Wed., Feb. 15th

10:00 - 11:30 am

  • Dr. Nicholas Williams, University of Georgia - Athens

    Conducting workshop for select individuals.

1:00 - 5:00 pm

  • Registration desk will be open for all conference attendees.

  • Vendors and Exhibitor are open for all conference attendees.

1:30 - 2:05 pm

  • Alyssa Grey
    Berry College

    Great rehearsals begin with thorough knowledge of a musical score. The deeper we investigate a piece, the more effectively we can anticipate students’ challenges and encourage musical moments during rehearsals. In this session, Grey will lead attendees through hands-on score study and explore ways to convey musical concepts through rehearsal techniques.

    Score access provided by J.W. Pepper.

  • Giovani Briguente
    Presbyterian College

    Brazilian music literature is vast and incredibly rich. It can add a myriad of genres, styles, forms, rhythms, harmonies, and colorful orchestrations to your program. This presentation presents Brazilian wind band selections from grades 6 to 2, their unique musical features, length, instrumentation, and easy ways to acquire the materials. Have you heard of Villani-Cortês and Osvaldo Lacerda? Now, imagine if Grainger and Holst were unknown to you. That’s what you are missing!

  • Chris Westover-Muñoz
    Denison University

    "Art is not a mirror reflecting reality, but a [band] with which to shape it." -Bertolt Brecht (misheard at a band concert)

    While wind-bands have long been associated with the exhibition of power and functioned as representations of the state/military and dominant culture, they also have a legacy as musical agents of direct action against the very means of power they more frequently reinforce. These two traditions of “band-ing”(1) are often considered as discrete domains; one that encompasses the potentially exclusionary and erasing values of high-art, patriotism (or nationalism), and strict hierarchies, and another that embraces the values of community (or social engagement), political action, and activism, especially in public spaces. I contend that we can see that these traditions in relationship with each other and understand their unique expressions of the band idiom as reflecting the values they embrace.

    This paper considers “band-ing” as a social aesthetic practice in order to consider the politics embedded in each of the elements of the genre, its individual works and “the social relations inscribed in [their] production, circulation, and reception.” The paper draws connections between the wind-band’s past and present to show how it aesthetically reinforces dominant values, codes of conduct, and world-views. It thereby articulates characteristics of activist “band-ing” and demonstrates several approaches from different traditions. In this way, the paper establishes models by which establishment bands can consider the politics of their practice, see the relationship between their tradition and activist/countercultural traditions, and forge a more inclusive approach to making music in our discipline.

2:10 - 4:50 pm

  • Research poster presentations and Q & A.

2:10 - 2:45 pm

  • William Kinne
    University of Southern Maine

    William Grant Still's works for winds have received increased attention in recent years. In this survey of selected original compositions and transcriptions available to wind bands, we will discuss the challenges and rewards of programming each work.

  • Robert Schwartz
    Southeastern Louisiana University

    This presentation will focus on the wind band works of Spanish composer, Carlos Surinach. Born in Barcelona, the award-winning composer was commissioned to compose various musical works, mostly influenced by dance and Spanish dance rhythms. His close connection with Martha Graham enhanced his popularity by creating a choreography to his well-known piece, Ritmo Jondo. The focus of his presentation is to allow the audience to be aware of his many wind band works, with a primary focus on his composition, Jota. This particular composition is his least performed work for band and considered by many to be a work that is long forgotten. Until recently, the only documented performance reached back to 1988 by the Eastman Wind Orchestra.

    A look into the forgotten compositions of Surinach will allow one to evoke an understanding of his wind band works that have a unique harmonic language. His use of dance rhythms and motivic development play into another layer of complexity that make his pieces quite interesting to listen to and perform. Though his compositional output for band is limited, there are a number of pieces that deserve to get a second chance, and offer an inimitable experience to the conductor, performer and listener. This presentation will allow one to comprehend the music of Surinach’s wind band music, with a focus on his forgotten gem, Jota.

  • Matt Smith
    University of Kansas

    Over the last two years, many wind band conductors have pledged to make changes to repertoire programming and commissioning to better represent the diversity of composers in the medium. Through this process, it has become apparent that there have been multiple generations of overlooked and unknown composers who may fall into one or more underrepresented categories. Recent efforts to provide lists of underrepresented composers have been invaluable in support of a more diverse repertoire. However, many of these lists heavily favor living composers. As much as the wind band community should support and promote the creation of new works, the efforts of past contributors to the medium should also be celebrated. This presentation will examine research to develop a list of band compositions by African-American composers prior to the year 2000. A list of works will be provided.

2:45 - 3:15 pm

  • First Time Conference Atendees Meet and Greet with CBDNA Leadership

3:15 - 4:05 pm

  • Jared Rawlings
    The University of Utah

    Research documenting the influence of early music teacher educators is scarce and current trends in music education historical research reveal that studies of women music educators can uncover an alternative view of the history of music education. Elizabeth A. H. Green was an innovative music teacher educator who influenced thousands of music educators and teacher educators in the 20th century. Through this presentation, I will address how Elizabeth’s friends and close acquaintances describe her life, within the context of her career in music education, as well as, the impact of her teaching and praxis on her students.

