TN Musician Vol. 73, No. 4

The Official Publication of the Tennessee Music Education Association
Emerging from the Pandemic:
Reconstructing and
Redefining Your Ensemble
by Joel L. Denton, Barry Trobaugh, and Jo Ann Hood
p. 16
Life Lessons Learned by
Playing Chamber Music
by Chandra Lind
p. 25
Engaging in Research as a
Practicing Music Teacher
by Mara E. Culp, Erik S. Piazza,
Meg Messina, and Brittany E. O’Reilly
p. 30
VOLUME 73, NO. 4

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TABLE OF CONTENTS | 2021 | VOLUME 73, NO. 4
PROGRAM NOTES
02
03
07
09
TMEA Board and Council Directory
2020-2021
Tennessee Musician Advertiser Index
Issue No. 4
Prelude - A Message from the Editor
Anna Laura Williams
TMEA President’s Message
Alexis Yatuzis-Derryberry
12
35
16
BY THE NUMBERS/VERBATIM
Music is Good for You!
Lisa Burden, Contributing Columnist
TEACHING IN TENNESSEE
TMEA Back Then
October 1971
LEARNING FROM OUR LEGENDS
Emerging from the Pandemic:
Reconstructing and Redefining Your Ensemble
Joel L. Denton, Barry Trobaugh, and Jo Ann Hood
25
30
Tennessee Musician is mailed to members four times each year at an annual
subscription rate of $6.00 (included in dues).
Non-member subscription rate (includes S&H): $30.00 per school year;
single copies: $10.00 per issue.
GUEST FEATURES
Life Lessons Learned by
Playing Chamber Music
Chandra Lind
Engaging in Research as a
Practicing Music Teacher
Mara E. Culp, Erik S. Piazza,
Meg Messina, and Brittany E. O’Reilly
Postmaster - Send address changes to:
Tennessee Musician
c/o Tennessee Music Education Association
2441-Q Old Fort Pkwy, #635
Murfreesboro, TN 37128-4162
Published by Slate Group: 6024 45th Street, Lubbock, Texas 79407.
Graphic Design: Matthew Mann. Account Executive: Ian Spector (800-794-5594).
Non-Profit 501(c)(3) Organization. U.S. Postage Paid at Lubbock, Texas.
ISSN Number 0400-3332; EIN number 20-3325550.
Copyright © 2021 Tennessee Music Education Association. Reproduction in any form
is illegal without the express permission of the editor: Anna Laura Williams, Managing
Editor & Advertising Manager; anna.laura.williams@tnmea.org.
Tennessee Music Education Assocation | www.tnmea.org | 1

TMEA BOARD AND COUNCIL
n at i o n a l executive board - nat i o n a l associat i o n for music educat i o n
Southern Division Immediate Past-President
Dian Eddleman
deddleman@usjbruins.org
t m e a executive board
TMEA Executive Director
Michael W. Chester
michael.chester@tnmea.org
TMEA President
Alexis Yatuzis-Derryberry
alexis.yatuzisderryberry@tnmea.org
TMEA President-Elect
Ryan Fisher, Ph.D.
rfisher3@memphis.edu
TMEA Immediate Past-President
Lafe Cook
lcook@k12k.com
TMEA Secretary
Dian Eddleman
deddleman@usjbruins.org
b oard of directors
TMEA State General Music Chair
Franklin Willis
franklin.willis@mnps.org
TMEA State Choral Chair
Jason Whitson
whitsonj@btcs.org
TMEA State Orchestra Chair
Anna Maria Miller
amamiller@bellsouth.net
TMEA State Band Chair
Jacob Campos
jacob.campos@wcs.edu
TMEA State Higher Education Chair
Robert Bryant, Ph.D.
rbryan14@tnstate.edu
TMEA NAfME Collegiate Chair
Jody Blake, Ph.D.
jblake17@utm.edu
TMEA Society for Music Teacher
Education/Research Chair
Loneka Wilkinson Battiste, Ph.D.
lbattis2@utk.edu
TMEA Advocacy and
Government Relations Chair
Christopher Dye, Ed.D.
christopher.dye@mtsu.edu
TMEA Publications Editor and
Advertising Manager
Anna Laura Williams
anna.laura.williams@tnmea.org
t m e a council
WTGMEA President
Jennifer Proseus
wtgmeamemphis@yahoo.com
WTGMEA President-Elect
Harrison Howle
howle.harrison@hardingacademymemphis.org
WTVMEA President
Sharon Morris
smorris@lced.net
WTVMEA President-Elect
Adrian Maclin
maclinal@scsk12.org
WTSBOA President
Jennifer Cupples
jennifer.cupples@wcsk12tn.net
WTSBOA Past-President
Ollie Liddell, Ph.D.
ollie_liddell@hotmail.com
MTGMEA President
Rachel Lapinski
lapinskir@rcschools.net
MTGMEA President-Elect
Corynn York
corynn.york@cityschools.net
MTVA President
Gerald Patton
pattong@rcschools.net
MTVA President-Elect
Lorna Pyka
lornapyka@yahoo.com
MTSBOA President
Justin Scott
justin.scott@tcsedu.net
MTSBOA President-Elect
J.R. Baker
john.baker@rcstn.net
ETGMEA President
Amanda Bivens
aabivens89@gmail.com
ETGMEA President-Elect
Bryant Adler
badler@alcoaschools.net
ETVA President
Deborah Gouge
debbie.gouge@ecschools.net
ETVA President-Elect
Kristen Wiram
wiram_k@hcde.org
ETSBOA President
Donald Benton
president@etsboa.org
ETSBOA President-Elect
Jim Burton
presidentelect@etsboa.org
p r oject chairs
TMEA Guitar Education
(Modern Band) Chair
Ryan Payne
payner@rcschools.net
TMEA Jazz Education Policy Chair
Ollie Liddell, Ph.D.
ollie_liddell@hotmail.com
TMEA Music in Our Schools Month Chair
Tiffany Barton
tntreblechoir@gmail.com
TMEA Music Merchants Industry Chair
Nick Averwater
nick@amromusic.com
TMEA Retired Teachers Chair
Bobby Jean Frost
bjfrost@aol.com
TMEA Tri-M Chair
Robbin Johnston, Ed.S.
robbin.johnston@cmcss.net
TMEA Webmaster
John Womack
john.womack@tnmea.org
a l l-stat e management team
TN All-State Choral Chair
Brian Russell, D.M.A.
brian.russell@tnmea.org
TN All-State Instrumental Chair
Carter Noblin
noblinc@wcschools.com
e n s e m b l e chairs
TN Treble Honor Choir Chair
Tiffany Barton
tntreblechoir@gmail.com
TN All-State Jazz Band Chair
Cord Martin
corderyl.martin@gmail.com
c o n f e r e n c e management team
TMEA Conference Co-Chair
Brad Turner
brad.turner@acsk-12.org
TMEA Conference Co-Chair
Paul Waters
paulwaters.tmea@gmail.com
TMEA Conference Exhibits Chair
Jo Ann Hood
jhood10105@aol.com
TMEA Conference Registration Chair
Mark Garey
mgarey86@comcast.net
TMEA Conference Performance
Group Chair
John Mears
tmeaperformancechair@gmail.com
2 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 73, No. 4
Tennessee Musician
The Official Publication of the
Tennessee Music Education
Association
Inside Front Cover
QuaverMusic.com
Inside Back Cover
University of Tennessee at Chattanooga
Back Cover
Lee University
The Tennessee Music Education
Association (TMEA) was officially
formed in 1945 as a voluntary, nonprofit
organization representing
all phases of music education at all
school levels. The mission of TMEA
is to promote the advancement of
high-quality music education for all.
Active TMEA membership is open to
all persons currently teaching music
and others with a special interest
or involvement in music education.
Collegiate memberships and
retired memberships are available.
Additional membership information
is available on the TMEA website:
www.tnmea.org.
The Tennessee Musician was
founded in 1948 with J. Clark Rhodes
appointed by the TMEA Board of
Control as inaugural editor.
Tennessee Musician was preceded
by an earlier publication, Tennessee
Music Editors’ Downbeat, which was
discontinued by the TMEA Board of
Control at the spring board meeting,
held in Chattanooga, Tennessee, in
1948.
04 | Tennessee State
University
05 | Butter Braid
Fundraising
08 | University of Tennessee
at Martin
11 | University of Tennessee
at Knoxville Bands
14 | Middle Tennessee
State University
15 | Yamaha Corporation
of America
22 | Peripole, Inc.
23 | East Tennessee
State University
24 | Union
University
27 | Austin Peay
State University
29 | University of
Memphis
34 | Slate Group
All advertising and editorial
materials should be sent to
Anna Laura Williams, Managing
Editor and Advertising Manager;
anna.laura.williams@tnmea.org;
615-784-8632.
Advertising information is available
on the TMEA website:
https://www.tnmea.org/advertising.
html. Submit editorial materials by
e-mail in Microsoft Word format.
Non-member subscriptions and
single copy orders can be placed via
e-mail to the editor.
Deadlines for advertisement orders
and editorial materials:
Issue No. 1 – Deadline: November 15
(in home delivery: December);
Issue No. 2 – Deadline: December 15
(in home delivery: January/
February);
Issue No. 3 – Deadline: February 15
(in home delivery: March/April);
Issue No. 4 – Deadline: April 15
(in home delivery: May/June)
The views and opinions expressed in
the articles included in the Tennessee
Musician are those of the authors and
do not necessarily reflect the official
policy or position of TMEA, the
members, the staff, or the advertisers.
Tennessee Music Education Assocation | www.tnmea.org | 3

