TN Musician Vol. 75 No. 4

The Official Publication of the Tennessee Music Education Association
MUSIC ACROSS
THE STATE OF
TENNESSEE:
HIGHLIGHTS FROM
2022-2023
p. 08
PROGRAMMING IS
EVERYTHING!
by Barry Kraus
p. 11
VOLUME 75, NO. 4

School of
Music
B.M. in Music Performance: Composition • Instrumental • Jazz • Musical Theatre • Piano • Vocal
B.M. in Music Education: Vocal/General Music, K-12 Licensure • Instrumental/General Music, K-12 Licensure
Music Minors: Music History • Music Performance • Music Technology • Music Theory & Composition
tntech.edu/music
(931) 372-3161
music@tntech.edu
1000 N. Dixie Ave.
Campus Box 5045
Cookeville TN 38505-0001
CFA033-PRNT-23

COLLECT • SHARE • INSPIRE
CONGRATULATIONS!
Montgomery Central High
School Band
Cunningham, TN
“MCHS Band Chicken
Fundraiser”
APPLICATIONS
OPEN NOW!
The Advocacy in Action
Awards program is designed to
collect, recognize, and share
effective practices and initiatives
that support music education in our
schools. We hope that by celebrating
these programs, we can inspire others
to lead by example and take action in
their own programs and communities.
VISIT ADVOCACY.MUSICFORALL.ORG

TABLE OF CONTENTS 2023 VOLUME 75, No. 4
PROGRAM NOTES
04
05
06
07
TMEA Board and Council Directory
2022-2023
Tennessee Musician Advertiser Index
Issue No. 4
TMEA President’s Message
Ryan Fisher
TMEA Editor’s Message
Anna Laura Williams
08
11
23
TEACHING IN TENNESSEE
Across the State of Tennessee:
Highlights from 2022-2023
by TMEA Council members
Programming is Everything!
by Barry Kraus
TMEA Back Then
December 1985
Tennessee Musician is mailed to members four times each year at an annual
subscription rate of $5.00 (included in dues).
Non-member subscription rate (includes S&H): $30.00 per school year;
single copies: $10.00 per issue. Cover Image: RIE SAKAE/Shutterstock.com
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: Nikki Davis. 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 © 2023 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 Association | www.tnmea.org | 3

TMEA BOARD AND COUNCIL
tmea executive board
TMEA Executive Director
Michael W. Chester
michael.chester@tnmea.org
TMEA President
Ryan Fisher, Ph.D.
ryan.fisher@tnmea.org
TMEA President-Elect
Joel Denton
leaderslead@yahoo.com
TMEA Immediate Past-President
Alexis Yatuzis-Derryberry
derryberrya@rcschools.net
TMEA Secretary
Dian Eddleman
deddleman@usjbruins.org
tmea council
WTGMEA President
Jennifer Proseus
wtgmeamemphis@yahoo.com
WTGMEA President-Elect
Allen Moody
amoodyteacher@gmail.com
WTVMEA President
Adrian Maclin
maclinal@scsk12.org
WTVMEA President-Elect
Reachel Hudgins
reachelhudgins@dcchoctaws.net
WTSBOA President
Jennifer Cupples
jennifer.cupples@wcsk12tn.net
WTSBOA President-Elect
Benjamin Martin
bmartin@huntingdonschools.net
tmea board of directors
TMEA State General Music Chair
Ben Torres
benjamin.torres@cmcss.net
TMEA State Choral Chair
Demetrius Robinson, Ed.S.
dlrbnsn2@memphis.edu
TMEA State Orchestra Chair
Cynthia Wright
cynthia.wright@maryville-schools.org
TMEA State Band Chair
Ollie Liddell, Ph.D.
liddello@scsk12.org
TMEA State Higher Education Chair
Lauren Ramey, Ph.D.
lauren.e.ramey@gmail.com
MTGMEA President
Corynn York
yorkc@rcschools.net
MTGMEA President-Elect
Abbi Miller
abigail.miller@cityschools.net
MTVA President
Lorna Pyka
lornapyka@yahoo.com
MTVA President-Elect
T.J. McLaughlin
t.j.mclaughlin@sumnerschools.org
MTSBOA President
J.R. Baker
john.baker@rcstn.net
MTSBOA President-Elect
Stacy Jernigan
stacy.jernigan000@gmail.com
TMEA NAfME Collegiate Chair
Michael Chandler, Ph.D.
chandlermd@apsu.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 Communications Manager,
Publications Editor and
Advertising Manager
Anna Laura Williams
anna.laura.williams@tnmea.org
ETGMEA President
Bryant Adler
etgmea@gmail.com
ETGMEA President-Elect
Hannah Strong
hannahstrong@hvocals.com
ETVA President
Kristen Wiram
KristenWi@gmail.com
ETVA President-Elect
William Brimer
william.brimer@knoxschools.org
ETSBOA President
Jim Burton
president@etsboa.org
ETSBOA President-Elect
Megan Christian
presidentelect@etsboa.org
tmea project chairs
TMEA Modern Band Education Chair
Michael Parsons
mlparsons@briarcrest.com
TMEA Jazz Education Policy Chair
Frank Zimmerer, Ed.D.
frank.zimmerer@mnps.org
TMEA Tri-M Chair
Pamela Wilensky
wilenskypb@scsk12.org
TMEA Music In Our Schools Month Chair
Lisa Crunk
crunkl@bedfordk12tn.net
TMEA Music Merchants Industry Chair
Scott Lane
scott@lanemusic.com
TMEA Retired Teachers Chair
Deborah Gouge
debbie.gouge@ecschools.net
TMEA Webmaster
John Womack
john.womack@tnmea.org
tmea all-state & conference management team
TN All-State Choral Chair
Brian Russell, DMA
brian.russell@tnmea.org
TN All-State Instrumental Chair
Carter Noblin
carter.noblin@tnmea.org
TN All-State Jazz Band Chair
Cord Martin
corderyl.martin@gmail.com
TN Treble Honor Choir Chair
Tiffany Barton
tntreblechoir@gmail.com
TMEA Conference
Registration Chair
Mark Garey
mgarey86@comcast.net
TMEA Conference Performing
Ensembles Instrumental Chair
John Mears
mearsj@rcschools.net
TMEA Conference Performing
Ensembles Choral Chair
Susan Kelly, DMA
kellysu@rcschools.net
4 | TENNESSEE MUSICIAN | 2023 | Volume 75, No. 4

