approach would be to rotate players so that some of the stronger performers are assigned to the lower parts on each given piece. Ensemble seating, especially in school groups, does not have to be entrenched as it is in most groups. Students can learn a great deal by playing different parts. There are some problems that


were not addressed in McBeth’s early writings. For example, in many bands alto and tenor saxophones dominate the alto and tenor lines; this was not such an issue in the 1970s when McBeth did much of his writing and lecturing. This often occurs because there are too few horns, trombones, and euphoniums. Here McBeth’s pyramid is of little value. There may be enough alto and tenor but the tone is all saxophone with little brass sound. Granted, it is becoming increasingly difficult to have a complete instrumentation because of budget cuts, decreased instructional time in the lower grades, reduced number of electives— just to name a few. Teachers will need to be even more creative to encourage students to play the less popular instruments. Eventually, the nature of school bands may have to change and move to a different model from the concert band simply because of instrumentation problems. We already see many new compositions and arrangements where horns, double reeds, and other instruments are really optional.


A Sound Conclusion In the band world, the model of


an excellent sound is not well defined. There are so many different kinds of bands with highly variable instrumentation and function. Conductors must realize this, and when teaching about ensemble tone and balance, select recordings for students to


hear that are similar to her/his desired concept.


In the mid-20th century, high


school and college bands were often quite similar. They played similar literature (Persichetti, Schuman, Holst, Vaughan Williams, et. al.) and employed similar instrumentation (the symphonic band of varying sizes). Many high school and college band directors were closely allied with common purposes. With the rise of the wind ensemble movement in the generation after Fennell’s tenure at Eastman, many of the elite college ensembles began approaching the band differently. For the most part, they no longer performed music played by high school bands. Instead, they might play extremely difficult music sometimes for a small group of players. These conductors’ goals were laudable, trying to advance the original literature for winds to be on the same artistic footing as the orchestra, opera, and chamber music. The downside was that the college and secondary school bands were no longer as closely linked. Characteristic sound is yet another area where secondary school bands are separating themselves from the elite college band world. So, should the McBeth approach


be abandoned? The answer is easy: NO! As stated above his ideas are invaluable and provide a great approach to teaching. However, a good number of band conductors no longer adhere to his central concepts, even when they say that they do. (If you don’t believe me, listen to their recordings with an objective ear.) I would suggest that we should no longer blindly adhere to McBeth’s ideals with religious-like zeal. His teaching ideas are fabulous. However, they do not consider every factor of band performance and do not always work musically.


MMEA NAME CHANGE AND NEW LOGO


After 62 years of service to Music Education in Michigan, the Michigan affiliate of the National Association for Music Education (NAfME) has adopted a new logo and a name change. We are pleased to present this new MMEA image as we strive to further our mission of advancing the quality of music education in Michigan schools and communities. Our new name, “Michigan Music Education Association,” focuses more on the student and the learning process, solidifying our focus toward music education for people of all ages across all musical genres. Our new logo features a Michigan map and our new name, printed in blue and green to represent the natural beauty of our great state. The word “music” appears larger than the rest, again highlighting our focus and making a powerful statement about our mission, to advance the quality of music education in Michigan.


17


As with most areas of music


teaching, much of the students’ growth is dependent on the teacher’s musicianship. While teaching ideas proposed by McBeth and others are invaluable, teachers must be careful not to adhere to them too fervently. Instead, we must consider all music like professional performers do. They bring a broad set of musical experiences to bear with interpretation and consider both traditional and unusual musical solutions to performance issues. The same is true for ensemble quality.


Bibliography McBeth, W. Francis. Effective Performance of Band Music. San Antonio, TX: Southern Music Company, 1972.


Dr. William Berz is Professor of Music at the Mason Gross School of the Arts of Rutgers, The State University of New Jersey. He teaches classes in music education and conducting, and has conducted a wide variety of performance ensembles, including bands, orchestras, contemporary music groups, and opera. A native of St. Clair Shores, Michigan, Dr. Berz began his teaching career in Leslie, Michigan. He is a summa cum laude graduate of Michigan State University with major study in music education and conducting.


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