February 2022 Ala Breve

a l a b r e v e February/March2022 The Official Publication of the Alabama Music Educators Association



2022 On-Campus and Video Auditions Each Member of the Jaguar Marching Band Receives a Scholarship! Full-Band Travel Opportunities to Away Games and Exhibitions! Winds and Brass Auditions No Fees and January 8, 2022 No Fundraising! February 12, 2022 USA offers in-state tuition to all out-of- March 19, 2022 state students awarded an admission April 2, 2022 scholarship for academic merit at the time of admission Colorguard Audition April 23, 2022 Drumline Audition March 26, 2022 To View Audition Requirements and Apply visit: www.jaguarmarchingband.org March in the NEW Hancock Whitney Stadium! University of South Alabama, Laidlaw Performing Arts Center 1072 5751 USA Drive South Mobile AL 36688 | 251-460-6136 | [email protected] www.jaguarmarchingband.org| facebook.com/jaguarmarchingband































As we begin to plan for next year, we would love to have you present a session. What are you passionate about? What would you love to share with others? What do you do in your classroom that would be helpful to others? We would also love to have an elementary group perform. Do you have an Orff ensemble or choir? Bucket drummers or recorder ensemble? Please do not forget to vote. Susan Smith AMEA/AOSA/Shake - Shake - Spring Kodaly Workshop is on the ballot for Southern Division Elementary Workshop Clinician - Rachel Gibson President-elect. Also, our own Dr. Phil Clinicians - Rhonda Tucker & April 2, 2022 9am-3pm Wilson is on the ballot for AMEA John Jacobson Vestavia Hills Elementary East President-elect. Feb 26, 2022 9am-3:30pm Vestavia Hills - Liberty Park Elementary We do have several more fun and engaging workshops coming up! Please AOSA - Spring Workshop register early so we can get a headcount Clinician - Jennifer Donovan for needed equipment. Let’s keep March 12, 2022 9am-1pm ‘dancing’ through the remainder of the Samford University school year. ĈinĦ ķwoiĺuĪį at Samford’s School of the Arts Division of Music Samford University offers undergraduate and graduate degrees in composition, commercial music, music education, music and worship, instrumental, piano and voice performance, and piano performance and pedagogy. [email protected] • 205-726-4111 • samford.edu/arts 19 Samford University is an Equal Opportunity Educational Institution/Employer. ala breve

Joel Henson- President, Alabama Bandmasters Association Alabama Keep Up The Good Bandmasters Fight...It Matters! Association Keep up the Good Fight…It Matters! Percussion Ensemble (Clay Sloan), and the We are also excited to bring our Oak Mountain High School Wind Ensemble Music Performance Assessment back to an It was so great to catch up with old (Kevin Ownby). As I stated several times as in person format. The ABA Board voted friends and make new ones at AMEA 2022. a presider at the conference, just making it to unanimously to approve an amended policy While there was definitely some trepidation the stage for these performances was a win for 2022 due to learning loss during the leading up to the conference, I’m so grateful considering the circumstances. However, pandemic. Please make sure you have that we were able to have this event in these performances were much more than reviewed this policy and are aware of our person for our membership. I had the that. They provided inspiration for band current bylaws as it relates to Music opportunity to pop into almost every clinic directors across the state as they head back Performance Assessment. A special thanks and performance and was extremely pleased to their ensembles with greater passion and to our district chairman and vice chairman with our offerings. That is due to the purpose. for their role in making all of our events outstanding membership of ABA and your successful. There is no way ABA could continued support of one another. If you When you read this article, it is my function without these dedicated individuals. have never presented or performed at hope that district level All State auditions are AMEA, I encourage you to apply for the complete and we are moving toward our All Being a more “seasoned” teacher, I 2023 conference. State event on April 6-9, 2022 in Mobile, find myself more and more becoming an Alabama. As a reminder to our membership, advocate along with my everyday teaching This year’s conference was filled auditions for this event will be held virtually responsibilities we all have. It is extremely with outstanding performances. The using the Heartout app. Also, preliminaries important that we encourage and support opening concert was presented by the of the All State Solo Festival will also be each other in these difficult times. I think Hewitt-Trussville High School Wind submitted virtually through the Heartout that our students need us now more than Ensemble under the direction of Mike app. We are excited to have the University of ever. Likewise, I feel that our colleagues Guzman. This concert was truly a great way South Alabama Wind Ensemble under the need us now more than ever. Our classes are to kick off the ABA performances at this direction of Dr. William Peterson a positive outlet for many students when year’s conference. The next ABA performing at this year’s conference. everything around them is negative. A performance block featured the Thompson Additionally, the ABA Board gave me personal revelation that it took me longer Middle School Symphonic Band (Michael permission to extend an invitation to the than most to realize is that we teach kids not Chambless) and the Pelham High School Albertville Wind Ensemble (Taylor Cash) to music. If the kids we serve know we care Wind Ensemble (Justin Ward). We then perform at this year’s festival since they had about them, the music will take care of itself. wrapped up Thursday with an outstanding to cancel their AMEA performance due to It’s easy in the middle of a global pandemic performance by the Bob Jones Wind the ongoing pandemic. You can find to grow weak, weary and negative. Keep up Ensemble (Leigh Thomas). Our Friday complete information about this year’s the good fight…it matters! performances included the JSU Jazz festival on our website: Ensemble I (Andy Nevela), Austin www.alaband.org. 2022 All-State Band Clinicians Red Band - Steven Davis Narong Prangcharoen, Ingrid Stölzel, and Zhou Long, amongst countless others. Davis currently serves as the Rose Ann Carr Steven D. Davis has inspired ensembles around Millsap Missouri Distinguished Professor of Music and Professor of the world and is celebrated as a conductor of wind Conducting at the University of Missouri-Kansas City Conservatory. ensembles, orchestras, opera, ballet, and new He leads the Symphony Orchestra of the Youth Symphony of music ensembles. In addition to conducting Kansas City, and spends his summers conducting at the Interlochen symphonic repertoire of significant composers, Summer Arts Camp, where he serves as director of the wind Davis is fervently committed to initiating and ensemble program. Recent and upcoming events include leading performing new repertoire written by both emerging and acclaimed performances at Carnegie Hall and the Musikverein in Vienna. Davis living composers, with intentional focus placed on collaborating with also leads the annual Kansas City Conducting Symposium, which diverse artists. Praise stems from Robert Beaser, Chen Yi, John draws nationally acclaimed clinicians, speakers, and participants from Corigliano, Michael Daugherty, Roshanne Etezady, Jennifer Higdon, around the country. 20 February/March 2022

White Band - Jamie Nix 2022 All-State Band Clinicians Jamie L. Nix is director of wind ensemble ac- Blue Band - Daniel Tembras tivities, professor of music, and holds The Hal J. Gibson Distinguished Chair in Conducting at Daniel Tembras serves as the Director of Columbus State University’s Schwob School of Instrumental Studies at Purdue University Music. Nix, the first recipient of the Sam and School of Music in Fort Wayne, Indiana. His Jacquie Rawls Distinguished Music Professorship at CSU, duties include conducting the Symphonic Wind conducts the Schwob Wind Ensemble and Ensemble and Symphonic Band, teaching Wind Orchestra, heads the graduate wind courses in conducting and music education, and band conducting program, and hosts the An- coordinating the woodwind, brass, and nual Conductors Workshop. Previous posts include associate percussion areas. Dr. Tembras holds a DMA director of bands and the Donald R. Shepherd Assistant Professor of degree in Wind Conducting from The Conducting at the University of Michigan School of Music, Theatre University of Texas at Austin. Prior to this, he served as the & Dance, where he was director of the famed Michigan Assistant to the Director of Bands at The University of Texas at Marching Band, and assistantdirector of bands at The Univer- Austin, Director of the Longhorn Jazz Band and Combo, and sity of Texas at Austin Butler School of Music. Under his di- Assistant Director of the Longhorn Basketball and Volleyball rection since 2010, the nationally acclaimed Schwob Wind Bands. Dr. Tembras received the Master of Music degree in Wind Ensemble has performed at the 2015 CBDNA National Con- Conducting from Michigan State University. While in Michigan, ference, the 2012 CBDNA Southern Division Conference, Dr. Tembras served as a director in the Mason Public Schools in and the 2018 and 2012 GMEA State Conferences. Nix has Mason, Michigan, and in the Kearsley Community Schools in recently served as conductor at the CBDNA North-Central Flint, Michigan. Dr. Tembras is a native of Lansing, Michigan, Intercollegiate Band, as a guest conductor of the famed East- and received his Bachelor of Music degree from Michigan State man Wind Ensemble and the United States Army Field Band, University. Dr. Tembras is a frequent guest conductor throughout and several international events including the Alberta Interna- the United States and abroad, including the Beijing Central tional Band Festival, International Double Reed Society Con- Conservatory of Music in Beijing, China, the United States Army ference, International Trumpet Guild Conference, and the Field Band, and the World Youth Wind Orchestra Project International Trombone Festival Conference. He has con- (WYWOP) in Schladming, Austria as part of the Mid-Europe ducted All State Bands in Georgia, Florida, Missouri, Ore- International Festival. The IPFW Symphonic Wind Ensemble gon, Texas, and Virginia, as well as the Music for All Summer gave their debut performance in Carnegie Hall in New York City Symposium and numerous honor bands and orchestras in the in 2015, embarked on a two-week tour of Europe performing in U.S. and Canada. Nix has served as a conducting symposium some of the world’s greatest concert halls, including performing clinician at LSU, Michigan State University, UMKC, Univer- Music for Prague 1968, on its 50th Anniversary in the Rudolfinum in sity of Colorado, and the University of Texas. As an orches- Prague, CZ. This summer, Tembras will guest conduct the Czech tral conductor, he has led performances with the CSU National Symphonic Band as part of the World Music Contest Schwob Philharmonic, was music director and conductor of (WMC) in Kerkrade, NL. Next spring, the ensemble will embark the Advanced Young Musicians String Orchestra in Coral on a tour of Asia. Dr. Tembras is a member of the College Band Gables, FL, and in 2008 participated in the two-week Inter- Directors National Association, NAfME, and is a frequent guest national Mahler/BrahmsConducting Festival with the Bo- clinician throughout the United States. He is an honorary member huslav Martinu Philharmonic in the Czech Republic. Nix, of Phi Beta Mu and Phi Mu Alpha Sinfonia. elected into the prestigious American Bandmasters Association in 2016, holds a Doctor of Musical Arts degree in conduct- Middle School Band - Robert Herrings ing from the University of Miami Frost School of Music Robert Tyrome Herrings, III is in his nineteenth (Gary Green), two Master of Music degrees, in trombone per- year of teaching and has been teaching at Artie formance and conducting, from the University of Michigan Henry Middle School in Leander ISD since 2004. (H. Robert Reynolds), and a Bachelor of Music Performance Prior to coming to Leander ISD, he was the Direc- degree from Auburn University(Rick Good). Nix is a conduc- tor of Bands at Rockdale Junior High in Rockdale, tor or producer on the following CDs: Vital Signs (George Texas. In 2003, Mr. Herrings received his Bachelor Curran, New York Philharmonic), Atlanta Chamber Winds, Psychedelia of Music Education degree from Baylor Univer- (James Markey, Boston Symphony bass trombone), A Beautiful Noise sity in Waco, Texas, where he studied under (featuring trombonists Joseph Alessi, Charles Vernon, Paul Pol- Michael Haithcock, Jeff Grogan, Dr. Kevin Seda- lard, and others), Wolf Rounds, The Blue Album, Brooklyn Bridge, The Vic- tors Valiant, and the Schwob Wind Ensemble CD entitled Prelude, tole and Barry Hopper. While in college, Mr. Herrings was a member Fugue, and Riffs, released on the Summit Records label in 2017. of the Baylor University performing wind bands, as well as a mem- ber of the Baylor University Golden Wave Band. At Henry Middle School, Mr. Herrings conducts the Honors Band, and assists with the Symphonic Band and Concert Band. He also teaches beginning clarinet, horn and trumpet. Mr. Herrings’ bands have consistently received UIL Sweepstakes ratings, as well as unanimous first division ratings, Best In Class, and Overall Outstanding Band honors at festi- ala breve 21

