Music for All is proud to recognize Dr. Jason Max Ferdinand, member of the Music for All Choral Music Artistic Committee, and the Oakwood University Aeolians for their recent designations as “Choir of the World” and “Outstanding Director.” The honors were granted during the World Choral Festival during the Llangollen International Musical Eisteddfod in Wales, Great Britain. The annual festival features thousands of singers, dancers, and instrumentalists from countries around the world.
As many of you know, we are truly becoming “music for all” as we expand our National Festival to include the National Choir Festival in 2018. The Oakwood Aeolians will be featured in performance during this premiere festival, where Dr. Ferdinand will be joined by Choral Music Artistic Committee members Dr. Kent Hatteberg, Ms. Ly Wilder, Dr. Joseph Flummerfelt, Dr. Rollo Dilworth, and Music for All Artistic Director, Mr. Henry Leck, to provide evaluation, master classes, and a massed-choir with orchestra experience to all invited choirs.
Additionally, Music for All will launch its first Affiliated Regional Choral Music Festival, The Southern Invitational, October 26 and 27, 2017, under the leadership of Dr. Shannon Jeffreys, Director of Choral Activities at Georgia Southern University. Dr. Ferdinand will serve as our “Music for All” clinician and evaluator during the Southern Invitational.
Dr. Ferdinand enjoys watching the up-and-coming composers and conductors he mentors become composers and conductors in their own right. Music for All is honored to provide further opportunity for Dr. Ferdinand to positively influence young musicians through its exciting and emerging choral programming.
Most artists follow a curve in their development that rises, peaks, plateaus, and eventually declines. The inevitable question we all face is regarding how to keep growing.
What have you done lately to be inspired and how have you followed through on that inspiration?
No matter how good you are at what you do, you’ve got to keep creating if you want to keep growing, and this requires finding courage to put yourself out there again and again, to stretch beyond what you’ve done before and continually reinvent your work. Rehashing what you’ve done before isn’t really being creative, and you’re only as relevant as your last project.
For more established artists, this means you can’t rest on your laurels. For developing artists, it’s a reason to get busy, because if you have the drive and energy to be prolific, generating a bulk of material could take you far, fast.
Supposedly, most visionaries make their greatest innovations before they become experts, i.e., when they are novices. Once recognized as experts, once we are “trained,” we become less willing to go into that vulnerable space of the “novice,” where real exploration happens. We become afraid that we will lose our status as experts and be revealed for the bumbling, fumbling human beings that we really are.
I can think of many artists who made their biggest statements at a relatively early age, when they had nothing to lose.
It could be said that each of us is at the same time both immeasurably powerful and incredibly insignificant. To focus on our “smallness” is to wallow in despair. To focus on our power is to become obsessed with delusions of grandeur. The trick is to truly accept this contradiction by both owning your power and accepting your weakness. Ride the wave! Artists who create every day
are optimistic in their ability to transcend their limits, and are at the same time able to be realistic about their limitations and constructively critical of their work, maintaining a skeptical confidence without succumbing to the uncritical denial of arrogance or
the paralysis of insecurity.
If you can’t overcome your insecurity, or if you you have trouble acknowledging any limitations, I recommend sublimating through exercise, meditation, reading, or other activities that allow you to lose yourself in something totally unrelated to your art. (One of my favorite activities that helps me sublimate my feelings is hacky sacking.)
I take inspiration from my students. They haven’t “proven” themselves yet, so they have nothing to lose. Their lack of experience is unrelated to the courage they are capable of employing to reach their goal. I must have demonstrated courage at some point when I was young, but now it’s my students that lead by their example, reminding me that I need to step up to the plate with the kind of fearlessness they demonstrate. “The curve” of development suggests that our willingness to display creative courage diminishes as we get older and more established, and I don’t want to suffer the fate of having my work become stale,
like yesterday’s news.
Many of my students are aspiring jazz violinists and cellists. I meet other jazz string players around the U.S. who complain about the difficulties of “breaking in” the jazz scene. It’s hard to gain acceptance in the jazz community for various reasons. And then there are infinite reasons that each person has for why it’s even harder for them, whether it be their training, race, gender, geography, financial position, physical handicaps, something that happened to them when they were a kid, their Zodiac sign, and so on. Today I listened to the new CD of one of my former students, Tomoko Omura, and I was humbled by the realization of what she has overcome, and the courage it must have taken to produce such a great creative work of art. She came from Japan, learned a new language, a new culture, and overcame tremendous odds to get where she is now.
I can imagine how many times she was NOT invited to play on stage at a jam session after waiting for hours just to play one song. I can imagine how many times she must have thought, “Why am I even trying to do this? It seems impossible!” And now, she’s created one of the most beautiful, important, creative and relevant works of jazz violinists in the recent past. Shu Mei Yap lives in Singapore and has worked with me now on the production of two CDs. She is another example of an artist who refused to allow barriers to get in the way.
My daughter Camille is one of the most inspiring examples to me of courage. She’s gone through her whole life with a dad who might have seemed a little bit bigger than life at times. Every year I surround her with all my favorite jazz string players at my annual “Creative Strings Workshop,” a week during which all the world’s hottest players jam and show their stuff. I’m thrilled that she’s gotten to know all these cool people and amazing artists, except that she’s also got to deal with measuring herself against that standard, and I can only imagine the kind of pressure she may feel sometimes!
Every day that she picks up her violin and keeps going for it, I feel immensely proud and take inspiration from her because that takes courage. My students make me humble. They make me remember that it’s not how much knowledge or experience you have, but whether you’re willing to keep pushing through your own fears, re-engaging continuously in the creative process, no matter what form that process takes for you, because you know that wherever you fall on life’s curve is a function of the strength of your last project.
