiration of Manhattan Nights.

6 “Biography,” Kevin Day Music, accessed September 9, 2023, https://www.kevindaymusic.com/about.

7 Kevin Day, Concerto for Wind Ensemble, (2021), program notes.

8 Kevin Day, interview by author, Zoom, February 2, 2023.

Continued on next page

PERSPECTIVE

A Beautiful Thing, Zach Tolman, cont.

A closer inspection of his music reveals the specificity to which Day draws on these musical inspirations. Manhattan Nights for Symphony Orchestra has a bass clarinet solo cadenza at mm 153159. Day instructs the musician to play “a la Eric Dolphy.” Later, in mm 188-191, a solo for Bb clarinet is marked “a la Benny Goodman.” Eric Dolphy (bass clarinet) and Benny Goodman (Bb clarinet) are famous jazz clarinetists. Eric Dolphy had a raw, almost unrefined tone. Benny Goodman performed with a bright, powerful sound and pronounced vibrato. Dolphy’s and Goodman’s tonal profile would often not be considered a characteristic sound of a modern classical clarinetist. However, if a musician is to play these solos imitating their style, they must understand what those artists sounded like, their tone, articulation, and phrasing. Finally, in m 205, Day inserts the melody for “Donna Lee,” a bebop tune from the late 1940s made famous by saxophonist Charlie Parker. There is a precise way to perform the melody for “Donna Lee,” incorporating performance practices of the bebop genre, such as accenting high notes and deaccenting low notes.

A BEAUTIFUL THING

All conductors and performers are responsible for advocating for the composer and understanding the composer’s intent within the music.

“Do they [conductors] have the experience to communicate what kind of sound they want?” asks Day.

He continues, “I can write things in a certain way, and if the conductor doesn’t know this genre or know this style, it still won’t be interpreted the way I think it needs to.”

Performers need “to do their research about this music and figure out how to do it” says Day.9

Musicians must do their part to understand their stylistic choices rather than simply deciding without any research or thought. Understanding provides insight and clarity, and clarity clears the way for effective communication, allowing for meaningful performances. And as Kevin Day himself said,

“that’s a beautiful thing.” 10

9 Kevin Day, interview by author, February 2, 2023.

10 Kevin Day, interview by author, February 2, 2023.

NATIONAL BAND ASSOCIATION

2024 YOUNG COMPOSER / YOUNG CONDUCTOR MENTOR PROJECT

2024 COMPOSER MENTORS

2024 COMPOSER MENTEES

WILLIE CORNISH, JR

Willie Cornish, Jr. (b. 2000) is a multi-instrumentalist and composer based in Fort Mill, South Carolina. He seeks to create art that inspires and broadens perspectives through musical storytelling. Cornish enjoys making works for film, video games, concerts, and education. When not creating, he teaches composition classes for the Ypsilanti Youth Orchestra. Cornish holds a Bachelor of Music from Furman University and is pursuing a Master of Music at the University of Michigan. His teachers include Mark Kilstofte, Jay Bocook, Erik Santos, Evan Chambers, Stephen Rush, Michael Daugherty, and Roshanne Etezady.

ISABELLA MORRILL Isabella Morrill (b.2003) was born and raised on the coast of Oregon and is a composer and arranger specializing in writing for wind ensemble, concert band, and orchestra. In the fall of 2019, she was titled co-champion of the Oregon Music Education Association Composition Contest with her orchestral piece Hymn to the Rain. In 2022 she was named the winner of the National Band Association Merrill Jones Memorial Young Band Composition Contest for her piece Voyage of the Northern Lights, leading to performances with the University of Kansas, Washington State University, Eastern New Mexico University, Notre Dame College, the Washington-Idaho Symphony, and more. Morrill graduated from Western Oregon University as a composition major in March 2024.

FRANK TICHELI

JENNIFER JOLLEY

PETER MEECHAN

NBA 2024 Young Composer / Young Conductor Mentor Project, cont.