TENNESSEE MUSICIAN ADVERTISER INDEX | VOLUME 75, No. 4
Tennessee Musician
The Official Publication of the
Tennessee Music Education
Association
Inside Front Cover
Tennessee Tech. University
University of Memphis Rudi E. Scheidt School of Music
02 | Music for All - Advocacy
in Action
Center Page
Bethel University Renaissance
Inside Back Cover
University of Tennessee at Chattanooga
Back Cover
Lee University
19 | University of Tennessee
Martin
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.
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.
10 | East Tennessee State
University
14 | Austin Peay State
University
17 | Middle Tennessee State
University
18 | Carson-Newman University
20 | Union University
21 | University of Tennessee
Knoxville School of Music
22 | Bob Rogers Travel
24 | Slate Group
Deadlines for advertisement orders
and editorial materials:
Issue No. 1 – Deadline: September 15
(in home delivery: December/January);
Issue No. 2 – Deadline: November 15
(in home delivery: January/February);
Issue No. 3 – Deadline: February 15
(in home delivery: May);
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 Association | www.tnmea.org | 5

TMEA PRESIDENT’S MESSAGE
Ryan Fisher, Ph.D.
University of Memphis
THROUGH MUSIC, WE CAN SHAPE THE
HEARTS AND MINDS OF THE NEXT
GENERATION OF MUSICIANS, FOSTERING
A LIFELONG APPRECIATION FOR THE
BEAUTY AND POWER OF THE ARTS.
In our final issue of this year’s Tennessee Musician volume, we
feature articles that focus on celebrating successes from the
2022-2023 academic year and considering possibilities for the
upcoming school year. Throughout my teaching career, I have
cherished my summer “breaks” which allowed me to reflect
on the accomplishments of the previous years, make plans and
prepare for the next academic year, participate in professional
development opportunities, and rest. It is important to take time
during the summer for self-care and regeneration.
As we prepare to embark on another academic year filled with
opportunities to nurture the musical talents of our students,
it is crucial to remember the profound impact of aesthetic
experiences when listening to and performing music. These
experiences have the potential to touch our souls, transcending
the ordinary and allowing us to glimpse the extraordinary. Just
recently, I had the privilege of leading a group of 35 students from
my university on a transformative tour of Greece. Amidst the rich
historical backdrop, it was the music that truly stirred our hearts.
One particular performance in Corfu left an indelible mark on
our souls. The captivating melodies and harmonies produced by
our students moved us to tears, evoking an overwhelming sense
of awe and joy. It was an experience that cannot be replicated or
manufactured; it was a perfect convergence of talent, passion, and
dedication.
Renowned music educator Bennett Reimer wrote, “Music
immerses us in the raw reality of feeling—its naked, subtle,
exquisite truth, the truth of conscious being. This accounts
for its charm and joyousness, and also its profundities and
awesomeness—the entire spectrum of aware undergoing”
(Reimer, 2003, p. 94). Indeed, our experience in Corfu exemplified
this idea. The music we created together transcended the mere
combination of notes and rhythms; it became a conduit for the
expression of our deepest emotions and a means to connect with
one another and the world around us.
In their book “Your Brain on Art: How the Arts Transform Us,”
Magsamen and Ross delve into the neurological process behind
aesthetic experiences. They explain how the brain’s response to
art and music can lead to heightened emotions, introspection, and
a sense of wonder. When we engage in music, our neural pathways
light up, allowing us to perceive beauty, experience emotional
resonance, and find meaning in the art form. These neurological
processes are at the core of the transformative power of music,
enabling us to forge profound connections with ourselves, our
students, and our audiences.
As we prepare for another academic year, let us recall the aesthetic
experiences we have had as music teachers and musicians.
Remember the moments when you were moved to tears by the
sheer beauty of a performance, when the music resonated so
deeply within you that it felt like a spiritual awakening. These
experiences are the foundation of our intrinsic motivation to
inspire our students and ignite their passion for music.
Let us carry the stories of our students’ achievements, the
inspiration we have received from their performances, and the
knowledge of the transformative power of music within us. May
these experiences serve as a driving force, empowering us to
inspire our students and nurture their own aesthetic journeys.
Through music, we can shape the hearts and minds of the next
generation of musicians, fostering a lifelong appreciation for the
beauty and power of the arts.
Ryan Fisher, Ph.D.
39th TMEA President
Magsamen, Susan, and Ivy Ross. Your Brain on Art: How the Arts
Transform Us. Random House, 2023.
Reimer, Bennett. A Philosophy of Music Education: Advancing the
Vision. 3rd ed. Upper Saddle River: Prentice Hall, 2003.
6 | TENNESSEE MUSICIAN | 2023 | Volume 75, No. 4