vals around the state. From 2009-2021, the program at Henry earned various international music distributors in addition to being distinction as a National Wind Band Honors Class AA winner, and performed by many region and state-wide honor bands. His work in 2008 and 2013, the Henry Middle School Honors Band was se- Panoramic Fanfare was named a winner in the 2014 “Call for Fanfares” lected to perform at the Western International Band Clinic in Seattle, Competition hosted by the Dallas Wind Symphony. The fanfare has Washington. The program was named the 2010, 2014 and 2018 since been performed by collegiate and professional ensembles in TMEA Class CCC Honor Band and was also selected to perform at the United States, Canada, and United Kingdom. Since 2010, he has the 2010, 2012 and 2016 Midwest International Band and Orchestra regularly accepted commissions for new works and produced new Clinic. In June 2011, Mr. Herrings and his program were awarded publications for bands and chamber groups each year. While he has the prestigious John Philip Sousa Foundation Sudler Silver Cup never formally studied composition, he credits his mentors Brian Award, and in July of the same year, Mr. Herrings was named the Balmages and Randall Coleman as being pivotal to his success as a Phi Beta Mu Outstanding Young Bandmaster of the Year. In May of composer and a conductor. Notable performance venues of his 2014, the Texas Chapter of the American School Band Directors work include The Midwest Clinic, Carnegie Hall, Meyerson Association awarded the Outstanding Band Program Award to the Symphony Center (Dallas), The Macy’s Thanksgiving Day Parade, Artie Henry MS Band Program, and in November of the same year, and numerous state-wide, national, and international music the Henry MS Percussion Ensemble was selected to perform at the conventions. In addition to his writing, Tyler enjoys conducting and Percussive Arts Society International Convention in Indianapolis, In- clinic engagements with ensembles throughout the United States. He diana. Most recently, the Henry MS Band Program was selected as has served as a conductor and clinician of university, district, and the 2018 Texas Bandmasters Association Exemplary Middle School state level honor bands in Alabama, Georgia, North Carolina, Band Award winner. Above all, his students have been his greatest Pennsylvania, Maryland, Louisiana, South Dakota, and West inspiration! Virginia. Tyler was a contributing author in Alfred Music Publishing Company’s Sound Innovations: Ensemble Development series and has Middle School Band - Tyler S. Grant contributed interviews to numerous podcasts and articles including School Band & Orchestra Magazine and The Instrumentalist. Tyler is a Tyler S. Grant (b. June 23, 1995) is an Atlanta- graduate of the University of Alabama where he earned a degree in based composer of music for concert bands, instrumental music education. He currently serves as the Director of orchestras, and chamber groups; many of which Bands at Holy Innocents’ Episcopal School in Atlanta, Georgia and have been performed around the world and by maintains an active composing and conducting schedule. His more musicians of all levels. His works for wind band than 35 published works are available through The FJH Music have been found on Editor’s Choice lists from Company, Inc. and Tyler S. Grant Music Works, LLC. MASTER OF W W W. M U S I C . M S S TAT E . E D U / M M E MUSIC EDUCA®TION MSU’s Master of Music Education program is both unique and practical, designed to 昀t into the busy lives of current music MISSISSIPPI STATE UNIVERSITY® teachers. It is a hybrid program (a combination of summer College of Education and online courses) designed to support music professionals in the advancement of both their pedagogical and musical skills. MME at MSU Included in the degree is performance practice, conducting, pedagogy, curriculum, music theory, history, and the essentials THREE TRACKS: of research in music education. Choral Elementary February/March 2022 Instrumental THREE SUMMERS: Complete the MME with a Combination of Summer and Online Courses 22

2022 ALL-STATE BAND FESTIVAL SCHEDULE April 6, 2022, Solo Festival – Arthur R. Outlaw Mobile Convention Center April 7-9, 2022 All-State Band Festival, Arthur R. Outlaw Mobile Convention Center ABA Office 203B in Outlaw Center  Wednesday, April 6   Solo Festival, Arthur R. Outlaw Mobile Convention Center Band Host Meeting Renaissance Mobile Riverview Plaza Hotel Solo Finalist Warm Times (Closed) Grand Ballroom 3:00 -6:20 pm State Solo Festival Finals Concert Grand Ballroom  7:00 pm (Doors open 6:30pm) State Solo Finalist Holding Room 201A-D 6:30 pm Band Hosts Meeting                       Bay Point Suite 9:00 pm   Thursday, April 7 - All-State Rehearsals and Meetings Students need to bring their own stand. Albertville High School Wind Ensemble South Exhibit Hall 6:00-6:45 pm   ALL-STATE BAND REHEARSALS (CLOSED) Battlehouse Moonlight Ballroom Red Band 7:15-10:00 pm Renaissance Mobile Bon Secur Bay White Band 7:15-10:00 pm Outlaw Center North Hall Blue Band 7:15-10:00 pm Outlaw Center Grand Ballroom Red Middle School Band 7:15-10:00 pm Outlaw Center 201 ABCD White Middle School Band 7:15-10:00 pm Outlaw Center 203 A ABA Board 7:30-9:30 pm CURFEW FOR ALL PARTICIPANTS - 11:00 P. M. Friday, April 8  Concourse 8:30-11:30 am and 12:00-5:30 pm     EXHIBITS OPEN  ALL-STATE BAND REHEARSALS  Battlehouse Moonlight Ballroom Red Band   8:30 -11:30 am/1:30-4:30 pm Renaissance Mobile Bon Secur Bay White Band 8:30 -11:30 am/1:30-4:30 pm Outlaw Center North Hall   Blue Band   8:30 -11:30 am/1:30-4:30 pm Outlaw Center Grand Ballroom Red Middle School Band 8:30 -11:30 am/1:30-4:30 pm Outlaw Center 201 ABCD White Middle School Band 8:30 -11:30 am/1:30-4:30 pm   Outlaw Center 204 AB 9:15-10:00 am   ABA General Business meeting Outlaw Center 204 AB 10:15-11:00 pm     Clinic - Lost art of Clarinet Playing - John Cooper  Outlaw Center Concourse 11:00 am  Exhibit time Outlaw Center 106 A& B       12:00-1:00 pm    Phi Beta Mu Luncheon Outlaw Center 204 AB 1:45-2:30 pm Clinic - ABA Play the “Game”, Learn the Rules Outlaw Center 204 AB 2:45-4:15 pm.      Adjudicators Certification Clinic   University of South Alabama Wind Ensemble Saenger Theater  8:00-9:00 pm All-State Solo Festival Finalist Awards  CURFEW FOR ALL PARTICIPANTS - 11:00 pm Saturday, April 9     7:30-8:00 am ABA Board Meeting 2 204 AB 204 AB 8:00-9:00 am     ABA General Business Meeting 2 Concourse South Hall 8:30-11:30 am Exhibits Open South Hall South Hall 9:30-9:50 am        White MS Band Warm-Up             South Hall 10:00 am               White MS Band Concert            Concourse South Hall 11:00-11:20 am       Red MS Band Warm-Up          South Hall South Hall     11:30 am               Red MS Band Concert           South Hall South Hall   South Hall 12:00-3:00 pm Exhibits Open 12:30-12:50 pm Blue Band Warm Up                                      1:00 pm                  Blue Band Concert                                           2:00-2:20 pm   White Band Warm Up                                        2:30 pm                  White Band Concert                                         3:30-3:50 pm   Red Band Warm Up                                        4:00 pm                  Red Band Concert                       ala breve 23

General Music Reviews by Deanna Bell Elementary Book Reviews by UAB Graduate Students Deanna Bell, Adjunct Music Professor at UAB During my internship, I read a story entitled, Jazz Cats by David Davis, illustrated by Chuck Galey. Michael Harrison The book goes through a series of activities that the jazz cats were involved in, from playing in the jazz band to sleeping. At the end of each page, there is a stanza that is used to summarize the ac- tions of the jazz cats. I incorporated a short melody with the stanza using mi, re, and do. The stu- dents were engaged, as they were able to follow along with the story. If I could go back in time, I would add different Orff instruments to this piece. I would add xylophones and metallophones, which may be used to play the simple melody on mi re and do. They could also be used to tap a quick, steady beat on do and so (C and G). The rhythm of the melody could be syncopated. The First Music is based on an African folk tale. It playfully depicts animals discovering music for the first time. The artwork is colorful and full of movement. In my classroom, I like to use this story for vocal exploration. I have the students create sound effects throughout the book. The next week, we listen to the music found in the QR code below and discuss which characters are represented by each ostinato. I divide students into groups, and they work together to create a movement that rep- resents one of the animal rhythms. As an extension, you could also add instruments to play the rhythms during the movement activity. Matthew Wall Wee Sing for Halloween is the perfect book for your music classroom in the fall! This Halloween- Sam Goode themed book is filled with songs, games, and even amazing recipes for students to try. The recipes go along with corresponding songs or games throughout the book, so your kids will have an awe- some treat to go along with the activity. What I loved about this book was the inclusion of tradi- tional songs that all kids know, but with a spooky twist to them! With so many different activities included, you are sure to make your classroom spooky fun! Wild Symphony is an interactive picture book by Dan Brown, author of The Da Vinci Code. This book Arderius Larkins is composed of twenty poems that include puzzles and codes hidden throughout the illustrations. This book also has a free app that includes music that goes along with each poem. Dan Brown com- posed the music that is played by the Zagreb Festival Orchestra in Croatia. The book’s interactive el- ements will help keep children engaged by finding the embedded instrument images and letters that form anagrams (instrument names). This boothis book.k can be used to introduce instruments to children ages 3 years or older. Your students will love this book. Zin! Zin! Zin! a Violin,\" written by Lloyd Moss and illustrated by Majorie Priceman, is a spectacular Lee Mason book for music students. This book introduces various instruments of the orchestra and introduces vocabulary for different performing ensembles. The musical instruments illustrated are accurate and entertaining. Diversity is evident throughout the book, with various ethnicities displayed. The book describes each musical instrument's sounds and how they come together to form an orchestra. \"Zin! Zin! Zin! a Violin\" is an excellent resource when introducing instrumental families and instruments of the orchestra. It is a wonderful book for young readers in the music classroom! Decibella is about a little girl called Isabella, but she is called Decibella by her friends because of her loud voice . The reason I choose this book is that I can teach kids dynamic levels especially when in- troducing Orff instruments or singing . If you have any questions please let me know. Thank you! To listen to a two-part podcast created by these amazing educators about the life of a music educa- tor, please copy and paste the link: https://drive.google.com/drive/folders/1wWWG702-TKabELcAUfDtW7WrVYkyOen?usp=sharing Philbert Andrews 24 February/March 2022

