College Band Directors National Association Research Articles

Measurements and simulations of aerosol released while singing and playing wind instruments

Outbreaks from choirs showed that singing brings potential risk of COVID-19 infection. There is less known about the risks of airborne infection from other musical performance, such as playing wind instruments or performing theatre. In addition, it is important to understand methods to reduce infection risk. In this study, we used a variety of methods, including flow visualization, aerosol and CO2 measurements, and computational fluid dynamics (CFD) modeling to understand the different components that can lead to transmission risk from musical performance and risk mitigation. This study was possible because of a partnership across academic departments and institutions and collaboration with the National Federation of State High School Associations and the College Band Directors National Association. Funding for this project was provided by an international coalition of music organizations. We found that plumes from musical performance were highly directional, unsteady, and vary considerably in time and space. Aerosol number concentration measured at the bell of the clarinet were comparable to singing. Face and bell masks attenuated plume velocities and lengths and decreased aerosol concentrations measured in front of the masks. CFD modeling showed differences between indoor and outdoor environments and that lowest risk of airborne COVID-19 infection occurred at less than 30 min of exposure indoors and less than 60 minutes outdoors.

Measurements and Simulations of Aerosol Released while Singing and Playing Wind Instruments.

Outbreaks from choir performances, such as the Skagit Valley Choir, showed that singing brings potential risk of COVID-19 infection. There is less known about the risks of airborne infection from other musical performances, such as playing wind instruments or performing theater. In addition, it is important to understand methods that can be used to reduce infection risk. In this study, we used a variety of methods, including flow visualization, aerosol and CO2 measurements, and computational fluid dynamics (CFD) modeling to understand the different components that can lead to transmission risk from musical performance and risk mitigation. This study was possible because of a partnership across academic departments and institutions and collaboration with the National Federation of State High School Associations and the College Band Directors National Association. The interdisciplinary team enabled us to understand the various aspects of aerosol transmission risk from musical performance and to quickly implement strategies in music classrooms during the COVID-19 pandemic. We found that plumes from musical performance were highly directional, unsteady and varied considerably in time and space. Aerosol number concentration measured at the bell of the clarinet was comparable to that of singing. Face and bell masks attenuated plume velocities and lengths and decreased aerosol concentrations measured in front of the masks. CFD modeling showed differences between indoor and outdoor environments and that the lowest risk of airborne COVID-19 infection occurred at less than 30 min of exposure indoors and less than 60 min outdoors.

An Examination of University Conducting Faculty Members’ Score Study Attitudes and Practices

The purpose of this study was to examine university conducting teachers’ attitudes about score study, the source materials they used to teach score study, their personal score study practices, and the score study approaches they taught their undergraduate conducting students. Respondents ( N = 236) were members of the College Band Directors National Association who taught undergraduate conducting courses. Our findings indicated that “developing an interpretation of how the music should be performed” was considered the most important reason to study the score, that respondents spent an average of 6 hours in score study per week, and that The Art of Conducting by Donald Hunsberger and Roy Ernst was the most frequently used undergraduate conducting textbook. The two most frequently used personal score study practices, which were also reported as the two most frequently taught practices to undergraduate conductors, were “define all unfamiliar music terms” and “initial, casual read-through of the score.”

A History of the North American Band Directors’ Coordinating Committee, 1960–1970

The purpose of this study was to investigate the institutional history and documentary evidence of the North American Band Directors’ Coordinating Committee (NABDCC) during the first decade of its existence, from 1960 through 1970. The NABDCC constituted a forum of national band, music industry, and related associations, including the American Bandmasters Association, College Band Directors National Association, and the National Association of Music Merchants, for examining mutual concerns critically and for fostering discussion with experts outside of the wind profession. The research questions addressed the development of the NABDCC, important events in its history, and the specific issues in music education examined by the committee. Important issues in instrumental music that were discussed by the NABDCC included the role of the band in the school curriculum, music advocacy, federal and state legislation, standards-based education, and the inclusion of new musical styles and ensembles. Various themes across these issues emerged from the study, including the difficulties of collaboration within a multifaceted representation of specific interests and the oscillating relationship between music educators and the music industry. The results of this study contribute to enhanced understanding of 1960s instrumental music education, with implications for the present.

The Wind Band in and around New York ca. 1830–1950. Essays Presented at the 26th Biennial Conference of the College Band Directors National Association. New York, NY, February 2005. Edited by Frank J. Cipolla and Donald Hunsberger. Donald Hunsberger Wind Library. [n.p.]: Alfred, 2007.

The Wind Band in and around New York ca. 1830–1950. Essays Presented at the 26th Biennial Conference of the College Band Directors National Association. New York, NY, February 2005. Edited by Frank J. Cipolla and Donald Hunsberger. Donald Hunsberger Wind Library. [n.p.]: Alfred, 2007. - Volume 3 Issue 1

As band directors and music educators, we believe that …

The following statements were prepared by leaders from the American School Band Directors Association, College Band Directors National Association, National Band Association, state band associations, and band directors from nearly every state as a result of the Band Leadership Planning Conference, a preconference session at the MENC meeting in Miami Beach, Florida, April 8, 1980.