TMEA EDITOR'S MESSAGE
Anna Laura Williams
Siegel Middle School
AS I HAVE BEEN RESEARCHING THE HISTORY
OF THE TENNESSEE MUSICIAN AND PREPARING
TO COMMEMORATE THE 75TH ANNIVERSARY
OF OUR PUBLICATION, I HAVE BEEN MOVED BY
THE DETERMINATION AND SELFLESSNESS OF
OUR TMEA PREDECESSORS.
The extraordinary work of music educators across our state
is a continual source of inspiration. Throughout time,
Tennessee music teachers have made a remarkable difference
in the lives of countless students.
In the Present
In this issue of the Tennessee Musician, we spotlight the
outstanding music education occurring in East, Middle, and West
Tennessee. I want to recognize the Presidents and President-
Elects of the regional music education organizations for their
superb leadership and for sharing highlights from the 2022-2023
academic year. Thank you for the excellent music experiences you
provide to students every day in our state.
In the Past
The upcoming 2023-2024 publication cycle marks the 75th
Anniversary of the Tennessee Musician. Since the inaugural
issue in 1948, the Tennessee Musician has been integral for
the Tennessee Music Education Association to communicate
countless triumphs of music education statewide. As I have been
researching the history of the Tennessee Musician and preparing
to commemorate the 75th Anniversary of our publication, I have
been moved by the determination and selflessness of our TMEA
predecessors. In Volume 76 of the Tennessee Musician, it is my
intention to help honor the past as we look toward the future.
In the Future
Every Tennessee music educator has an important part in
continuing the outreach of music education in our state. We have
an exclusive opportunity to make a positive difference for others.
The upcoming school year marks a new chapter in Tennessee
music education history, and I look forward to what we can
collectively accomplish through music education together in the
future.
Anna Laura Williams
17th Editor, Tennessee Musician
Tennessee Music Education Association | www.tnmea.org | 7

TMEA TEACHING IN TENNESSEE
MUSIC ACROSS THE STATE
OF TENNESSEE:
HIGHLIGHTS FROM THE
2022-2023 SCHOOL YEAR
by members of the TMEA Council:
regional music associations -
President and President-Elect
EAST TENNESSEE
ETGMEA
Bryant Adler, President
Hannah Strong, President-Elect
The East Tennessee General Music Education Association
(ETGMEA) had an excellent 2022-2023 school year. We hosted
two workshops that brought top local and national presentations
to our members.
Our summer workshop in July featured three local presenters:
Christine Bock (Knox County), Carly Egan (Alcoa City), and
Marcus Smith (Knox County). Our winter workshop in January
featured Dr. Marla Butke presenting on Dalcroze Eurhythmics.
An additional highlight for our association is that member Jason
Glashauser (South Clinton Elementary) was selected as 2023
CMA Foundation’s Music Teacher of Excellence. This is Jason’s
second year in a row of being selected for this honor!
ETSBOA
Jim Burton, President
Megan Christian, President-Elect
The East Tennessee Band and Orchestra
Association (ETSBOA) is proud to have offered the
following over the past school year:
• Three regional Junior Band Clinics serving 766 students
in 7th, 8th, and 9th grade.
• Three regional Junior Orchestra Clinics serving 241
students in 7th, 8th, and 9th grade.
• All-State East comprised of four Bands (two 9th-10th grade
bands and two 11th-12th grade bands) and two Orchestras
(String/Symphony) with 639 participants in 9th-12th grade.
• All-State East Jazz Clinic featuring 60 students in 9th-12th
grade.
• Three regional Concert Performance Assessment events
with 70 Bands and 11 Orchestras.
• Three regional Solo & Ensemble Festivals serving 994
students in 6th-12th grade.
• All-State East Director’s Professional Development Sessions
featuring Randall Coleman (UTC), Dr. John Zastoupil
(UTK), Alex White (John Sevier Middle School), Ron Rogers
(Retired), and the Mind the Gap panel.
ETVA
Kristen Wiram, President
William Brimer, President-Elect
The East Tennessee Vocal Association (ETVA) enjoyed a
productive and successful 2022-2023 year thanks to its dedicated
members. The organization implemented an audition system
for the Middle School All-East Choirs and hosted the event at
First Baptist Church of Maryville; the Treble Choir was directed
by Dr. Lauren Ramey and the Mixed Choir was directed by Dr.
Chantae Pittman.
ETVA adopted an online judging platform to streamline the
high school All-East Choir auditions. The High School All-
East choirs were hosted at Clayton Center for the Arts at
Maryville College of which the Ninth Grade Choir was directed
by Emily Floyd, the SATB Choir was directed by Dr. Cameron
Weatherford, the SSAA Choir was directed by Dr. Morgan
Luttig, and the TTBB Choir was directed by Dr. Alan Stevens.
ETVA hosted Concert Performance Assessments for middle
school choirs and regional Concert Performance Assessments
(J.B. Lyle Choral Festival) for high school choirs. Lastly,
ETVA continued its mission to promote excellence in vocal
music education by offering the Louise Stephens Vocal Music
Scholarship worth $2,000 to an East Tennessee graduating high
school senior majoring in vocal music education. This year's
recipient was Nina Fabiano from McMinn County High School.
WEST TENNESSEE
WTGMEA
Jennifer Proseus, President
Allen Moody, President-Elect
In Fall 2022, West Tennessee General Music Education
Association (WTGMEA) hosted a chapter share workshop at
the University of Memphis. Presenters included Candice
Ammons, Thomas Cesario, Marie Millikin, and Mary Elizabeth
Washburn. They shared some terrific tips and repertoire with
our members, and we enjoyed coffee and donuts.
In February 2023, we hosted our regional Treble Choir Festival
at Millington First Baptist Church. Dr. Patrick Scott was an
incredible clinician for this day-long music-making event. He
directed treble students from 20 different schools in a beautiful,
uplifting choral concert.
WTSBOA
Jennifer Cupples, President
Benjamin Martin, President-Elect
MUSIC
ACROSS THE STATE OF
TENNESSEE
West Tennessee School Band and Orchestra Association
(WTSBOA) had over 100 groups participate in Concert Festival
this year and had the Memphis area festival in the new fine arts
building at the University of Memphis.
Approximately 3,000 students auditioned for the All-West Band,
Orchestra, and Jazz ensembles this year which is an increase
8 | TENNESSEE MUSICIAN | 2023 | Volume 75, No. 4