Here are some quick tips for getting engaged creatively:
What is your take on “courage and the creative process?”
March was an exciting and busy month in the Advancement department, with Music for All’s National Festival as the center of it all. This was my first National Festival I have attended, and the musicality and energy of all the participants blew me away. This event overflowed with talent, thrill, and passion for music. It was fantastic to see this talent celebrated and awarded during the Gala Awards Banquet and Hall of Fame Induction Ceremony. One award that the Advancement team was especially excited to present was the William D. Revelli Scholarship.
The Music for All Foundation, formerly known as The Revelli Foundation and established in honor of Dr. William D. Revelli, has a longstanding history of awarding scholarships to future music educators. Dr. Revelli’s legacy continues to live through the many students who benefit from the scholarships. The $1,000 William D. Revelli Scholarship is a one-time award, and it honors a student performing at the Music for All National Festival. This scholarship is named after a talented and renowned educator. At the time of his death in 1994, at the age of 92, he was regarded as one of the great music educators and band conductors of the century. During his long career, he had received every honor and accolade imaginable. With a name of a legacy, this scholarship is truly an honor.
Of the many applicants, one stood out. She demonstrates exemplary leadership skills, work ethic, and musical talents and is truly invested in her high school music program and strives to be a servant leader among her peers. This year’s winner is Leah Warman from Thompson High School in Alabaster, Alabama.
We were moved by her compelling scholarship essay that ended with important advice that we all follow: “I have a secret: music is not about what other people want or who is better than another, but about what you feel. If it makes you feel good, then that is justification enough. Always remember this.”
Music for All scholarships, like the Revelli Scholarship, are awarded annually at Music for All events throughout the year. These scholarships are possible due to the generous support and donations from those who wish to help Music for All be a catalyst to ensure that every child across America has access and opportunity to participate in active music-making in his or her scholastic environment.
You can learn more about all Music for All scholarships opportunities, how to apply, and especially, how you can support them by visiting our scholarship page at http://www.musicforall.org/resources/scholarships.
Music for All remains committed to providing educational resources and professional development tools in support of music in our schools and our communities. Our most recent program was the Directors’ Academy at the Music for All National Festival, a three-day professional development conference for directors and music education majors. Held in Indianapolis during the Music for All National Festival from March 9-11, the 2017 Directors’ Academy offered an unparalleled opportunity for colleagues to share best practices focused on our grand profession.
We kicked off the event with Thursday afternoon’s Opening Session delivered by Dr. Tim Lautzenheiser to a room of over 2,300 students, parents, and educators. Over the course of three days, attendees had access to the full scope of the Music for All National Festival featuring more than 50 concerts of wind bands, orchestras, percussion ensembles, and chamber music as well as rehearsal and ensemble clinic sessions given by some of the most well-respected musicians in our field.
One of my favorite aspects was observing the student Master Class sessions, broken out into specialized instrumentation and led by Yamaha Performing Artists and members of the Indianapolis Symphony Orchestra. Witnessing the young musicians learn from these dedicated and professional musicians was very inspiring!
The most special part of the experience was having the opportunity to sit down in an intimate setting and learn from the icons of music education in our Directors’ Academy classes. Hosted by Richard Crain (Retired Director of Music; Spring Independent School District, TX) this year’s attendees gained valuable insight into the past and future of music education through the lens of four passionate educators.
Gary Green (Professor Emeritus; University of Miami, FL) shared his thoughts on the importance of being a music educator. It’s not just about teaching notes and rhythms, but more importantly making music and sharing the process with others.
Craig Kirchhoff (Director Emeritus; University of Minnesota) asked for us to consider whether or not our conducting is helping or hurting our ensemble. Kirchhoff also shared his personal viewpoint on selecting repertoire. It’s not about choosing pieces to play, but rather defining a curriculum and our beliefs about what music education should be for our students.
H. Robert Reynolds (Principal Conductor, Wind Ensemble at University of Southern California) discussed the use of batons and shared what he personally uses. Learning by listening and watching others that you respect was one of Reynolds’ themes. Look for those that use expressive conducting. Chances are the ensemble will want to match that level of expressiveness.
Anthony Maiello (Professor of Music, George Mason University) shared practical ways to develop confidence and security with the technical aspects of conducting, but also encouraged us and offered suggestions on how to move beyond technique to create emotionally engaging music with your ensemble.
This year’s attendees were inspired and rejuvenated, and reminded us WHY they teach music. If you missed out this year, it is my hope that you might consider joining us next year from March 15-17, 2018, to take part in this inspirational showcase of mission-oriented music educators who are committed to excellence.
The Southern Regional Concert Festival at Russellville Center for the Arts took place between March 30 - April 1. Tina Maria Christiansen, a sophomore music education major at Arkansas Tech University, had the pleasure of helping the host of the festival, and has provided a recap and photos from the event!
The 2017 Southern Regional Concert Band Festival was a HUGE success! It was hosted by Arkansas Tech University, Russellville HS and The Center for The Arts.
Throughout the three-day festival, Over 40 bands from the region signed up to give themselves the wonderful opportunity of performing in front of our extraordinary clinicians Robert Ambrose, Sarah McKoin, Cody Birdwell, Gary Green, and Allan McMurray.
We would like to thank all students and directors for participating at the Russellville Performance Arts Center!