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IN THIS ISSUE . . .
BY THE NUMBERS/VERBATIM
Ê
“Music is Good for You!” by Lisa Burden delves
into numerous physiological benefits of listening to
and performing music.
TEACHING IN TENNESSEE
Ê
“TMEA Back Then: October 1971,” revisits
All-State information for the then-upcoming 1972
TMEA Conference. Articles, events, and accolades
of Tennessee Music Education Association
members during this time in TMEA history are
featured in this past issue of the
Tennessee Musician.
LEARNING FROM OUR LEGENDS
Ê
“Emerging from the Pandemic:
Reconstructing and Redefining Your
Ensemble,” by Joel L. Denton, Barry Trobaugh,
and Jo Ann Hood offers pertinent advice from
expert Tennessee retired music educators as
teachers begin planning music instruction for the
upcoming 2021-2022 school year.
GUEST FEATURES
Ê
Ê
“Life Lessons Learned by Playing Chamber
Music,” by Chandra Lind examines the values of
incorporating chamber music opportunities
within music ensembles and includes
feedback from her students detailing what they
gained through chamber music experiences.
“Engaging in Research as a Practicing Music
Teacher,” by Mara E. Culp, Erik S. Piazza, Meg
Messina, and Brittany E. O’Reilly illustrates
multiples ways in which research can assist
current music educators and how current music
educators can play an integral role in music
research projects.
6 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

PRELUDE - A MESSAGE FROM THE EDITOR
Anna Laura Williams
Siegel Middle School
REGARDLESS OF WHAT MAY HAVE OCCURRED
IN THE PAST ACADEMIC YEAR, WE MUST NOW
MOVE FORWARD TOGETHER AND PRIORITIZE
OUR FOCUS ON THE IMPORTANCE OF MUSIC
EDUCATION IN THE UPCOMING YEAR AHEAD.
Consider what takes precedence in your life and in your
teaching. As a music educator, how do current priorities
compare to those that were prominent in your life a
year ago?
In the wake of what many have described as a whirlwind of a
school year, who has made a positive difference in your life or
music program this past year, this month, or this week? Who
has created a lasting impression on your music teaching by being
a noteworthy educator, friend, family member, or colleague?
A wise friend once advised that during the recovery process
after a trying experience, it is important to acknowledge those
who were instrumental through that journey. An uplifting recognition
does not have to be a monumental action—something
as simple as saying “thank you” can be a thoughtful way to let
those who have been supportive in your life know that their care
was pivotal.
Take it a step further—during this past school year, who is a
person that has shown outstanding effort in teaching or assisting
others? Think of a fellow teacher whose success during this
time has impressed you. Just as we consciously provide feedback
to our students, it is important to encourage our fellow
music colleagues through genuine comments of praise. During
this current age of technology, it takes only seconds to deliver a
meaningful message of appreciation to someone. As musicians,
we can even use our gift of music to share the joy that others
have given us. No matter how we choose to do so, I hope during
this summer break we all take the time to reach out to express
thanks to those who have helped us along the way.
Looking forward to the fall semester, it does not matter how
many years we have taught or where we will be teaching—this
upcoming school year marks a distinct chance for each of us to
make a new beginning in our music classrooms and communities.
Although many will return to the same teaching locations
from the prior school year, others may embark on new ventures
as they start new teaching positions.
While selecting the articles for this publication, I was inspired
by the possibilities we have to strengthen music education
across Tennessee in the coming year. What have been some of
the greatest values in our specific music programs? How can we
grow our music programs in the future? Next school year will be
an unprecedented opportunity within our classrooms and ensembles
to redefine previous elements, try new teaching techniques,
and retain successful strategies from the past.
We know how essential our music lessons, activities, rehearsals,
and performances can be in the lives of our students. Your local
community may be filled with music educators, or you may be
the only music specialist for miles—we are all equally crucial in
ensuring music education thrives throughout Tennessee. Regardless
of what may have occurred in the past academic year,
we must now move forward together and prioritize our focus on
the importance of music education in the upcoming year ahead.
It is my sincerest desire that you find the materials in this publication
helpful as we embrace the future of music education in
Tennessee.
Anna Laura Williams
17th Editor, Tennessee Musician
Tennessee Music Education Assocation | www.tnmea.org | 7

TMEA PRESIDENT’S MESSAGE
Alexis Yatuzis-Derryberry
Lascassas Elementary School
I HOPE THAT YOU ALL CAN TAKE SOME TIME FOR
YOURSELVES, WITH YOUR FAMILY, AND WITH
YOUR FRIENDS AS WE ENTER THE SUMMER
MONTHS. DO NOT FEEL GUILTY FOR TAKING TIME
TO RECOVER AND REST FROM THE PAST YEAR.
It is with great enthusiasm that I write this, the final President’s
message for the 2020-2021 school year. As music educators
and as humans, we have all been through so much in
the past two school years. I know we all look forward to closing
the book on this year as we move on with hope for a more normal
2021-2022 school year. I have been proud to report that even a
worldwide pandemic didn’t stop the music educators of the great
state of Tennessee from delivering high quality music experiences
and opportunities for their students! Your perseverance, grit,
and professionalism will go down in history, and I hope we can
all sit around and remember the past two school years with more
laughter than with tears.
I want to thank everyone who had students audition for one of
the 2021 TMEA All-State Ensembles. The Executive Committee
was thrilled to have over 400 students and their directors attend
the virtual event on April 10th, 2021. I want to publicly thank Ms.
Tiffany Kerns and Ms. Falon Keith from the Country Music
Association Foundation as well as Ms. Kimberly McLemore
from the Nashville Symphony Orchestra for all of their
help with funding and providing musicians with which the students
could spend some time. I also want to thank Dr. Tucker
Biddlecombe, Dr. Ryan Fisher, Mr. Lafe Cook, Mr. Michael
Chester, and Ms. Dian Eddleman for all of their help in brainstorming
and helping curate the experience. I would also like to
thank Ms. Anna Laura Williams for her work with the digital
All-State Program as well as Mr. Carter Noblin and Dr. Brian
Russell for their amazing work as the All-State Instrumental and
Choral chairs. Also, I would like to thank the regional All-State
Chairs that took time to diligently ensure that their region’s All-
State students’ names were spelled correctly and inputted in time
to make the digital All-State Program a reality. Lastly, I would
like to again thank you, the music educators of the state for
seeing this year through and ensuring your students had the opportunity
to have some sort of normalcy; whether it was through
virtual performances, socially distanced concerts, pre-recorded
performances, or in-person or distance learning . . . you provided
it. You jumped through hoop after hoop to learn new technology,
create bell covers, and deliver instruction in a variety of ways. You
are the true heroes of the past two school years.
I want to thank the TMEA Board of Directors and all of the
regional leaders for their work this year. We started the
summer with Zoom meetings, and we accomplished all of the
things we discussed offering our students. Thank you for your
commitment to your colleagues and working beyond yourself
to make this school year the best that we could with all of the
restrictions and challenges. I look forward to sharing with you
more information about the 2022 Professional Development
Conference and All-State Concerts. The Board of Directors
and Executive Committee has been planning since the summer
to make our first time back together in-person the best
conference experience yet! If you missed the announcement
regarding next years’ tentative dates for the conference, they
are Wednesday, April 27th-Saturday, April 30th, 2022.
More information coming soon!
I hope that you all can take some time for yourselves, with your
family, and with your friends as we enter the summer months. Do
not feel guilty for taking time to recover and rest from the past
year. There will be plenty of opportunities for professional development
and trainings during the school year. Give yourself permission
to exhale. Humorist Bill Watterson is quoted as saying
“We’re so busy watching out for what’s just ahead of us that we
don’t take time to enjoy where we are.” I hope you can take time
this summer to enjoy where you are.
Musically,
Alexis Yatuzis-Derryberry
38th TMEA President
Tennessee Music Education Assocation | www.tnmea.org | 9

CIVIC ACTION FIELD GUIDE
FOR MUSIC EDUCATION
Representing music educators, students, and advocates, NAfME is
dedicated to ensuring the accessibility, presence, and perseverance of
quality music programs taught by certified music educators, for all students
across the nation, regardless of circumstance. Through active advocacy
and collaboration, we are changing the national conversation about
music’s role in delivering a well-rounded education to all students.
NAfME designed the Civic Action Field Guide to help music educators
and education stakeholders better understand the processes behind how
public education is governed and funded, with an eye toward supporting
high-quality music education in districts and at the state level across the
nation. With this Guide, you will be able to:
• Understand how public education is governed and funded
• Identify key elected officials in public education and their election
cycles
• Identify candidates and their stances on education issues
• Register to vote
• Understand the well-rounded education programs found in Title I, Title
II, and Title IV, and learn how to advocate for the availability of these
funding streams to your music program under ESSA (the Every Student
Succeeds Act)
• Contact your elected officials and advocate for music education
Download your copy today at bit.ly/NAfMECivicActionFieldGuide.
Questions? Email advocacy@nafme.org or call 1-800-336-3768.