from last year after the COVID-19 pandemic. This was the second
year that our All-West Clinic Weekend was hosted in the newly
renovated Renasant Convention Center in Memphis with all
performances in the Cannon Center for the Performing Arts.
West Tennessee groups that performed at the TMEA Conference
included Sound Fuzion from the University of Memphis and the
Collierville High School Wind Ensemble. Briarcrest Christian
School served as the site host for the inaugural TMEA All-
State Modern Band. Eight ensembles and seventeen solos
from WTSBOA auditioned for the opportunity to perform in
the Tennessee Bandmasters Association Solo & Ensemble
performance this year at the TMEA Conference.
WTVMEA
Adrian Maclin, President
Reachel Hudgins, President-Elect
We had a very successful school year in the West Tennessee Vocal
Music Educators Association (WTVMEA). Our regional honor
choirs were a huge success. Our senior high ensembles were
conducted by Dr. Dante Webb and Dr. Gaylon Robinson, both of
whom taught choral music in Shelby County until they moved on
to pursue advanced degrees. Joseph Powell (White Station High
School) was awarded Music Teacher of Excellence by the CMA
Foundation, and J.D. Frizzell and Frances Cathlina are semifinalists
for the 2024 Grammy Music Educator Award.
There were multiple West Tennessee schools who took choirs to
national and international festivals and returned with Superior
plaques and trophies. Briarcrest Christian School and Collierville
High School performed tours of Spain and England, respectively.
A special thanks to Dru Davidson, who has served as the Fine Arts
Coordinator for Shelby County Schools for the past seventeen
years, and to Mrs. Carol Culbreath, who spent her 40-year long
career at Whitehaven High School. The choral community in
West Tennessee wishes you both, along with the many retiring
music educators in this region, the very best. Thank you all for
the decades you have spent investing in the lives of children
and their families in West Tennessee.
MIDDLE TENNESSEE
MTGMEA
Corynn York, President
Abbi Miller, President-Elect
Middle Tennessee General Music Education Association
(MTGMEA) offered membership through their organization this
past school year for the first time in recent history. MTGMEA
offered a professional development workshop for music teachers
in Fall 2022. This event had a great turnout and helped increase
interest in our organization and build community among general
music teachers in the area.
This year, we launched our newsletter, which features updates
on all general music events in the Middle Tennessee area and
spotlights a different general music teacher in the Middle
Tennessee area. We proudly welcome Christina Stuible as our
President-Elect for 2023-2025. She is in her second year teaching
general music and choir at McFadden School of Excellence. We
are excited about her new ideas and fresh perspective.
MTSBOA
J.R. Baker, President
Stacy Jernigan, President-Elect
The 2022-2023 school year was a successful
year for the Middle Tennessee Band & Orchestra Association
(MTSBOA) with our band and orchestra programs thriving in
a full year of post-pandemic normalcy. Our membership hit
record numbers as we have over 400 members for the first time
in history. Participation was up at all of our major events this
year, and we saw our Mid-State auditions and CPA numbers back
up to pre-COVID levels. MTSBOA continued to refine our Mid-
State audition process, and this year was our first time using
composed etudes.
Our members were honored with several accolades, including
several being recognized as CMA Music Teachers of Excellence,
TMEA award winners, and a plethora of other honors.
Ravenwood High School won the MTSU Contest of Champions
for the first time. Metro Nashville Public Schools organized and
hosted the MNPS Marching Classic, spotlighting its marching
bands performing a variety of marching styles. Nolensville
High School gave a stellar performance at the TBA Hall of Fame
concert at TMEA. Eight of our band programs were awarded
the ASBDA Award of Distinction, and two of our orchestra
programs were awarded the ASTA Award of Distinction in
concert performance. MTSBOA also awarded two very talented
students with scholarships to help with their college expenses.
We are proud of all the accomplishments of this year and
look forward to a great year next year!
MTVA
Lorna Pyka, President
T.J. McLaughlin, President-Elect
Middle Tennessee Vocal Association (MTVA) successfully put
on the following events this year: Middle School Mass Choral
Festival, Freshman-Midstate Honor Choir, Elementary Mass
Choral Festival, Elementary/Middle School Honor Choirs, Choral
Performance Festival, and Solo & Ensemble. We were especially
excited to be able to bring back our Elementary Mass Choral
Festival this year, as we had not been able to have that event since
before the COVID-19 pandemic.
We had a significant rise in the number of schools/students who
auditioned for and participated in events this year. We were
also proud to not only have several of our local directors serve
as clinicians this year, but also host clinicians from Trevecca,
Georgia State, UTC and TTU. We made some changes to our
Choral Performance Assessment that allowed this event to be
better accessible to more schools, and we continue to add more
members to our organization. We are looking forward to an even
more successful year next year!
Tennessee Music Education Association | www.tnmea.org | 9