We know that students who participate in Music for All programming have positively life-changing experiences. Many of these students will eventually graduate high school and go on to fulfill life in variety of ways. Some will become engineers, teachers, medical professionals, artists, managers, and influential leaders in a wide range of fields. One former student has done just that, becoming the mayor of Sonoma, California. Native of Charleston, South Carolina, Rachel Hundley began her musical journey at six years old playing the piano. She went on to play the clarinet from middle school through her freshman year of college. Rachel participated in the Music for All National Festival with the Wando H.S. Symphonic Band in 1998.
Ms. Hundley went on to receive her undergraduate degree in political science, and speech and communications, at the University of Georgia, graduating summa cum laude. She eventually received her J.D. from the University of North Carolina School of Law, summa cum laude. After her time as an associate at the law firm of McDermott Will & Emery LLP in New York, she relocated to Northern California and pursued her passions of food and small businesses, and opened up a southern cuisine food truck and catering business with her business partner Arthur Chang. About a year later, wanting to immerse herself into the Sonoma community, Rachel Googled “how to run a campaign” and went on to win a seat on Sonoma’s city council. During that time, Hundley was able to invoke a program that provided “safe parking” for homeless people who lived in their cars. In 2016, when the time came to elect a new mayor, Hundley was chosen. Since being elected in office, Mayor Hundley participated in the Women’s March in Sonoma, and she hopes to inspire younger people to be involved in their communities. She was recently featured on Fortune.com and the Washington Post as a leader on the current political landscape.
Today, Mayor Hundley talks to us about the key role music has played in her life and how she developed into the political activist and leader she is today.
How did your participation in school music impact and shape the person you are today and what lessons did you learn from being in band?
As an adult, my two biggest strengths are critical thinking and creativity. Learning and playing music helps the brain develop reasoning skills, pattern recognition, intellectual curiosity, and creative thinking. By the time I started law school after college, my brain had almost two decades of preparation for a career based in logic and problem-solving.
Participating in school music programs also helped develop self-discipline. Being accountable to a group is a great motivator to practice at home. Whether it is working at home to prepare for a trial, building my business, or keeping myself informed about everything happening in my city, it takes a lot of self-motivation to stay on top of all of the responsibilities I have today. I learned a long time ago the importance of putting in the time and effort no one sees, so that I'm ready when it is time to shine.
Being in band for 13 years also helped develop my social and leadership skills. First I was a section leader. Then I was on the band leadership council. In college, I was president of my chapter of Sigma Alpha Iota, a professional music fraternity for women. Today I'm the mayor of my city. Learning how to lead and inspire takes practice, and developing those skills within the microcosm of my band program gave me a strong foundation for the leadership positions I've had later in life.
Also, music is fun! My most cherished memories and my closest friends all came out of school music programs in middle school and high school. Even though we are scattered across the country, I still keep in touch with many of my friends from band, who are all living extraordinary lives.
What are your enduring memories you have of being in your high school and middle school band?
My clarinet section was the center of my high school universe. When I was a freshman, I thought the seniors were awe-inspiring. So grown up and smart, and so talented! When my time came to lead the section, I thought it would be fun to give everyone a different tree name. Yes, trees. Willow. Pine. Magnolia, etc. I have no idea why I went with trees. The names stuck for the entire year. My best friends came out of that clarinet section, and we spent countless hours together sweating at band camp, nervously waiting to march out on the field during a competition, riding the bus to away games, even eating lunch together in the band room during the school day. I'm thankful band and my clarinet section was my anchor throughout middle and high school.
What instrument did you play in school, when did you start playing? Do you still make music?
I started playing piano when I was six years old. In 5th grade, I joined the orchestra and played violin. In 6th grade I switched to cello, while also joining band as a clarinetist at Laing Middle School, led by Miller Asbill. After a semester of trying to do both music programs, I decided to focus on band. My high school band at Wando High School in Mount Pleasant, South Carolina was led first by Miller Asbill and later Scott Rush. I played the clarinet for 13 years, including one year with the University of Georgia concert and marching bands. Eventually I had to give up band as an extracurricular because I had three majors (political science, journalism, and speech and communications), but I stayed involved in music through Sigma Alpha Iota and two chorus classes. In law school, three female classmates and I put together a rock cover band called "Attractive Nuisance." Today, my schedule is too full for an organized group, but I do putter around on the piano and acoustic guitar every now and then.
What book did you most recently enjoy reading? What music are you listening to these days?
My brother, who played trombone in band, recently sent me a fascinating non-fiction book entitled, "If Mayors Ruled the World" by Benjamin R. Barber. Its premise is that local government is the most successful level of government because local leaders tend to focus on finding pragmatic solutions to the problems and issues at hand, rather than getting bogged down with partisan division. If the sewer needs to be fixed, then we better fix it.
Right now, my preferred genres of music are electronic (house) and hip hop (west coast).
What's an interesting fact about you not many people know?
I have terrible stage fright. Recitals, auditions and solos always terrified me when I was a student, but I did them anyway. Running for office was a hilariously terrifying experience. Sometimes when I'd walk up to the podium to speak to a large group of people my knees would be shaking, and I'd silently curse myself for getting myself into the situation. After two years of sitting in front of large groups during televised city council meetings and now running those meetings, the nervousness has faded. I'm an introvert, and extemporaneous speaking is not my strong suit, but I've been forcing myself to perform and speak in front of audiences long enough to know that I'll probably survive and the next time will probably be a little easier.
Anything else we should know or that you'd like to tell our school music student, teacher, and parent readers?
Thank you to all of the music teachers and supportive parents out there! Looking back, I can't believe all of the time and energy all of the "grown-ups" put into supporting our various programs. I wouldn't be the person I am today if it wasn't for the music programs I had when I was in school. I'd also like to thank my two biggest fans who shuttled me back and forth to practice, and dutifully attended almost every concert I had: my parents.