  • Mark Tse
    SUNY Suffolk County Community College

    This study compares the repertoire, business models, and philosophies of four American professional wind bands; Dallas Winds, Lone Star Wind Orchestra, San Diego Winds, and the Royal Hawaiian Band. For the purposes of this study, “professional” is defined as generating sufficient income to pay the performers. For three of these professional bands to achieve comparable success as current professional orchestras, they should make similar revolutionary leaps that early American orchestras made to guarantee their performers a full season of concerts, enough to provide a livable income.

  • William Perrine
    Concordia University Ann Arbor

    In recent years, a significant conflict has grown between researchers engaged in the philosophy of music education and wind band communities. Critics have launched wide-ranging criticisms of the practice and pedagogy of the large ensemble within the music curriculum. Polarizing language has opened a deepening schism between philosophers of music education and practicing band directors within the academy, with the potential for significant long-term damage to traditional collaboration in the preparation and support of future music educators.

    The purpose of the panel discussion is to further the conversation begun in The Future of the Wind Band: Philosopher and Practitioner in Dialog (GIA Publications, 2021). Our aim is in fostering discussion regarding critical discussions for our profession between philosophers of music education and practicing band directors. The published volume precipitating this discussion is not meant to be an end in itself but rather a springboard for us to engage in continued productive dialog in order to strengthen our profession.

4:15 - 4:55 pm

  • Luke Johnson
    MidAmerica Nazarene University

    Busy schedules, long hours on your feet and/or at a desk, dealing with administrators, donors, needy students, managing your health/exercise/diet, academic research, ensemble performances, paperwork, recruiting, unrealistic expectations, juggling family with work… These are just a few of the stressors academics deal with on a daily basis. Also…we just came through a pandemic. It’s not just our students that are struggling more emotionally. This session offers guidance and tools to help navigate all the expectations placed on you (whether perceived or real!)

    In our academic coursework, most of us did not have training in balancing personal and professional lives. Many of us do not have successful and/or healthy methods for dealing with the stress that comes with the job. Dr. Johnson-Director of Bands and Music Ed. at MNU has partnered with the Counseling Department at MNU to provide some practical and useful tools to help busy band directors find balance in academia.

  • David Wacyk
    University of Missouri at St. Louis

    Ida Gotkovsky is a French composer whose style has emerged as a unique voice in the wind repertoire of the late twentieth century while retaining stylistic traits of earlier French composers. As a product of the Paris Conservatory, she is part of a heritage that reaches back to Debussy and Ravel, and more significantly to her teachers Olivier Messiaen and Nadia Boulanger. This research explores Gotkovsky’s work (largely ignored in the US), discovering points of connection between the composer and her teachers, and provides an overall illustration of her life and compositional style. This session will elucidate her works for wind orchestra through theoretical and practical lenses and serve as a field guide for conductors who wish to program her music.

  • Eric Laprade
    The College of New Jersey

    We assert that deep engagement with issues related to social justice and human rights through artistic practice and experience works in tandem with the artistic process of preparing repertoire and makes for committed, meaningful, and lasting experiences for students, audiences, and conductors. By profiling a number of recent projects completed by The Artivism Project at The College of New Jersey, this session will explore how the large-ensemble rehearsal process provides a pedagogical gateway for dialogue and understanding of the world around us and how this approach enhances the rehearsal and performance experience.

    We will focus on teaching ‘beyond the score’ and detail best practices for a holistic approach to ensemble pedagogy. Using works by Ted Hearne, Rollo Dilworth, and Omar Thomas, audio/video recordings of performances, curricular materials, audience feedback, and post-project reflections, we will illustrate how the process of externally facing artistic practice unfolds in the rehearsal setting. The models presented will allow for flexible application in a variety of settings with a broad range of repertoire, encouraging session attendees to reimagine how they approach ensemble pedagogy in the twenty-first century.

5:00 - 8:00 pm - Dinner Break

6:30 - 8:00 pm - Registration Open - Performing Arts Center

8:00 - 9:00 pm - Concert

  • Dr. Cormac Cannon
    Conductor

9:15 pm - Reception

Thursday, February 16th

7:30 am

  • Coffee and beverages available courtesy of:

    Conn-Selmer

  • Registration Table Hours

    7:30 to Noon

    1 pm to 9 pm

  • Vendor Hours

    8am to Noon

8:15 - 8:45 am

  • Alexandra Zacharella
    University of Arkansas at Fort Smith

    Helen May Butler (1867-1957) was born on a farm in New Hampshire and began the study of violin at an early age. She studied with the principal violinist of the Boston Symphony and became an accomplished cornetist in her youth. Butler billed herself as Directress of her Ladies Military Bands and directed several all-women traveling military bands from 1898 to 1913. Her first band was named the U.S. Talma Ladies' Military Band to perform in public venues, because at this time there were no female concert bands and military bands had public respect.