DEPARTMENT OF MUSIC
• Degrees in Performance, Music
Education, Contemporary Music
Performance, Composition, and
Music History
• Nationally-recognized classical
and contemporary ensembles
• Award-winning faculty who care
about student success
Make Your
Dreams a reality
• Competitive scholarships up
to full tuition available for
music majors
• Scholarships available to
all non-music majors who
participate in ensembles
Want us to
contact you?
Scan now!
etsu.edu/music
Facebook.com/ETSUMusic
GoETSUMusic
The ETSU Department of Music is fully accredited by the National Association of Schools of Music.
ETSU is an Equal Opportunity/Affirmative Action University: etsu.edu/universitycounsel/compliance. ETSU-230761-A-23 Designed and produced by BMC Creative.

TMEA TEACHING IN TENNESSEE
Programming is
Everything!
by Barry Kraus
In a recent conversation about the process of selecting music,
one of my colleagues enthusiastically stated, “Programming is
EVERYTHING!” While our conversation was focused upon the
reasons why we choose literature for various events—one being
assessment—the statement is true. Selecting music in the right
combinations with attention to our context can determine our
level of success as directors. Discussions surrounding repertoire
selection typically involve suitability, grade level, technical
elements, and instrumentation. However, programming is how
we not only meet our immediate goals of curricular necessity
but also how we balance the ingredients. As I begin a new season
of programming for my own ensembles, I am immersed in the
process of designing experiences for student growth as well as
audience engagement. The following thoughts are found in my
own process of making programming choices.
For the past 50 years, prevailing music education philosophy
has urged us to educate the aesthetic senses through exposure
to meaningful works of art (Reimer, 2003). The artistic use of
color, shape, sound, and form are of prime importance in creating
opportunities for students to hone aesthetic perception and
react—favorably or not—to new musical experiences. The contour
of a single concert performance, as well as a full concert season,
should be planned in a way to introduce a myriad of concepts,
sounds, and structures that cater to the aesthetic senses. To this
end, a balanced musical programming strategy, both short and
long term, is vital to achieving our mission as music educators
and critical to garnering support for our programs.
BUT, MY ENSEMBLE WILL NEVER PLAY THAT!
Undergraduate training is typically immersed in the core
repertoire of the band profession through ensemble experiences
and method course curriculum and may be at odds with the
reality of a first job (Mertz, 2018). Knowledge of Grainger,
Hindemith, Holst, and Husa may seem less of a priority in a first
teaching position standing in front of a developing middle school
band or a rural high school wind ensemble with incomplete
instrumentation. In teaching developing students, we are
Tennessee Music Education Association | www.tnmea.org | 11

