v https://www.bandmasters.org/about-


us/history/169-iowa-band-law.html vi


Ibid. viiJill M. Sullivan, “John Phillip Sousa


and the Great Lakes Navy Music Program during World War I” (Research presentation: Biennial Conference of the IGEB: The International Soci- ety for the Promotion of Wind Music, Hammel- burg, Germany, July 2014); James A. Keene, A History of Music Education in the United States, 323– 25.


viii Steve Kelly, Teaching Music in American


Society: A Social and Cultural Understanding of Music Education (New York: Routledge, 2009), 54.


ix Keene, 325; Michael L. Mark and


Charles L. Gary, A History of American Music Edu- cation (Reston VA: MENC [now National Associa- tion of Music Education, 1999]), 271.


x Randall Everett Allsup and Cathy


Benedict, “The Problems of Band: An Inquiry into the Future of Instrumental Music Educa- tion,” Philosophy of Music Education Review 16, no. 2 (2008): 156–73.


xi xii xiii xiv Ibid., 157.


Ibid., 160, 164. Ibid., 164. Ibid.


xv David A. Williams, “The Elephant in


the Room,” Music Educators Journal 98, no. 1 (2011): 51–57.


xvi A colleague in instrumental educa-


tion at Oklahoma City University, Michael A. Raiber, often reminds band teachers, “Your stu- dents aren’t just human organ pipes!”


xviiPatricia O’Toole, Shaping Sound Musi-


cians: An Innovative Approach to Teaching Comprehen- sive Musicianship through Performance. (Chicago: GIA Publications, 2003), xi; Laura K. Sindberg, Just Good Teaching: Comprehensive Musicianship through Performance in Theory and Practice (Lanham, MD: Rowman & Littlefield. 2012);


https://en.wikipedia.org/wiki/Comprehen- sive_Musicianship.


xviii Robert Garofalo, Blueprint for Band


(Washington, DC: Meredith Music Publications, 1976).


xix The School Music Program: A New Vi-


sion, (Reston, VA: MENC, 1994); Kevin Tutt, “Using Questions to Teach the National Stan- dards in Rehearsal,” Music Educators Journal 93, no. 5 (2007): 38–43.


50 xxv Jason Caslor, Spontaneous Improvisation


with Large, Public School Instrumental Ensembles, Re- trieved from ProQuest Digital Dissertations. 2010, 3407150; Maud Hickey, “Teaching Ensem- bles to Compose and Improvise,” Music Educators Journal 83, no. 2: 17–21; Amy Spears, Constructivism in the Band Room: Facilitating High School Band Stu- dents’ Playing by Ear through Informal, Student-Led Practices, 2014, 3642858.


xxvi Brian D. Meyers, “Activities of high


school band directors in the United States toward Solo and Ensemble Activities” (Doctoral diss., Arizona State University, <<Tempe, 2011).


xxvii Cynthia Johnston Turner, “Crowd-


sourcing Our Ensemble Rehearsals,” Music Educa- tors Journal 100, no. 2, (2013): 68–71.


xxviii Randall Everett Allsup and Marsha


Baxter, “Talking about Music: Better Questions? Better Discussions!” Music Educators Journal 91, no. 2 (2004): 29–33; http://education.ohio.gov/getattachment/Top- ics/Teaching/Educator-Evaluation-System/How- to-Design-and-Select-Quality-Assessments/DOK -Compared-to-Blooms-Taxonomy.pdf.aspx


xxix Evan Tobias, “Crossfading Music


Education: Connections between Secondary Stu- dents’ In- and Out-of-School Music Experience,” International Journal of Music Education 33, no, 1: 39–47.


xxx Tobias et al.; Ed Asmus, “Music As-


sessment Concepts: A Discussion of Assessment Concepts and Models for Student Assessment,” Music Educators Journal 86, no. 2, (1999), 19–24; Mitchell Robinson, “Alternative Assessment Techniques for Teachers,” Music Educators Journal 81, no. 5 (1995), 28–34; Larry Blocher, “The As- sessment of Student Learning in Band,” in Teach- ing Music through Performance in Band, Vol. 1,


Jill Sullivan is an Associate Professor of Instrumental Music Education at Arizona State University where she teaches undergraduate instrumental methods and graduate courses in instrumental literature and pedagogy, research methods, assessment and measurement, and psychology of music. Her research agenda includes history of bands and assessment practices. In 2011, she published the book Bands of Sisters: Women's Military Bands during WW II. She is completing her new book Women's Bands in America, which will be published by Rowman & Littlefield late this year. Prior to her fifteen-years at ASU, she served on the music faculties of the University of Oklahoma and Augustana College. She taught middle school band in Broken Arrow, Oklahoma.


February/March 2016 xxxvi Ed Asmus, “Music Assessment


Concepts: A Discussion of Assessment Concepts and Models for Student Assessment,” Music Edu- cators Journal; Mitchell Robinson, “Alternative As- sessment Techniques for Teachers,” Music Educators Journal; Larry Blocher, “The Assessment of Student Learning in Band,” in Teaching Music through Performance in Band.


xxxvii Caslor, Spontaneous Improvisation. xxxviii Robert E. Dunn, “Teaching Life-


long, Intuitive Listening,” Arts Education Policy Re- view 107, no. 3 (2006): 33–38.


xxi http://www.nafme.org/my-class-


room/standards; http://nationalartsstandards.org/mca/music


xxii Evan S. Tobias, Mark Robin Camp-


bell, and Phillip Greco, “Bringing Curriculum to Life: Enacting Problem-Based Learning in Music Programs,” Music Educators Journal 102, no. 2 (2015): 39.


xxiii xxiv Ibid., 40. Danelle D. Larson, The Effects of


Chamber Music Experience on Music Performance Achievement, Motivation and Attitudes among High School Band Students, Retrieved from ProQuest Digital Dissertations. 2010. 3410633.


xxxv Caron L. Collins and James Wells,


“21st-Century Ensembles —What We Imagine, We Can Become!” Music Educators Journal 100, no. 4 (2014): 18–21.


xxxiii Lucy Green, Music, Informal Learning


and the School: A New Classroom Pedagogy (London, UK: Ashgate Publishing, 2008).


xxxiv Randall Everett Allsup and Marsha


Baxter, “Talking about Music: Better Questions? Better Discussions!”


xxxii Robert A. Cutietta and Thomas


Brennan, “Coaching a Pop/Rock Ensemble,”Music Educators Journal 77 no. 8, (1991}: 40–45.


xx Larry Blocker, Eugene Corporon,


Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, and Richard Miles, Teaching Music through Perform- ance in Band (Chicago, IL: GIA Publications, 1997).


Chapter 4, 27–30. xxxi


Randall E. Allsup, “Our Both/And


Moment,” Music Educators Journal 103, no. 2, (2015): 85–86.


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  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56