AMEA Awards AMEA Outstanding Administrator Dr. Chad Holden, Muscle Shoals City Schools Lacey Powell Outstanding Music Educator Carrie Cruz AMEA Hall of Fame Dr. Clifford “Ski” Winter National Board Certified Teachers in Music Eleanor Nation FAME Scholarship Mary Hovik and Matthew Martindale Jackson Smith AMEA Honor Roll - 40 Years Melanie Harris AMEA Honor Roll - 45 Years AMEA Honor Roll - 35 Years James Rogers, Grailor Price, Richard DeLaFuente, Russell Courson Diane Johnson, David Spencer, Garry Taylor AMEA Honor Roll - 30 Years AMEA Honor Roll - 25 Years Paul Andrews, Tom Grigsby, Terry Ownby Mark Nichols, Gary Russell, Randall Key, Miriam Richey, Kim Jackson. Nancy Frith, and Marcus Stewart AMEA Outstanding Young Composer Finalists Cameron Johnson Evan Dubose Sawyer Gage Carson Rivers John Richardson Kevin Robles ala breve 25

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ONFERENCE PHOTOS ala breve 27

Phi Beta Mu New Members, Honors, and Awards New Phi Beta Mu Member Gena Inglis and sponsor Gene Inglis New Phi Beta Mu Member Missy Lindley New Phi Beta Mu Member and sponsor Ken Bodiford Heather Palmer pinned by sponsor Suzi Winter. New Phi Beta Mu Member Marc McLendon and sponsor Garry Taylor (L) New Phi Beta Mu Member Clay Sloan and sponsor Regina Raney (L) New Phi Beta Mu Member Kevin Ownby (inducted virtually) Phi Beta Mu Outstanding Young Phi Beta Mu Outstanding Band Director Phi Beta Mu Alabama Bandmasters Band Director Michael Chambless Chris Cooper Hall of Fame Inductee congratulated by Jon Bubbett (L) Curtis Burttram congratulated by Steve McLendon (L) 28 and sponsor Chris Lindley February/March 2022

Editor’s Note: Are You Ready? Part 1 of this article appeared in the October/November 2021 Ala Breve. Now that your acceptance has been From Application to Applausecelebrated, stakeholders informed, repertoire selected, and funds raised, it’s time to make this performance a reality. Managing your student Applying and Performingpersonnel and schedule are important to consider in preparing for the performance. Most importantly, it is at AMEAnecessary to note what occurs after the performance and how it will affect the Part 2continued growth of your program. Full Program Involvement: Once all plans have been made, it’s time to share the experience with as by Mike Guzman many students as possible, as it will benefit them regardless of their involving other student organizations such as the school media team to create supporting materials or yearbook staff to write involvement in the program. It is tempting to only involve students stories for the event. There is no limit to how you can involve as many people as possible in this performance. However, the cliche that are performing, but full program involvement will lead to a of “the more the merrier” is never more real than in this situation. greater sense of camaraderie and connection between the various Performance Day: areas of your program. After months of planning, rehearsing, fundraising, and growing, it is performance day! This is the culmination of the student’s hard Instrumentalists. It is important to involve as many students as work and dedication and should be celebrated…after the performance. possible, even those who are not in the performing ensemble. One It’s critical not to reinvent the wheel when it comes to your daily way to do this is by including students from other groups within process of warming up, tuning, and ensemble preparation. the organization such as the second band or middle school band members. Involving younger players will help in motivating their Warm-up. A structured warm-up needs to be in place to make the growth as musicians and allow them to take ownership in the students as comfortable as possible. At this point, it is less of a success of the program. Another incentive of involving other physical warm-up and more of a mental one. It is important not to members is that it allows the more advanced players the alter your day-to-day process; don’t change anything that has already opportunity to rest during the concert. With a plan in place, it is gotten you this far! This will allow the students to familiarize possible to trade players between pieces. This is modeled at the themselves with the stage while playing and listening to music they university level, and there is no clause stating that more students are already accustomed to performing. The only caveat is tuning cannot be involved. While it is tempting to only have your finest multiple times between each phase of your warm-up. Below is a players performing, your program is made up of a diverse group chart displaying my normal warm-up versus on performance day. of students with varying abilities, and they should all be involved. If a stable and consistent warm-up is used, you will not need to worry about overplaying your students in the warm-up. Non-Instrumentalist. Auxiliary members are a valuable part of Once on stage, it is critical to tune several times during the warm- the program and should be included as well. This can be done by up. This allows the students the opportunity to adjust their incorporating them in the planning process: having them take instruments and feel comfortable playing in tune in a foreign pictures of the event, act as ushers for the concert, or even environment. This can become customary to your students by participate in the performance. There is no limit to how creative building it into your regular warm-up a week or two before your you could be in involving your auxiliaries, and the payoff is performance. Warming up, tuning, playing a chorale, and tuning tremendous as it strengthens the bond of the students in your again. It is a common practice in universities and even symphony program. orchestras to tune before each piece. Students that also switch instruments, such as flute to piccolo, will also benefit from this Others. Getting parents, administrators, and community members tuning process. to be part of the performance is a way of involving all stakeholders. Parents can be involved by assisting with logistics or as enthusiastic audience members. School officials and community members are great sources of support but can also be part of the performance as narrators or announcers. You can also consider ala breve 29

Hewitt-Trussville High School Wind Ensemble Daily Warm-Up Sequence (Example) Key/Rhythm Scales Tune Octaves/ Chorale: Warm-up Key of: C-A (Drone) Chords/ Woodwinds Singing Key of: A Sections Sing Key of: A Brass All play Hewitt-Trussville High School Wind Ensemble Performance Warm-up (Example) Key/Rhythm Tune Scales Tune Octaves/ Tune Chorale: Tune (Drone) Chords/ (Drone) Woodwinds (Drone) Warm-up (Drone) Singing Sections Sing Sections Key of: A Sections Key of: C-A Sections Key of: A Brass All play At the end of the warm-up, there should be a lengthy chorale. This there is no need to continue to rehearse on stage. Continuing to is an opportunity for students to listen, balance, blend, tune, and rehearse on stage is dangerous because it could cause students to further establish an understanding of the acoustical properties of overthink their performance and wear them out. The warm-up and the hall. In my experience, directors often get hung up on trying to preparation time is just that, an opportunity to get focused, relaxed, “play to the room” and not on teaching students to listen. Through and prepare to share your music with the most appreciative many years of performing with symphony orchestras and audience you may ever encounter. It is my opinion that rehearsing professional ensembles, I believe that adjusting to the room can be onstage the day of the performance does more harm than good. quite dangerous. This is because you spend a considerable amount of time rehearsing within the confines of your own band room, After The Performance: only to change your approach, volume, and style for another room. This defeats the purpose of rehearsing with such detail in the first After the performance, it’s important to decompress, reminisce and place. Instead, teach the students to establish certain listening celebrate with the most important people involved in the responsibilities that will help them make decisions on how to make process—the students. Nick Saban, arguably the most successful minute adjustments if needed. college football coach, applies what he calls the 24-hour rule. This is where you take 24 hours to relax and celebrate your At this point the notes have been learned, rhythms cleaned, and accomplishment. After those 24 hours, it’s time to debrief and talk through the highs and lows of the performance. This will lead to setting new goals and embarking on another adventure in preparing quality literature for performance without resulting in burnout. Relax/Reminisce. The 24 hours following the performance should be used to celebrate with your students and stakeholders. It’s important to take time to reminisce about the performance. It is my experience that no matter how fine the ensemble or what resources you have, you and the ensemble would not be on that stage if it were not for the help and encouragement of parents, colleagues, administrators, and community members. Much like any great performance, this time must come to an end to get to work on the next endeavor. Richard Floyd works with the Hewitt-Trussville HS Feedback: It’s important that everyone involved in this process Wind Ensemble as Director Mike Guzman takes notes receives feedback in order to grow. You need to think about where your feedback as a director is going to come from and there are several options to consider. The first option to consider is recordings. Even if there is no official recording, you can always set up a recorder in the audience and listen back to it later for feedback. Another is having mentors you can reach out to that will give you honest and constructive feedback. These are the same 30 February/March 2022

individuals you used earlier in the process that knows you and your program and can help you take the next steps. Finally, there will be some form of what I call “organic feedback.” These are the conversations you will have with colleagues about the performance that will shed light on elements you can improve. This type of feedback is gathered slowly but will shed light on people’s true perception of the performance. You must be cautious to let this happen on its own and not force it to avoid a certain degree of “social praise” that is more of a formality and less of an actual form of feedback. Debriefing. The debriefing is the most critical time following a Dr. Andrew Hunter works with the Hewitt-Trussville HS performance because it is a time to focus on where we will go next. Wind Ensemble It’s critical to methodically outline and discuss all the positive and negative aspects of the performance. The debriefing needs to happen with you or your staff first so clear goals can be discussed. This is another instance where recordings are beneficial. It’s important to obtain a quality recording to analyze the performance in detail. Just as a football coach analyzes film after a game and before they take on a new opponent, it is critical for you to analyze these recordings and reinforce positive behaviors and plan for improving the negative behaviors. New Goals/New Journey. Ultimately, the debriefing will lead to Conclusion: setting new goals for you and for the ensemble. It is important to track these objectives, synthesize attainable and realistic goals, and Application, acceptance, and performance at AMEA is not just a design a plan for achieving the set goals. It’s important to consider process but a journey that will take you, your students, and the direction the ensemble will take after your AMEA everyone associated with the program in a positive new direction. performance. You want to have new repertoire selected so that you It is my experience that if you wait until you have “the band,” you and the ensemble can hit the ground running while the high of a will never apply, get accepted, and reap the benefits. There is no successful performance is prevalent in the students’ minds. It is harm in sending in recordings, even if you think they are not imperative that students do not become complacent, and they use “ready.” From experience, it takes several attempts to get accepted. this performance as a springboard to building a new repertoire and Do not be discouraged if you send in solid recordings and do not musical journey. While I don’t think there’s anything wrong with get selected. bringing back a substantial piece from the AMEA program to perform at MPA, I do think it’s important to freshen the repertoire It’s my experience that the entire process from application to and give the students a new challenge and not overplay a piece. It is performance is the reward. An invitation to perform will build your my belief that complacency is the greatest threat to excellence and inspired ensemble’s resume, prominence within the community, school, and performance. school system. The work and reward of a successful performance will lead students to desire the feeling of accomplishment and will Caution! As the director, you dictate the pacing for the students as lead to more detailed rehearsals and performances. The standard is they expect you to lead them to the next goal; however, you need raised, and excellence becomes common for the students because it to consider that there could be a degree of burnout. Burnout is “just the way we do things.” Finally, the greatest reward of all is comes in many forms and affects people differently. You can changing the lives of your students. By applying and performing, experience burnout due to the time and energy that goes into you have provided your students with an incredible preparing repertoire, studying music, and producing a successful accomplishment that they will be proud of for the rest of their performance. Musical and emotional burnout can also be a factor lives. You have planted a seed that will grow beyond their time in because as educators we pour a considerable amount of ourselves your program, and they will become educated lovers and into the music and students. Parents and community members can consumers of all things “band.” Remember, all things are cyclical also experience a degree of burnout because of time and financial and this amazing experience will lead your students to have their commitments. The most important form of burnout is student children participate in band—and the cycle burnout. There’s a fine line between challenging students to rise to continues! their highest potential while pushing them so hard, they end up disliking music. Always be mindful that the goal is to inspire, teach Mike Guzman is Director of Bands at Hewitt- an appreciation for music, and develop lifelong consumers of Trussville High School in Trussville Alabama and music so the cycle of participation and musical experience repeats doctoral student in Music Education at The University itself with their children. You do not want to be the one that of Alabama. He holds degrees from The University of extinguishes a student’s musical fire because you pushed them too Miami and Florida International University. Mr. hard and burned them out. Guzman is an adjudicator, clinician, and conductor throughout the southeast. ala breve 31