TMEA TEACHING IN TENNESSEE
grounded in the repertoire that is appropriate for our students’
abilities and may lose sight of pieces we may never approach with
our own group.
Knowing the works of significant composers guides our
programming practices. If we are aware of beauty in design of
what we know to be the core works in our field, as well as staying
abreast of new compositions, we are more apt to seek those
traits in selections that meet the ability level of our students. As
educational theory suggests, our curriculum should advance in
a way that students revisit concepts over time (Bruner, 1960),
connect to previous experiences, and participate in unfamiliar
learning through careful scaffolding in their developmental zone
(Hopkins, 2013). The musical signatures of significant composers
will be present, in some way, in quality works at lower grade levels,
and we can revisit concepts through increasing complexity over
the course of a student’s time with us.
PROGRAM FOR THE AUDIENCE, TOO.
While an audience full of parents will politely and
enthusiastically applaud every piece on the program, parents
are also discriminating listeners capable of making critical
assessments of what is being played on stage. Appealing to
the intellects and aesthetic sensitivity of our audiences is
always encouraged and will reap benefits that support our
mission. Variety is critical. On a single performance, consider a
combination of works that provides diversity in key structure,
rhythm, orchestration, form, and development. A concert
program that represents musical depth and is sufficiently
unpredictable creates a landscape for thought with listeners.
This kind of planning shows our commitment to programming
through analytical thinking over visceral reaction.
APPEALING TO THE INTELLECTS
AND AESTHETIC SENSITIVITY
OF OUR AUDIENCES IS ALWAYS
ENCOURAGED AND WILL
REAP BENEFITS THAT SUPPORT
OUR MISSION.
Be prepared to talk to the audience about the music. While the
music was selected with students in mind, the challenge is to
engage the audience in the process (Reynolds, 2000). There is
no shortage of works with an onomatopoeia title and composerwritten
program notes filled with adjectives (fiery, soaring,
majestic, etc.). Consider how these descriptions sound to an
audience of working professionals and apply sparingly. It is
always advisable to write your own notes from your analysis of
the music. One of the most important advocacy moments can
be found in an intelligent verbal program note telling listeners
about the significance of the work that you have chosen—guiding
their listening in challenging ways. If there is little to say about
the music, perhaps it was not the correct choice. Intentional
programming with audience in mind will make this an easy task.
CONSIDER VALUE AND PITFALLS
IN EDUCATIONAL MUSIC
The body of repertoire for school bands has grown substantially.
Between 2007 and 2012, 5,903 new titles were introduced, and
4,758 were new original works for concert band (Weller, 2014).
This is an important resource as it is widely available, designed
to match curriculum, and suitable to a broad range of ensemble
shapes, sizes, and abilities. However, disagreements have arisen
regarding the format of educational compositions dubbed as
made-for-school music (Budiansky & Foley, 2005)—most often
written in a commercially successful template that, if used
exclusively, can limit the musical content to which our students
are exposed. Programming without careful consideration may
result in a concert that contains several works exhibiting similar
form and content.
Educational compositions continue to be a significant source for
assessment in the profession. A 2022 survey of Concert Festival
Assessment programs in Tennessee found that the ten most
cited composers were current popular names in the educational
publishing industry and were cited 92 times (38%) in the 239
works performed. Of the ten, several were credited for the same
piece more than two times, and the most cited composer had
23 performances (Kraus, 2023). This is not an aspersion on
composers or their music—only an observation of the ubiquity
of the medium. Certainly, selecting music for festival assessment
involves scrutiny as success is attached to perceived teaching
effectiveness (Hash, 2013), and the educational publishing
template provides a trustworthy route. Nonetheless, we should
be aware of patterns in our choices and the rationales that
influence our decisions. While the impact of educational
publishing on our repertoire is valuable, seeking diversity in
content is our challenge.
PRACTICE SENSITIVITY AND SENSIBILITY
Current trends in cultural responsiveness challenge us to seek
musical styles outside of the Western canon, and modern music
education philosophy promotes a broad approach to music
making as well as fluency in global music styles (Elliot, 1995).
Following this trend, the band repertoire has been infused with
many authentic works written by diverse composers. There are
also works that, while well-intentioned, may cross into cultural
appropriation—inaccurately borrowing cultural customs,
practices, or ideas and written by a composer not of the culture.
Similarly, repertoire influenced by political ideology, sensitive
issues, and social critique requires a framework for discussion to
be interpreted successfully. It behooves us to research our choices
when considering music that may stretch cultural, social, and
political boundaries. Programming from diverse and authentic
perspectives can be a new horizon if approached intentionally,
and these options exist.
12 | TENNESSEE MUSICIAN | 2023 | Volume 75, No. 4

PREPARE. PERFORM. PRODUCE.
JOIN THE
EXPERIENCE
VOCAL
INSTRUMENTAL
THEATRE
PRODUCTION
Experience, students can expand their vocal,
instrumental, theatrical, and production talents, while
working toward a degree in their choice of the
receiving hands-on learning experience that can be
applied to their future professional careers. Participate
in one of our upcoming audition days and see what
opportunities are waiting for you with Bethel University’s
Renaissance Program.
SCHEDULE
YOUR
AUDITION
TODAY!
36 DEGREES OFFERED
INCLUDING:
- BIOLOGY
- BUSINESS ADMINISTRATION
- CRIMINAL JUSTICE
- EDUCATION
- MUSIC
- PSYCHOLOGY
731.352.6980
BethelRenaissance.com
@BURenaissance

DEPARTMENT OF
MUSIC
CONCENTRATIONS IN:
Music Performance • Music Education • Music Therapy
Composition • Liberal Studies
Visit us online for audition dates and
scholarship information.
apsu.edu/music
931-221-7818 • music@apsu.edu
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. Policy 6:001
AP119/10-21/1

FINAL THOUGHTS
The music that we select is a direct reflection of our own aesthetic
perception and reveals the experiences that we want for our
students and audiences. Along the way, someone provided us
with the opportunity to understand and appreciate something
complex, form an opinion, and perceive a deeper meaning. It is our
responsibility to do the same for our students and the audiences
who come to hear the music. Where do we begin? Here are eight
suggestions for the next year.
1. Begin by making a list of potential works now for the next
season—longer than you will need. Keep this in a place where
you can access it easily. Add to it when you discover a new
piece. Often, you will find that a work may not fit the ability
of the group but may be appropriate later as the students
develop.
2. Listen to everything—even works beyond current student
ability. Allow the endorphins to pass and then study the
score if possible. Allow a composition some time to make
an impression on you beyond the visceral response. A work
with an instant auditory appeal may display less depth after
seeing the score. Conversely, a substantial and well-crafted
work may not have an initial appeal and require longer study
to comprehend.
3. Include works that you don’t know. A wonderful resource
for new music is the College Band Directors National
Association Report, an online published listing of collegiate
band concert programs from around the country. As well,
the Institute for Composer Diversity maintains a criteriasearchable
database containing titles for composers in
underrepresented groups. New and unknown composers
frequently appear in these listings, and both are found with a
simple web search.
4. Make notes in your list about tonal structure, texture,
instrumentation, rhythmic content, form, and compositional
devices. Seek works that both exhibit and move beyond
the standard ternary (ABA) form and associated tonal
relationships. Audiences want to connect with recognizable
form and structure, but a work that utilizes unfamiliar
language can create interest. Consider pairings and contrast
and begin moving works together in potential combinations
that become individual concert programs.
5. Commission a new work with others in your circle. The
creative process of seeing a composition to completion,
particularly when the composer has a unique perspective,
and giving a premiere performance is an educational
experience for all.
6. Consider current social and cultural trends as well as world
events. What selections might be relevant in an abstract way?
Build a framework for conversation and seek authenticity.
7. Research your selections. Write detailed program notes that
go far beyond the often-simple note provided. Assemble
significant information that helps musicians and audience
understand the music.
8. Consider the attention span of the audience and what it
might be like to listen through the sonic landscape of your
crafted programs. Would you remain interested? Do works
sound too similar? Move some items around on your list and
try a new combination.
In taking time to seek excellent literature and program
thoughtfully, we provide opportunities to broaden perception
and sensory knowing, encouraging the ability to discriminate
between musical contexts (Reimer, 2003). The observations
and admonitions in this article are found in my own experience
as a conductor making programming decisions for students as
well as professionals. The tenet of teaching with quality music
in the right combinations is valid at any level, and successful
concert planning requires time, bravery, and creative thought.
Our passions are rekindled through the pursuit of music that
reinvigorates our inner artist and compels us to share the
experience with both musicians and audience. Programming is
EVERYTHING! Choose wisely!
Tennessee Music Education Association | www.tnmea.org | 15