TMEA BY THE NUMBERS / VERBATIM
by Lisa Burden
Music
is Good
for You!
Listening to Music
...may help
you sleep
better
...can help
you eat less
All of us have come across
research that tells us how
listening to and performing
music is good for us! We have
seen research that shows how
music can enhance the way
our brain works, our mental
well-being, and so much more.
Something I’ve been thinking
about lately is truly what a gift
we give to our students and
ourselves through music! Even
if our students don’t actively
sing or play music all of their
lives, they will continue to
listen to music—who knows
what impact we have as we
guide them in our classes!
Here are some of the
physiological benefits of
listening to and performing
music; while some of these
were familiar to me, I was
completely unaware of others.
Enjoy!
A study 1 found that college
students who had listened to
music at bedtime for three weeks
“slept significantly better than
those who listened to
audiobooks” or nothing at all.
...can reduce stress
A 2013 study 3 had participants listen to either relaxing music, the
sound of rippling water, or no auditory stimulation before being
exposed to a stressor, and then they took a psychological test.
Following the stressor, those who had listened to the relaxing music
recovered quicker than those who had not.
...can improve
cognitive
performance
A study 4 found that playing both
upbeat and downbeat
background music led to benefits
in memory.
According to one study 2 , people
who ate at a low-lit restaurant
while listening to soft music
consumed 18% less food than
those who ate in other restaurants.
...can improve
your memory
Another study 5 found that
participants who were learning a
new language improved their
knowledge and abilities when
they practiced singing new words
as opposed to speaking them.
1
Hole J, Hirsch M, Ball E, Meads C. Music as an aid for
postoperative recovery in adults: A systematic review
and meta-analysis. Lancet. 2015;386(10004):1659-71.
doi:10.1016/S0140-6736(15)60169-6
2
Wansink B, van Ittersum K. Fast food restaurant
lighting and music can reduce calorie intake and
increase satisfaction. Psychol Rep. 2012;111(1):228-32.
doi:10.2466/01.PR0.111.4.228-232
3
Thoma MV, La Marca R, Brönnimann R, Finkel L,
Ehlert U, Nater UM. The effect of music on the human
stress response. PLoS ONE. 2013;8(8):e70156.
doi:https://doi.org/10.1371/journal.pone.0070156
4
Gold BP, Frank MJ, Bogert B, Brattico E.
Pleasurable music affects reinforcement learning
according to the listener. Front Psychol.
2013;4:541. doi:10.3389/fpsyg.2013.00541
12 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

Music has real health benefits. It boosts
dopamine, lowers cortisol, and makes us feel
great. Your brain is better on music.
- Alex Doman
Performing Music
...boosts
immune
system
A University of Sussex/Max
Planck Institute study showed that
playing an instrument boosts the
immune system along with
lowering stress.
...enhances hearing
...lowers
blood
pressure
Music has the opposite effect that
stress does, especially with
cortisol levels. A University of
California study showed that
playing music combats stress and
those cortisol levels.
Those with musical training can pick out different sounds with
advanced acuity according to studies from the Society for
Neuroscience, which may prove to be an effective tool for speech
impediment language training.
I believe Alex Doman’s quote
more than ever now. In the past
two months, I have gotten the
opportunity to make music with
others again and the opportunity
to experience a concert with the
students I teach. I truly didn’t
realize how much happiness I
have through performing in my
music ensembles and making
music with my students for others
to enjoy. This past year has
brought the contrast to light of
what happens when we finally get
to perform. . . especially since
that was not possible for so long.
This made me realize all the more
that music teachers are kind of
like magicians: we share these
magical effects that listening to
and performing music can bring
to our bodies and our minds.
5
Ludke KM, Ferreira F, Overy K. Singing can
facilitate foreign language learning. Mem
Cognit. 2014;42(1):41-52.
doi:10.3758/s13421-013-0342-5
Antoon, Jason. 6 unexpected health benefits of playing a classical
instrument - healthy aging. (2018, November 19). Retrieved May 12,
2021, from https://healthyaging.net/healthy-aging-magazine/6-unexpected-health-benefits-of-playing-a-classical-instrument/.
Cherry, Kendra. How Listening to Music Can Have
Psychological Benefits. (2019, December 10).
https://www.verywellmind.com/surprising-psychological-benefits-of-music-4126866.
Tennessee Music Education Assocation | www.tnmea.org | 13

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TMEA LEARNING FROM OUR LEGENDS
EMERGING FROM THE PANDEMIC:
RECONSTRUCTING AND REDEFINING
YOUR ENSEMBLE
by Joel L. Denton,
Barry Trobaugh, and
Jo Ann Hood
In the rush to return to
normal, use this time
to consider which parts
of normal are worth
rushing back to.
- Dave Hollis
16 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

EAST TENNESSEE
Joel L. Denton
Former Director of Bands
Ooltewah High School
THE THREE C’S OF RECONSTRUCTING
OUR MUSICAL COMMUNITIES
FOLLOWING THE PANDEMIC
D
ave Hollis says, “In the rush to return to normal,
use this time to consider which parts of
normal are worth rushing back to.” No truer
statement can be made, especially for music
directors, as we step back, take some breaths, and
consider our programs before, during, and after the
COVID-19 pandemic.
Recently, I have had the opportunity to talk with many
educators and designers across the nation. During
these conversations, there have been three common
thoughts—Priorities, Focus, and Cutting Back. Almost
all of these incredibly talented people have shared that
the pandemic has forced them to examine their lives
and their programs. In doing so, they have discovered
that many of the stresses they have placed on themselves
and their students within their programs are
not the priorities that they want to focus on for the future.
Some people might see this as a negative, but as
we talked, we all agreed that it is truly a positive and an
opportunity for all to reconstruct their programs to best
represent their communities’ and their members’ needs
and priorities!
As Jo Ann Hood, Barry Trobaugh, and I discussed while
preparing to write this article, there are probably no
people in our state more competitive than the three of
us! They laughed as I told them that I am competitive to
the marrow in my bones, but we all agreed that events in
our careers demonstrated how a misplaced competitive
mindset is misleading. For all of us, this occurred when
we were preparing our bands for the Macy’s Thanksgiving
Day Parade and the Tournament of Roses Parade.
As successful as our band programs had been before receiving
those prestigious invitations, nothing generated
the community interest and support like being televised
on the national stage. These events appealed to the nonband
members of our communities. It allowed them to
understand and applaud our efforts!
CONDITION | Have a significant influence on
or determine the manner of outcome; bring something
into a desired state of use. 1
As we come out of the pandemic, we will have the opportunity to
(re)condition our musical community. My belief is that we will be
most successful if we focus on how we can involve the most people
and generate the most support. Does this mean we discount
competition, travel, or introducing our students and community to
great music from our disciplines? Absolutely not! It means we make
a concerted effort to focus on engaging our community in ways in
which they can relate, and in the process, use those relationships
to introduce them to all the great possibilities for our students, programs,
and our art form!
1
“Condition.” The Oxford Pocket Dictionary of Current English. Encyclopedia.
com. Accessed April 2021. https://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/condition
CONNECT | Bring together or into contact so
that a real or notional link is established; join together
so as to provide access and communication. 2
Since community means to “communicate with unity,” communication
will be an incredibly important part of our reconstruction
process. This is how we (re)connect with others. Fortunately, the
pandemic has provided incredible new tools to help with this. We
can now Zoom our program meetings so that those who can’t attend
in-preson may still participate.
We can connect our students, parents, and community with artists
and clinicians across the nation at a fraction of the cost of bringing
them in for an in-person event. While all activities and events don’t
have the same impact or value via technology, some do. Communication
is one of the most important links to success and almost always
the pitfall that leads to misunderstandings. The pandemic has
Tennessee Music Education Assocation | www.tnmea.org | 17

equired all of us to improve in this area, but we must stay on point
and realize that “Others’ perception is their reality!”
2
”Connect.” The Oxford Pocket Dictionary of Current English. Encyclopedia.
com. Accessed April 2021. https://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/connect-0
COMMIT | To carry into action deliberately; to
obligate or pledge oneself. 3
As we reconstruct our programs to recondition our purpose
and reconnect with our students and community, we must also
(re)commit ourselves to ensuring that our students are having
the best possible experiences and opportunities. This requires
a truthful evaluation of past practices but gives permission to
consider and cultivate new practices and traditions. This new
commitment comes with the opportunity to examine our priorities
and to place a premium on quality as opposed to quantity
of activities. It provides an opportunity to gain some control of
our personal schedules as directors/teachers, and in the process
hopefully encourage more participation and support from our
students, parents, and community. Does this mean we reduce
our expectations or goals for excellence? NEVER!!! It means
we commit ourselves to work smarter, not harder or longer. We
commit to train our students to be leaders and peer teachers, so
they have the opportunity to create more ownership and ultimately
more responsibility in their programs. We commit to
encouraging parents to be more involved, and we commit
to demonstrate to our community that we don’t exist
for ourselves but for them as well.
With these three C’s in place, I still believe
our Music Education Communities’
future is brighter than ever! I have
a deep-seated belief that our students
and community will never
take live music for granted
again, and that the communities
our ensembles create
for students, family, and
community members will
be more appreciated, protected,
and supported now
more than ever.
The glue that will reconstruct
and hold these communities
together is MUSIC,
and we as music educators are the
source to pour that wonderful experience
into our students. We must ensure
that every student interested in learning music
has the opportunity and can experience the joy of making music for
the rest of their lives!
JOEL L. DENTON served as Director of Bands at
Ooltewah High School for thirty-seven years
before retiring in 2018. Mr. Denton is a graduate
of the University of Tennessee and has completed
graduate studies at U.T. Chattanooga.
Mr. Denton was most recently recognized as a
CMA Music Teacher of Excellence in 2018. Under
his direction, the Ooltewah Band achieved
a national reputation for musical excellence,
including performances in the Macy’s Thanksgiving Day Parade in
2013 and 2007, as the only band in the 2011 Disney Christmas Parade
on ABC, and in the 2017 Tournament of Roses Parade.
The Ooltewah Band was a consistent finalist at Bands of America
Regional Championships being awarded multiple class championships
and placements and was a national semi-finalist on multiple
occasions with several class placements. The Ooltewah concert
bands most recently performed at the Music for All Regional Concert
Festival in 2016, the TMEA (TN) State Music Conference in
2014 and 2010, the Smoky Mountain Music Festival in 2011 (Grand
Concert Division Champions), and multiple other state, regional,
and national events through the years.
At the 2015 Midwest Clinic, Mr. Denton was awarded the John Phillip
Sousa Foundation Legion of Honor for his contributions to band.
He served as Chairman of Fine Arts at Ooltewah from 1982 until his
retirement and was selected five times as the Ooltewah Teacher of
the Year. The Tennessee Governor’s School for the Arts thrice honored
him for outstanding teaching. His professional affiliations include
NAfME, TMEA, ETSBOA, Phi Beta Mu, National Band Association,
ASBDA, and Tennessee Bandmasters Association.
Mr. Denton currently serves as the Tennessee State Chair for the
National Band Association and as a Past-President of the Tennessee
Bandmasters Association. He served as the State Legislative
Delegate and Advocacy Chair for TMEA and served as a member
of the Tennessee Department of Education’s Fine Arts Student
Growth Committee. He is active as an adjudicator, clinician, and
consultant working with Music for All / Bands of America, Drum
Corps International, several universities and state organizations, as
well as many high school bands across the nation. Mr. Denton most
recently presented a clinic session at the 2017 Midwest Clinic on
“Why We Do What We Do.” Mr. Denton also does extensive work
with band programs and other organizations on developing leadership
and teambuilding skills.
3
“Commit.” Merriam-Webster. Accessed May 2021. https://www.merriam-webster.com/dictionary/commit.
18 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

