Notes da Capo

Who were these music teachers? Supervisors, elementary specialists, private teachers? How did they get to the meeting? By train, trolley, or horse and buggy? We don't know the answers to these questions, but historical records reveal that 1920 was the first meeting of school music teachers in West Virginia. Like other subject-matter groups, they met as the "music section" at the annual conference of what was then the State Education Association (SEA). The chair, probably assigned by the SEA, was Lucy Robinson, a music supervisor from Wheeling.

Just imagine the setting in 1920! It was the post-World War I era; Woodrow Wilson was President; acoustic record players and silent movies were prevalent; Henry Ford's "flivver" was leading the auto pack; radio was in its infancy; and your parents were probably in grade school. Music instruction, except in the elementary classroom, was not considered a responsibility of the public schools. Individual lessons by private teachers, paid for by the parents, was the accepted way to learn music. High school music groups - choir, glee club, madrigal singers, orchestra, mandolin club - met as an "activity" outside school hours.

The only music certificate available in 1920 was the music supervisor's certificate. A curriculum in Public School Music (PSM) was just being developed in West Virginia institutions of higher learning. With the limited number of positions available, the demand for a PSM degree was minimal. Of the 389 school districts in West Virginia at that time, only a few could afford or justify hiring a music supervisor who would assist the elementary teachers and direct the high school choral instrumental groups. Some districts would -employ a local musician part-time by obtaining temporary certification.

The WVMEA today is a conglomerate of affiliated organizations that serve music education from kindergarten through the doctoral level. It took more than forty years of persistent and dogged effort to make music a part of school/ community life. A real struggle it was, but more about that later.

Tacet . . . for now.

If you revere those early settlers who conquered the wild west, then you should honor those pioneers who blazed some early music trails in our own wild west - West Virginia. In 1927 Karl Brown of Terra Alta, Glenn Sallack of Beckley, and J. Henry Francis of Charleston organized and conducted the first West Virginia State High School Orchestra and the first West Virginia State Symphonic Band. (If you'll dig out your October, 1982 NOTES A TEMPO you'll see pictures of these two groups).

Like all entrepreneurs, these three music pioneers had an idea, and they pursued it to a triumphant end. Their success apparently set the pattern for the All-State Band, Orchestra, and Chorus festivals that the WVMEA and its affiliates have sponsored for almost six decades. These festivals provide an exciting challenge for deserving students and their teachers. Singing and playing some of the great music literature under highly qualified guest conductors, then sharing this experience in a concert for the parents is an event never to be forgotten. For many of the participants, it may be the highlight of their high school days. For a few, it may provide the incentive to aspire to a professional career in music - teaching, performing, creating, sales, advertising, or whatever.

Historically the music festival was a wholesome alternative to the music contests that were promoted during the 1920s by many educators throughout the nation. These contests were like an athletic tournament. Local contests determined winners who could then compete in a district, then an area, a state, and even in a national contest. There was always one winner, leaving behind a multitude of disenchanted losers. Because of the bitter rivalry generated and the frequent breakdown in providing qualified judges, the contest idea eventually disintegrated. Fortunately in West Virginia, the contests were not as prevalent as in some adjacent states. Thanks to our frontiersmen, Brown - Sallack - Francis, the festival idea of cooperating rather than competing pre-empted the spread of contests in West Virginia.

Tacet ... for now.

There was a new kid on the educational block! Probably a brain-child of those finicky music teachers! Although this family had met with the State Education Association for 16 years, they were convinced that they should and could improve the quality and quantity of music in the schools of West Virginia if they had an organization of their own.

So, in 1936 they met and elected their officers. Committees were formed and future meetings planned. A constitution was presented, reworked, and finally adopted as the governing document of the ... West Virginia Music Educators Association. Eventually, the "new child" was recognized by MENC as the official state affiliate.

The membership of the WVMEA at that time included mostly choral teachers, county supervisors, and elementary specialists. The state Bandmasters Association was a larger organization and was sponsoring band activities statewide, one of which was the band contest. Although these two groups were operating separately, each contributed effectively to its field of musical interest. Progress was interrupted nationwide with the advent of World War II in 1941, practically eliminating all professional and student activities that involved traveling.