    The band performed from coast to coast and achieved a high level of success that rivaled the best bands of the day. Butler became known as the "Female Sousa" and one of the band's mottoes was "Music for the American people, by American composers, played by American girls”. This research presentation will explore the life of Helen May Butler, her rise to fame and how her composition, Cosmopolitan America March, became the official Republican party campaign march during Theodore Roosevelt's presidential campaign of 1904. The presentation will also discuss Butler as an entrepreneur and true pioneer. She was one of the first Conn artists and gained the confidence of C.G. Conn, who endorsed her ensembles with Conn instruments. Interested in women’s rights and suffrage, Butler announced her candidacy for a U.S. Senate seat in 1936. After Butler’s performing and touring career, she retired to Covington, Kentucky and remained an active brass private lesson teacher until her death in 1957.

  • Eric Melley
    Providence College

    College band programs in the United States have commissioned new works for wind bands and ensembles for decades and have a firmly-established culture of advocacy for these commissions.

    Motivating this effort are two broad goals:

    1) A desire to expand the body of serious artistic works for bands and, relatedly, an interest in attracting composers of stature to compose works for those ensembles; and

    2) a general interest in and advocacy for new music.

    After amassing this substantial body of repertoire, there has been abundant analysis of the quality of many of the works, but little study about what pieces are typically performed by American college wind bands or the establishment of a core repertoire. Because the college wind band drives the creation of a substantial portion of new repertoire in the U.S., questions of cultural relevance, core repertoire, and demographic representation on programs should be examined. The global and civic turmoil that arose in 2020, coupled with the concomitant pause in live music performance provides an appropriate moment to examine the programming practice of the U.S. college wind band in the recent past.

    The CBDNA Report has listed concert programs for nearly three decades and has logged information from thousands of performances. This presentation will examine two four-year sections of program reports, comprising nearly 20,000 performed pieces, and seek answers to these questions: 1) Which composers are being regularly performed by the American college wind band? 2) What is the demographic profile of these composers? 3) Are they living or deceased? 4) What countries and regions are represented? This examination will serve as a benchmark for future analysis of programming trends among American college wind bands and ensembles; institutions and faculty are placing increasing emphasis on programming works by composers from underrepresented communities. Conclusions drawn from this research could have a potential impact on commissioning projects, evaluation of diversity initiatives, and serve as a reference for subsequent examinations of composer demography moving forward.

  • Eric Smedley
    Indiana University

    This presentation will deliver a method for incorporating improvisation in the wind band setting, aimed at stimulating the imaginative side of the musicians in our ensembles. Learning to interpret another person’s written music notation should just be a portion of what a musician is able to do. Creative aspects of music making should be embraced more readily as they engage the human spirit in ways that foster individual inventiveness and connection between players. Improvisation is prevalent in many musical mediums; however, it is mostly absent from modern classical performance. As the world of symphonic music looks to the future, we must consider our role moving forward. Are we relegated to being musical curators of the wind band canon, or are should we find ways to be part of the creative fabric? If creativity in classical music is left solely to composers, the art of performance may grow irreparably stale and stagnant.

8:50 - 9:20 am

  • Adam Fontana
    State University of NY at New Paltz

    Brazilian Jiu-Jitsu is a style of submission grappling that traces its roots to seventeenth century Japan where it originated as a form of weaponless self defense for samurai warriors. After being brought to Brazil in 1917 by Mitsuyo Maeda, the martial art was revolutionized by the renowned Gracie family, and it has gained significant popularity in recent decades through its use in mixed martial arts competitions. The study of Brazilian Jiu-Jitsu closely resembles the study of conducting, and it can provide conductors of all levels with new tools for developing nonverbal communication skills, increasing physical and mental health, and minimizing performance anxiety, stress, and physical injury. This presentation will give conductors insights into the parallels between the study of Brazilian Jiu-Jitsu and conducting, and will share various methods for utilizing principles, techniques, and styles of Brazilian Jiu-Jitsu on the podium and in conducting courses.

  • Kristin Arp
    University of North Carolina at Greensboro

    From 1819 to 1969, there were 408 federal Native American boarding schools located throughout the United States. Band was part of the curriculum in most of these schools, but it was primarily used as a tool of oppression. While it is true that band did serve as an artistic outlet for students, the schools wielded band as a two-pronged mechanism of the assimilation process: as a way of motivating students to conform with white-centric cultural expectations and as a vehicle for propaganda outside the school. This presentation will examine the structure and function of Native American boarding school bands as well as the repertoire they performed, how students viewed their participation in band, and how bands were perceived by white audiences outside the schools.