WEST TENNESSEE
Barry Trobaugh
Former Director of Bands
Munford High School
YOU HAVE FOUND
YOUR KEYS
As we each emerge from the blinding darkness and deafening
silence of the COVID-19 Challenge, we now see the dawn of
exciting rejuvenations of our programs, their performances,
and the personal aspects of our students and even of ourselves.
Tomorrow is going to be bright—put on your sunglasses, you
are going to need them.
Perhaps the “silver lining” to the otherwise cloud of COVID-19 is
that every musician, young and
old alike, has been refocused
and redefined on what is truly
important in each of our lives.
We educators now better understand
the importance of music
in the lives of our students, and
in every case, these students
have redefined the personal impact
of music and the necessity
of “musical-fellowship” only
our local programs can provide.
It by no means has been easy,
but the residual appreciation
of “Why Music” is likely at an
all-time high. Now let us all use
this newly found energy, become
a catalyst of synergy in
all those around us, and thrive
like never before. Believe me,
COVID-19 has not left us with
a glass half-empty . . . rather, the
glass is completely full.
In Stephen Covey’s book The 7 Habits of Highly Effective People,
his last model is of “sharpening our saw.” Due to COVID-19, this
has been involuntary whether we liked it or not. We were forced to
make significant changes in our instructional model, but I believe
this to be a huge positive in the bigger picture for both now and for
the long-term future.
WE HAVE NOT LOST OUR TRADITIONAL
METHODS OF TEACHING MUSIC;
RATHER, WE ARE GAINING ADDITIONAL
TOOLS AND MEANS TO STREAMLINE
AND POLISH OUR MAGIC FOR A MORE
PURPOSEFUL AND EFFICIENT RESULT.
Whether we initially accepted it or not, the forced integration of
technology has permanently affixed itself in our daily planning, our
pedagogy, and our instructional delivery. Additionally, each educator
has re-evaluated our purpose to our students and them to us.
We will continue to use many of these tools for an enhanced level of
delivery and consequent mastery of our musical teaching, because
honestly, they work. Our students and their parents have universally
matured in the efficient usage of technology; it is here—we have
experience utilizing this tool,
and the sky is the limit to how it
will impact the future learning
curve of our students. We have
not lost our traditional methods
of teaching music; rather,
we are gaining additional tools
and means to streamline and
polish our magic for a more
purposeful and efficient result.
And it goes without saying
that the value of musical
performance has been refined,
refocused, and is more greatly
appreciated by everyone.
All that is left for us is to each
think differently than the pre-
COVID-19 years and utilize
our “sharpened blades” for an
even better tomorrow for music
education.
It is much like when I last lost
my car keys. This doesn’t happen to me very often at all. Not even
once a year. But when it does, panic is the theme of the day. In all
my hurried efforts to find my “misplaced” keys, I search through
and under everything in my house; and just before I find the
stupid keys, I always find something else I had been missing. At
that very moment, it is a ‘win/win’ and I am euphoric. Honestly,
I would not have found my unexpected treasure if I had not lost
Tennessee Music Education Assocation | www.tnmea.org | 19

my keys in the first place. The ‘COVID-19 Challenge’ has been
this same experience for me and many others. While redefining
my purpose and outreach, I have uncovered old tricks and some
new treats. I’m euphoric about next year like none other. We
ARE now stronger as teachers, and our students are certain to
prosper as a result. Our time to thrive is right now!
As a “COVID-19 Casualty,” our students have sadly missed their
previous “normal” of making music and being part of a team. Their
daily rhetoric was disrupted, and in most cases, even their sanctuary
was made off-limits in their absence from rehearsal rooms and
performance venues. In the typical hectic adolescent life as a student,
they seldom slow to introspectively appreciate exactly what
a music program means to their academic, social, and
emotion security; because of the COVID-19 pandemic,
now they have and now they do.
The silencing of music affected students
more severely than even us adults.
Your students need YOU now
more than ever. They
also need each other,
the team, the
social belonging,
and they certainly
need music
back in their
lives. Right now,
you must continue
to embrace the
“whole” needs of
every student and
stand tall as their
mentor and leader
while moving
forward—stronger,
impassioned
like never before
in your career, and
backed by new delivery
tools. You’ve got
this. It is YOUR time,
and music is your WHY.
You have found your keys
and even a few goodies along
the way. A new day is here—a
bright day filled with excitement.
The forecast is for the best times of
your life.
BARRY TROBAUGH recently retired in May
2021 from his role as the Director of Bands at
Munford High School in Munford, Tennessee.
His career has spanned 40 years, the last 27
years serving the students and community of
Munford, Tennessee. His marching, concert,
and jazz ensembles are recognized nationally
for their quality and consistency, including
twenty-six consecutive Superior Ratings at
the WTSBOA Marching Festival, four Tennessee State Championships,
three Southern States Championships, and the USBands
National Championship title in 2011. The Munford High School
Band has earned the title as twenty-time Grand Champion at the
Bandmasters Championship, Tennessee’s largest marching band
competition. The Munford Band was selected to perform in the
1995 Inauguration of Tennessee Governor Sundquist. The Munford
Band represented the state of Tennessee performing “This is
Elvis” in the 2015 Macy’s Thanksgiving Day Parade and “The Music
of Memphis” in the 2019 Tournament of Roses Parade.
Barry served as President of TBA and WTSBOA, and he previously
served as a member of the TMEA Council Board of Directors and
TMEA All-State Convention Ensemble Selection Audition Committee.
He currently serves as WTSBOA’s All-State Chair and the
Memphis Wind Symphony’s Musical Director and Conductor. He
is proud to have been part of the development of the TBA Adjudication
Assessments that have standardized the scoring of all band
events across Tennessee. Barry is a member of Phi Beta Mu, Eta
Chapter International Music Fraternity, ASBDA, TMEA, WTS-
BOA, and NAfME.
Mr. Trobaugh’s work has been chronicled in the 2011 School Band
and Orchestra Magazine’s “50 Directors Who Make a Difference,”
the November 2015 Tennessee Magazine, and in Sharlene Habermeyer’s
book: Good Music, Brighter Children. He and the Munford
Band were the feature article in the April 2018 issue of the Instrumentalist.
Trobaugh was a 2018 recipient of the Country Music
Association’s (CMA) Music Teacher of Excellence Award. Barry
has been honored with his name on the bricks on the AMRO Music
Walk of Fame.
During the time of the COVID-19 challenge, he inspired his local
network of educators and music-professionals to form a worldwide
effort to gather and distribute resources, safety tactics, instructional
modifications, financial advisory, and motivational support for
instrumental educators worldwide. Combining with Yamaha Corporation
of America, Hal Leonard Publications, and AMRO Music,
the Post Pandemic Planning Guide (PPPG) is currently reaching
over 500,000 music-educators, twice a month, around the globe.
Your students are awaiting you with great anticipation
and it is time for you to bring meaning back into their lives.
Traditions still remain vibrant and the atmosphere is brimming
with anticipation. Music will emerge as the magnetism for bringing
your students back together, and you will experience successes
beyond anyone’s belief. We have survived, we are strong, we are prepared,
and music continues to be our message.
20 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

