A History of the College Band Directors National Association
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A History of the College Band Directors National Association Western/Northwestern Divisional Conferences from 1990–2016 by Stephen Martin A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved July 2016 by the Graduate Supervisory Committee: Sandra Stauffer, Chair Gary Hill Margaret Schmidt Jill Sullivan ARIZONA STATE UNIVERSITY August 2016 ABSTRACT The College Band Directors National Association (CBDNA) began holding national conferences in 1941, and the organization's six divisions have held biennial conferences on alternating years beginning in 1950. The CBDNA Statement of Purpose specifies, "CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas and resources." The regional and national conferences are one of the strongest means to that end. This study presents a history and documentation of the events of the College Band Directors National Association Western/Northwestern Divisional Conference held in Reno, Nevada from 1990 to 2016. The events leading up to the first conference are reported. The details of the clinics and concerts are chronicled to provide a foundation for analyses of various trends and threads regarding number and types of ensembles that performed, types and content of clinics presented, trends in repertoire selection, details of featured composers and commissions, and a discussion of gender disparity across all of these facets. i ACKNOWLEDGMENTS I wish to express my deepest gratitude to the membership of the Western/Northwestern CBDNA. It has been a fascinating journey poring over the archives, seeking out documents, and most enjoyably talking with so many of you about your experiences at the conferences in Reno. Several individuals gave me significant amounts of their time, including Reed Chamberlin, Jim Cochran, Thomas Lee, Thomas Rohrer, and Will Plenk. I will always treasure our conversations and the deeper appreciation I now have for our profession in light of them. My most heartfelt thanks go to A. G. “Mack” McGrannahan, III. Mack, you are my teacher, mentor, role model, and friend. It goes with out saying that this paper would never have happened without your tireless (and often thankless) efforts in producing these fourteen conferences. Furthermore, your meticulous archiving behaviors certainly bore great fruits, as a vast majority of the archival source material used in this research was from your personal collection. Furthermore, your efforts extended well beyond the archives. You answered countless questions, found me the next layer of detail, sent me to the right people, and endured several strenuous formal interviews as well. Your assistance with this project was invaluable and tireless. I owe you. I also need to thank my team of professors and colleagues at ASU. Gary Hill, Margaret Schmidt and Jill Sullivan have all shaped me in different ways. I hear your voices in my head during my activities as a scholar or conductor. I have never met an educator with more faith in her students than Sandra Stauffer. Even though it has been a journey of many years, I always felt supported and nurtured. I have developed a hefty respect for the caliber of researchers present at––and produced by––the music education ii faculty at Arizona State. I’m proud to join the list of scholars who call themselves Sun Devils, regardless of where their professional or persona paths have led them. I suppose a positive byproduct of my extended timeline is that I am old enough to appreciate what you bring to the table: you are rock-stars in our field and I can’t express how fortunate I feel to work with each and all of you. My friends, family, and colleagues have also been extremely supportive and understanding. M.J. Wamhoff and Gary P. Gilroy have been strong mentors for over half my life. My relationship with both of these men is full of love and respect. I would not be here without both of your encouragement and influence, mostly by your example. I have fond memories of my time at ASU with fellow graduate assistants Wes Brewer, Steve McKeithen and David Rickels. We were partners in crime, but also developed relationships that have persisted nearly ten years later. I’m privileged to be associated with such brilliant and hard-working scholars and educators. My friend and business colleague Aaron Hines has picked up the slack countless times in order to afford me the opportunity to work on this research. The stress he experienced as a result of my time away from our business did not go unnoticed, and I’m immeasurably grateful! My family has been there encouraging me every step of the way. My amazing parents, brothers and sister have never doubted me. They were always there to offer encouragement and praise, sometimes when I needed it most. Thank you! It has been a long road and no one knows that more than my wife and children, who have been suffering from absent daddy syndrome for many months now. However, through all of the nights and weekends apart, all I remember you saying is how you were iii proud of me, and that you knew I could do it. I missed you dearly, sometimes going all day without a hug, settling for a quick phone call just to hear your voices. But now it’s done, and I’m very proud of it. You told me it would be worth it, and you were right. It is with great emotion and love that I whole-heartedly dedicate this body of work to you, as you were the inspiration for each and every minute of time spent. We did it together, and now its time to play. iv TABLE OF CONTENTS Page LIST OF FIGURES ................. ............................................................................................... x LIST OF PHOTOGRAPHS ................. ................................................................................. xi CHAPTER 1 INTRODUCTION ................. .......................................................................................... 1 Statement of Purpose ............................................................................. 11 Research Questions ................................................................................. 14 Rationale for the Study ........................................................................... 15 Delimitations ........................................................................................... 18 Oraganization of the Dissertation ........................................................... 18 2 REVIEW OF LITERATURE ....................................................................................... 20 Studies about the CBDNA ...................................................................... 21 Studies About Other National Music Organizations .............................. 27 Studies about Professional Development at Conferences ...................... 31 3 METHODS AND PROCEDURES .............................................................................. 38 Sources of Information ........................................................................... 41 4 AN OVERVIEW OF THE CONFERNCES: A CONSTANT EVOLUTION ............ 45 Conference Venue .................................................................................. 46 Concerts ................................................................................................... 47 The Intercollegiate Band ......................................................................... 48 Guest Composer Concert ........................................................................ 49 Clinics ..................................................................................................... 50 v CHAPTER Page Conference Fees ...................................................................................... 51 Conference Planning ............................................................................... 52 Social Events ........................................................................................... 54 Vendors and Resources ........................................................................... 56 Summary ................................................................................................. 56 5 1990 ......................... ...................................................................................................... 58 Clinics and Business Meetings .............................................................. 59 Concerts and Other Performances .......................................................... 62 Observations and Conclusions ................................................................ 72 6 1992 ......................... ...................................................................................................... 73 Clinics and Business Meetings .............................................................. 74 Concerts and Other Performances .......................................................... 77 Observations and Conclusions ................................................................ 89 7 1994 ......................... ...................................................................................................... 91 Clinics and Meetings .............................................................................. 92 Concerts and Other Performances .......................................................... 94 Observations and Conclusions .............................................................. 105 8 1996 ......................... ...................................................................................................