  • Christian Folk
    University of Maryland

    The existing literature on wind band repertoire has two main points of focus: (a) determining and measuring the artistic value of wind band literature while identifying a core repertoire and (b) identifying how often this repertoire is performed by various ensembles. Past scholars have focused specifically on programming trends of university wind bands in the ACC, BIG10, BIG12, PAC-12, and SEC college conferences. In this study, I analyzed wind band programs from these conferences between the Fall 2012 and Spring 2022 performance years. A goal of this study was to compare programming trends of the last ten years with those identified in previous literature, including the most frequently performed pieces and composers, and to determine if ensembles are consistently performing works deemed to be of serious artistic merit. I also focused heavily on identifying new trends over the last ten years in the programming of historically minoritized composers, including gender minoritized composers (e.g., women, transgender, and/or non-binary individuals) as well as racially minoritized composers.

9:00 - 11:00 am

  • Research poster presentations and Q & A.

9:30 - 9:55 am

  • Andrew Hunter
    The University of Texas at El Paso

    In the wake of the successful multimedia premiere of Julie Giroux's "Symphony No. 6" at the Texas Bandmasters Association Convention in July 2022, I engaged Scott Winters and Matthew Maslanka about the possibility of creating a visual supplement to David Maslanka's masterwork, "A Child's Garden of Dreams." After some initial discussions, Matthew shared with us some pastel drawings made by his father (David), and we knew that we had found the heart of our project. The video premiere will be November 15, 2022, and I know it would be beneficial for the membership of CBDNA to see this realization and begin to consider how we might take this technology and invigorate both existing and newly-composed works for our wind band medium as we seek to engage new audiences. In our presentation, Scott will share how the technology available works for presentation of the material, and Matthew will share thoughts on his father's music AND visual art, previously only known to a few.

  • Jared Rawlings
    The University of Utah

    Within in the United States, curriculum standards for all professional undergraduates in music indicate that skills in conducting musicians, including demonstrating expressive movement, are essential. Much research has been completed evaluating conducting course curricula relating to technique and/or skill acquisition; however, this research rarely reports the inclusion of expressive movement. Therefore, the purpose of this study was to examine how one conducting curriculum and system of pedagogical teaching, which are rooted in expressive movement principles, may impact a novice conductor’s ability to notice expressive movement across arts disciplines. Forty-five undergraduate music participants volunteered for the current study and were subjected to several waves of stimuli designed to evaluate a conductor’s knowledge of, ability to perceive, and evaluate expressive movement.

    Evaluation results demonstrate that the Haithcock et al. (2020) conducting curriculum did significantly increase this sample of conductor’s knowledge of and ability to perceive expressive movement across four art disciplines (mime, figure staking, dance, and conducting); however, it did not significantly affect conductors’ confidence level with the task of evaluating expressive movement. As most of the related research in music education addresses conductor competency related to non-verbal behaviors, this study addresses and extends previous research examining a relationship needed in the growing body of research focused on conducting curricula in all undergraduate music education degree programs.

  • Steven Moore
    University of Miami

    This presentation will provide an overview of one of the most important aspects of creating a quality music program, the recruiting of talented, smart students who are a great fit for your program. This is not a recipe--as each studio, professor, and school will differ--but rather a summary of fundamentals, procedures, planning spreadsheets, trends, and new resources.

10:00 am - Break - Hill Atrium

10:30 - 11:10 am

  • Brian Coffill
    Randolph-Macon College

    Joseph Scott
    St. Martin’s University

    David Wacyk
    University of Missouri - St. Louis

    Many small college programs employ creative solutions that can enrich ensembles of any size. The structural limitations often faced by small programs (resources, repertoire, and even the available student musicians) require unorthodox solutions that encourage musical maturity and promote creativity, establishing and maintaining high standards in performance and beyond. By approaching instrumental programs in adaptable and flexible ways, conductors can create opportunities for developing their students’ musicianship and enhancing their ensembles’ performances. This session will explore the benefits that small program solutions can provide for all sizes and skill levels through ensemble-tested concepts and programming.

  • Brittan Braddock
    Mercer University

    The women of the Portia Wind Ensemble were extraordinary. They demonstrated enormous initiative, adaptability, and innovation through commissioning projects, composition competitions, and vast BBC radio performances. The all-women wind dectet was founded in 1953 by Thea King, a professional clarinetist in London, and performed chamber music by many of the most prominent British composers of the day, as well as standard chamber wind ensemble repertoire. This presentation will serve to provide historical circumstances of the founding, a repertoire list, musical examples, and future recording projects/research initiatives into the Portia Wind Ensemble. The ultimate goal of this presentation is to provide a source for the works that were performed and subsequently forgotten, in order to expand the available chamber wind ensemble repertoire, and to place the Portias in their rightful place with regards to the importance of their work and its contribution to the cultural recovery of the UK and the rest of the world.