MIDDLE TENNESSEE
Jo Ann Hood
Former Director of Bands
John Overton High School
FORWARD MARCH!
THE MUSIC MAKING HAS BEEN
AMAZING, AND THE SHARING OF IDEAS
HAS BEEN TREMENDOUS. KEEP THAT
COLLABORATION GOING, ESPECIALLY
AFTER THINGS GET BACK TO NORMAL.
OUR COLLEAGUES ARE OUR BEST AND
MOST UNDERUSED RESOURCE.
C
ongratulations! You have made it to the end of what,
we hope, is the most challenging year of your teaching
career. Thank you for what you do and have done for
your students, your community, and each other. I have
been amazed at what I have seen during this pandemic. New
ways of teaching, new ways of communicating, new ways of
performing, and most important, new ways of working together:
camaraderie. The music making has been amazing, and the
sharing of ideas has been tremendous. Keep that collaboration
going, especially after things get back to normal. Our colleagues
are our best and most underused resource. Do you think that
camaraderie was encouraged because there was very little competition
this year? Helping each other may seem a little old
school to many of you, but believe me, old school still works!
As we begin to come out of this unprecedented time and start
looking forward to a more normal summer and fall, take time to
reflect on all of the accomplishments of the past year. Celebrate
these no matter how small or large they seem. They are all important.
Don’t dwell on what was lost, keep looking forward not back.
Recharge your batteries. Take time for you and take time for your
family. This is important even in a normal year. Visit friends, go
to the beach, or go fishing. Relax, get some rest, and enjoy your
loved ones.
Renew your
passion for
teaching.
Attend a
virtual or in
person clinic.
There are many
offerings each summer
and these can help
recharge your batteries and
renew your passion. Tennessee
Arts Academy, Music For All
Summer Symposium, and Conn-
Selmer Institute Connect all have
amazing faculties and are just a few of
the offerings available. These clinics can give
you a renewed energy and show appreciation
for what you do. Remember you must always keep
learning and keep your tools sharpened.
This fall will see the renewal of marching band and competitions.
In planning your marching show, whether it be competitive or
non-competitive, remember this is the most visible part of your
program. This year, more than ever, it is important to connect
with your audience and to connect with your students. Now will
be a great time to do some old school entertaining. Think about
your Friday night football crowd and what they want and what
they need. For many of you, that was basically nothing last year.
Invite some local celebrities or dignitaries like the mayor, the
principal, or school superintendent to conduct the band. Have
them conduct the fight song as the team comes out for the game.
Entertain the crowd and this only takes a little planning.
In this day of voice overs, amplification, enhancement, etc., can
your show stand alone? If the power does not work, will the show
go on or shut down? Does your show need a decoder ring or can
the audience get it without explanation? Does the audience leave
whistling something from your show? Is it fun and entertaining
for everyone? These are all questions to ask yourself as you plan
for next fall.
Remember the things you have learned during this difficult time.
Continue with the wonderful collaboration and camaraderie that
has developed. Most importantly, keep the music playing, have
fun, and “Play Pretty!”
Tennessee Music Education Assocation | www.tnmea.org | 21

JO ANN HOOD began her teaching career in 1972
serving as Band Director at Giles County High
School, Wright Jr. High School, Bellevue Jr. and
Sr. High Schools, and Hillwood High School.
She retired in 2011 after 30 years as Director of
the John Overton High School Band in Nashville,
Tennessee. Miss Hood is Past-President
of TMEA, TBA, MTSBOA, and Phi Beta Mu. She
has served as State Chair, High School Representative,
and Southern Division Chair for the National Band Association.
She has served as All-State General Chair, All-State Band
Chair, and currently is Exhibits Chairperson for TMEA.
She currently serves on The Jury for the John Philip Sousa Foundation
Sudler Shield and was on the staff for the 2010 and 2011 U.S.
Army All-American Marching Band. She is a six-time recipient of
the National Band Association’s Certificate of Merit for Marching
Excellence and a four-time recipient of the National Band Association’s
Citation of Excellence. She has been selected as an Outstanding
Young Woman of America, Who’s Who Among American
Teachers, and Who’s Who of American Women. She was awarded
the Scroll of Excellence for Outstanding Contributions to Bands
and Band Music by the Women Band Directors National Association,
is a two-time recipient of the John Philip Sousa Sudler Shield,
and a 2020 recipient of the MTSU Distinguished Alumni Award.
Miss Hood has been inducted into the MTSU Band of Blue Club
Hall of Fame, the National High School Band Directors Hall of
Fame, the Tennessee Music Education Association Hall of Fame,
and a 2014 inductee to the Tennessee Bandmasters Association
Hall of Fame. She holds membership in NAfME, TMEA, MTS-
BOA, NEA, TEA, MNEA, NBA, TBA, ASBDA, Delta Omicron, Kappa
Delta Pi, and Phi Beta Mu.
Since her retirement, Miss Hood has served as adjunct faculty at
Middle Tennessee State University and Tennessee State University
supervising music student teachers and currently works with the
MNPS Side By Side mentoring program. She serves extensively as
an adjudicator and clinician of marching and concert bands.
22 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

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TMEA GUEST FEATURES
LIFE LESSONS LEARNED BY
PLAYING CHAMBER MUSIC
by Chandra Lind
am a big believer in teaching students
to create chamber music. It’s a huge
commitment for me; it means organizing
170 students into groups of people that
can optimally work together while also
choosing music that is not only satisfying
but also paced with the individual students’
abilities. Then there’s all the preparatory
lessons—talking about how music can
be read both vertically and horizontally,
practicing how to stay together using body
language, spending a lot of time learning
how to constructively solve problems, and
how to be responsible for our own behavior.
It is a lot of work! During the thick of things,
when the student groups are limping
along, but nothing has yet come together, I
sometimes wonder if this year’s chamber
project will be the last. But, after the concert,
I give the students a questionnaire and I ask
them what the project has taught them.
Their answers are always so insightful that
it reminds me how valuable the project
really is for student development.
Tennessee Music Education Assocation | www.tnmea.org | 25

PLAY YOUR PART
Students learn integrity, independence, and self-confidence when
they learn how to play chamber music; they learn “even one person
being off can make the whole piece sound off,” and, “you can’t hide
behind others.” As one student commented, “this project taught me
that I need to play my part beautifully. I’m the only one who can.”
Another student told me that they like being heard as an individual:
“I could hear myself a lot better so I could fix things.” Incidentally,
when I heard that comment, our class had a nice discussion
about how practicing by ourselves at home also allows us to hear
ourselves better!
DOING DIFFICULT THINGS
Before we split into chamber groups for the first time, I caution my
students that they may feel some frustration as they begin to put
their piece together. As a class, we practice exercises and strategies
that will minimize the frustration, but they must be patient as
everyone stumbles through the beginning stages. We talk about
the role of the conductor in orchestra and how the conductor takes
away some of the confusion. Since a conductor is not part of the
chamber music process, I reassure students that I will be rotating
through the groups and that I am always quickly available, but they
need to take the initiative to work through difficulties as a group as
well. One of my favorite student comments was, “chamber music
takes a lot of effort to learn, but we can do it by ourselves (mostly).”
KNOW THE SCORE
Through the chamber project, my beginning players learn to be
more observant of the other people around them and how each part
is important to the score. They learn to be more attentive to the
nitty-gritty. They notice more of the whole picture. One student was
particularly grateful for her teammates when she said, “I like how
everyone in our group helped remind each other of details we might
have missed.”
SHARE THE SPOTLIGHT
One of the end-goals of the chamber project is to help students
understand that the final performance will always be better when
it is the result of many people sharing ideas. We can learn to rely on
the strengths of others while encouraging everyone to do their best
work. As one student put it, “I learned how to help others without
being bossy and rude.” Since an individual’s role is always changing
in chamber music, it is a great opportunity to learn when to shine
through, or that someone else might be more important than you in
any given spot.
STATE YOUR OPINIONS
When discussing with my students the importance of having
everyone participate in making the performance strong, we
chat about anxiety and how some students may worry about the
validity of their contribution. We discuss how it can be difficult to
know when to be firm about our convictions and when to back off.
I enjoyed this student’s comment especially: “We wanted to be as
good as possible, not just okay, so we shared our opinions and helped
each other problem-solve.”
PUTTING COMPARISON IN CONTEXT
Comparing ourselves to others can be important, but it is also
valuable to let go and play music without inhibitions. Students at
our school are familiar with the phrase ‘Someone will always be
prettier, smarter, or better dressed, but they will never be you.’ I
reassure my students that it’s good to accept our current limitations
and work with what we’ve got—after all, that’s what everyone else
is doing, too. I share stories about how I’ve played chamber music
with 80-year-olds and young children, amateurs and professionals,
and with people with backgrounds that differ from mine, but I’ve
always learned that we all, myself included, have something unique
to contribute.
CONTRIBUTE FULLY
Some students are naturally reluctant to participate, but everyone
needs to contribute in chamber groups. Many students had
comments that revolve around this idea: “You have to say your
ideas to make your group better;” and my favorite: “Even when you
think it’s perfect, there are still things you can work on to make it
better, so speak up.” I find that some of my most reticent students
are more willing to talk when in chamber music settings—they
shine better when they trust the smaller group.
LISTEN
Just as it is important to have confidence in one’s ideas, it is also
important to listen to alternate viewpoints. When working in
chamber groups, young musicians learn to be responsive, they learn
about being gentle, and they learn that other people can help us
isolate and improve our flaws. As one of my students said, “I learned
to listen to other people and not just myself.” Another said, “I think
we ran into many arguments and disagreements, but always found
a way through that made nearly everyone happy and ready to move
on.” Speaking of moving on. . .
MOVE FORWARD
I love this idea from Franklin D. Roosevelt: “One thing is sure. We
have to do something. We have to do the best we know how at the
moment. . . ; if it doesn’t turn out right, we can modify it as we go
along.” My students learn about moving forward while working in
their chamber groups. They expressed this idea with words like,
“If I get lost or mess up it is fine;” “I learned that it’s hard to accept
peer correction, but my group members had lots of good ideas and
learning from others is great;” and simply, “stop doing the things
26 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