Developing student leaders is an important part of almost every music program in the nation. Many programs send their students to Leadership camps and symposiums. In many of these student leadership camps, the focus is on defining what leadership is and what it looks like to your peers; however, these student leaders may not actually be taught how to refine their own student leadership skills. In other words, much time and effort is invested in teaching students (and in some cases directors) what leadership is and how to look like leaders, but due to a lack of time, or possibly understanding, little is accomplished in developing the leader so they can actually lead.
My friend and mentor, the incomparable Dr. Tim Lautzenheiser, often says: “Leadership is not something you do. Leadership is something you are.” This is so true; however, an apple tree produces apples and a grapevine produces grapes, so a leader must produce leadership. If we are truly leaders, we will do things that a leader does!
What are some qualities most leaders possess? They are usually good communicators, they are energetic, they are influential with their peers, and they usually possess good performance skills. While all of these are great attributes, the one essential for a leader to produce the most influence comes when they can actually instruct/teach their peers. This moves the student leader beyond being just a role model – someone their peers may model themselves after – and moves them to being a real model – someone that is capable of not just showing, but is also capable of producing leadership by helping to move their peers through instruction to higher levels of excellence.
What does a REAL student leadership MODEL do?
They Motivate. They are their peers’ biggest cheerleaders.
They Observe. They work to understand better the needs of their peers and their program.
They Demonstrate. Through their actions and words, they demonstrate what their peers should strive to become. They demonstrate how to play, march, behave, respect, and ultimately how to be the best possible member of their program.
They Evaluate/Educate. They evaluate their peers’ strengths and weaknesses, and then help instruct/educate them to achieve excellence.
They Lead. In difficult times and in times of celebration, they are consistent leaders day in and day out! To quote Dr. Tim again, “They walk the talk!”
At Ooltewah, we have done this for almost my entire career. Most of our marching band staff is comprised of former students, who developed their instructional skills by being leaders in our band program. Fortunately, we have now developed our program to the point we have a Band Leadership class that meets during the school day and mentors two to three days a week in our middle school band programs. Many other programs use a student leadership Peer Teaching model as well, but maybe none as well as the great Marian Catholic Band Program and Mr. Greg Bimm. For decades, the student leaders at Marian have taught music sectionals, taught marching fundamentals, and helped to teach drill. These are student leaders who are producing leadership! Through trust from their director and being taught how to be a peer teacher, they have moved beyond defining their leadership abilities and now are refining their leadership skills. When student leaders (and directors – we must allow it) make this shift in responsibility, their impact is like a pebble being dropped in the water. The initial splash may not be very large, but the ripple effect of influence keeps going and going. The efforts of these initial student leaders BEING leaders and producing leadership inspire other students to strive for the same excellence and influence. At my school, we have not used a title for all of these student leaders. The focus of our program has been that a title is much less important than actually being a leader and producing quality leadership. While some positions may require a title, our ultimate goal should be to inspire and equip student leaders to lead.
This is why we developed the new Peer Teaching Division at the Music for All Summer Symposium. The purpose of this new track will be to provide student leaders with the tools necessary to become effective leaders and Peer Teachers in their programs. They will learn how to teach music and marching techniques from some of the best instructors in the band world, and should return to their music programs eager and ready to MODEL REAL LEADERSHIP in their programs.
The Peer Teaching Division Staff includes Mr. Jeremy Spicer – outstanding band director/music educator, owner of SASI the Leadership People, and a national adjudicator. Mr. John Howell – accomplished visual designer, instructor, and a national adjudicator of all of the marching arts. Miss Anna Rodriguez – vibrant young band director/music educator, outstanding drum major instructor, and inspiring leadership instructor. Division Chair – Mr. Joel Denton – band director/music educator, national leadership consultant, and a national adjudicator. We will also be joined each day with a special guest who is an expert on developing student musicians and inspiring them to lead. These guests will include Greg Bimm, Bobby Lambert, Gary Markham, David Starnes, and Jeff Young. All of our division staff has a focused desire to see students become outstanding and productive leaders in their music programs and in life.
The program is designed to ensure the language and verbiage being used is consistent with what is being used by directors and staffs across the nation. It is going to be a dynamic week of learning, and of BEING and DOING for all involved! I hope you and your students will join us!
It’s March 8, 2017 at Broad Ripple Magnet High School. A spirited energy fills the air as 21 instrumental and choral ensembles line into the school, ready to perform at the Indianapolis School Music Festival. These ensembles from the Indianapolis Public Schools (IPS), six middle schools and five high schools, performed for evaluators and participated in clinics. This is the 2nd annual Indianapolis School Music Festival, which commences the Music for All National Festival, presented by Yamaha, and gives instrumental and choral ensembles from IPS the opportunity to perform for and learn from notable evaluators and clinicians.
Hosted by the Broad Ripple Magnet High School, principal W. Briant Williams expressed the importance of the relationship between IPS and Music for All, and how Broad Ripple Magnet High School can be the epicenter of these arts opportunities for these students. The participating ensembles have learned valuable lessons that not only improve the group as a whole, but the individual musicians and their directors as well.
“One of the great things about the Indianapolis School Music Festival is that it gives the students who are in their formative years in their musical journey a chance to become part of a very important process, and be recognized and validated for the hard-work they do in the classroom,” states John Phillips clinician and evaluator.