  • Caroline Aylward
    University of Arizona

    Ensembles across the country are seeing smaller audience numbers at concerts. As the audience demographic changes, the concert experience must also change to continue to engage and attract potential patrons. To reverse this downward trend of concert attendance the wind band medium has two choices; remain the same or find a solution. This solution involves changing the traditional concert experience. First, a more stimulating pre-concert experience needs to be established. Stimulating multiple senses in the pre-concert experience allows audience members to better connect with the concert content rather than the standard method of handing out programs. Now that the audience is activated, the concert that follows must continue to trigger multiple senses and utilize the momentum built during the pre-concert experience. Incorporating visual elements, cross art form pollination, and technology are ways to heighten audience interaction. Finally, the usual departure from the hall is a missed opportunity to further develop audience engagement. Face to face communication, exit surveys, and social media provide opportunities for patron participation to continue beyond the music. If the concert experience goes unchanged, then audience sizes will continue to decline. The survival of the wind band art form depends on redefining the traditional concert format.

11:15 - 11:55 am

  • Amy Bovin
    University of South Florida

    What’s your story? Led by Dr. Amy J. Bovin, this session will flip the norms of the standard panelist table so that the audience participants become the panelists. Dr. Bovin will begin the session with a brief presentation regarding previous studies on the topic of female band directors. Following the presentation, Dr. Bovin will open the floor to allow participants to share their own stories in a safe space, regardless of age or experience. Though focused on female-identifying band directors, all are welcome to join. The purpose of this session is for all to have the chance to share experiences, listen to others' stories, lend advice, ask questions, and learn from their colleagues in a safe space so that participants will leave the session knowing not just how to best support each other in the profession, but how to support themselves as well. Throughout the session, Dr. Bovin will share some of her own experiences and answer any questions pertaining to her research that may arise.

  • Corey Seapy
    University of Central Missouri

    Mark Bonner, Jr.
    University of Central Missouri

    It goes without saying that programming is monumentally important: when we select music, we commit to an artistic, educational, and collaborative journey that is uniquely curricular and performative. However, given the myriad considerations involved, we often dive headfirst into this “task” without examining our unique individual approaches and motivations. Programming is an exercise in imbuing a cyclic process - rehearsals, concert cycles, semesters, and academic years - with vitality, variety, and relevance for all involved. How might we develop a thoughtful and multifaceted approach to this process itself? Our interactive session will propose five ‘steps’ for consideration: 1) proactive preparation; 2) playing the long game; 3) the resonant concert; 4) focused refinement; and 5) reflection. Sample programs and conversation will also be included.

  • Jerry Junkin

    University of Texas at Austin

    Chris Martin
    
New York Philharmonic

    Joseph Alessi
    
New York Philharmonic

    Phil Smith

    University of Georgia

    Joseph Turrin

    Composer

    Chris Martin, Joseph Alessi, Phil Smith talk all things brass. Also Joseph Turrin, composer for the Eric Rombach tribute piece, will talk about the piece which was performed the night before with the University of Georgia Wind Ensemble.

12:00 - 1:30 pm - Lunch Break

1:00 - 9:00 pm - Registration Open - Hill Atrium

1:30 - 2:30 pm - Concert

  • Dr. Thomas Verrier
    Conductor

3:00 - 4:00 pm - Concert

  • Dr. Shelby Chipman
    Conductor

4:15 - 5:15 pm

  • Glen Adsit
    Hartt School

5:30 - 8:00 pm - Dinner Break

8:00 - 9:30 pm - Concert

  • Dr. Nicholas Williams
    Conductor

    Program ▶︎▶︎

9:30 pm - Reception

Friday, February 17th

7:30 am

  • Coffee and beverages available courtesy of:

    Conn-Selmer

  • Registration Table Hours

    7:30 to Noon

    1 pm to 9 pm

  • Vendor Hours

    8am to Noon

8:15 - 8:45 am

  • William Perrine
    Concordia University Ann Arbor

    The purpose of this philosophical paper is to examine two contrasting approaches to reconceptualizing the authority of the wind band conductor, while recommending a humane approach to understanding the nature of authority within contemporary band programs. The nature of authority within performance-oriented instrumental ensembles has come under significant critique in recent years. I begin by analyzing Randall Allsup’s progressive and Deweyan approach to pedagogical authority as presented in Remixing the Classroom, pulling out pertinent implications for wind band directors. I then present an alternative Aristotelian perspective on the nature of authority drawn from the philosophical work of Alasdair MacIntyre. In this view, authority is closely linked to expertise within an existing human practice such as making music, and is thus a natural phenomenon necessary for the activity’s continuance. I also examine abuses of authority within social practices, noting that such abuses do not invalidate the human activity in which they occur, but rather point to ethical failures that can be remedied without abandoning the musical practice in question.

  • Birch Browning
    Cleveland State University

    Previous research on musical communication in orchestral performance identified the concept of performer ‘radar,’ which professional ensemble performers described as “encompassing listening to, communicating with, and adapting to other members of the ensemble at all times during rehearsal and performance” (Dobson & Gaunt, p. 30). This same research, however, did not clarify the kinds of mental or musical processes involved in ensemble radar, the kinds of errors committed by performers who lack sufficient musical radar, the processes through which ensemble radar develops, and factors that might mediate the development of ensemble radar. The purpose of this study is to clarify these issues.