Things I Wish You Knew: Conversations and By Dr. Diane Orlofsky Collaborations within Music Education One thing that our professional lives during Covid-19 this preset thing.  demonstrated is that we all work better when we intentionally listen, communicate, and collaborate across all areas within D: Did you rebel against that or did you pull away from it just the music education profession.  As much as we grew weary because you had such a family history of education practice?  of them, virtual meetings gave everyone “the floor” and facilitated heard voices in a collective way not typically A: I think I did, and it wasn’t a rebellion out of malice or anything, I experienced.  I believe it is imperative that we continue to find just needed to know that it was my path and so I chose something ways to extend the dialogue among various stakeholders that I was passionate about, which was health care and I loved within music education.  I agree with Ben & Rosamund working with people, especially the elderly  patients in the Zander (The Art of Possibility, 2002) when they said, “As a dermatology clinic that I worked with. Fantastic experience. Loved teacher, I have an enormous opportunity to create possibility that. But when I was in school, I hated it. I didn’t feel the social- in every conversation.”  And what better place to do the first emotional connection with my peers that I got from my music deep, meaningful conversational dive than with a collegiate classes.  Those classes, music, [and] the arts in general,  are music educator (Allen Holmes) who is on the threshold of his fundamentally different than the core of  many of the other teaching career. What follows is a portion of our extended classes. And at the center of that difference, I think, especially with conversation: performing arts, is a social connection. It’s a social activity. Whereas, I didn’t have practically any friends studying bio-Med. I can count D: Okay, so the reason I chose you [for this conversation] is because on my hand three or four and they were good friends and great you are at the end of your college career, and all that’s left is this people, and I love them very much, but the classes weren’t set up formidable capstone experience called student teaching . . . I’ve for that. They were set up for you to go and be alone in a group taught you in methods classes; I know that you approach your of 100 people. Whereas in band, you know there’s 350 people and philosophy from a very thoughtful position, a very authentic you can be friends with any of them, and it’s like it’s built for that position, but a position, perhaps, that might not be the mainstream, culture and creation of experiences . . . I did enjoy studying, I did or might be a little bit more in touch with the social-emotional enjoy learning, but the environment itself was constraining to the learning of students . . . And your authentic philosophy [is] at the point that I didn’t have a passion beyond the interest, and that’s base of it. So, my question to you is this: How, over the course of when I knew something had to change.  these four and a half years, has that philosophy changed? And what kind of educational experiences that you’ve had along the way D: Do you think it’s because many of the experiences of your bio- informed that change? Okay, so let’s start there.  Med colleagues were less diverse? In other words, they all kind of ticked the same boxes in  the experiences they had prior to A:  I started off as a biomedical science major because I wanted to college. As opposed to if you’re in a big milieu of band folks, you’re help people, and it took me a year and a half to realize that I didn’t going to have people from all walks of life, and all educational, have to physically help someone to seriously still help them. So, I demographic and socioeconomic experiences and your had kind of crammed myself into this box because I knew I had commonality is the music. that core philosophy, this is what I want to do with my life, I want    to help people. What can I then go on to do from there?  I thought A: Yeah, when I’m giving advice to my younger siblings who are just about the most important people in my life. And it was family, close on the cusp of high school, it boils down to find your people. And friends, and teachers that I had in the past. Some of that line was every time those people are in the arts. And it’s not like an exclusive blurred because my dad was my teacher, and my uncle was a teacher thing, you know, it’s not that you can’t find your people studying and, you know, it almost felt like if I were to follow that, maybe it other things. I mean, I found some great people in bio-Med but the wouldn’t be my own path, that maybe it would be me going through arts [are] full of my people, you know, and I don’t know how else 32 February/March 2022

to describe it . . . First, music and art [are] the most fundamental that curiosity, that love and a strong basis to stand on for learning human expressions. This is something that we have been doing for that will set you up for a life of education. And it doesn’t have to as long as we have been. Performing arts, especially, is an inherently be formal education. . . Nobody can undo the experience that we’ve social thing. Now you can do it alone and you can write songs on all been going through, but I think coming back to our roots in your own and play them in your room. And that’s a powerful artistic performing arts as this social activity is the best thing that we can expression, but it’s missing the social connection, and I think that do. And that is to create environments. People first. Experience with COVID that became especially obvious . . . first. Perfection never [the goal]. The best that we can do, yes, but at no cost. At the cost of nothing. The best that we can do as we D: I think somewhere inherent in what you just described [were] are. For the sake of the experience, for the sake of the people, for artificial barriers that were put on us, right? We still made music, the sake of healing, I think that that is the most important thing that but it looked different. It sounded different. It felt different. You we can do as musicians and educators and people. There’s a place know, it was harder, and I think we’re stronger in the broken places for hierarchy. There’s a place for perfection and for the people who because we had to push through the difficulty to get to the art. But are motivated to go on and craft themselves to fit that, and to show then I think we’re just now seeing the social-emotional collateral it to everyone, that’s fantastic.  I love that.  But I think that damage Covid-19 created. Can you speak to that?  sometimes  we can get lost in the pursuit almost and miss the important thing that we’re doing as educators and that is crafting A:  I could try.  It’s at the core of our art . . . We’re only just the experiences,  crafting the relationships, and experiencing it beginning, I think, to see the effects of being indoors for two years together. . . afraid to be around other people. I don’t think those effects are going to just disappear, even if the virus does. Especially for the D:  . . .Let’s get back to music, let’s get back to the essence of what kids who have been developing. I mean, I have always struggled we do. What we know intellectually [is] that it’s a vast, deep, wide, with social connection growing up. If I spent two years either totally diverse, rich, meaningful, powerful teaching tool. We know that we out of school or in and out, I cannot imagine how different my life don’t have to reinvent. Lowell Mason knew  it and we know it, experience would be.  right? We often don’t do a very good job of articulating the fact that we know it.  So, as you step into your internship  knowing Here’s something that I’ve been thinking  about a lot.  What is the inherent power and reach of your tool, what do you think those education anyway? What even are we doing? I think that education of you who are entering this capstone experience, what do you is everything that you do. You are learning and our goal is to instill think your role is now?  ala breve 33

A: . . . My experiences, my musical experiences that shaped me, are end steak meal that comes to you prescribed but being sort of what I can give. And so, it is my job to give the most, be the best adventuresome and exploring [throughout college].  that I can . . . I want to come back to why we do anything and then   why we do music. With other art forms it can be sometimes about A: It felt like, at many points, a hot dog eating contest. We’re going the work almost entirely.  With poetry,  with visual art, for the food metaphor. I was struggling to just get through the but with performing art it’s there and gone.  exercise, you know, and that’s not the way that something is supposed to be experienced; that’s not the way that growing and D: It’s not static.  knowledge and experiences happen.  A: It’s really not, and so it’s inherently (and you can argue that this D: So, what comes after [internship]?  is true of any art, but especially performing arts), it’s inherently about the experience.  So,  our job is to facilitate, create, A:  I don’t know.  It does almost feel like we  built a kite  and maintain, inspire these experiences for people all their life, and while all that’s left is the string. You know it’s being guided, but just as they’re with us, we instill that love, and we’ve done what we set out much as it needs to be— hopefully flying at the end of it and not to do. That was the point of education.  crashing into the tree. D: That’s good. So, I’m [going to] give you the task of speaking for I feel like my time [in college], especially this last year and a half, two others like yourself.  The thousands of pre-service music years, showed me my philosophy. It showed me why we do what we educators.  What would you like to say to  us, the people do and why we’re so crucial to education. And in ways that are of who are charged to train you and to get you ready, whatever that course difficult to put into words, but I think I did a good job looks like for what it is you’re about to do? This is your chance covering why it’s so important. If I hadn’t had that experience, I to speak to the teacher educators of the world because sometimes I don’t even know what I’d be doing. The way that I felt so often think we just need to press pause and ask and so I’m asking.   in high school math where I was just like, why? Yes, I can pass it, but why? I think the most important thing that we can instill is A: I think that there are different sides to music. I think we can all guiding  people like myself  to find their why. It agree there. One of those sides is high-level performance. The best wasn’t until going through the experience of trying to find my life; that it can be.  Another one of those sides is exploration, the COVID was fundamental in finding it which is so funny because most that you could experience. And I think that here we’ve created you’d expect that it would have drowned me in the dirt or the mud. a culture of half and half at best, and that’s great. But I would argue But  it was [teaching] those first graders [synchronous teaching that for the purposes of education, for people who are going into practicum with first-graders in elementary music methods this field to become educators, maybe we shouldn’t be spending all- class], that is where I found my why.  nighters practicing for juries, recitals, auditions, etc. If it’s coming   at the cost of joining other ensembles and experiencing a wider D: Yeah, teaching those first graders was your why.  I think that’s a variety of music that we can share with our future students.  If I had good place to end.  advice to my past self, I would say take a sixth year. . . I would have expanded more and perfected less. And it’s a changing view, you Dr. Diane Orlofsky is a Professor of Music know? I’m looking at my experience from within myself, so there’s Education at TROY University and the 2016 always bias.  recipient of the Lacey Powell Outstanding Music Educator award. Allen Holmes is a There’s always  the experience that I have  and the way  that Senior Instrumental Music Education major at I’m  feeling,  and all these things  mixed together, but  I think TROY University. that  that  would be  the best thing, for educators to have  more freedom to take different [classes] and to really invest themselves in their classes. {Allen goes on to describe how the experiences during Covid-19 strengthened the bonds between classmates, which seemed counter-intuitive but was a reality}. D: So that was a positive aspect that came out of it.  A: Yeah, COVID was such a challenge, but we were all challenged Allen Holmes is a senior music education together, and so, you know, we’re together apart and experiencing major at Troy University. the same things alone. So, we weren’t alone. I definitely feel much more connected to my professors and my peers after COVID . . . D:   . . . Giving yourself permission to go through the buffet line [of class experiences] as opposed to sitting down for the high- 34 February/March 2022