Furthermore, for these ensembles that come from the inner-city areas of Indianapolis, this festival is the highlight of their year, with some of the ensemble directors expressing the importance of exposing their students to these types of festivals. These students are eager to learn so much from renowned clinicians who have traveled from all over to aide these students in their musical journeys. This is Northwest Community High School band director Christopher Abbey’s 15th year as an IPS band director, and the one thing that keeps bringing him and his ensemble back to the Indianapolis School Music Festival are the kids. “A lot of good kids at IPS get underserved and this is a good place to bring them,” said Abbey.
With the success of last year’s festival, choral ensembles were introduced to participate this year. Six choral ensembles performed in front of evaluators and received a clinic immediately after. Clinics are a time when a clinician, the ensemble, and director can work together one-on-one, in order for the ensemble and director to better improve their skill-sets. Music for All Choir Coordinator and choral clinician Kim Mann was delighted to share her joy of choral singing with the young musicians and instructors. “The inclusion of choir in this year’s festival broadens the continued advocacy for music education supported by IPS, Music for All, and the Indiana Music Education Association,” said Mann.
The attitude of learning and working hard was ubiquitous. While working with Edison Middle School of the Arts Middle School Choir, clinician Jeff Vallier explained to them that taking their work to the next level was going to come with making mistakes. Aside from the hard work, the students, also had an enjoyable experience. Before each performance, and even during their clinics, there was nothing but enthusiastic attitudes. “We practice hard with our music and we just came here to have fun,” says Northwest Community High School Advanced Band senior saxophone player Jesus Franco. “We hope it goes well, but the most important thing is to have fun.”
Instrumental and choral ensembles from the Indianapolis Public Schools will participate in Music for All’s 2nd annual Indianapolis School Music Festival at Broad Ripple Magnet High School March 8, 2017 from 12 p.m. to 7 p.m.
After the success of the inaugural Indianapolis School Music Festival in 2016, that featured instrumental ensembles, choral music will be introduced for the 2017 Festival with six choral ensemble performances.
The 2017 Festival will include 22 instrumental and choral ensembles representing six middle schools, and five high schools from Indianapolis Public Schools (IPS). The ensembles will be evaluated by renowned music educators provided by Music for All, and will receive educational feedback at clinics following their performances.
The Indianapolis School Music Festival strives to give every student the opportunity to showcase his or her musical talents. “We are delighted to continue and expand our commitment to IPS, providing even more opportunities to both students and teachers in Music for All’s programming,” says Eric Martin, President and CEO of Music for All. “The Indianapolis School Music Festival is intended to allow students the opportunity to grow and shine, and for IPS teachers and their students to receive critically important educational feedback. The Festival is a celebration and an opportunity for students, teachers, parents, and members of our community to hear and support scholastic music-making, observing firsthand the positive benefits that come from access and opportunity to engage in active music-making in our schools.”
Music for All is excited to continue this flourishing partnership with Indianapolis Public Schools. “On behalf of Indianapolis Public Schools, the continuing partnership between our organization and Music for All is truly a valued relationship,” says David Newman, Fine Arts Coach of Indianapolis Public Schools. “The Indianapolis School Music Festival is yet another example of Music for All's commitment to providing stellar educational events for our students, with access to nationally known clinicians in a professional concert environment. Music for All provides our students a positively life-changing experience through this festival and clinic. We are truly blessed to have Music for All in our city, and so involved with and committed to our students' artistic achievement."
The Indianapolis School Music Festival is partnered with the Indiana Music Education Association (IMEA), a demonstration of their commitment to providing music opportunities to everyone in the Indianapolis community.
Schedule of Performances
The Indianapolis School Music Festival is free of admission. Listed below are the scheduled instrumental and choral performances.
Broad Ripple H.S., Poston Auditorium
Crispus Attucks Advanced Band 12:20 p.m.
Crispus Attucks Orchestra 12:40 p.m.
CFI Beginning Band 1:00 p.m.
Broad Ripple M.S. Intermediate Band 1:20 p.m.
Broad Ripple H.S. Intermediate Band 1:40 p.m.
CFI Intermediate Band 2:00 p.m.
Broad Ripple Advanced Band 2:20 p.m.
Harshman M.S. Band 2:40 p.m.
CFI Beginning Orchestra 3:00 p.m.
Edison Orchestra 3:20 p.m.
CFI Intermediate Orchestra 5:00 p.m.
Northwest Advanced Band 5:20 p.m.
Broad Ripple Orchestra 5:40 p.m.
CFI Advanced Orchestra 6:00 p.m.
Arsenal Tech Advanced Band 6:20 p.m.
Broad Ripple H.S., Mini Auditorium
Broad Ripple M.S. Choir 1:40 p.m.
Broad Ripple Advanced Choir 2:20 p.m.
Arlington Advanced Choir 3:00 p.m.
Arsenal Tech Advanced Choir 3:40 p.m.
Arlington M.S. Choir 4:20 p.m.
Edison M.S. Choir 5:00 p.m.
The Indianapolis School Music Festival kicks off the 2017 Music for All National Festival, presented by Yamaha, which then continues through Saturday, March 11. The national festival will bring 59 outstanding school music ensembles and student musicians from throughout the U.S. to Indianapolis for concert performances and clinics at Butler University, Hilbert Circle Theatre, Warren Performing Arts Center, and Indiana Historical Society. Visit musicforall.org/festival for a full schedule of Festival performances.
I don’t remember a time that I didn’t love Rodgers & Hammerstein’s The Sound of Music.
I remember watching the movie on repeat as a child with my mom. I knew all of the lyrics and would sing the songbook constantly! I would even say that the Sound of Music was a part of the start of my appreciation and love for music, and definitely the start of my appreciation for musical theatre.