that don’t work.” In my student’s comments, I found this little gem
that music teachers repeat ad nauseum: “Practice the harder parts
and not so much the easier parts.” It’s resolving the hard parts that
helps us move forward.
THE UPS AND DOWNS
One of the pieces I handed out was actually titled, “The Ups and
Downs,” and that group ended up being a self-fulfilled prophecy. . .
boy, did they experience their ups and downs! A chamber group can
be a wonderful, shared journey with fellow adventurers. Or, it can
also be a frustrating experience where individuals feel like they’re
doing all the heavy lifting themselves. Several of my students
learned about being patient with others. One of my youngest
students observed, “some people tried to show off and be bossy, but
it’s good to calm down if someone is making you mad.” One of my
older students noticed, “being a good player and a good chamber
mate are not always the same thing.” Working through those
temporary setbacks can lead us to the performance high waiting at
the end: “the best part was the performance—that was so worth all
the hard work!”
If you’ve considered adding a chamber music project to your
curriculum, or if you’re currently wondering if your attempts at
teaching chamber music are worth the investment, I encourage
us all to remember the life lessons we were taught because a
music educator was forward-looking enough to take the time
with us to explore the possibilities and challenges that chamber
music presents. Some of the best aspects of my personality were
honed in chamber groups, and I have used those skills in many
applications in my life with my community, colleagues, and
family. So, yes, I will be offering the chamber music project to my
students next year, and all the years after.
Reprinted from the April 2020 issue (Vol. 64, No. 3) Cadenza with
permission from the Montana Music Educators Association.
CHANDRA LIND fell in love with teaching at the
age of fourteen. Since then, she has taught
private studio strings and piano. When her
youngest child went to first grade, she was excited
to take a position teaching orchestra for
the Bozeman Public Schools. Ten happy years
later, the position has expanded such that she
teaches six orchestras in the same building,
meeting with over 160 students daily. She is a
co-founder of the Bozeman Summer String Jam, a camp for beginners
through high school aged musicians that recently celebrated
its seventh anniversary. She has served as principal cellist of the
Bozeman Symphony since 1999 and just celebrated her 25th season
with the Symphony in 2020. A published composer, active clinician,
and performing musician, Chandra enjoys teaching young
people about the power of commitment, communication, and community
through music. When not musically busy, Chandra’s favorite
activities include disappearing into a good book and eating
chocolate—preferably at the same time. You can reach Chandra at
chandra.lind@bsd7.org.
DEPARTMENT OF MUSIC
BACHELOR OF MUSIC
Concentrations include:
• Guitar Performance
• Instrumental Performance
• Keyboard Performance
• Vocal Performance
• Composition
• Music Education
Choral/K-12 General Music
Instrumental/K-12 General Music
BACHELOR OF ARTS/SCIENCE
Customizable music degree plans for a
variety of music and music-related careers
Concentration:
• Liberal Studies
MASTER OF MUSIC
Concentrations include:
• Instrumental Performance
• Vocal Performance
• Instrumental Conducting
• Choral Conducting
• Music Education
Graduate assistantships are
available.
Tuition waivers are available
to out-of-state students.
Audition dates are available at
www.apsu.edu/music/graduate/auditions
www.apsu.edu/music/undergraduate/auditions
BE A OV!
(students may pursue licensure)
FOR INFORMATION, CONTACT:
Department of Music
P: 931-221-7818 • music@apsu.edu or
visit www.apsu.edu/music
Austin Peay State University does not discriminate on the basis of race, color, religion, creed, national origin, sex, sexual orientation,
gender identity/expression, disability, age, status as a protected veteran, genetic information, or any other legally protected class
with respect to all employment, programs and activities sponsored by APSU. http://www.apsu.edu/policy. Policy 6:003
AP37/9-20/5

What is Social Emotional Learning?
Why is it important for students?
How does music education make a difference?
Now more than ever, music education is critical for all students. One significant
impact is how it helps students with social emotional learning.
This brochure includes key talking points for music education advocates to use as
they communicate with decision-makers about the place of music education in any
school setting. It answers:
• How are music educators well-suited to help students develop socially
and emotionally?
• What does research tell us?
• How can public policy support music education and Social Emotional Learning?
Download your brochure at bit.ly/MusicEduSEL
Questions? Email advocacy@nafme.org
nafme.org

Some are born with
in their souls
If authenticity had a soul,
you would find it in Memphis.
Creativity flows through our
veins. This is the kind of city
and university where original
people are elevating the art
of music in unforgettable
ways. If you were born
with music in your blood,
you belong at the UofM.
DEGREES OFFERED
BM, MM, DMA, PhD
memphis.edu/music

TMEA GUEST FEATURES
ENGAGING IN
RESEARCH AS
A PRACTICING
MUSIC TEACHER
by Mara E. Culp, Ph.D; Erik S. Piazza;
Meg Messina, Ed.D.; and Brittany E. O’Reilly
In this article, we use relevant
literature and the experiences
of authors who completed
original research projects as
in-service teachers to provide
suggestions for ways teachers can
engage in the research process.
Borrowing from Laprise’s (2017) 1
description, research can be
thought of “as creating a plan that
involves collecting and analyzing
information to answer a question
or better understand a situation”
(p. 29). Further, we believe engaging
in the research process may
involve reading existing research,
applying research to practice,
getting involved with research (e.g.,
as a participant), and conducting
original research. We believe
these broad conceptualizations
reflect the ways teachers can
use and generate knowledge.
We have used this framework
to organize our discussion.
1
Laprise’s (2017) article is a recent resource
that provides much useful information and
assisted us in identifying other potential
sources for this discussion. We suggest
examining Laprise’s article further for more
information about conducting research.
LOCATING AND READING RESEARCH
Reading research may inform teaching practice, help
teachers gain a deeper understanding of a topic, and
aid in planning an original research project (Laprise,
2017). However, time, access to research journals, and
the relevance of research findings to classroom settings
may influence whether or not music educators read research
(see Barry, Taylor, & Hair, 2001). Music teachers
may discover a wide variety of interesting and relevant
material by knowing where to look and how to navigate
a research article.
When reading an original research article for the
first time, it is helpful to understand how research articles
are structured. Although specific section heading
titles may vary, original research articles often contain:
1. an initial summary of the study
(abstract);
2. background information, the need for the
study, a purpose statement, and research
questions (introduction, rationale);
3. a description of what the researchers did
and how they did it (methodology,
procedure);
4. results or findings from the investigation
(findings/results); and
5. an explanation of the findings in relation
to relevant literature, suggestions for future
research, and conclusions (discussion,
conclusion).
With this information in mind, teachers can better navigate
research articles to locate and understand the information.
Numerous music education journals and online
resources are free, are provided as part of an affiliation
membership, or can be accessed for a fee. Some resources,
such as magazines or journals, may contain articles
that are informed by original research and/or articles
that represent original research studies. For example,
School Music NEWS contains articles that are informed
by research and/or expert opinion (e.g., Arnold, 2019),
and original research articles (e.g., Han & Culp, 2018;
Clauhs, Beard, & Chadwick, 2017). Music Educators
Journal, Journal of Music Teacher Education, and Update:
Applications of Research in Music Education are
peer-reviewed journals—the content is reviewed by a
panel of informed readers—that can contain original
research articles and are free to NAfME members. Examples
of journals geared toward original research in
music education include: Journal of Research in Music
Education, Journal of Historical Research in Music Education,
and Bulletin of the Council for Research in Music
Education. Teachers can access these articles using
online platforms (e.g., jstor.org, sagepub.com) through a
local school, public, or university library database. Systematic
search strategies, such as gradually narrowing
search terms, often help to locate relevant research.
30 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

APPLYING RESEARCH TO PRACTICE
Ultimately, reading research allows teachers
to apply what others have learned in
their classrooms. Research findings can
help novice or experienced teachers make
informed decisions about their classroom
practices, which could save time and improve
students’ experiences. Findings published
in a peer-reviewed journal, presented
at conferences, generated as a part of a
degree program, or discovered during an
individual project can also have meaningful
applications in music classrooms. Below,
we illustrate ways in which the results
of research findings from practicing music
teachers could inform classroom practice.
Piazza (2018) surveyed New York
State music teachers and found that a perceived
lack of time was the most common
obstacle to including creative musical activities
(e.g., improvisation and composition)
in music rehearsals. This information
could help teachers monitor their own perceptions,
intentionally allocate time, or adjust
curricular experiences/expectations to
prioritize such activities. In her case study,
O’Reilly (2018) reported lesson extensions
in one class meeting were less engaging and
effective than the repetition of curriculum
in shorter segments over several weeks for
implementing movement activities. Drawing
on O’Reilly’s work, teachers could try
repeating curriculum over time to improve
students’ movement skill. Finally, results
of Messina’s (2017) investigation in a small
suburban school district indicated that students
who attended lessons more frequently
had higher GPAs. Like Messina, teachers
may be able to point to similar findings to
assuage concerns about potentially adverse
effects of lesson programs on student
achievement. These examples highlight the
ways in which teachers can use findings
from research studies conducted by practicing
teachers to inform their practice.
GETTING INVOLVED WITH RESEARCH
Still, the topics addressed in music education
research may not seem relevant to–or
reflective of–actual teaching practice. Beyond
reading existing research, teachers
can play a vital role in generating new answers
to practical questions by participating
in and assisting with research studies.
Participating in research may involve questionnaires,
interviews, observations, or other
tasks. While some studies may require
many hours of personal time investment,
certain survey studies require only minutes
of a participant’s day. Before deciding
whether or not to participate, teachers can
find out more about the study by contacting
the researcher.
Many university faculty members–
who are often expected to be engaged in
research–would welcome music teachers
reaching out to them with research ideas.
When working with researchers, teachers
can provide ideas, insights, and questions
to guide research, or help provide access
to their classroom(s) as possible research
sites. If the project will require a researcher
to come to school grounds, we suggest
discussing with the appropriate personnel/
administration. Not only is this step likely
necessary, it will also help ensure the process
goes smoothly. By participating in or
assisting with research studies, teachers
could help steer researchers towards topics
teachers find more meaningful (see Barry et
al., 2001; Taylor, 1987) and address practical
questions.
CONDUCTING ORIGINAL RESEARCH
In addition to assisting researchers or serving
as participants, teachers can complete
original research projects on their own or
in collaboration with others. Although conducting
research may seem daunting, many
teachers regularly carry out a process similar
to that used in formal investigations: (a)
they have a question, problem, or issue they
would like to address, (b) they create a plan,
(c) they act, (d) and then reflect on the outcome.
If a teacher does not have a pressing
“question,” they may be inspired to investigate
a hunch, like Messina (2017).
When teachers seek to answer
their specific classroom questions in a
more formalized way, they can complete
action research projects. According to Mills
(2007), action research is “any systematic
inquiry conducted by teacher researchers,
principals, school counselors, or other
stakeholders in the teaching/learning
environment to gather information about
how their particular schools operate, how
they teach, and how well their students
learn” (p. 5). Table 1 on the next page
contains some suggestions for completing
action research projects as a practicing
music teacher, which were informed by the
authors’ previous work and experience (e.g.,
Messina, 2017; O’Reilly, 2018). To learn
more about carrying out action research
projects we recommend: Action Research: A
Guide for the Teacher Researcher, 3rd edition
(or more recent editions) by Geoffrey Mills
(2007) and Action Research: Improving
Schools and Empowering Educators by
Craig Mertler (2012).
If teachers are not comfortable or interested
in carrying out an original research
study on their own, they could collaborate
with others to complete projects (see Conway
& Jeffers, 2004; Erickson, 1994; Laprise,
2017). Conway and Jeffers (2004)
described the ways in which a teacher’s interest
and expertise led to a collaboration
with a university faculty member to answer
questions and gain insights that were of
particular interest and relevance in his setting.
Their collaborative research project
“led to the creation of useful documents to
record and communicate to parents their
children’s progress in beginning instrumental
music” (p. 40). To support such collaborations,
the New York State School Music
Association (NYSSMA) has offered grants
to practitioners who partner with researchers
to complete action research projects.
Even though action research projects
like those described above are connected
to a researcher’s local or personal intent,
sharing results and methods can be helpful
to other practitioners (Cain, 2010; Conway
& Jeffers, 2004). When applicable, sharing
new knowledge by presenting at conferences,
writing blog posts, or publishing articles
can inform colleagues and “help close
the gap between research and teacher” (Laprise,
2017, p. 31). Hence, research completed
and shared by teachers can be beneficial
to university faculty, K–12 educators, and
the profession as a whole (see Conway &
Jeffers, 2004; Laprise, 2017) by helping to
improve teaching practices and students’
experiences.
SUMMARY AND CONCLUSION
In this article, we suggested ways in which
teachers can engage in the research process,
and our suggestions were informed by
existing research and literature, as well as
our own experiences. Namely, we provided
suggestions for reading research, applying
research to practice, getting involved with
research, and conducting original research.
By helping to identify and answer meaningful
questions that are relevant to their classrooms
and for the field of music education,
practicing music teachers can play a vital
role in the research process.
Tennessee Music Education Assocation | www.tnmea.org | 31