Improvisational Thought by Dr. Matt Leder Probably every musician that has tried to se- Words, their pronunciations, and can do it, we can do it too! Think about riously improvise knows that the art of im- the ways from which they are put what music really moves you. Why does it provising demands one’s total musicianship together form a language. Through move you? What are the ingredients of this and that it is an ultimate challenge. This sub- language we can convey our music? How can you put these ingredients ject matter is so vast of materials and meth- thoughts, communicate ideas, and express into your music? ods to approach improvisation these days our feelings. Music is a language. Some call it that even the motivated student may ask a “universal language”. Consider the basic el- As a beginning or intermediate improvisor, themselves, “Where do I begin”, or “How ements of music (melody, harmony, rhythm, gathering traditional jazz vocabulary should do I advance in my studies”? One could eas- etc.). These are the words of music. There be a priority. Listen to the jazz masters and ily raise their hands up and ask, “How will I are several different styles in the genre of study transcriptions. You can also keep cur- ever learn to do all of this”? The answer is jazz. For a style to be considered authentic, rent by studying and listening to contempo- easy….one step at a time! Everyone pro- improvised melodies or words/vocabulary rary players who have assimilated the gresses at different speeds, and one must re- must contain certain elements indicative of tradition. As an educator, I try to expose my alize that music is not a competition. It is the the “dialects” or nuances associated with students to players in small chunks (assign process of self-discovery that fuels progress. that particular style. How do we identify five jazz masters a week, etc.). It is also im- Stay humble and curious. Take things one these? Listen! Immerse yourself in the style portant to allow the student to “drive their day at a time. you are trying to imitate or perform. Listen own bus”. Expose the student to various with purpose! players, but allow them the opportunity to Often, issues in improvisation arise due to a discover their own path / favorite players, limited grasp of jazz vocabulary. Simply put, This music moves forward through exten- etc. Artistry should not be directed, but this observation indicates that a crucial step sions and embellishments of earlier styles. rather mentored. in one’s musical training has been over- There is a sense of tradition in this music. looked or hasn’t occurred yet. Most of the One must be respectful of the music and Listening is so crucial. You may want to have time one’s technical ability overshadows learn earlier styles to gain a fundamental un- your students create a play list. Have them one’s ability to improvise. This usually causes derstanding. One should consider this. select recordings representing every 25 years, frustration and disappointment. Sure, there Knowing traditional jazz vocabulary influ- from the 20th century to present. A few are those that are gifted in improvisation, ences the shapes and sounds of a player’s recordings from each era could result in an but for most part it has less to do with talent more modern and creative ideas. Without a hour of music which spans 100 years! This and more to do with knowing what to prac- traditional background, the average jazz stu- process can be repeated every few weeks so tice, how to practice, and more importantly dent’s potential for being a modern player that the student’s ear is saturated in the style. how to listen and critique details of what will be somewhat limited. You are what you eat. Well, you are what you they are listening to and how to apply it to listen to. the subject of improvising. Improvisation So how do we accomplish all of this? Clark can also start at an early age. Terry’s simple, but profound method is Bottom line, find an approach that is enjoy- great: able and practical. Learn about the evolution Jazz is often referred to as a language. Some- of this art form every day. Imitate, assimi- times the swing feel is broken down into, • Imitate late, and innovate! Shed in the practice room “accent on 2 and 4!” or “there is this subdi- • Assimilate and take it to the band stand. One must also vision in the triplet”, etc. Jazz is a language • Innovate learn by doing! Attend jam sessions, look for and there are nuances in it just like there nu- opportunity, or create your own opportunity. ances inside any spoken language. Think Do you have to cover or master each histori- Education is a lifelong endeavor. Enjoy the about the various dialects in various coun- cal style or period to be successful? No. One journey! tries or different regions within the US. should gather a workable knowledge or the There is a difference in the way people speak basic ingredients (melody, harmony, rhythm) In the spirit of swing, in the south vs. the north, etc. Those nu- which make a performance credible. How- ances in the spoken language are beautiful ever, one thing to note…you can certainly Dr. Matt Leder and you can look for similar nuances in cross the stream to get to the other side, but music if you stretch your ears. Bottom line, it is okay to go back to pick up those missing you must immerse yourself in the culture to stones. Ellis Marsalis urged Wynton Marsalis truly grasp a dialect or nuance. You must lis- to go back and check out Louis Armstrong ten with intent. You cannot learn this from a when Wynton moved to NYC. Wynton book, but rather through immersive aural Marsalis is known for his success in jazz per- tradition. formance, education, and advocacy. If he ala breve 35

AMEA Online Election Begins March 1 Candidates for AMEA President-Elect Dr. Mark Foster is currently in his County Junior High School Gold Honor Band, The 2018 Alabama 32nd year of teaching band and is Middle School All-State Jazz Band, and The University of happy to be in his 4th year as the Alabama Middle School Trombone Choir at the UA Trombone band director at John Carroll Day 2019. As a trombone player, he has performed with Ruben Catholic High School in Studdard, Bo Bice, The Temptations, The O’Jays, The Alabama Birmingham, Alabama. He Ballet Orchestra, The Tuscaloosa Symphony Orchestra, and The previously taught band for 28 years Alabama Symphony Orchestra. He is a member of The Superjazz in public schools at Mountain Brook Big Band in Birmingham, Alabama. Junior High School, Gardendale Dr. Foster has been married for 31 years and has two children. In High School, and Hueytown High his spare time, he likes to read, hike, and ride motorcycles. School. Bands under his leadership have consistently earned superior Dr. Phil R. Wilson is the music ratings and best-in-class awards at teacher at Ogletree Elementary the district, state, and regional levels. School in Auburn, Alabama, where he has taught for the past 20 years. Dr. Foster holds the bachelor of science, master of arts, and doctor Prior to teaching in Auburn, Phil of education degrees from the University of Alabama, as well as taught at Thomasville High School in National Board Certification through the National Board for Thomasville, Georgia, where his Professional Teaching Standards. As a doctoral student, he was duties included directing the chorus, inducted into Kappa Delta Pi International Honor Society in assisting the band director at the Education and was awarded the most outstanding graduate student middle and high school levels, and in music education in 2003. Foster has presented research at the directing literary activities. Phil Alabama Music Educators Association Professional Development graduated from Troy (State) Conference, The University of Alabama Research Seminar in University in 2001 with a Bachelors Music Education, The Birmingham Public Library, New Horizons of Music Education and went on to at UAB, The Bessemer Rotary Club, The Vestavia Hills Lions pursue his Masters of Music Club, American Cast Iron Pipe Company, The Alabama Education from Auburn University in 2007. In 2010, Phil became Bandmasters Association Summer Conference, and the Jazz in a National Board Certified Teacher in the area of Early and June Conference at the Tennessee Valley Jazz Society. His Middle Childhood Music and renewed his certification in 2019. research interests include band history and early Birmingham Phil earned a Ph.D. in Music Education from Auburn University history including cultural development at the time of the founding in 2020. Phil is the 2010-2011 Alabama State Teacher of the Year. of the city. His doctoral dissertation is entitled, “Fred L. Grambs Phil is a member of NAfME; The National Association for Music and his influence on instrumental music in late 19th century Education, the Alabama Music Education Association where he Birmingham, Alabama.” He received the “Outstanding served as President and currently serves as a district chair of the Performance Award” from the Mountain Brook City Schools in elementary division, the Alabama Education Association, and Phi 2018. Dr. Foster was inducted into Phi Beta Mu International Mu Alpha Sinfonia, Professional Music Fraternity of America, Bandmasters Fraternity in 2009 by his peers in the band director Iota Nu Chapter. For five years, Phil served on the board of the community in Alabama. Alabama Network of National Board Certified Teachers as the director of outreach. In addition to his work as a band director, Dr. Foster teaches music education courses at The University of Alabama at Legislation included on the online ballot: Birmingham. He has previously taught at The University of Montevallo, and Jefferson State Community College. Dr. Foster Article II - Duties of Divison Presidents or Division served as the Jazz Education Chairman from 2013-2017 as a Chairpersons and Governing Board member of the Alabama Bandmasters Association. In this role, he coordinated all aspects of the Alabama All-state Jazz Bands Section 1. Divisions of the Alabama Music Educators Association. including hiring clinicians and adjudicators as well as facilitating The divisions of the Alabama Music Educators Association are the the student audition process. During his time as the Jazz Chair, the Alabama Bandmasters Association (ABA), Alabama Orchestra number of students auditioning for the bands increased to over Association (AOA), Alabama Vocal Association (AVA), 200 students from throughout the state, and because of this large Elementary/General Division, Collegiate NAfME (cNAfME), and increase, an additional high school jazz band (Bronze Band) was Higher Education Division. added to accommodate the increased student participation. Sections 2. Division Presidents or Chairpersons. Division He has served as guest conductor for numerous honor bands and Presidents or Chairpersons shall serve as members of the clinics including The UAB High School and Middle School Governing Board, promote the interests of their respective Honor Bands, The University of Montevallo Honor Band, The divisions, and make recommendations to the Governing Board Midfest Honor Band at the University of Georgia, The Mobile 36 February/March 2022

Legislation (con’t) regarding the organization and administration of those festival events, which are the concern of their divisions. At the annual meeting of the Association, Division Presidents or Chairpersons shall be responsible for a report of the activities of their Divisions. Before relinquishing their offices, Division Presidents or Chairpersons must prepare an outline of the duties of their Divisions, with information concerning the organizational structure. Section 3. Governing Board. The Governing Board shall schedule at least three Board meetings annually. The Board shall be responsible for establishing the official calendar of the Association, including an annual business meeting. The Board shall arrange for an audit of the Association’s financial records at least once each 12 months. No later than June 1, the Board shall report the official calendar of the Association and Division events of the coming year to the National office of the NAfME, to the Chairperson of the Activities Committee of the Alabama Association of Secondary School Principals, and to the editor of Ala Breve Magazine. Candidates for AMEA Recording Secretary Dr. Ted Hoffman has taught every His advocacy agenda focuses on equitable support for grade level prekindergarten through underrepresented small, rural, and urban school music programs and twelve, including band, choir, and for the inclusion of students with exceptionalities in secondary elementary/general music, as well as school ensembles. Additional research interests include music undergraduate and graduate courses in teacher recruitment and mentoring, innovative curricular initiatives, music at the college level. Currently, he and student assessment in PreK-12 and teacher preparation is Associate Professor and Director of programs. He has published nearly two dozen articles and text Music Education at the University of chapters on these topics and has presented related research and Montevallo where he coordinates the clinics in 27 states and Canada. Ted resides in Hoover with his wife undergraduate music education Nicole, an elementary gifted/talented education specialist and programs, supervises field placements amateur flautist. They have two children, Drew, a sixth-grade and internships, directs the summer trumpet player, and a third grader, Reagan, who is an aspiring pianist Young Musicians Camp, and is faculty and vocalist. advisor to the Montevallo collegiate chapter of AMEA/NAfME. From Heather Holmes is in her 21st year 2013-2020, Ted served on the AMEA Governing Board as state of teaching and serves as Director of advisor to the Collegiate Division and in the AMEA President’s Bands at Oak Mountain Middle School Cabinet as Teacher Education Chair and state representative to the in Birmingham, AL. During her time Society for Music Teacher Education (SMTE). During this time, at OMMS, the bands have consistently Collegiate student attendance at statewide AMEA activities increased performed at a high level and received substantially and the number of participating college and university regular superior ratings. The OMMS campus chapters of AMEA/NAfME grew to thirteen. As Teacher Band program has over 250 students Education Chair, Hoffman established the biennial roundtable every year. During the school day, Mrs. meeting of music teacher educators and K-12 cooperating teachers, Holmes teaches two Beginner Band while also representing the State of Alabama at national assemblies classes, Concert Band, Symphonic of the Society for Music Teacher Education. He was a member of Band, and Advanced Band. The the Arts Education Course of Study Revision Committee and Advanced Band most recently Taskforce and participated in the subsequent unpacking of the music performed at the Alabama Music standards in the Alabama Insight Tool. Ted maintains active Educators Conference in 2017. membership in a number of other state, national, and international Outside of the classroom, Mrs. Holmes serves as Secretary for the associations, and is presently Executive Director of the National Shelby County Band Directors Association and is a member of the Association of College Wind and Percussion Instructors OMMS School Leadership Team. She was named Oak Mountain (NACWPI), publisher of the NACWPI Journal, Chair-elect of the Middle School’s Teacher of the Year in 2017. Mrs. Holmes is active Instructional Strategies Special Research Interest Group (SRIG) of as a guest clinician and conductor for middle school bands the Society for Research in Music Education (SRME), Facilitator of throughout the region. In addition to teaching, she sings with the the School/University Partnerships Area of Strategic Planning and Pelham First Baptist Church Choir and helps direct the Children’s Action (ASPA) of the Society for Music Teacher Education (SMTE), Choir. Mrs. Holmes received her Bachelor of Science in Music member of the Music Educators Journal (MEJ) Advisory Board, and Education from the University of Alabama. She is currently founding past-president of SHAKE, the Alabama chapter of the pursuing National Board Certification in Early and Middle Organization of American Kodály Educators (OAKE). Dr. Childhood Music. Prior to her appointment at Oak Mountain Middle Hoffman holds degrees in music performance, education, and School, she served as the band director at her alma mater, Brooks educational administration from Auburn, Montevallo, Southern Miss, High School, for five years. Her professional affiliations include the and Nebraska. Additionally, he earned the National Certified Teacher of National Association for Music Education, American School Band Music designation from the Music Teachers National Association Directors Association, Alabama Music Educators Association, (MTNA), holds multiple endorsements in music technology from Alabama Bandmasters Association, and Sigma Alpha Iota. Mrs. the Technology Institute for Music Educators (TI:ME), certification Holmes resides in Birmingham with her husband, Jason, and their in World Music Pedagogy from the Smithsonian Folkways Institute, two children, Ella and William. and is trained in both Orff-Schulwerk and Kodály methodologies. ala breve 37