The ultimate plan of organization of the MENC and the WVMEA was to unite all school music groups within the state. Progress was slow in West Virginia and in a number of states. Strong band, orchestra, choral and elementary organizations cherished their past successes and independence. They were not interested in affiliating with the Music Educators Association. It was not until 1950 in West Virginia that the Music Educators Association and the bandmasters jointly sponsored a series of music clinics. This was the beginning of further cooperative efforts through the years until 1963, when the West Virginia Bandmasters Association became officially affiliated with the WVEA.

It took over 25 years for the choral, instrumental, elementary, supervisory, and college groups to unite within the WVMEA. In 1986 the WVEA itself will reach the age of 50 years. Shouldn't that call for some kind of celebration!

Tacet . . . for now.

Time was that your Uncle Charlie might have gotten you a job teaching music in the local schools if you wanted it, and if you showed some musical ability. A "special certificate" would have been issued, and you'd have been set for five years - that is if Uncle Charlie were influential in one of the independent districts among the 398 school districts in West Virginia at that time. These independent districts (Wheeling was the first) were established in the cities. They had full control of their schools and obligated themselves to support them. What gradually developed was high educational quality with teachers well paid in the independent districts, and low educational quality with teachers poorly paid in the rural schools. Although this was the era of the "common school," the independent districts were adding four-year high schools when the rural districts had none. The same thing happened later when junior high schools were introduced.

Throughout the 1920s committees from the Music Section (which later became the WVMEA) of the State Education Association were actively promoting music as a curricular subject in the public schools. Nelle Shirkey of Beckley; Lydia Finkel of Morgantown; Mrs. D.C. McCoy, Dale Haven, and Lucy Robinson of Wheeling; and J. Henry Francis of Charleston spoke, wrote, and conferred about the lack of music in the schools. The first step was to get music into the curriculum. The next step was to establish requirements that would prepare elementary teachers to teach music, and then recommend more extensive requirements for music supervisors and high school music teachers. This opportunity came when Robert Clark, Supervisor of Teacher Training, initiated the change from the examination to the credential method of certification. In 1927 numerous committees from the teacher training institutions were requested to propose their recommendations for certification requirements.

The college representatives on the music committee for elementary teacher requirements were Hannah Cundiff of Marshall, Mrs. H. Wardner Davis of Salem, Marie McCord of Shepherd, Mary B. Price of Fairmont, and May E. Taylor of Glenville. Their proposals ranged from 6 to 16 credit hours of music for the elementary teacher. Sixteen hours were unrealistic, being one-fourth of the total required for the two-year normal certificate, so the final document included 4 hours of music in the two-year course and 6 hours in the four-year course. Another committee of music teachers made recommendations for the "first-class certificate" for high school music teachers. This committee included Lydia Finkel and Minerva Lawson of West Virginia University, C.C. Arms of Clarksburg High School, Pauline Kirk of Fairmont Normal, Ruth Parker of Morgantown High School, and Lucy Robinson of Wheeling High School. The recommendations, which were adopted, provided flexibility within each institution involved, but set a new high minimum of technical music hours.

After two years of serious effort and widespread participation by teachers at all levels and in all academic fields, the new certification requirements became effective 1 January 1929. This marked the fust statewide, organized plan of standardizing teacher certification. It had a direct effect on the various curricula in those colleges with teacher preparation programs. Just four years later, in 1933, the legislature adopted the county unit plan, making the county school system responsible for the teaching of music in the rural elementary schools as well as in the cities. It was not until 1937 that the State Board of Education issued a regulation-making music a required subject in the elementary schools.

While music was finally recognized as a required subject, that didn't make it a reality.  It would take years to implement the county unit plan in providing the facilities and equipment, supervisory personnel to organize and assist, and administrative motivation to carry out music instruction. With music still treated as an extra-curricular activity in most high schools, and with music personnel among the first to be cut in a budget squeeze, there was little incentive for musically talented high school graduates to devote four years earning a degree in Public School Music. Since there were few fully qualified music teachers available, administrators had no alternative but to accept some teachers with minimal preparation who could obtain a "special certificate." Fortunately, many of these teachers utilized their abilities to the maximum, upgraded their certification, and ultimately became outstanding teachers.

When the certification study was being made during the years 1927-1929, that ambitious group of teachers in the Music Section of the State Education Association exercised an influence for school music far beyond their own realization when they organized the first All-State (High School) Orchestra, Band, and Chorus. After 1933 another development that generated public interest in music was the county music festival in which massive groups of elementary children participated. One must conclude that the music teachers during this period were developing the interest and support of the two most powerful segments of society - the children and their parents.