    In this study, expert performers who regularly perform in various professional instrumental ensembles were interviewed. Interview questions were designed to clarify the performers’ focus of attention during rehearsals and performances.

  • Amy Bovin
    University of South Florida

    Led by Dr. Amy J. Bovin, this presentation is a combination of research findings from three of her different studies. The purpose of the first study was to investigate the phenomenology of the female high school band director (FHSBD). After gathering data from interviews with eight participants, Dr. Bovin identified nine themes and determined the essence of the FHSBD. The second study was a survey to collect quantitative data from a larger population based on the interview questions from Dr. Bovin’s first study. A total of 737 FHSBDs in all 50 states and some U.S. Territories participated in the study. The results from Dr. Bovin's survey study suggested females became HSBDs due to two factors, remained in their positions due to two factors, and considered leaving their positions due to four factors. In the third study, Dr. Bovin modified her survey and collected data from 26 female college band directors (FCBD). The results found in this study will be revealed for the first time at the conference!

8:50 - 9:50 am

  • Patrick Carney
    University of West Georgia

    This is a director-led initiative, supported by peers to elevate literature that has successfully provided small band programs aesthetic, musical, and educational moments in performance and for students. The Small Band Repertoire Initiative, a current listing of successful literature, has been available but somewhat stagnate post-COVID. One of the goals of this session is to reinvigorate that initiative and share our collective knowledge with our current members, and those joining our ranks at a small band program nationally. Selected directors will speak briefly on the literature they submitted for the session. They will concisely explain how and why the literature they chose was successful – and define what success was for and to them and their students. At a small band program, success can be measured in performance, in accomplishment, in instruction, in exposure, and so many other factors a larger program may not need to manage. CBDNA being “a community of... artists, leaders, and educators...who empower our students” values the importance of collecting and distributing information to serve our community better.

  • Barry Houser
    University of Illinois at Urbana Champaign

    Marching Band Performance Videos

  • Lauren Reynolds

    University of Delaware

    The aim of this session is to un-shroud the mystery that can surround the promotion and tenure process. The session will engage multiple professionals at various career stages in an honest, to-the-point, frank discussion on the topic. Panelists will represent varied perspectives: pre-tenure, recently tenured, post-tenure, candidate, reviewer, department committee chair, university committee member, etc. The discussion will offer practical guidance, “pro tips,” pitfalls, and candid advice. It is our hope that this conversation will prove helpful to membership and will offer meaningful insight and clarity into what can sometimes feel like a hazy subject.

10:00 am - Break - Hill Atrium

10:30 - 11:10 am

  • Scott Lubaroff
    University of Central Florida

    The history of Korea’s interaction with Western classical music, and therefore with the wind band and related genres, is quite recent when compared to that of Europe, the United States, and Japan, and even then, initial introduction and education in Western music was primarily a function of colonial or missionary efforts. The first military band on the Korean peninsula was established in 1902 and as it was with the early wind band in the west, its role was one of utility. It wasn’t until after liberation from Japanese rule (1945), division into North and South Korea (1948), and the ensuing Korean War (1950-1953) and the loss of many of the country’s musicians that the young Republic of Korea (ROK), commonly known as South Korea, was positioned to begin considering a foundational direction for music in its culture and society. The U.S. Army had introduced wind bands to Korea during the war, but of course by that time in the West, organizations such as the Eastman Wind Ensemble and American Wind Symphony Orchestra had already made their entrances and a rapid expansion of repertoire and programming practice was underway.

    It has not been until more recently that the wind ensemble in Korea as a creative and artistic medium has begun to emerge, however it has encountered challenges that are very much parallels to those faced by the American wind band throughout its early development. On one hand, there are highly developed conservatories and music schools, training musicians with immeasurable talent, and many of these institutions have bands that perform at an extremely high level. However, in many cases awareness of the most important original compositions for the band is at least limited, and a fair proportion of the music programmed consists of transcriptions of orchestral or operatic works. Korean composers are just now becoming aware of the artistic potential of the wind band and there are a small number of leaders who are championing the potential of the wind band. The international wind ensemble festival that held annually on Jeju Island off the Southern coast of the peninsula is also becoming an important venue.

    The objectives of this presentation are not only to establish a historical context for the introduction of Western instrumental ensembles and from that the early emergence of the wind band and related genres in South Korea, but also to illustrate and give light to many of the most important recent efforts in engaging composers and expanding repertoire, and in the evolution of contemporary programming practice making use of music by composers both from and beyond the Korean peninsula. All of this aims to illuminate both the growing developments and accomplishments in the genre in this young country and some of the central figures behind them as well as the enthusiasm and opportunity for partnerships with established Western organizations that could serve to benefit the international wind band movement as we are now well into the twenty-first century.