Culture Change in the Bandroom: One Thing at a Time - One Day at a Time By Susan L. Smith Have you ever wondered what made some program was not positive and supportive but When they feel that belonging - they stay band programs more successful and visible forced and exclusive. Band parents were engaged and grow and invest in the than others? What makes the band culture suspicious of anything new and different. program. Students and parents need attractive to students and parents? How and As someone who believed in servant consistent small cues to build that sense of why is a positive culture built in some places leadership and modeling respect and belonging. Not just a one-time email that and not others? influence, I was met with some distance and says “you are important...be in the band” but skepticism. After the first year, I reevaluated a narrative of reinforcement signs. From As a band director, I watched successful our goals and priorities. I created a list of welcome to band postcards to rookie parent programs from afar. I wondered how they givens that guided our programming and information nights to being asked to be got that level of buy-in from their competitive choices moving forward. We involved with some facet of the band membership and families? The idea of identified models of excellence in program. Just like teachers need contact everyone working towards a common goal musicianship, show design, and logistics and points from administrators and school on the same team was so apparent, but I did worked to emulate those. In those ten years systems, our students and parents have to not know how to make that happen in my at Saint James, we came to set a new feel that sense of belonging for the program program. Reading the book “The Culture standard for marching band in our state. We to be a priority in their lives. One way for Code” by Daniel Coyle, I came to identify impacted the way small groups were teachers to build a sense of trust is to “fill some trends and parallels to successful perceived and evaluated nationally. their cup” for their students through honest programs across the country. feedback shrouded in love. That magical Belonging and Trust feedback includes students knowing they are When I arrived at the Saint James School in Students choose arts classes. They choose part of a group with high standards and that 2007, the band program had been successful us. They want to have a place they feel a the teacher believes they can meet those locally. However, the membership was a sense of belonging and trust that they are standards(Coyle, 2018). small group of dedicated students and safe and valued. Belonging and trust are built parents. The intense connection to the each day through consistency and caring. 38 February/March 2022

Leadership Dobyns-Bennett, Lowndes County are all students or turn them away. When folks are Culture builds through motivated leadership. programs with a positive culture where the all working as a team and moving in the Directors communicate their interest and band is an important part of the community. same direction, energies are spent on getting visibility through focused listening and 3. Team dynamics This can vary widely better rather than fighting against each other. availability. Parents and students want to based on the school culture and might take know that the individual is essential to the much energy to adjust. Be aware of all the Building a positive culture in the band director and the organization. No one is participants and their potential role. program should be a focus for each director. perfect, and allowing that to show early on 4. Make it safe to fail and give feedback When we take care of people things, can build trust with the student. If a director Students will not be vulnerable to feedback significant conflicts or issues tend to misses a meter change, they should own up when worried about the reaction. Making disappear. Connecting to our students and to it instead of cutting off to make another music is not the absence of error, and in parents in meaningful ways is paramount to correction. When people feel seen, they feel order to make art, there has to be a feeling a thriving, creative learning atmosphere. vested in the organization. Saying thank you of trust to make honest mistakes. When parents and administrators see the verbally as well as written goes a long way. 5. Celebrate initiative. When a parent or impact of working collaboratively with their We all feel taken for granted from time to student offers to help or tries to do students in a positive way, the trust and buy- time, and a simple thank you carries something differently - draw attention to it in increase exponentially. The little things tremendous weight. so others will emulate this positive behavior. are the big things and what people will 6. Embrace catchphrases or visuals. remember and find meaningful. Cultures I will never forget Dr. Tim talking about Everyone loves the feeling they are in the change one thing at a time, one day at a time. servant leadership that “leaders do what has know or part of a collective whole through to be done, when it has to be done, whether an emblem or logo. Let more be part of the “I’ve learned that people will forget what they like it or not.” Leaders are consistently culture you said, people will forget what you did, but modeling, and our bands are simply mirrors 7. Measure what matters. Decide from people will never forget how you made them of us, and if we do not like something - we your priority list and use that to guide what feel.” ― Maya Angelou need to change. So pick up the trash, be last to measure. For example, do trophies matter, in line for lunch at bandcamp and flush the or does a child’s attachment to their school References toilet! Another of my heroes, Dr. John M. music program matter? Can you have both? Arau, M. (2019) Upbeat! Creating a Positive Long would always say that “Band is spelled 8. Not in competition with another Culture in Music Ensembles. Bandworld F-U-N.” I did not fully understand what he group. When students and parents realize Magazine meant at the time. However, now I know that the only measurement stick is if the that building a sense of team and belonging ensemble is growing musically and socially, Oare, S (2018) Creating Culture. Kansas Music is imperative to have personal interactions things will move forward. Lassiter High Review between students outside of rehearsal. School Band used to go to festival for Sectional meals, movies, or game nights comments only. One of the most exemplary Coyle, D. (2018). The culture code: The secrets of strengthen the personal bonds and concert programs in the country, and they highly successful groups. Bantam Books. strengthen the band! Another critical step is wanted feedback from the adjudicators, not to highlight threshold moments. Those the score or rating. Morrison, S. (2001). The school ensemble: A moments could be selecting the beginning culture of our own. Music Educators Journal, instrument or signing up for high school Purposeful Engagement band, or attending band camp for the first Culture building must be purposeful and 88(2), 24-28. time. Bringing attention to these moments genuine. Find ways for the community to underscores the importance of individuals in celebrate accomplishments, no matter how Susan L. Smith, has the ensemble and solidifies their place in the large or small. Reward positive behavior and taught general, choral, group. choose your battles. Sometimes conflicts or and instrumental music issues find ways to work themselves out at the elementary through Action without drawing attention. When there are collegiate level in Florida, What steps do we take to build team culture? conflicts or misunderstandings, be sure to Virginia and Alabama 1. Priorities Make a list of priorities and give parents and students a way to save face and has served as an decide your givens for the program. These and allow them some grace. Being “right” at author, clinician, givens(really your philosophy) will guide the moment might lose the student long- conductor, and each decision you make. term. Draw attention to positive behavior adjudicator across the 2. Proficiency models Research successful and choose your battles and there will be United States. She is currently Lecturer in Music band programs and find out all you can. fewer battles to fight along the way. Many Education and Horn at Troy University. She is the Emulate how they rehearse, travel, sound, leaders have a hard time delegating Past President of the Alabama Music Educators mentor students, and make decisions. responsibility to parents and students, but Association and the current faculty advisor for the Professional educators are more than willing this is key to engagement and finding ways Troy Collegiate NAfME Chapter. Smith is the to share tips and information on building for all to contribute to the group’s success. current Chair of the NAfME Collegiate Advisory their program culture. Wando, Marion Be sure to always protect your brand and Council and a member of the Professional Catholic, Blue Springs, Tarpon Springs, that of the band. How you and the program Development Committee. She is also working on her Claudia Taylor Johnson, Cedar Park, are perceived will either draw in parents and PhD in Music Education at Auburn University ala breve 39

A Focus on Alabama State University and Civil Rights from 1965-1975 By Lebarron N. Mcwhorter The purpose of this article is to shed some This article also hopes to highlight the University outline the history of the school. light on the events that took place at progress that was made during this time The schools’ history covers about 144 years Alabama State University, one of the period. Achievements such as accreditation dating from the end of the Civil War, on Nation’s Historically Black Colleges and and membership from SACS (Southern into the Civil Rights Movement, and now Universities (HBCU), from 1965 to 1975. Association of College and Schools) was into the 21st century. These years were chosen for the fact that granted, nationally televised events for the they were the later years of the Civil Rights Mighty Marching Hornets Marching Band In 1867, this school began with the title of Movement, NASM (National Association were shown, university statues being granted “The Lincoln Normal School.”According to for Schools of Music) Accreditation was for the school, creation of a second-year the “History of Alabama State University” received for the first time, and significant graduate program leading to an Alabama article from Archives and Special faculty accomplishments were made. class AA teacher’s certificate was begun, Collections, “the school was created by NASM accreditation was granted for the blacks in the Black Belt of Alabama that had Rationalization for the paper school of music, and the completion of the a keen interest in providing educational Tullibody Music Hall. These are just a few opportunities for their children” (Archives There are some publications that provide of the Achievements that have brought the and Special Collections, 2010). Through the historical background on Alabama State music programs and the university to the persistent efforts of Peyton Finley, the first University and the Civil Rights movement. status that it has acquired today. black-elected member of the State Board of The addition of this article to the current Education, the school was able to gain body of literature will help provide a more Brief History of Alabama State University university status and took on the title of “ complete history of the effects of the Civil State Normal School and University for the Rights movement on the Music Programs at The Name Changes of Alabama State University Education of Colored Teachers and Alabama State University. Students” in 1874. The name changes of Alabama State In 1887, according to the “History of Alabama State University Alabama State University” article, “on the Mighty Marching Hornets - 1967 behalf of blacks that continued to press for a more prominently supported school for black youths, the state legislature authorized the establishment of the “Alabama Colored People’s University” in Montgomery, Alabama” (Archives and Special Collections, 2010). The school changed its name yet again to “Normal School for Colored Students’’ in 1889. According to the “Names of Alabama State” article, “this change came about through the opposition by opponents that did not support the state-supported education of blacks” (Archives and Special Collections, 2010). These opponents filed suit in state court and won. In 1928, under university president Harper Council Trenholm, the school changed from a junior college to a full four-year institution, which allowed its name to be changed to “State Teacher College.” Continued on Page 43 40 February/March 2022