So of course, when I found out that Music for All was partnering with Broadway Across America for a promotion for the Sound of Music tour – I was ecstatic.
There’s nothing that would stop me from attending the Indianapolis show, and now Music for All can benefit from my ticket purchase? Sign me up!
I hope that if you live in or near Indianapolis, and love music and theatre like I do, that you’ll join me and support Music for All by attending The Sound of Music, January 10-15, 2017 at the Old National Centre.
You can support Music for All by purchasing a ticket through Ticketmaster.com using the passcode: MARIA.
$5 from your ticket will go directly to Music for All to help us work to ensure that every child across America has access and opportunity to active music-making in their school!
Don’t forget, tickets make excellent presents for this upcoming holiday season. Cross someone off your list and support music and arts education all at the same time! Maybe if you’re lucky, you’ll even get to hear me singing along to “My Favorite Things.”
Thanksgiving is just around the corner, and most people are dreaming about turkey, reuniting with family, and scoring great deals on Black Friday and Cyber Monday. While eating and shopping to your heart’s content are exciting, it is good to remember that the true meaning of the holidays is spreading joy and giving, not only to your loved ones but to those in need. A great opportunity to do so is participating in #GivingTuesday, which takes place on the Tuesday after Thanksgiving every year.
Created by New York’s 92nd Street Y and United Nations Foundation in 2012, #GivingTuesday is a global holiday that celebrates generosity and kindness by giving to nonprofit organizations all around the world. While Black Friday and Cyber Monday start off the buying season, #GivingTuesday starts off the giving season. #GivingTuesday is considered a social media celebration, thus many people post online about their favorite causes and advocate for people to give.
While there are a multitude of fantastic organizations to donate to on #GivingTuesday, we ask that you consider donating to Music for All in order to help us finish the year strong. Your donation will positively impact our advocacy efforts, rural and urban school initiatives, and scholarship offerings. Through these programs, Music for All works to provide all students across America with access to participate in music, no matter their socioeconomic status.
Music powerfully impacts students. Research has shown that music education improves cognition and academic achievement, such as higher GPAs and higher graduation rates. Music also increases decision-making, collaboration, creativity, communication, critical thinking, and emotional awareness. Not only does music positively affect students, but also schools, communities, the economy, and society. That is why Music for All is so passionate about music education in America.
Thus, on this #GivingTuesday, please help us ensure that every child across America has access and opportunity to participate in active music making in his or her scholastic environment by making a gift to Music for All!
We hope that everyone will be joining us on Thanksgiving day by watching the 2016 Macy's Thanksgiving Day Parade! We cannot wait to watch and support all of the amazing marching bands that will be featured throughout the parade. We are especially excited this year to say that all of the high school bands that will be marching in the parade are in the Bands of America family! Congratulations to all of you on being selected for the Macy's 90th Thanskgiving Day Parade!
So make sure you tune in and join us in supporting these incredible ensembles as they perform for nearly 50 million television viewers nationwide! We know they will make us proud! The parade steps off at 9:00 AM on Thursday, November 24th. You can watch the parade live on NBC.
Below is a list of all of the marching bands you will see in the parade!
Cary Senior High School
Cary, North Carolina
Band Director: Matthew Minick
Grain Valley High School
Grain Valley, Missouri
Band Director: Reid Atkinson
Greendale High School
Band Director: Tom Reifenberg
Harrison High School
Band Director: Josh Ray
Hendrickson High School
Band Director: Garth Gundersen
Joe E. Newsome High School
Band Director: Michael Miller
Macy's Great American Marching Band
Students from schools across the country
Band Director: Dr. Rick Good
Na Koa Ali'l Hawaii All-State Marching Band
The State of Hawaii
Band Director: John Riggle
NYPD Marching Band
New York Police Department, New York, New York
Band Director: Lt. Tony Giorgio
Prospect High School
Band Director: Chris Barnum
United States Military Academy Band
West Point, New York
Band Director: Major Sergeant Christopher Jones
The West Virginia University Mountaineer Marching Band
Morgantown, West Virginia
Band Director: Jay Drury
For great Macy's coverage (including a list of what these bands will be performing!) visit our friends at Marching.com.
For more information about the Macy's Thanksgiving Day Parade visit www.macys.com/parade.
Written with assistance from Michael Reed.
The Bands of America Grand National Championships Finals in Lucas Oil Stadium was a grand ending to the beginning of BOA’s second 40 years. Once again, Yamaha presented the four days of events in Indianapolis, continuing a mission of music education support that is second to none. For the first time, in 2016, all BOA Championships were live-streamed online by FloMarching.com, helping celebrate the most Championships BOA has ever held in the fall with 21 events.
The Grand National Championships is far from the end of Music for All’s yearlong season. The Music for All National Festival will be in Indianapolis, March 9-11, 2017. After schools let out for the summer, the Music for All Leadership Weekend Experience will be held at Ball State University June 24-25, 2017, followed at the same location by the Music for All Summer Symposium June 26-July 1. The Grand National Championships will return to Indianapolis November 8-11, 2017.
In the Indianapolis Marching Band Tournament, held on Wednesday night, November 9, Arsenal Technical HS captured 1st place in the Corps Style division, also winning honors for Best General Effect and Best Visual Performance. Emmerich Manual HS took 2nd place, and George Washington HS took the award for Best Musical Performance. Broad Ripple HS took 1st place in the Show Style division, also capturing honors for Best Music Performance and Best General Effect. Crispus Attucks Magnet HS took 2nd place while taking the award for Best Visual Performance.