TMEA TEACHING IN TENNESSEE
References
Bruner, J. (1960). The process of education. New York, N.Y.,
Vintage Books.
Budiansky, S., & Foley, T. (2005) The quality of repertoire
in school music programs: literature review, analysis,
and discussion. Journal of the World Association for
Symphonic Bands and Ensembles, 12, 17–39.
Elliott, D. (1995). Music matters: a new philosophy of music
education. New York, N.Y., Oxford University Press.
Hash, P. (2013). Large-group contest ratings and music teacher
evaluation: issues and recommendations. Arts
Education Policy Review, 114, 163-169.
Hopkins, M. (2013). Programming in the zone: repertoire
selection for the large ensemble. Music Educators
Journal, 99(4), 69–74.
Kraus, B. (2023). A survey of concert performance assessment
programming in Tennessee. [Unpublished manuscript].
Mertz, J. (2018). Tension in the band repertoire selection
process: issues of compatibility between training, belief,
and practice [Doctoral dissertation, Boston University].
ProQuest Dissertations & Theses Global.
Reimer, B. (2003). A philosophy of music education: advancing
the vision. Upper Saddle River, N.J., Prentice Hall.
Reynolds, H.R. (2000). Repertoire is the curriculum. Music
Educators Journal, 87 (1), 31-33.
DR. BARRY KRAUS is Director of Bands,
Instrumental Area Coordinator, and
Associate Professor of Music at Belmont
University where he conducts the
Concert Band and Wind Ensemble and
teaches graduate and undergraduate
courses in conducting and music
education. Prior to Belmont, he held
positions at Baylor University, The
University of Texas at Austin, and public and private schools in
Arizona, Oklahoma, and Texas.
He holds the Doctor of Musical Arts Degree from Arizona State
University, Master of Music Degree from Baylor University, and
the Bachelor of Music Degree from Oklahoma State University.
His primary conducting teachers were Gary Hill, Michael
Haithcock, Joseph Missal, and Steven Heyde.
Kraus has presented research and clinic sessions at conventions
of the Tennessee Music Education Association, Texas Music
Educators Association, National Association for Music
Education, CBDNA National Conference, and the International
Conference for Arts and Humanities.
He has served as Higher Education Chair for the Tennessee
Music Education Association and as Collegiate Representative
for the Middle Tennessee School Band and Orchestra
Association. He is a member of the College Band Directors
National Association, National Association for Music Education,
Pi Kappa Lamba, and Phi Betu Mu. He is also a member of Phi
Mu Alpha Sinfonia and holds honorary memberships in
Kappa Kappi Psi and Tau Beta Sigma.
Music Education and
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.
Download your brochure at bit.ly/MusicEduSEL
Questions? Email advocacy@nafme.org
16 | TENNESSEE MUSICIAN | 2023 | Volume 75, No. 4

Advance Your
Career in
Education
Apply now for
the Master of Music
in Music Education.
Two-year cohort,
fully online.
Taught by
leading music
education faculty
Dr. Christopher Dye Dr. Jamila McWhirter Dr. Jennifer Vannatta-Hall
SCHOOL OF MUSIC
615-898-2469 • Joseph.Morgan@mtsu.edu
0222-0414 / Middle Tennessee State University does not discriminate on the basis of race, color, national origin, sex, or disability. See our full policy at mtsu.edu/iec.

MUSIC DEPARTMENT
MAJORS: Music Education,
Performance, Church Music, Music with
an Outside Field, Worship Leadership,
Bachelor of Arts
Generous scholarships for music
majors including full-tuition awards
Ensembles Scholarships available for
non-music majors
Combine Bachelor of Arts with a
second major
Scan here if you’d like
to be contacted by
a member of the
Music Faculty.
February 25, 2023, Music Scholarship Audition Day and Tarr
Full-Tuition Competition. Contact us if you need an alternative
audition day.
FOUND:
YOUR PLACE. YOUR PATH. YOUR PURPOSE.
18 | TENNESSEE MUSICIAN | 2023 | Volume 75, No. 4
Apply to C-N!
www.cn.edu/apply