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In the following years, the school changed The Schools’ Relocation to Montgomery, The Civil Rights Movement was a major its name three more times to “Alabama State Alabama event in history and Alabama State College for Negros” in 1946, “Alabama State University had a vital role in the execution College” in 1954, and finally in 1969 In 1874, George N. Card used state funds to of the movement. Students and faculty took “Alabama State University.” These name reorganize Lincoln Normal School, and leading roles in certain events of the changes display the collective effort of many reestablish it as the “State Normal School movement. The Women’s Political Council people and their desire for state-supported for Colored Students,” the first-state (WPC) was an organization that was education for blacks in Alabama. supported educational institution for blacks. founded in 1946 by Dr. Mary Fair Burks, Card reorganized the school for the purpose chairman of the English Department at The Establishment of Lincoln Normal of receiving more state financial support. Alabama State University and a member of School in Marion, Alabama According to the “Encyclopedia of Dexter Avenue Baptist Church. According Alabama: Alabama State University,” “the to K.E Westhauser, author of Community: The Lincoln Normal School is the school remained in Marion for thirteen Life and Learning at Montgomery’s Black forerunner of Alabama State University. The years, before its name was changed to the University, “the WPC was formed for the establishment of this school began in 1866 “Alabama Colored People’s University” purpose “of inspiring Negroes to live above when Jabez Lamar Monroe Curry, president (Encyclopedia of Alabama, 2010). The state mediocrity, to elevate their thinking, to fight of Howard College, issued a call to local also allotted ten thousand dollars for the juvenile and adult delinquency, to register Baptist and Presbyterian Church pastors for purchase of land and construction of and vote, and in general to improve their a mass meeting to discuss the organization buildings and an additional seventy-five status as a group” (Westhauser, 2007). of a school for Negros. This meeting hundred dollars yearly for everyday resulted in the start of a small school for expenses. This school would replace the In 1950, Mrs. Jo Ann Gibson Robinson, Negros in Marion, Alabama. State Normal School after officials found a another English teacher at Alabama State, suitable location in Montgomery, Alabama became president of the WPC. As time Lots of help came in the form of white that was accepted by whites. Blacks in favor progressed, the WPC began to receive teachers. According to the “Encyclopedia of of the school in Montgomery pledged five complaints from blacks in the city about Alabama: Alabama State University,” the thousand dollars, donated land, and arranged cases of abuse from whites. Many of these following year, “the AMA (American for the temporary use of some buildings. complaints were about the bus system. The Missionary Association) sent Thomas C. Within eight months, the university opened WPC leaders sought a meeting with the Steward, a white teacher from Ohio, along its doors in Montgomery at Beulah Baptist company management, at which time the with H.F Treadwell and May Senderling, two Church, with nine faculty members under women presented written reports of drivers, white teachers from Massachusetts, were the leadership of William Burns Paterson. bus numbers, hours, and routes where sent to help establish a school in Alabama incidents had occurred. The bus company for freedmen” (Encyclopedia of Alabama, Alabama State University and the Civil did listen to their complaints. These 2010). Treadwell requested help from the Rights Movement subsequent meetings with bus officials and Freedmen’s Bureau and its commissioner, the city’s mayor resulted in a few weeks of Brigadier General Wager T. Swayne, agreed The Schools’ Role in the Civil Rights Bus better bus service and treatment of black on the condition that the freedmen raise five Boycott riders. However, the abuse continued shortly hundred dollars and purchase the land thereafter. At the same time, complaints needed for developing a school. The group settled in Marion, Perry County, and at this time the buildings and grounds of the school were leased to the AMA for ten years in exchange for AMA financing and operating the school. A bulk of this money to fund the school was raised by nine former slaves known as the “Marion Nine.” According to the “Encyclopedia of Alabama: Alabama State University,” “these men- Alexander H. Curtis, Joey Pinch, Thomas Speed, Nickolas Dale, James Childs, John Freeman, Nathan Levert, and David Harris- had already been working to provide an education for the black children of Marion, Alabama” (Encyclopedia of Alabama, 2010). Curtis was the driving force in the push for the school to be organized as the Lincoln Normal school, and on July 18, 1867, papers were filed with the probate judge of Perry County incorporating the Lincoln School in Marion. ala breve 43

were being heard by other black (MIA) to coordinate future protests. They Alabama State’s music programs. organizations in the city. The Citizens also appointed Dr. King as president of the Steering Committee headed by Alabama organization. In a meeting held by Dr. King Dr. Otis D. Simmons State employee Mr. Rufus Lewis, local and and the MIA that very same night, African state chapters of the NAACP, and other Americans filled the pews and voted Dr. Otis D. Simmons came to Alabama State organizations within the city, was often overwhelmingly to continue the boycott. in 1966, after serving previous tenures at called upon by the black masses in Philander Smith College, Texas Southern Montgomery who were victims of racial Alabama State University Role in the Sit-In University, and Southern University. Dr. injustice. Movement Simmons came to Alabama State as Chairman of the Department of Music and In 1955, after the arrest and conviction of College students at HBCU’s all across the his teaching duties included Secondary Claudette Colvin and later Mary Louise southeast also played a huge role in the Civil School music Education, Voice, and Smith, two teenage black girls who refused Rights Movement as well. In particular, directing the University Choirs. According to to give up their seats in the “black” part of students at Alabama State had a huge effect the 1969 Division of Music Bulletin, “Dr. the bus to white riders, the black citizenry of on one of the landmark rulings in higher Simmons presented a scholarly report on the Montgomery became more resentful and education. singing voice in 1964 to the national rebellious. According to K.E Westhauser, convention of the National Association of “At that time, Mrs. Robinson proposed a Students at North Carolina A&T staged a Teachers of Singing in Minneapolis entitled, boycott of the city bus company to the sit-down at a white-only lunch counter in a “Neuro-Physiology and Muscular Function WPC, which took the idea under Woolworth’s store in Greensboro, North of the Vocal Mechanism: Implications for consideration (Westhauser, 2007). But there Carolina. According to K.E Westhauser, Singers and Teachers of Singing” (Division were doubters who wanted to be sure that “Students at other schools followed their of Music Bulletin 1969). This same report the woman had the support of most of the example, leading to the birth of the Student was later published in the NATS Bulletin blacks in the city. Others were concerned Nonviolent Coordinating Committee Vol. XXII, No. 1, October 1965 issue. that the teenagers were too young to be the (SNCC) two months later” (Westhauser, center of the boycott. The arrest of Mrs. 2007). In Montgomery, twenty-nine Dr. Simmons came to Alabama State during Rosa Parks was the opportunity that was Alabama State students staged a sit-in at the a time when the school was seeking needed to unite the black organizations in lunch counter of the county courthouse on accreditation as well as the department of Montgomery. February 25th, and over a thousand others music. According to the interview of Mr. supported them in a demonstration of the Robert Williams, current Director of Bands On December 1, 1955, after Rosa Parks steps of the state capitol five days later. In at Stillman College, “Dr. Simmons was quite became the third woman to be arrested on retaliation, a furious Governor John an educator and organizer. He had a very the city’s buses, Mrs. Jo Ann Robinson knew Patterson forced the expulsion of nine strong personality to accompany his teaching that the moment black women had long students and the dismissal of more than a style” (Williams 2010). His organizational anticipated had arrived. That’s when she dozen Alabama State faculty, including Jo skills and strong personality showed when began to lay out her thoughts to Park’s Ann Robinson and WPC founding president he limited the number of hours a music attorney, Fred Gray, an ASU alumnus. She Mary Fair Burks. Knowing that their major could take during a semester spent the night hammering out a notice contracts would not be renewed, they left according to his or her G.P.A. In an urging black riders to stay off the buses on Alabama State quietly at the end of the interview with Dr. Thomas E. Lyle, “Dr. Monday and secretly copied over fifty term. Three months later, the expelled Simmons reinforced the subject of thousand flyers on college paper and students were vindicated by the U.S Supreme education and history in music. He wanted equipment accompanied by two male Court, which let stand a ruling that they had students to understand the historical and students and a male faculty member with a been denied their constitutional right to due educational value of music” (Lyle 2010). The key to the copy room. According to K.E process. The decision, Dixon v. Alabama restructuring of the music department was a Westhauser, “On Friday, WPC members State Board of Education, is considered a vital component of the NASM accreditation distributed the notices throughout the landmark ruling in higher education. process. community, by which time a meeting at the Dexter Street Baptist Church had selected Music at Alabama State University Mr. John Duncan Dr. Martin Luther King to inspire the 65’-75’ masses and schedule a mass meeting for Mr. John Duncan served as the Composer- Monday night, to conclude what hoped Notable Faculty and Staff in-Residence; he also taught classes in would be the boycott’s first successful day” orchestration and was the professor of (Westhauser, 2007). From the years 1955 to 1975, many music woodwinds. Before serving on the faculty at professors shaped the history of the Alabama State, he was a faculty member at On Monday, December 5, 1955, thirty- Alabama State University music programs. Samuel Huston College in Austin, Texas. thousand African Americans participated in Some of these professors started their music According to Eileen Southern, author of the bus boycott. That afternoon, the leaders careers at Alabama State, some came to “The Music of Black Americans’ ‘, “Mr. of the African American community, Alabama State with already vibrant careers in Duncan wrote many compositions. Only a including Ralph David Abernathy, the pastor music, and others came to Alabama State few were published, but they were widely of First Baptist Church, formed the and never left. But all of these professors performed on black and white college Montgomery Improvement Association within this time period changed many campuses in the south” (Southern, 1971). students’ lives and the overall scope of 44 February/March 2022