  • Ryan Kelly
    University of Texas at Austin

    Conversations about mental health are now pervasive in the public sphere, but understanding what students need most from their professors isn’t always clear. In this clinic, Kelly and licensed professional counselor/former music teacher Langfitt discuss the many ways that music faculty (intentionally or not) have a role in shaping and supporting the mental health of our students, and how a healthy social/emotional climate can best set up our students for success in their future professional lives.

  • Cormac Cannon
    University of South Carolina

    In the spring of 2022, President Mark Spede formed an ad hoc committee to investigate the impending “demographic cliff” facing colleges and universities in order to research how it will specifically impact collegiate and public school band programs. According to a vast array of available literature, demographic change is reshaping the population of the United States in ways that present significant challenges for higher education. This session will share important data gathered from the CBDNA membership and other sources, as well as strategies for predicting and dealing with change on a local level.

11:15 - 11:55 am

  • Brittan Braddock
    Mercer University

    This presentation will serve to put Ruth Gipps’ three pieces for chamber winds, Seascape Op. 53, Wind Octet Op. 65, and Wind Sinfonietta Op. 73 into a larger perspective with consideration to her career, the musical culture of London for 20th century women musicians, and her wind writing based on extensive performance experience on the oboe. It is important to re-introduce these pieces as substantial, quality, and wonderful additions to the wind octet/dectet repertoire to the profession through viewing, studying, and listening to the scores.

    This presentation includes unique insight gained from studying the original manuscripts on location at Gipps’ former home, extensive interviews with Gipps’ family members, and performing/recording these pieces over a period of five years. Part I of this presentation will serve to introduce Ruth Gipps as a composer, conductor, and performer and will give an overview of musical life for women musicians in 20th century England. Part II will give specific biographical insight into the life and career of Gipps with focus on the Royal College of Music (RCM), World War II, and the English Renaissance. Part II will also focus on the multifaceted career she had after her time at the RCM. Part III of the presentation will include discussion and excerpts from her three chamber wind ensemble pieces. Examples that strongly show her compositional characteristics will be played as an introduction and exploration of these important pieces.

  • Michelle Bell
    University of Illinois

    Researchers are beginning to examine the effects of the COVID-19 pandemic on student mental health. One survey conducted in early 2021 determined that approximately one in three students experienced poor mental health most or all the time during the COVID-19 pandemic, leading to increased stress, anxiety, and difficulty persevering through difficult tasks. [1] The cultivation of grit, described as the ability to persist in the face of obstacles, mitigates stress and anxiety and improves performance in the pursuit of goals. As music educators, our mission is to develop exemplary musicians, provide a space for all students to participate in music-making, and prepare students to be leaders in their chosen field. We can use the intentional development of grit to empower students in each facet of our music education mission.

    Drawing inspiration from the presenter’s decade-long military career and recent deployment, and incorporating recommendations from the research of Angela Duckworth, Carol Dweck, and others, this presentation identifies the main characteristics of grit and presents actionable techniques for music educators to cultivate students’ grit for their and the program’s benefit.

  • Cody Edgerton
    Michigan State University

    Historic inequities reflect lopsided trends in current academic music repertoire. Although efforts to diversify gain momentum, the reasoning and process for doing so remains misunderstood. With evidence provided by case studies, programming data, and prior interviews with contemporary composers, this presentation proposes key considerations when programming works by composers from underrepresented backgrounds.

12:00 - 1:30 pm - Lunch Break

1:00 - 9:00 pm - Registration Open - Hill Atrium

1:30 - 2:30 pm - Concert

  • Dr. Michael Votta
    Conductor

3:00 - 4:00 pm - Concert

  • Assoc. Professor Donald Lefevre
    Conductor

4:15 - 5:15 pm

  • Jaclyn Hartenberger
    University of Georgia

    Nicholas Williams
    University of Georgia

5:30 - 8:00 pm - Dinner Break

8:00 - 9:30 pm - Concert

  • Dr. Robert M. Carnochan
    Conductor

9:30 pm - Reception

Saturday, February 18th

7:30 am

  • Coffee and beverages available courtesy of:

    Conn-Selmer

  • Registration Table Hours

    7:30 to Noon

    1 pm to 9 pm

  • Vendor Hours

    8am to Noon

8:15 - 8:45 am

  • Jason Caslor
    Arizona State University

    Launched in Fall 2021, the Arizona State University (ASU) Wind Bands’ Composer-In-Residence Program is designed to give 3 ASU composition students a year-long opportunity to fully immerse themselves in writing a new work for concert band. The selected composers have the opportunity to create, workshop, rehearse, record, and possibly premiere a new work. Viewed as a truly collaborative effort, the composer, conductor, and ensemble members are equal partners in this venture.

  • Anthony Morris
    University of Georgia

    Our presentation Changing of the Guard: Shifting Perspectives of Education will be a roundtable discussion hosted by the podcast Relative Pitch (Anthony Morris, Lorin Green, and Michael Brown) including panelists Dr. Cynthia Johnston Turner, Lia Alexandria, Dr. Shiree Williams, and Dr Emily Eng. There is a Renaissance happening within our field. Everything from race, age, sexuality, and repertoire will be discussed. The purpose of the discussion will be to highlight, analyze, and envision the anticipated shift that is necessary for the classical music field to move forward. This discussion will challenge the audience to rethink their perspectives and look to the future of music education rather than the past.