APPLY & AUDITION
GRASSROOTS
ACTION CENTER
Add Your Voice to the Legislative Process
On the NAfME Grassroots Action
Center page, you can:
• Support music education in
federal education policy
• Get involved with the
legislative process
• Engage your members
of Congress
Go to bit.ly/NAfMEgrassroots
(case-sensitive) and take
action today.
NAfME
SCHOLARSHIPS
Available for music majors, music minors,
and campus musicians.
DEGREES
Bachelor of Music
Performance, Music Education, Pedagogy
Bachelor of Arts in Music
Music Minor
NEW CERTIFICATES
New to UTM Music: Add to your degree:
Certificate in Secondary Music Education Studies
Certificate in Secondary Music Studies
Certificate in Music Performance
REQUEST INFORMATION
For more information:
(731) 881-7402
music@utm.edu

BE EXCELLENT. BE CHRIST-CENTERED.
BE TRANSFORMED.
At Union University, you will develop your musical craft under the training of highly qualified
professional musicians who personally care for their students, passionately engage the
artform, and are thoroughly committed to the Lord. You will experience an excellence-driven,
Christ-centered music education designed to help you discover God’s unique calling and
equip you for success in your life and career.
Programs include:
Bachelor of Music in Music Education
Bachelor of Music in Performance
Bachelor of Music in Commercial Music
Bachelor of Arts/Science in Music
Bachelor of Music in Composition
Bachelor of Music in Music Theory
Bachelor of Music in Worship Leadership
2023 Audition Date: March 31
NASM accredited since 1966
LEARN MORE AT uu.edu/music
BE TRANSFORMED

YOUR STAGE
IS WAITING
Join a close-knit network of passionate students and
world-class faculty in a community of artists and
scholars that will empower you to achieve your dreams.
APPLY
music.utk.edu
music@utk.edu
865-974-3241 @UTKSOM
Tennessee Music Education Association | www.tnmea.org | 21

TO US,
EVERY
MOMENT
MATTERS.
You create the music, we’ll do the rest.
since
1981
we’ve been working
with directors to create
incredible student
travel experiences.
over
6,500
custom trips planned
to destinations in the
U.S. and abroad,
no two alike.
bobrogerstravel.com
Making Moments
That Matter
since
1981
Call: (800) 373-1423

TMEA BACK THEN
➣
In the December 1985 issue of the Tennessee Musician, the
President’s Letter from then-TMEA President Solie Fott
urged TMEA members to vote in the upcoming MENC
(now NAfME) election for Southern Division President-
Elect. Tennessee’s very own T. Earl Hinton was one of
the two nominees during this election. After featuring
Dr. Hinton’s biography, President Fott concluded his
message as follows:
“…Dr. Hinton has served music education well for over
thirty years. The extraordinary variety of his efforts,
encompassing both vocal and instrumental music on all
levels, is especially important since it assures a balanced
outlook toward the various areas of music education.
T. Earl Hinton is a devoted, vigorous advocate for the
importance of arts education and can provide dynamic
leadership which is crucial for our profession at this
time. Let’s all work to give him that opportunity!” (p. 4)
➣
Ê
The “Contents” included a feature titled “Around
the State.” Updates regarding music were submitted
by numerous chairs, including Marvelene Moore
(Multicultural Music Update), James O. Mintz
(Research Update), Ruth W. Brandon (Retired
Teachers Update), Ric Best (Instrumental Music,
former ETSBOA President), J. Thomas Johnson
(Vocal Music Update, former MTVA President), and
Lynne Jordan (MIOSM Update).
The 1986 TMEA All-State Conductors were announced in
this publication:
Ê TMEA 1986 All-State Band Conductor –
John R. Bourgeois
Among many accomplishments, Bourgeois’ biography
listed that he was appointed Director of “The President’s
Own” United States Marine Band in 1979.
➣
Noteworthy: T. Earl Hinton won the election and became
Southern Division President of MENC (NAfME), 1988-1990.
Volume 38 of the Tennessee Musician marked a redesign of
this publication under the appointment of editor Cynthia
R. Curtis.
Ê
The new cover art concept (designed by Steve
Laughbaum) for this volume would remain a consistent
theme for numerous subsequent publication cycles.
Ê TMEA 1986 All-State Choral Conductor –
John Erwin
Then-Director of Vocal Music and Choral Activities
at the University of Central Arkansas, Erwin’s
achievements in his biography included that the UCA
(University of Central Arkansas) Concert Choir under
his direction in 1982 became the Grand National First
Prize Winner in the Great American Choral Festival.
Ê TMEA 1986 All-State Orchestra Conductor –
Harold Weller
At the time of publication, Harold Weller was entering
his fourth season as the Musical Director and General
Manager of the Flagstaff Symphony Orchestra.
His previous conducting appointments and guest
conducting appearances spanned numerous states,
including New Mexico, Ohio, Virginia, New York,
Illinois, Pennsylvania, Texas, West Virginia, Arizona,
and California.
THE TENNESSEE MUSICIAN (DECEMBER 1985)
Volume 38, No. 2, 52 pgs.
Solie Fott, TMEA President
Cynthia R. Curtis, Editor
Tennessee Music Education Association | www.tnmea.org | 23

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

MUSIC
Tennessee Music Education Association
2441-Q Old Fort Pkwy, #635
Murfreesboro, Tennessee 37128-4162
MUSIC WITH PURPOSE
A Christ-centered university in southeast
Tennessee with faculty, curriculum, facilities,
and opportunities to prepare you for your
goals as tomorrow’s musician.
For more information, please contact us at
423-614-8240 or music@leeuniversity.edu.
LEEUNIVERSITY.edu/music