In addition to the competition on the field among the Indianapolis Public Schools bands, the schools also vie for the coveted Spirit Award, which includes a $1,000.00 scholarship and is awarded to the school demonstrating the best enthusiasm and support for their band. Crispus Attucks Magnet H.S. was named the winner of the award.
After 100 bands competed in Prelims on Thursday and Friday, the following 36 bands (listed in performance order) advanced into Semi-Finals: North Hardin HS (KY), Adair County HS (KY), Williamstown HS (KY), Archbishop Alter HS (OH), Milton-Union HS (OH), Reeths-Puffer HS (MI), Lockport Township HS (IL), Ayala HS (CA), Green Hope HS (NC), O'Fallon Township HS (IL), Ronald Reagan HS (TX), James F. Byrnes HS (SC), Wando HS (SC), Claudia Taylor Johnson HS (TX), Marian Catholic HS (IL), Avon HS (IN), Owasso HS (OK), Castle HS (IN), William Mason HS (OH), Union HS (OK), Bellevue West HS (NE), Dobyns-Bennett HS (TN), Leander HS (TX), Franklin HS (TN), Cedar Park HS (TX), Center Grove HS (IN), Carmel HS (IN), Plymouth-Canton Educational Park (MI), ), Homestead HS (IN), Lawrence Township HS (IN), Tarpon Springs HS (FL), Vista Murrieta HS (CA), James Bowie HS (TX), Fort Mill HS (SC), Clovis West HS (CA), and Columbus North HS (IN).
After the performances of all Semi-Finals bands and the exhibition of the Ohio State University Marching Band, caption highest achievement awards and caption placement awards were presented to the top bands in each of the four competitive Semi-Finals classes.
In Class AAAA, 1st place Avon HS took Outstanding Music Performance and Outstanding General Effect, and 3rd place William Mason HS took Outstanding Visual Performance. In between was 2nd place Carmel HS. In Class AAA, 1st place Leander HS took all three caption awards, sharing Outstanding General Effect with 2nd place Cedar Park HS. Castle HS finished in 3rd place. In Class AA, 1st place Tarpon Springs HS took all three caption awards, followed by 2nd place Marian Catholic HS and 3rd place North Hardin HS. In Class A, 1st place Adair County HS took all three caption awards, followed by 2nd place Williamstown HS and 3rd place Archbishop Alter HS.
The Finalist bands were randomly announced as being Carmel HS, Leander HS, Avon HS, Claudia Taylor Johnson HS, Cedar Park HS, Tarpon Springs HS, Marian Catholic HS, Homestead HS, Wando HS, William Mason HS, Ronald Reagan HS, Dobyns-Bennett HS, and Castle HS. For the first time in BOA Grand Nationals history, there were 13 bands in Finals due to a tie for 12th place in Semifinals.
Representatives from each band drew for their performing position in Finals in two blocks; the 7th-12th place bands followed by the 1st-6th place bands. (Prior to 2016, all Finalist bands drew for position in one block.) Finals performances concluded with an exhibition performance by Class A Champion Adair County HS, as Class Champions present an exhibition in Finals if they aren’t in the top-12.
Other special awards included Tom Hannum receiving the George N. Parks Leadership Award. The Yamaha Scholarship was awarded to Sarah Watt of Bentonville HS (AR), the Fred J. Miller Family Scholarship went to Olivia Klein of Norton HS (OH), and the Fred J. Miller Memorial Scholarship went to Lesly Hinojosa of Roma HS (TX). The Al Castronovo Espirit de Corps Award was presented to the Vista Murrieta HS (CA). Ronald Reagan HS (TX) received an invitation to perform at the 2018 Tournament of Roses Parade.
Avon HS was awarded both the Outstanding Music Performance and Outstanding Visual Performance Awards, and Carmel HS took the award for Outstanding General Effect. Because Carmel won GE, they were declared the 2017 BOA Grand Nationals National Champion when it was announced that both Carmel and Avon tied with the highest score, being that General Effect is used to break any ties in any of Finals placements.
One could be forgiven for wondering why Carmel was so small at the beginning of “Adagio-Presto.” Suddenly, the band appeared to double in size in this production that had no particular theme, celebrating music for music’s sake. Reflecting the show title, brass on one side of the field moved in slow curvilinear forms while brass on the other side moved at an accelerated tempo, resolving in a huge glorious show-ending statement.
Kinetic sculptures inspired by Burning Man Festival enhanced the Americana music of “Go Forth,” based on the Walt Whitman poem, “Pioneer, O Pioneer,” which was heard throughout. The program explored the restlessness and adventurousness of youth—as well as the ongoing desire to explore the unknown—by employing the inviting wide-open expanses of the western United States as a thematic motif for manifest destiny.
The music of Samuel Barber and multitudes of giant rolling bubbles helped William Mason achieve its first GN placement in the top-3 with “World Out of Balance.” The bubbles rolled around the field like giant tumbleweeds, each swallowing up a member of the band. The juxtaposition of Barber’s music with a continual visual so wacky, and yet so captivating, allowed this show to roll over the audience as well as the marchers.
“Pandora” studied the ancient Greek story of the first woman on earth, who unleashed all the troubles of the world through her curiosity and subsequent opening of a container full of various miseries. She inadvertently let everything escape the box except Hope, which popped out of the box at the end bedazzled with a giant white peacock-like silk, suggesting there was still a chance of she and all humanity becoming free.
Eerily spooky and impishly fun, “All Hallows’ Eve” (“Halloween”) delighted with its wry mischievousness, pitting smiling Jack-o’-lanterns (the treats) counter to their more sinister twins (the tricks), each taking turns popping up and just as quickly disappearing. Maneuvering amidst the sticky threads of a giant spider web, flying bats had their way until the sun arose, demonstrating everyone survived the night.