ABOUT YCCMP

In 2000, the National Band Association launched the first of its two Mentor Projects, the Young Composer Mentor Project. The brainchild of composer/conductor and George Mason University Professor Emeritus, Mark Camphouse, the idea 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 under the leadership of project director Paula Crider, Professor Emerita, University of Texas at Austin. The young conductor component was added at the suggestion of mentor Frank Ticheli, following the first two young composer events. Over the past 20 years, more than 75 young composers and conductors have distinguished themselves through participation in both projects (YCCMP), which now place a strong emphasis on the importance of composer-conductor interaction. The young composers and conductors work in collaboration to present public performances of the composers’ compositions conducted by the conductors.

ALEC SCHANTZ

Alec Schantz (b. 1999) is an educator, composer and clarinetist from Northern California. They received a Bachelor’s degree in Music Education from San Jose State University where they studied clarinet under Dr. Janet Averett and Jonathan Szin. Schantz received a certificate of completion from the teaching credential program at California State University Chico, and now studies composition with Dr. Viet Cuong at University of Nevada Las Vegas. Their compositions, such as Zacramento Soo, (i carry it in my heart), Speak of the Devil, The Pitch Black Basement, and I Wish I Could Give You Something..., have been winners or runners-up in competitions and calls for scores and have led to collaborations and commissions with ensembles such as the Magnolia Wind Quintet, Azure Saxophone Quartet, Houston Pride Band, and CMEA Northern-Section Junior High Honor Band.

CONNOR WOOLEY

Connor Wooley (b. 2001) is a composer, educator, and performer based out of Fort Wayne, Indiana. He has been prolific in his works for solo, chamber, strings, and wind ensemble. Wooley has been commissioned by numerous performers and ensembles in the Midwest, with works performed at professional development conferences and symposia such as the Indiana Music Educators Association (IMEA) and the College Band Directors National Association (CBDNA) conferences. Wooley seeks to provide performers of all ages an opportunity to experience quality music that is exciting and enjoyable to perform. He enjoys being able to work with students to help them find their own connections within his music. Collaboration between the composer and the performers is something he is deeply passionate about.

NBA 2024 Young Composer / Young Conductor Mentor Project,

2024 CONDUCTOR MENTORS

2024 CONDUCTOR MENTEES

JENNIFER

(JEN) HEPP

A native of Novi, Michigan, Jen Hepp is currently pursuing master’s degrees in Wind Conducting and Musicology at the University of Missouri-Kansas City Conservatory (UMKC). She is currently an ensemble director for the nonprofit organization Harmony Project KC, which provides music education through afterschool programming for students in Kansas City who have limited access to music education in their community. Prior to attending UMKC, Hepp served as a high school band director in Houston, Texas where she worked with close to 300 students. She holds bachelor’s degrees from Northwestern University in Music Education, Trumpet Performance, and Journalism. During her time at Northwestern, Hepp was recognized as a Theodore Presser Scholar and performed regularly with the Civic Orchestra of Chicago.

HANNAH MORRISON

Hannah Morrison is a joyful musician, conductor, and educator, who has studied with Steven D. Davis, Joseph Parisi, J. Eric Wilson, and Isaiah Odajima. She holds a Master of Music in Instrumental Conducting and Bachelor of Music Education from Baylor University, and is currently in the final year of a Doctor of Musical Arts in Wind Conducting at the University of Missouri-Kansas City Conservatory. Most recently, she was named director of the Intermediate Wind Ensemble program at the Interlochen Arts Camp. Prior to graduate studies, Morrison served as a band director in the Dallas Metro schools at Lamar Middle School and, as a horn instructor and brass pedagogy specialist with the acclaimed Marcus High School Band. Currently, she maintains an active horn studio in the Kansas City area.