TABLE 1
Suggestions for Conducting Research as a Practicing Teacher
Suggestion
Execution
Compose one (or several) questions that you
would like to answer.
Use a system for recording thoughts that suits
individual style and personality.
◆
◆
◆
◆
Jot down questions that you have about the setting in which you teach.
Identify topics that are not answered in existing literature.
Audio record a verbal reflection while preparing for the next class.
Keep a notebook and write during lunch or at home.
Maintain a narrow scope, specific focus, and be
consistent.
Revisit reflections.
◆ Select a small sample of classes (e.g., two classes out of 24).
◆ Place boundaries around the time spent collecting data
(e.g., eight weeks).
◆ Choose a narrow focus for reflection to target areas of interest and
consistently reflect.
◆
◆
Review all reflections multiple times.
Review reflections in relation to one another for context.
Simplify data collection.
◆
◆
◆
Use pre-existing sets of data or information (e.g., student GPAs).
Collect data based on authentic classroom practices.
Use pre-existing measures (e.g., commercially-available tests).
Note: All suggestions should be considered in light of personal circumstances. Authors recommend consulting the local school
district regarding research policies before beginning a research project.
© 2019 by the New York State School Music Association. One-time permission
reprint granted to the Tennessee Music Education Association (TMEA).
Correspondence concerning this article should be addressed to Mara E. Culp,
Eastman School of Music, University of Rochester, 26 Gibbs Street, Rochester, NY
14604. Phone: (585) 274-1542; Fax: (585) 274-1028;
Email: mculp@esm.rochester.edu
REFERENCES
Arnold, L. (2019). A choral adjudicator’s tips for evaluation success.
School Music NEWS: The Official Publication of the New York
State School Music Association, 82(4), 27.
Barry, N. H., Taylor, J. A., & Hair, H. I. (2001). A national survey
of state music education board members: Their interests
in and attitudes toward music education research. Update:
Applications of Research in Music Education, 20(1), 19-25.
doi:10.1177/875512330102000105
Cain, T. (2010). Music teachers’ action research and the development
of Big K knowledge. International Journal of Music Education,
28(2), 159-175. doi:10.1177/0255761410362942
Clauhs, M., Beard, J., & Chadwick. A. (2017). Increasing access to
school music through modern band. School Music NEWS: The
Official Publication of the New York State School Music Association,
81(4), 24–28.
Conway, C., & Jeffers, T. (2004). The teacher as researcher in beginning
instrumental music. Update: Applications of Research in
Music Education, 22(2), 35-45. doi:10.1177/87551233040220
020105
Erickson, F. (1986). Qualitative methods in research on teaching.
In M. Wittrock (Ed.), Handbook of Research on Teaching (pp.
139-161). Washington, D.C.: American Educational Research
Association.
Erickson, F. (1994). Where the action is: On collaborative action research
in education. Bulletin of the Council for Research in Music
Education, (123), 10-25. Available from http://www.jstor.
org/stable/40318685
Flowers, P. J., Gallant, M. W., & Single, N. A. (1995). Research dissemination
in music education: Teachers’ research questions and
preference for writing style. Update: Applications of Research in
Music Education, 14, 23–30. doi:10.1177/875512339501400106
Han, Y., & Culp, M. E. (2018). Improving preservice classroom
teachers’ self-efficacy to use music in classrooms. School Music
NEWS: The Official Publication of the New York State School
Music Association, 82(1), 21–25.
Messina, M. (2017). Music ensemble membership, small group lessons,
and student achievement. Unpublished manuscript, Hofstra
University, Hempstead, NY.
Mills, G. E. (2007). Action research: A guide for the teacher researcher
(3rd ed.). Upper Saddle River, NJ: Pearson education, Inc.
Laprise, R. (2017). Empowering the music educator through
action research. Music Educators Journal, 104(1), 28-33.
doi:10.1177/0027432117708012
Mertler, C. A. (2012). Action research: Improving schools and empowering
educators (3rd ed.). Los Angeles, CA: SAGE publications.
O’Reilly, B. (2018). Let’s move: An investigation of movement in the
elementary general music classroom (Master’s field project).
Rochester, NY: Eastman School of Music.
Piazza, E. (2018). Creative musical activities in music classrooms:
A survey of New York state school music teachers. Manuscript
submitted for publication.
Taylor, J. A. (1987). The gap between music research and music
teaching. Design for Arts in Education, 88(5), 27-30. doi:10.108
0/07320973.1987.9935490
32 | TENNESSEE MUSICIAN | 2021 | Volume 73, No. 4

MARA E. CULP earned a Ph.D. and a Master’s
in Music Education from Penn State and a
Bachelor’s in Music Education from Siena
Heights University. Over the course of her
career, she has taught general, choral, and
instrumental music and worked with P-12
students. She has also completed Kodály
Level I, Orff Level I, and Music Together®
Teacher Training. During the 2016-2017 academic year, she served
as Visiting Assistant Professor of Music Education, Vocal General at
Ithaca College.
She teaches undergraduate (Elementary General Music Methods,
Elementary and Middle School Choral Methods, Classroom Instruments)
and graduate coursework (History and Philosophy of Music
Education Seminar, Curriculum Seminar). She has also taught
courses pertaining to teaching music to students with special education
needs at Penn State and Ithaca College. She advises Eastman’s
C-NAfME chapter, and serves as Membership Committee Co-Chair
(West) for the Council for Exceptional Children (CEC)’s Division on
Visual and Performing Arts (DARTS), on the New York State School
Music Association (NYSSMA) Research Committee, as Convention
Program Chair for the Early Childhood Music and Movement
Association (ECMMA) 2021 Biennial International Convention, and
as a member of the editorial committee of Music Educators Journal.
Her scholarly and research interests include music and communication,
music education for students with special education needs,
interprofessional collaboration, intersectionality, elementary general
music education, and choral music. She was named a finalist for
the 2015 Outstanding Emerging Researcher Award by the Center for
Music Education Research.
Visit Dr. Culp’s faculty website to read her full biography:
https://www.esm.rochester.edu/faculty/culp_mara/
ERIK PIAZZA has spent most of his professional
life as a high school instrumental music
teacher in the Webster Central School
District near Rochester, NY. Erik’s students
have been selected to perform with county,
state, and national level honors ensembles.
Prior to teaching in Webster, Erik taught in
Palmyra, NY, and served as adjunct faculty
in 2008 at the Rochester Institute of Technology where he taught
saxophone lessons and directed a jazz ensemble.
Erik earned an M.M. in music education and a B.M. in saxophone performance
and music education from the Eastman School of Music at
the University of Rochester. Erik returned to the Eastman School in
2016, and is a Ph.D. candidate in the Department of Music Teaching
and Learning (ABD). He has shared research at state and national
conferences as well as at the Eastman School of Music, the Sunderman
Conservatory at Gettysburg College, and SUNY Fredonia. His
current research examines school music teachers’ beliefs regarding
creative musical activities and their inclusion in practice, and he is
published in School Music NEWS and Journal of Music Teacher Education.
Erik is an active member of the local music community, having served
as a solo festival coordinator for the county and state, and as co-coordinator
of the Monroe County School Music Association (MCSMA)
All-County Jazz Ensemble. He is also a New York State School Music
Association (NYSSMA) certified adjudicator and Part Manager for
the All-State Wind Ensemble and Concert Band. Erik is a founding
member and senior editor at Low Down Publishing, an independent
music publishing company.
MEG MESSINA is enjoying her 19th year at
Mineola High School. Meg Messina has
developed a choral program that embraces
singers of varied experiences. Her singers
have been heard in local, regional, and national
honor choirs and on stage at Carnegie
Hall and Lincoln Center. The Mineola
High School choral program is probably
best known for its frequent collaboration with the community, other
ensembles, and composers. Dr. Messina has enjoyed guest conducting
honor choirs and frequently presents workshops and clinics
on instructional methods and innovative programming. Meg holds
degrees from The University of Delaware and Hofstra University,
where she studied music education with Dr. Paul Head and Dr. David
Fryling. She completed her Ed.D. in 2019 at Hofstra University where
her research interests included instructional methods and critical
thinking in secondary chorus. Dr. Messina’s local and regional work
has included organizational positions with NMEA, NYSSMA, and
ACDA. When she isn’t working, studying, or performing with Long
Island’s eVoco Voice Collective, Dr. Messina can be found in Massapequa
raising two very cool daughters with her husband, who is also
a Long Island music educator and public school administrator.
BRITTANY O’REILLY is currently in her ninth
year as a K-5 general music and choral
teacher in the Baldwinsville Central School
District in Baldwinsville, NY, where she
also serves as Producer for the district’s
6-12 Theater Arts Program.
During her undergraduate studies, Brittany
studied Voice with Dr. Deborah Montgomery-Cove and earned a
Bachelor’s degree in Music Education from Ithaca College. She later
attended the Eastman School of Music where she earned her Masters
in Music Education. Brittany is also certified in the Orff Schulwerk
approach (Level III) and is particularly interested in how participation
in movement activities may promote musical understanding
both in the general music classroom and in an ensemble setting. In
2017, she was invited to guest conduct the Syracuse City All District
Middle School Choir. She is passionate about developing a program
where music literacy meets creativity and imagination.
When not teaching or producing shows for her school district, Brittany
teaches Irish Step Dancing as an Internationally certified Irish
dance instructor (T.C.R.G) and participates with local theaters as a
performer and choreographer.
Tennessee Music Education Assocation | www.tnmea.org | 33