Mr. John Duncan Dr. Lyles’ curriculum vita, “He has been Encyclopedia of Alabama: Modern civil named Band Director of the Year for 1985 rights movement in Alabama (2010 Nov 19) While had few published works, his best- and 13 times prior by the Birmingham Grid known works, according to the 1964 Forecasters” (Dr. Thomas E. Lyle Vita, retrieved from Division of Music Bulletin, included “Three 2010). Dr. Lyle is most noted for his http://www.encyclopediaofalabam Proclamations for Trombone and String creation of the then all-male Mighty a.org/face/Article.jsp?id=h-1580 Quartet,” “An Easter Canticle,” “Concerto Marching Hornet Band. According to a for Trombone and Orchestra,” and “Three phone interview with Mr. Robert Williams, “History of Alabama State University” (2010 Obscurants for Tenor, Oboe, and String “Alabama State is a combination of Florida Oct 10) Alabama State University archives Quartet’’ (Division of Music Bulletin 1969). A&M, Tennessee State, and the University Many of his unpublished compositions were of Michigan (Williams, 2021).” The and special collections. retrieved performed by the Alabama State Wind concepts, marching style, and culture from HTTP:// Ensemble. According to an interview with established within the Mighty Marching www.lib.alasu.edu/archives/history Mr. Robert A. Williams, “Mr. Duncan’s Hornets are derived from the experiences /asu.html music was geared towards the southern that he gathered from these institutions. His heritage of African Americans. This was 148-piece marching band gained national Lyle, T. E. Interview with the author, 2010 even more evident during the Civil Rights acclaim by presenting televised Nov 26, video recording. Movement when his music embodied the performances in New York City, sights and sounds of the Civil Rights Montgomery, Alabama, and Atlanta, Southern, E. The Music Of Black Movement and Montgomery, AL” (Williams, Georgia. His teachings influenced the Americans. 2nd Edition, New York, W.W 2010). marching band to such a point that his Norton marching techniques are still in use to this Dr. Thomas E. Lyle day. According to an interview with Mr. and Company, 1971. Robert A. Williams, “Dr. Lyle was also a Dr. Thomas E. Lyle joined the faculty at well-noted clarinetist, composer, and “The Names of Alabama State University” Alabama State in 1964. Dr. Lyle was a arranger (Williams, 2010). Many of his (2010 Nov 13) Alabama State University graduate of Tennessee State University and original compositions for marching bands the University of Michigan, where he are still being performed by the Mighty Archives and Special Collections. obtained both his master’s and doctoral Marching Hornets as standard tunes. Retrieved from degrees. He served previous tenures at http://www.lib.alasu.edu/archives/ Council Training School in Normal, References research/history/eightnames.html Alabama, Hungerford High School in Winter Park, Florida, and at Florida A&M “Alabama State University, A timeline” (2010 Westhauser, K.E., Smith, E.M., Fremlin, University in Tallahassee, Florida. Dr. Lyle Oct 10) Alabama State University J.M., (2007) Creating Community: Life and came to the faculty as Director of Bands and his teaching assignments included band archives and special collections. Learning at Montgomery’s Black arranging, marching band techniques, wind retrieved from HTTP:// University. retrieved from ensemble, and applied clarinet. According to www.lib.alasu..edu/archives/history http://www.netlibrary.com/Reader /timeline.html / Bristol, C. Interview with author 2010 Nov Williams, R. A. Interview with the author, 28, email conversation. 2010 Nov 27, video recording. “Division of Music Bulletin” (1969) Williams, R. A. Interview with the author, Alabama State University music box 1, 2021 Nov 1, phone recording Alabama Lebarron Mcwhorter is currently pursuing his State University archives and Doctor of Philosophy degree in Instrumental Music special collections Education, while serving as a Graduate Teaching Assistant for the Department of Music at Auburn “Dr. Thomas E. Lyles Curriculum Vitae” University. Mcwhorter earned the Master of Music (2008) Alabama State University Dr. Thomas degree in Instrumental Conducting from Reinhardt E. University in Waleska, Georgia, a Bachelor of Music Education degree Lyles collection box 2, Alabama from Alabama State State University archives and University in Montgomery, special collections Alabama, and also has a Certificate in Advanced Encyclopedia of Alabama: Alabama State Graduate Studies in University (2010 Oct 10) retrieved from Instrumental Conducting from Messiah University in HTTP:// Mechanicsburg, www.encyclopediaofalabama.org/fa Pennsylvania. ce/Article.jsp?id=h-1612 ala breve 45

AMEA Division Events 2021 - 2022 Alabama Bandmasters Association Statewide Event Location Date Deadline District 1 AMEA Conference BJCC January 20-22, 2022 1/7/2022 District 2 All-State Jazz Festival BJCC January 20-22, 2022 11/1/2021 District 3 All State Jazz Recording Due 15-Nov-21 11/15/2021 District 4 All State Solo Festival Mobile Convention Center 6-Apr-22 3/1/2022 All State Festival Mobile Convention Center April 7-9, 2022 3/1/2022 District 5 Summer Convention Perdido Beach Resort June 28-30, 2022 6/1/2022 District 6 District Fall Meeting James Clemens HS 23-Aug-21 N/A District 7 All State/ District HB Auditions Sparkman HS January 28-29, 2022 1/7/2022 District 8 District Honor Band Grissom HS February11-12, 2022 1/7/2022 MPA #1 Hartselle High School March 2-3, 2022 2/8/2022 46 MPA #2 James Clemens HS March 8-10, 2022 2/15/2022 Solo and Ensemble #1 Liberty MS 2-Apr-22 3/12/2022 Solo and Ensemble #2 Priceville High School 23-Apr-22 4/2/2022 District Fall Meeting Gadsden City HS Band Room 24-Aug-21 N/A All State Auditions Albertville HS 8-Jan-22 12/10/2022 District Honor Band Albertville HS February 11-12, 2022 1/24/2022 MPA Gadsden City HS Audiorium March 1-4, 2022 1/24/2022 Solo and Ensemble Southside HS 30-Apr-22 3/28/2022 District Fall Meeting Moulton, AL 9-Aug-21 N/A All State Auditions Muscle Shoals HS 29-Jan-22 1/10/2022 District Honor Band Russellville HS February 11-12, 2022 2/3/2022 MPA UNA March 8-10, 2022 2/15/2022 Solo and Ensemble Muscle Shoals HS 30-Apr-22 4/12/2022 District Fall Meeting Pelham HS 13-Sep-21 N/A All State Auditions Hoover HS 29-Jan-22 1/14/2022 MPA #1 Vestavia High School March 15-17, 2022 1/14/2022 MPA #2 Thompson High School March 22-24, 2022 1/14/2022 District Honor Band TBD February 25-26, 2022 2/5/2022 Solo and Ensemble #1 Thompson Middle School 26-Apr-22 4/2/2022 Solo and Ensemble #2 Bumpus MS 7-May-22 4/2/2022 District Spring Meeting Vestavia High School 16-May-22 N/A District Fall Meeting Zoom Call 17-Aug-21 N/A All State District Honor Band Auditions Brookwood High School 29-Jan-22 1/7/2022 District Honor Band University of Alabama February 18-19, 2022 2/4/2022 District Meeting University of Alabama 19-Feb-22 2/4/2022 MPA University of Alabama March 9-11, 2022 2/16/2022 Solo and Ensemble Brookwood High School 23-Apr-22 4/1/2022 District Fall Meeting Baumhower's Auburn, AL 14-Aug-21 N/A All State Auditions Opelika HS 29-Jan-22 1/7/2022 District Honor Band Auburn HS February 18-19, 2022 2/4/2022 MPA Opelika HS March 1-3, 2022 2/8/2022 Solo and Ensemble Wetumpka HS 23-Apr-22 4/2/2022 District Spring Meeting TBA 13-May-22 N/A District Fall Meeting Phillips Preparatory School 30-Aug-21 N/A All State Auditions Saraland HS 29-Jan-22 1/7/2022 MPA Baker HS March 15-18, 2022 2/11/2022 District Honor Band Daphne High School March 24-25, 2022 2/25/2022 Solo and Ensemble Spanish Fort MS 30-Apr-22 4/8/2022 District Spring Meeting Davidson High School 23-May-22 N/A District Fall Meeting Enterprise High School 16-Aug-21 N/A All State Auditions Coppinville Junior High School 29-Jan-22 1/14/2022 MPA Enterprise PAC March 8-10, 2022 2/4/2022 District Honor Band Enterprise HS March 11-12, 2022 2/4/2022 District Spring Meeting Enterprise HS 11-Mar-22 N/A Solo and Ensemble #1 Carver Magnet School 30-Apr-22 4/8/2022 Solo and Ensemble #2 Greenville HS 7-May-22 4/8/2022 February/March 2022

Alabama Vocal Association Event Date Location Fall Workshop September 10, 2021 TBD AMEA January 20-22, 2022 BJCC ASSC January 20-21, 2022 BJCC Solo & Ensemble March 2, 2022 UNA District I March 21-22, 2022 UA Moody Music Building District II March 4, 2021 Episcopal Church of the Ascension or Cahaba Heights UMC District III February 18, 2022 Jacksonville State University District IV TBD First Baptist Church / Huntsville District V April 6-7, 2022 Enterprise High School District VI February 17, 2022 First Baptist Church Fairhope District VII State Assessment March 2-3, 2022 Location District I March 21-22, 2022 March 2-UNA, March 3- FBC Decatur District II April 8-9, 2022 UA Moody Music Building District III April 14, 2022 Canterbury UMC or Gardendale Baptist District IV March 3-4, 2022 Gadsden City High School District V March 6-7, 2022 Grissom High School District VI March 31, 2022 Enterprise High School District VII Spring Hill Baptist Church, Mobile All-State Auditions October 31, 2021 District I November 1, 2021 Districts I & V November 2, 2021 Districts I & V November 3, 2021 District IV November 4, 2021 Districts II & III November 5, 2021 Districts II & III November 8, 2021 District VI November 9, 2021 District VII Elementary/General Division August 14 2021 SHAKE Back to School Workshop Vestavia Hills Elementary East August 28, 2021 East Alabama Workshop Online October 15, 2021 AMEA Elementary Festival Eastmont Baptist Church October 16, 2021 AMEA/AOSA/SHAKE Fall Workshop Eastmont Baptist Church January 20-22. 2022 AMEA Professional Development Conference Birmingham-Jefferson Convention Complex Alabama Orchestra Association October 15, 2021 All-State/All Region Orchestra Audition Deadline Strings, Harp, Piano Virtual November 12, 2021 All-State/All Region Orchestra Audition Deadline January 7-9, 2022 All-Region Orchestras Woodwind, Brass, Percussion Virtual North Concert 3:00 pm South Concert 7:00 pm January 20-22, 2022 AMEA Professional Development Conference BJCC February 10-13, 2022 All-State Orchestra April 22-23, 2022 Orchestra Music Performance Assessment AMEA Collegiate Division October 24, 2021 Collegiate Summit The University of Alabama January 20-22, 2022 AMEA Professional Development Conference Birmingham-Jefferson Convention Complex ala breve 47

AMEA Industry/Institutional Membership 2021-22 AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators! All National Music P.O. Box 5502, Navarre, FL 32566 Best in Class Tours, LLC P.O. Box 770963, Winter Garden, FL 34777 Arts Music Shop, Inc. 3030 East Blvd, Montgomery, AL 36116 Gadsden Music Company P.O. Box 132, Gadsden, AL 35902 Guardian Music and Group Travel 10929 Franklin Ave, Suite S, Franklin Park, Illinois 60131 J.W. Pepper and Son, Inc. 9053 Riverside Pkwy, Lithia Springs, GA 30135 Madison Band Supply 1604-B Hughes Road, Madison, AL 35758 Marchmaster Inc. PO Box 73379, Newnan, GA 30271 Our Group Tour LLC 4903 Ashley Circle SE, Owens Cross Roads, AL 35763 Ronald Sachs Violins 2001 Commerce Dr N, Peachtree City, GA 30269 Southern Performances PO Box 6852, Gulf Shores, AL 36542 Super Holiday Tours 116 Gatlin Ave, Orlando, FL 32806 The University of Alabama Department of Music Education 810 2nd Ave, Tuscaloosa, AL 35401 The University of Alabama School of Music 810 2nd Ave, Tuscaloosa, AL 35401 Troy University John M. Long School of Music, Troy, AL 36082 University of Alabama at Birmingham 950 13th Street S., Birmingham, AL 35294 University of South Alabama LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 48 February/March 2022