Leander HS, 6th place: 94.65
“The Fourth Dimension” explored the fascinating mathematical field of Euclidean geometry, enhanced by cube props and sets, with many of the flags emblazoned with images of cubes. Rotating 3-D cubes manipulated by the guard and the winds revealed new shapes when viewed from the changing perspective of different angles, the morphing of the shapes further reflected in the continual morphing of the sonic landscape.
“One Love” explored the need to love and embrace the diversity in the world, celebrating how the inclusion of others from all different walks of life adds value to our existence. Shocking to the eyes and brain was when the dresses worn by the massive guard all changed from either pink or blue to yellow in the blink of an eye. The show ended with the band forming a giant hand on the field, reflecting the hands imprinted upon the flags.
Cataclysmic has never been as much fun as the opener of “Gorgon” suggested in the cerebral production of “Therefore,” which encouraged us to question everything, but only after thinking about it to the nth degree. From “Violence of the Mind” to the reassuring strains of “How Great Thou Art,” the thoughts and words of famous philosophers through the millennia were intimidating, challenging, and ultimately encouraging.
Claudia Taylor Johnson HS, 9th place: 91.30
One could be forgiven for thinking that if a dance had ever been created, there was a good chance it had been snuck into “flashDANCE” somewhere. The show was all about dance, the dancers controlled by a DJ overlooking the dance floor from his platform. Hints of dances of long-ago centuries led into the jazz era of flappers, to the refined artistry of prim ballerinas and throbbing head banging to the latest pop hits.
Castle HS, 10th place: 91:05
In mythology, Sirens were stunning female creatures who lured sailors to their demise upon jagged rocks with the beauty of their irresistible voices. “A Siren’s Song” explored the interplay between such a creature and her unsuspecting prey, the sailor quickly learning that resistance was futile as he reluctantly-yet-willingly joined the Siren in a flute duet prior to being led by the hand to the destiny of the unforgiving rocks.
“A Time to Turn” was based on the lesson of Ecclesiastes 3, which inspired the folk song, “Turn, Turn, Turn.” LED lights on tree sets changed colors as the show progressed through the times and seasons of life. These included the vibrant summer celebration of tender love, the caring autumn contemplation of mutual embracing, the harsh wintery chill of sorrowful weeping, and the festive spring jubilee of ecstatic dancing.
Completing the band’s 33-year unbroken string of being a Grand Nationals finalist, “Unbroken” explored the Japanese art of kintsugi (repairing broken pottery with lacquer dusted with precious metals) as a metaphor for healing after suffering tragic loss. Out of the chaos of disaster, life moves forward, reflected by the final commentary: “The world breaks everyone. Afterward, everyone is strong in the broken places.”
“Echoes of Hope” served elegant old wine in sparkling new bottles by reinventing the music of Richard Wagner, allowing us to hear the master’s work from a novel perspective. Commencing with an unorthodox saxophone octet treatment of “Pilgrims’ Chorus,” the relatively abstract production Wagner-fied a couple contemporary works that one might suspect had been written under a pseudonym by a latter-day Wagner.
The marching band community was shocked and saddened by the sudden passing of Castle High School’s Sophie Rinehart, who, along with her father and grandmother, lost her life in an auto accident on the way home from Indianapolis. All in attendance at Grand Nationals were uplifted by her ethereal voice, which will serve as a haunting reminder that life is fragile, must continually be cherished, and is a gift that can evaporate in a heartbeat. Debbie Laferty Asbill perfectly captured the essence of our collective grief with the following reflections on Sophie’s life, complete with a video from what no one could have suspected would be her last performance. http://www.musicforall.org/blog/stories/remembering-sophie-rinehart
Band people often talk about their “band family.” In the days following the 2016 Bands of America Grand Nationals it became clear that “family” extends beyond one’s own band and school to all of us who are alumni, band parents, and boosters.
Just hours after Sophie Rinehart’s standout feature performance with the Castle Marching Knights of Newburgh, Indiana in their first BOA Grand Nationals Finals appearance, her life was taken in a tragic car crash, along with her father and grandmother. Her older sister was injured.
Sophie’s vocal solo and flute duet during Castle’s 2016 show had moved audiences all fall. Grand Nationals was no exception. It seemed everyone, from the 100 participating bands and their supporters to those watching online and fans in the stands, was talking about “the singer with Castle.”
When news spread online Sunday that Sophie had passed away just hours after her Finals performance and celebrating Castle’s 10th place accomplishment with her fellow band members, the band world expressed its shock and sadness.
Condolences began pouring in from band parents, students, teachers, and fans from the Grand National bands and fans from across the country and around the world. Sophie’s vocal solo performance was of Sara Bareilles’ Gravity; Sara herself sent an email offering condolences to the Castle band.
Personally, after sharing the sad news and Music for All staff’s own sadness on the Bands of America Facebook page on Sunday, I was riveted to my computer screen the rest of that evening, finding some small comfort in the thousands of shares and comments from band programs nationwide. #weareallcastle became a way to share the pain and honor Sophie, her family, the Castle band, and the Newburgh community.
Bands of America interviewed many band directors and students during Grand Nationals. When we asked Castle band director Tom Dean to select a student representative for us to interview, he brought Sophie to the set. To honor her memory, and share her special gifts with the world, we are offering this video with portions of that interview and her final performance.
Special thanks to Tresona Multimedia for helping us to secure the rights to allow us to include a portion of the performance, and to Hansen Multimedia for donating the production of this video.
We remember Sophie and her unforgettable performance in Lucas Oil Stadium.