you work hard at
sounding good
we work hard at
looking
good
SLATE GROUP SUPPORTS
MUSIC EDUCATION
THROUGH WHAT WE DO BEST.
PUBLICATION DESIGN
PRINT
DISPLAY GRAPHICS
CONTACT IAN SPECTOR TODAY
800.794.5594 | ian@slategroup.com
slategroup.com

TMEA BACK THEN
➣
The October 1971 Tennessee Musician began with a
message from John Bright, then-TMEA President,
that emphasized the importance of teaching
“total musicianship” during the fall season of
marching band, concert band, choir, and orchestra
performances. TMEA President Bright stated,
“every performance should be taught as a lesson
in music understanding.”
➣ Repertoire selections for the TMEA 1972
All-State Ensembles were featured in this
issue. The music list for each ensemble
comprised a minimum of five pieces.
Notable selections included the following:
◆ The All-State Band music
list included Carmera Burana
(Orff-Krance), Americans We
(Fillmore), and Walt Disney
Band Showcase (Werle).
◆ The All-State Chorus music
list included The Wall of
Heaven, O Saviour Rend!
(Brahms) as well as Pentecost
Sunday (Feliciano)—it
is interesting to note a
message was included
with this piece that “this
selection is Not to be taught
in advance. Bring copies of the music to
the All-State rehearsals and Mr. Henson will teach
it at this time.”
◆ The All-State Orchestra music list included Meditation
from Thais (Massenet) and Symphony No. 4 - Finale
(Tchaikovsky).
◆ The All-State Band, Chorus, and Orchestra were scheduled
to perform America the Beautiful (Ward-Dragon) together
as a combined selection.
THE TENNESSEE MUSICIAN (OCTOBER 1971)
Volume 24, No. 1 – 24 pgs.
John Bright, TMEA President | Lawrence “Pat” Cooney, Editor
➣
The TMEA 1972 All-State Chairs were also announced:
◆
◆
◆
◆
E.D. Rushworth, Convention Chair, was then-associate
professor of music at the University of Tennessee at
Chattanooga.
Ronald Starnes, Orchestra Chair, was then-band director
at Brainerd Junior High and orchestra director at Brainerd
High School in Chattanooga Public Schools (now Hamilton
County Schools).
Barry Jones, Band Chair, was then-band director at the
University of Tennessee at Chattanooga.
Rose Dover, Choir Chair, was then-choral director at East
Ridge High School and East Ridge Junior High School.
➣
Achievements of Tennessee music educators and ensembles were
recognized in this publication:
◆
◆
Dr. Aaron Schmidt (then-director of bands and professor
of music at Austin Peay State University) was applauded
for receiving the “Citation of Excellence” Award by the
National Band Association.
The Hillcrest Norsemen jazz band (Hillcrest High School
- Memphis, Tennessee) under the direction of Jim Terry
won second place at the “Montreux Jazz Festival’s first High
School competition” at the Montreux International Jazz
Festival in Switzerland.
Tennessee Music Education Assocation | www.tnmea.org | 35

UTC IS THRILLED TO
Randall O. Coleman
• PRESIDENT-ELECT OF
THE NATIONAL BAND
ASSOCIATION
• ELECTED MEMBER OF THE
AMERICAN BANDMASTERS
ASSOCIATION
• FORMER PRESIDENT
OF THE GEORGIA MUSIC
EDUCATORS ASSOCIATION
bands@utc.edu
(423) 425-4802
For the past 14 years, Professor Coleman
has served as the conductor of the Alabama
Symphonic Band and the associate director
of the Million Dollar Band at the University
of Alabama. He has also served as conductor
and artistic director of the Alabama Winds,
an all-adult community wind band based
in Birmingham, Alabama. Previously, Mr.
Coleman enjoyed a successful 25-year career
as a high school band director and supervisor in
metropolitan Atlanta, Georgia.
“
As the UTC band moves closer to our
100th season in 2023, it is indeed an
exciting time to be a part of the new
centennial for the UTC bands. I stand on the
shoulders of the UTC band directors who
came before me, and I couldn’t be more
inspired to be a part of such a rich history
and legacy as we all work toward providing
the UTC students with positive learning
experiences through the pursuit of excellence
in all that we do. Go Mocs!
- PROFESSOR RANDALL COLEMAN

WELCOME
as Director of Bands!
AUDITION DAYS:
• February 19, 2022
• March 19, 2022
2021-2022 UTC Bands SCHEDULE OF EVENTS
UTC MOCS BAND DAY 2021 | OCTOBER 2, 2021
We invite all current high school marching band students to be our VIP
guest for a day with the UTC Marching Mocs! Come and be a part of the
exciting game day festivities as you join us in the stands to cheer on the UTC
Mocs and participate in both Pregame and Halftime activities on the field at
Finley Stadium with the Marching Mocs! This will be a day you don’t want to
miss. The day’s activities will include a morning rehearsal, lunch (provided)
and plenty of UTC Marching Mocs swag to take home, including your own
UTC Band Day T-Shirt! Please check the UTC Bands webpage for updated
information on this fun event!
TRI-STATE HONOR BAND 2022 | JANUARY 20-23, 2022
All high school band members are invited to participate in the Tri-State Honor
Band for 2022. Mark your calendars now for January 20-23, 2022 for one of
the most musically rewarding and fun weekends you will ever experience.
Students will be selected for participation for Tri-State Honor Band through
a recommendation processes completed by their high school band director.
Selected students will participate in honor band rehearsals with nationally
recognized conductors and clinicians, will attend featured concerts by
our own UTC ensembles, and the weekend will conclude with a concert
presented by the Honor Band. All rehearsals and concerts will be held on the
UTC campus with each student responsible for housing and meals. Keep an
eye on our website for more details about Tri-State Honor Band 2022.
TRI-STATE FESTIVAL OF WINDS 2022 | APRIL 21-23, 2022
The new Tri-State Festival of Winds is a non-competitive, educational festival
designed to showcase the “best of the best” high school and middle school
wind bands from the states of Tennessee, Georgia and Alabama. The firstever
Tri-State Festival of Winds will be held on Thursday, April 21-Saturday,
April 23, 2022 in the newly renovated Hayes Concert Hall in the Fine Arts
Center on the campus of the University of Tennessee at Chattanooga. For
2022, concert bands earning an overall “superior” rating at their state’s
most recent performance evaluation/assessment will receive an invitation to
participate in the Tri-State Festival of Winds. Make plans to be a part of this
exciting new festival that promotes the Tri-State region’s finest concert bands.
DEGREE OPTIONS
INCLUDE
Bachelor of Arts:
Music
With minors
including:
• Nonprofit
Management
• Psychology
• Business
Bachelor of Music:
Performance
Bachelor of Music:
Music Education
Bachelor of Music:
Composition
Bachelor of Music:
Music Therapy
• Leading to Board
Certification
in Music Therapy (MT-BC)
• Program meets standards of
the American Music Therapy
Association and the National
Association of Schools of
Music
Visit
utc.edu/music
for details.
UTC is a comprehensive, community-engaged campus of the UT
System. UTC is an EEO/AA/Titles VI & IX/Section 504/ADA/ADEA
institution.

Tennessee Music Education Association
2441-Q Old Fort Pkwy, #635
Murfreesboro, Tennessee 37128-4162
Visit our website to schedule your audition!
A Christ-centered university in southeast Tennessee
dedicated to preparing tomorrow's musicians.
For audition information & scholarships visit leeuniversity.edu/music