RANDALL COLEMAN

RODNEY DORSEY LINDA MOORHOUSE

COL. DON SCHOFIELD

DAVID RAMOS

David Ramos received his Bachelor of Music Education degree with a specialization in Special Music Education from Florida State University. He served as the Director of Bands at Bradford High School in Starke, Florida from 2021-2023. Ramos is an avid researcher, having written and presented on topics such as the wind music of Cuban composers, diverse programming for high school bands, and conductor magnitude. He also has several publications with the Florida Music Director and continues to write from his perspective as a band director and conductor. Ramos holds professional memberships with the International Conductors Guild, National Band Association, National Association for Music Education, Florida Music Education Association, Florida Bandmasters Association, Pi Kappa Lamba, and Phi Mu Alpha.

ALEXANDER SCOTT

Alexander Scott is pursuing a Doctor of Musical Arts in Conducting at the University of Michigan. Previously, he taught for nine years in Maryland public schools. For seven years, he was the Department Chair and Director of Instrumental Music at Meade Senior High School in Fort Meade, Maryland. Scott earned a Master of Music in Music Education from the University of Michigan, a Master of Music in Instrumental Conducting from the University of Maryland, and a Bachelor of Arts in Music Education from the University of Maryland, Baltimore County. Scott's primary conducting teachers include Jason Fettig, Michael Haithcock, and Michael Votta.

NBA 2024 Young Composer / Young Conductor Mentor Project, cont.

HOW TO SUBMIT PEER-REVIEWED RESEARCH ARTICLES TO THE NBA JOURNAL BY MATTHEW TALBERT

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

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

TRADITIONAL RESEARCH LAYOUT AND VALUE OF THE RESEARCH ARTICLE

Dr. Russell Gavin, former chair of NBA’s Research (and Editorial)

Matthew Talbert, Associate Professor of Music Education and Director of the School of Music, joined Ohio University in the fall of 2016. Talbert earned a Ph.D. in Music Education from the University of South Carolina (2012), a Master of Music in Music Education from Appalachian State University (2005), and a Bachelor of Music in Music Education from Appalachian State University (2004).

committees, shares his thoughts on the layout and value of these types of articles:

A number of peer-reviewed research articles may read like other articles found in the NBA Journal, with the author outlining their thoughts on a subject while using citations to support the premise of the issue being discussed. Other research articles will take on a bit more of a scientific approach. These articles begin with a review of literature

Continued on next page

SUBMITTING

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

summarizing the research on the topic that already exists, while simultaneously presenting the reader with the rationale driving the current article. A method section follows, describing what actually happened in the research, then a results and analysis section(s) describing what the researcher found, if anything. The article closes with a discussion of the findings and how they may relate to the world. The article concludes with a list of references from which the author drew information and ideas.

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

As mentioned above, an ideal research article is adding to the research that came before it. This continuation and growth of knowledge is one of the defining characteristics of this kind of inquiry. At the end of the article, the reader is left with information

that is not only new to them, but simultaneously new to the world. This level of investigation is of paramount importance in all areas of music and education, and the NBA is proud to present this new avenue for such exploration and thought.

GUIDELINES for Submission of Peer-Review Research Articles

A. Submission Method: Manuscripts should be submitted as Microsoft Word attachments via email to the Editorial Committee Chair: silveyba@missouri.edu

B. Length: The manuscript should not exceed 25 pages and should include an abstract of 100-150 words in length on a separate page. We encourage the submission of short form articles (4-10 pages) as well as full-length articles.

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

Continued on next page

keywords/phrases that describe the contents of the manuscript.

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

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

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

(3) A Manual for Writers of Term Papers, Theses, and Dissertations (K. L. Turabian, 9th edition, revised by Wayne C. Booth, Gregory Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff, 2018). Note: Authors may not

SUBMITTING PEER-REVIEWED RESEARCH

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

combine and/or mix styles within a single manuscript

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

F. Ethical Requirements: It is the author’s responsibility to ensure that no copyright

issues have been violated by the submission, including images, charts, etc. Manuscripts already published in other journals can be submitted for consideration in the NBA Journal providing the author has permission to do so.

Questions about submitting a peer- reviewed article? Email Research Chair Brian Silvey at silveyba@missouri.edu