  • Weston Lewis
    University of Texas at Austin

    The undergraduate conducting course can be a transformative experience for both students and teachers. Formulating a course structure that speaks to the interests and needs of your students is challenging, but may be incredibly rewarding when implemented properly. Drawing from first hand experience, interviews with colleagues across the nation, and research on teaching strategies for young musicians and conductors, Lewis will discuss how using your undergraduate conducting curriculum could be used to inspire curious minds and musicians. Through this lecture and discussion, participants should expect to receive considerations for designing a conducting course that captivates and reflects your students musical identities and goals.

  • Troy Bennefield
    Washington State University

    Much is known about the surprisingly vibrant musical life found in many of the German Concentration Camps during World War II. However, although most larger camps used them, much less information is disseminated on the official bands within these camps. The bands, often one of the camps labor assignments, were an important element in the Nazi strategy as propaganda, psychological warfare, and entertainment for the officers. This presentation will highlight the important camp bands and discuss their uses, membership, and music.

8:50 - 9:50 am

  • Rebecca Phillips
    Colorado State University

    The Music Education committee created a CBDNA membership survey with the purpose of collecting data on the degree-related background of the membership in conjunction with the varied teaching responsibilities of current members. The results of this data will: guide the future MUED committee in creating a vision; offer useful data to the CBDNA Board and membership that may be helpful in planning convention presentations, panels, etc. that meet the need of the membership in their college/university jobs; assist the future MUED committee with data that will help build positive and collaborative conversations with non-ensemble music educators across the nation, as we find common ground and hopefully move together to teach future elementary and secondary school ensemble directors. The proposed committee presentation will include, results from the CBDNA Fall 2022 membership survey, recommendations for future objectives of the MUED committee, and ways that the committee is using this data to foster collaborative conversations with colleagues in the Society for Music Teacher Education (SMTE).

  • James Weaver
    NFHS

  • Timothy Reynish
    Royal Northern College of Music

    1981 was a seminal date in the development of Wind Ensemble in UK. Starting with Gunther Schuller’s famous Keynote Speech at CBDNA and Frank Battisti’s iconic founding of WASBE in Manchester I will explore some seventy works commissioned since 1981 and identify important repertoire. Since 1981 I have commissioned over one hundred works for wind. made a score of CDs and have conducted many professional and University bands in Asia, Europe, North and South America. In 2002 I was elected President of WASBE, in 2010 I was awarded an Honorary Doctorate by the State University of the Arts, Kharkiv, Ukraine, in 2019 I was awarded an MBE for services to music in the Queen's Birthday Honours and in 2021 I was named by WASBE as the second recipient of the WASBE Lifetime Achievement Award, the first being Karel Husa.

  • Patrick Carney
    University of West Georgia

    Small band programs audio performances as selected by peer review.

10:00 am - Break - Hill Atrium

10:30 - 11:10 am

  • David Kehler
    Kennesaw State University

  • Lauren Reynolds
    University of Delaware

  • Steven Ward
    Abilene Christian University

  • Mary Schneider
    Eastern Michigan University

  • Diane Soelberg
    Brigham Young University-Idaho

11:15 - Noon

  • Mark Spede
    Clemson University

12:00 - 1:30 pm - Lunch Break

1:30 - 2:30 pm - Concert

  • Dr. Thomas Caneva
    Conductor

3:00 - 4:00 pm - Concert

  • Dr. John R. Locke
    Conductor

4:15 - 5:30 pm

  • Jaclyn Hartenberger
    University of Georgia

    In the fall of 2019, a few curious minds from the University of Georgia Hodgson School of Music  and the Athens Hip Hop community met one another with a simple question: What would happen if a Hip Hop artist and a classically-trained composer co-created a piece of music?  Fast forward through many more brainstorming sessions and a pandemic that shut down live music and all planning for over a year, and the Athens Hip Hop Harmonic (AHHH) launched officially in August 2021. Centered in mutual artistic curiosity, cultural humility and respect, collaboration, and community, we start with the pairing of a Hip Hop artist with a UGA faculty or student composer to co-create a piece of music together. Each pairing is assigned to a student ensemble from the UGA school of music that will perform and record the new piece of music with the Hip Hop artist. The Hip Hop artists remain in-residence with the school of music while their music is being created, rehearsed, performed, and recorded. Panel discussions, conversations, Q&A's, presentations, and meetups take place in addition to the rehearsals and performances as we learn and grow together through our collaborations.

5:30 - 8:00 pm - Dinner Break

8:00 - 9:30 pm - Concert

  • Dr. Kenneth B. Ozzello
    Conductor

9:30 pm - Reception

Wed., Feb 15th