The Emergence of a New Band Literature

Editor's Note: For about a century and a half after the first real works for band were composed in the 1790s-by Gossec, Catel, Jadin, and Méhul-there was relatively little composition originally intended for this medium. True, there was the band symphony by Berlioz, composed in 1840, another by Wagner four years later, and a smattering of works by such figures as Hummel and Spohr. But throughout the nineteenth century, most original concert band music consisted of marches (including ones by Tchaikovsky, Grieg, and Bruckner), dance pieces, and medleys; the remainder of the repertoire consisted of arrangements and transcriptions. A handful of important works emerged in the early part of the twentieth century. Grainger created his first Hill Song in 1902 (though it was published later), the Holst suites came along in 1909 and 1911, and Vaughan Williams composed his English Folk Song Suite in the 1920s. Around this time, Edwin Franko Goldman did much to promote original band composition, and by the late 1920s and early 1930s there were works available by Daniel Gregory Mason, Henry Hadley, Hindemith, Respighi, and Roussel. By the late 1930s, such composers as Miaskovsky, Prokofiev, Gliere, Weinberger, Honegger, and Cowell had contributed to the repertoire. It was not until the 1940s, however, that a real wave of interest and activity was apparent in the field. Since then, there has scarcely been a significant composer who has not composed something for the concert band, and a good number have contributed a substantial body of fine works to the repertoire. No longer need band directors rely heavily on music intended for other types of performance groups to give substance to their programs. With this in mind, MEJ asked Karl M. Holvik, professor of music at the University of Northern Iowa, Cedar Falls (and immediate past president of the College Band Directors National Association), and David Whitwell, professor of music at California State University at Northridge (and president of CBDNA), to discuss the current state of original literature for band. Although they have written from the standpoint of the college band director, many of their comments are equally pertinent to the high school band director.—M.E.B.

A History of the College Band Directors National Association

The College Band Directors National Association (CBI)NA) was founded in Chicago, Illinois, December 22-23, 1941, under the leadership of William D. Revelli, Director of Bands at the University of Michigan.1 Since that date, the membership of the organization increased from the original forty members at the organizational meeting in 1941 to a projected number of more than seven hundred for the 1970-1971 academic year.2 Since instrumental music at first was considered to be an extracurricular activity in colleges, little attention was given it by college faculty members. As bands became college-sponsored organizations, there arose musical, organizational, and administrative problems peculiar to them. With the growth of the Music Educators National Conference, college music faculties organized a Committee on College and University Music within the MENC. Especially active in this committee was the section composed of college band directors. Eventually this latter group began to function as a Committee on College and University Bands.3 In 1938, under William D. Revelli's leadership, the College Band Committee meetings were so interesting and challenging that it

College Band Directors National Association

College Band Directors National Association

The Instrumentation of the Band

At a meeting sponsored by the College Band Directors National Association at the MENC Conference in Chicago, the author set forth his beliefs why further musical progress for concert bands is unlikely unless a basic instrumentation is adopted.

College Band Directors National Association

College Band Directors National Association

The Composer and the College Band

THE AUTHOR is a Texan who has ranged the field of music from “short hair to long hair,” as he puts it. Two years ago he won the Luria prize for his “Rhapsody for Viola and Orchestra,” and this was preceded by arrangements for Glenn Miller's Air Force Orchestra and the writing of many movie and radio scores. Mr. Reed has achieved much success as a guest conductor, composer, and clinician, and has shown keen interest in the College Band Directors National Association.

The Emergence of the Concert Band

THE BAND AND THE FUTURE OF ITS MUSIC was the title of a panel discussion at the Eleventh National Conference of the College Band Directors National Association held in Chicago, Illinois, December 16-17, 1960. Among the distinguished panelists was James Neilson, then national CBDNA president, whose remarks are printed here. Other panelists included Morton Gould and Paul Creston, representing composers; Alfred Reed and Phil Lang, representing arrangers; and Benjamin Grasso of Associated Music Publishers, Ralph Satz of G. Ricordi & Company, and Arthur Hauser of Theodore Presser Company, representing publishers. Panel moderator was William D. Revelli, honorary life president of College Band Directors National Association.

College Band Directors National Association

A HIGHLIGHT of the CBDNA meeting in Chicago, Illinois, December 16-17, 1960, was a panel discussion on “The Band and the Future of its Music,” by composers, arrangers, and publishers. At left of picture (standing), Alfred Reed presents his views. Listening (seated, left to right) are Morton Gould, Phil Lang and Paul Creston.

College Band Directors National Association Biennial Convention

College Band Directors National Association Biennial Convention

College Band Directors National Association Biennial Convention

College Band Directors National Association Biennial Convention

Problems of the Small College Band

THIS is the first of two articles on the small college band which have been written for the Music Educators Journal at the request of the Committee on Public Relations of the College Band Directors National Association, an Associated Organization of the Music Educators National Conference. Mr. Whear is director of instrumental music at Mount Union College in Alliance, Ohio. The second article will deal with the band in the small tax-supported college and will appear in an early issue. Chairman of the CBDNA committee on public relations is Arthur L. Williams, The Conservatory of Music, Oberlin College, Ohio.

The College Band Directors National Association

The College Band Directors National Association

Another Spotlight on the Music Copyright Law: A Report from a Meeting of the North Central Division of the College Band Directors National Association

Another Spotlight on the Music Copyright Law: A Report from a Meeting of the North Central Division of the College Band Directors National Association

College Band Directors National Association

College Band Directors National Association