Tacet ... for now.

Two teaching fields - that's what West Virginia secondary teachers had to have to qualify for a first-class certificate until 1945. Since there were many small high schools at that time, and school budgets were just starting to recover from the economic depression of the 1930s, it was logical that high school teachers should be prepared to teach two subjects. It was not unusual for an academic teacher with a minor in music to teach the music classes. Many music teachers, likewise, taught classes in their minor teaching field. As high school enrollments increased and as the band movement spread, parents demanded teachers who were especially qualified to teach the various instruments and direct the band.

One of the teaching fields that was chosen by many music majors was English. By taking 6 credit hours of English in addition to the 12 basic hours required, the minor was satisfied. Since there was usually an excess of teachers who were qualified to teach English, the music teacher was left in the fortunate position of filling his or her schedule with music. Adversely, a candidate for the position who had a second field other than English might have gotten the position. With the music program gradually expanding into the junior high school, the demand for the time and energy of the music teacher eliminated the minor teaching field for most music teachers.

As a shortage of elementary teachers developed during the early 1940s, the State Board of Education approved the famous (or infamous) "1-12 single curriculum" certificate, It was based on the premise that a broad selection of college courses would prepare the teacher to teach a wide range of subjects at either the elementary or secondary level. It ran counter to an emerging trend toward specialization, giving rise to widespread criticism. For music (and art and physical education) a "Special Non-Academic Certificate," approved in 1938, permitted the music teacher to teach music in all twelve grades. This certificate apparently developed "after the fact," since many music teachers had been teaching music, mostly band instruments, to grade school children without having the elementary certification required at that time.

To decrease the number of unqualified teachers that had been pressed into service during the World War 11 years of 1941-1945, the 1947 legislature enacted a salary schedule that rewarded the teacher who had the required credentials. This action-motivated those teachers with temporary or provisional certificates to take additional college courses toward eventual first-class certification. By their own dedication and by upgrading their college credit hours, some of the music teachers who began under temporary or provisional certification rose to positions of leadership in music education throughout the state.

Tacet ... for now.

Mountaineers have always cherished their independence, and so have the colleges throughout the state. Forty years ago most institutions of higher learning were geographically isolated, responsive to their territorial clientele, and proud enough to adjust to the resources available. Although there were legislated regulations and degree requirements, particularly in teacher certification, there was great variation in how these were interpreted. In music, for instance, two courses might be taught in the same class under different course numbers. Also, the credit hours in applied music were different.

Jackson's Mill, summer 1945, was the site of a State Department of Education conference where a small group of college music teachers casually discussed the status of music in West Virginia colleges. If memory serves me right, those individuals were Marie Boette, West Virginia Wesleyan; P. Ahmed Williams, West Virginia State; Mary B. Price, Fairmont; Miriam Gelvin, Marshall; Bertha Olsen, Glenville; and Clifford Brown, West Virginia University. They soon realized that the instructional programs in music were highly inconsistent, and that the facilities in some colleges were deplorable. They decided that all colleges should be invited to a fall meeting with the objective of initiating some state-wide action to improve the situation.

Twelve institutions were represented at this fall meeting: Fairmont, Potomac State, Wesleyan, West Virginia State, Bluefield, Salem, Alderson-Broaddus, ,Nlarshall, Bethany, Shepherd, Concord, and West Virginia University. Marie Boette of Wesleyan presided, and Bertha Olsen of Glenville served as secretary. A genuine spirit of cooperation prevailed, with each individual realizing that collective action could ultimately benefit all institutions. 'The final conclusions were that STANDARDIZATION and UNIFICATION should be immediate objectives. They scheduled another meeting in October 1946.

The approach to standardization began with the appointment of three study committees: conducting - a clarification of the course content; teaching loads - how they should be calculated; and teacher certification in music - clarification. Further, the group decided to call itself the West Virginia College Music Educators (WVCME). It would meet twice each year, the fourth Monday in October at a college campus and in the spring with the Association of Higher Education.

In 1947 the WVMEA Executive Board officially recognized the WVCME by inviting its chair to membership. Although some college members were reluctant to affiliate with the WVMEA, this was approved and represented a major step in unifying the music teachers into one organization. Since then other groups have affiliated with the WVMEA, resulting in the representation of all phases of music education within one state organization.

Tacet . . . for now.

