of their contribution to the band’s success by simply being where they are supposed to be.
Point #3 – How do I cope with differences when I compare a college band to my high school band?
College marching bands are made up of participants ranging from those who have never previously marched to veterans of highly competitive bands. Every high school graduate has a number of pre-conceived ideas or opinions as to how a marching band should operate.
Once a student graduates from a high school program, many elements of their past experience will never be repeated. This is reality, whether it is a source of grief or relief. Typically, there are three different levels of coping factors, discussed below from least to most chal- lenging: Some students attended school where marching band did not exist, or used minimal movement. Others participated in parades only, or exhibitions and festi- vals where critiques or division ratings may have been used as assessment. These students may have to cope with differences in band size, styles of uniform, styles of marching or choreography, or new and different band traditions or procedures. For these, the transition into a college marching band is less dramatic.
A more difficult challenge for many students is the transition to what they perceive as a more humble role. Initially, they might see a change in assignment – from drum major to section member, from piccolo to 2nd flute, from snare drum to cymbals – as a demotion. They have to decide whether this change reflects on their self -worth, or the value of their contribution to the band. Many students discontinue participation in band because they cannot reconcile themselves to this change. High school band directors can ease this transition by manag- ing these roles within their bands. If every student role contribution is frequently affirmed as vital, and if the path of rising from section member to section leader is duly appreciated, it is easier for college freshman march- ers to reconcile themselves to their new role. Further, graduates of college marching bands frequently place great value on their life experiences as their role within the band evolved from their first to last season of partici- pation.
The consensus of opinion among college marching band directors (from programs of all sizes) is that competitive high school marchers have the most difficulty coping with marching band after their senior year. This is not a complaint, or a negative observation – their misgiv-
29
ings are understandable. How do you compare a college marching band to an experience where hours are spent on the details of uniform movement, or thousands of dollars are spent on drill design, custom arrangements, or lavish props and elaborate backdrops that require stage crews for each presentation? When your high school band commissions compositions for their show, how do you perceive a band that presents a medley of pop or Broadway tunes at halftime? How do you keep judge- ment in check when college peers have not experienced the drama and intensity of competition, or when they seem to take less pride in their horn angle or body car- riage?
These students bring great value to college programs; but the only way they can reconcile themselves to fully enjoy the experience is to find a way to place it into an unrelated compartment of their minds. Competitive high school and college bands share many traits, but they are simply not the same thing. With a measure of resilience and understanding, competitive marchers can eventually find a way to fully enjoy their college band experience.
Conclusion
Beyond the monetary value many colleges offer in the form of participation scholarships, there is lifelong value in continuing in a marching band, or any college music group. Music is a reflection of our humanity. It connects us all at the least, and at the most it brings affirmation, forgiveness and healing. College ensemble participation also facilitates life-long music making, enabling expres- sion and collaboration with others in ways that non- musicians cannot experience. Secondary and collegiate music educators should work together to ensure more students have access to outlets for performance beyond graduation.
Dr. Marty Marks is currently completing his 12th year as Director of Bands at Adrian College in Michigan. He began his teaching career in 1981, and holds music de- grees from Oklahoma Baptist University, the University of Central Oklahoma, and the
University of Oklahoma. He is an honorary member of MSBOA, and is consulted frequently as a clinician and adjudicator.
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40