The idea of having a state music consultant within the State Department of Education was new to West Virginia in the 1950s, but not to our neighboring states. Claude Rosenberry in Pennsylvania, Edith Keller in Ohio, and Clarence Hesche in Virginia were promoting and assisting statewide activities in addition to consulting with individual school districts about their music programs. The title of the position varied from state to state: supervisor, consultant, specialist, chief, or coordinator, but the responsibilities and duties were similar.

When compared to the present, the State Department of Education operated with a very small staff in the 1950s. Neither the administrative philosophy nor the budget provided for any personnel to cover single subject-matter fields. Although the WVMEA had been urging the state superintendent to add a music position, it was rejected on the basis of "no funds." As state and federal demands increased, the department had to be expanded, including specialists in curricula, finance, government grants, subject- matter fields, and so on.

The proliferation of music classes and activities - choruses, bands, orchestras, radio broadcasts, festivals - apparently persuaded the superintendent, R. Virgil Rchrbough, that a music consultant was needed. He invited individuals within the WVMEA and the College Music Educators to recommend qualified candidates from within the state. There was a general consensus that Dr. Nlyllan Smyers, chair of the music department at West Virginia Institute of Technology, should be offered the position. Although Dr. Smyers did not aspire to the position, he accepted it as a challenge and as an opportunity to serve the state.

Dr. Smyers was uniquely qualified as the initial appointee, having taught instrumental and vocal music in the public schools. He was a respected conductor and adjudicator, a former high school principal, an author and speaker, a college teacher and administrator, and was actively involved in state, division, and national MENC projects. One of his first commitments was to confer with each of the 55 county superintendents. Another commitment was to unify the various professional music groups, each one strong in its own area, into a parent organization with greater professional recognition and influence. He was not here when this commitment was realized in the early 1960s, due in part to his efforts.

No one, including Dr. Smyers, could predict that an unusual opportunity would appear the next year for him to return to his native area as a professor at Southern Illinois University. In a short period of 18 months Dr. Smyers succeeded in elevating music as a curricular subject, earned the respect of students, teachers, and administrators, and motivated all of us to work together. In retrospect, he was the right man for the right job at the right time.

Tacet ... for now.

Jazz and other forms of so-called "popular music" eased into school music very gradually. The highly rhythmic jazz, originating about 1910-1915 in the cheap saloons and brothels of New Orleans, was far removed from the traditional music literature of the school, church, and concert hall. As ragtime and blues became more refined, using a slower tempo and smoother rhythms, jazz began to spread to Chicago, New York, San Francisco, and other large cities.

The first performance of George Gershwin's "Rhapsody in Blue" in 1924 and the appearance of sophisticated arrangements by the "Tin Pan Alley" group of specialists helped to elevate jazz to a high level of respectability. The Symphonic jazz of Paul Whiteman's Orchestra, using some compositions from the standard concert repertoire along with expertly arranged sentimental ballads of the day, brought jazz even further into the mainstream of American music.

As the school band movement spread throughout West Virginia from 1930- 1950 and students became more proficient on their instruments, they wanted to play jazz. Since overtures, marches, and the like dominated the school band literature, jazz was considered an outside-of-school activity. Students would meet in a small group, usually in a member's home, where they practiced as often and. as long as the family and the neighborhood would tolerate. If and when they improved enough to play for school dances and community events, their efforts to win recognition from school officials and even the music teachers were achieved. Some instrumental teachers, themselves jazz players during college days, assisted the students and occasionally played with them.

Out of it all the present-day stage band gradually evolved. Its music requires a high level of technical proficiency, a keen sensitivity to its rhythmic demands, and a perception of current stylistic effects. Stage bands are now recognized ensembles in high school and college music education programs. Jazz, a generic name for all types of popular music, is established as an integral component of our musical heritage.

The first stage band festival in West Virginia was sponsored by Gorby's Music House in 1949. Eleven stage bands from Virginia, Ohio, and West Virginia participated. Information is sparse, but apparently these festivals met at Gorby's until 1962 when the Bandmaster's Association accepted an invitation for the stage band festival to be held at Morris Harvey College, now the University of Charleston. Some years later the festival was divided into northern and southern groups that now meet at various locations in the state.

Tacet ... for now.

Choral music - and instrumental music, too - was an extracurricular activity in most West Virginia high schools until the 1930s. There were few choral teachers except in the more affluent independent school districts of that time. As music gradually became a part of the high school schedule in the 1930s and 1940s, choral music was included as an elective subject, particularly in the larger high schools.

The choral literature, used in these early years was predominantly sacred. As popular music became more available through radio, sound movies, and recordings, the staid image of traditional choral literature was challenged. Just as the instrumental music students wanted to play jazz, the choral students wanted to sing popular music.

Respected composers of that time such as Jerome Kem, Sigmund Romberg, and George Gershwin were creating sentimental ballads that were attractive and appropriate - both in lyrics and music - for school study and performance. About this time Gene Austen and Rudy Vallee were introducing a vocal style known as "crooning" that has persisted for more than five decades. After crooners such as Bing Crosby and Perry Como not only elevated their singing style to its highest level but also achieved public acclaim through their personal lifestyles. The advent of the big band era also contributed to the popularity and acceptance of the new musical fashions.

In most instances the show choir was initiated by giving interested students the opportunity to sing in a select group. When they performed the immediate positive response gradually justified adding this group as an integral part of the choral program. The show choir of today is a production within itself, utilizing sophisticated lighting attractive costumes, choreography, an instrumental combo, and electric and electronic instruments ad infinitum.

Like the stage band, the show choir is now a recognized ensemble that represents the popular music idiom of the day. Since popular music and jazz have infiltrated all areas of living, including even religion, it must be recognized as a part of our musical heritage. Institutions of higher learning are realizing that teacher preparation curricula in music should include the organization and conducting of show choirs and stage bands as well as the traditional music groups. Unlike the mandolin clubs of the 1920s, popular music is here to stay, and our youth will enjoy hearing and producing it.

As the number of show choirs increased throughout the state during the 1970s students and their directors were anxious to bring the choirs together in a festival. This idea finally materialized in 1978 when the first show choir festival was held at Buckhannon-Upshur, High School. This festival has become so popular in recent years that the number of groups has to be limited.

Tacet - for now.

Since this is the 50th year of the WVMEA, it seems appropriate to review the names of those individuals who have served in the leadership position of president since 1936. That is the year the music teachers decided that they could be more effective in promoting and coordinating music education statewide if they had their own organization.

The status of this new organization was enhanced when it became the official affiliate of the Music Educators National Conference. Although progress was slow and difficult - as early past-prsidents will attest, the WVMEA now is a strong organization that is recognized for its positive influence on the youth of our state from kindergarten through graduate school. Here is the list of WVMEA presidents:

ONE-YEAR TERMS
1936 - Oliver Edwards, Wheeling
1937 - Frank Cuthbert, Morgatown
1938 - J. Henry Francis, Charleston
1939 - J. Henry Francis, Charleston
1940 - Christine Johnson, Charleston
1941 - Leonard Withers, Keyser
1942 - Elizabeth Shelton, Bluefield
1943 - Karl V. Brown, Spencer
1944 - Karl V. Brown, Spencer
1945 - (No meeting, no election)
1946 - Karl V. Brown, Spencer
1947 - Claren Peoples, Huntington
1948 - Miriam Gelvin, Huntington
1949 - Esther Cunningham, Parkersburg
1950 - Esther Cunningham, Parkersburg

TWO-YEAR TERMS
1951-53 - Clifford Brown, Morgantown
1953-55 - Clifford Brown, Morgantown
1955-57 - Harold Orendorff, Glenville
1957-59 - Richard Wellock, Fairrnont
1959-61 - Harold Ewing, Charleston
1961-63 - Saul Fisher, Buckhannon
1963-65 - Elinor Copenhaver, Huntington
1965-67 - Edward Wolf, West Liberty
1967-69 - Ronald Wood, Fairmont
1969-71 - Nels Leonard, West Liberty
1971-73 - Al Frey, Charleston
1973-75 - Glenn Goodwin, Elkins
1975-77 - Robert Wolff, Huntington
1977-79 - Patrick Fitzgerald, West Liberty
1979-81 - Arlie Turner, Parkersburg
1981-83 - Phyllis Osenton, Logan
1983-85 - Don Hamilton, Bridgeport
1985-87 - Harry Faulk, Fairmont

(Note: Since Dr. Brown wrote this article, the following
people have served as WVMEA president:)
1987-89 - Charles Martyn, Montgomery
1989-91 - James Pantle, Shepherdstown
1991-93 - Michael Roberts, Morgantown
1993-95 - David Bess, Morgantown
1995-97 - James Guerriero, West Liberty
1997-99 - Gary Marvel, Hedgesville
1999-01 - Richard Lemke, Huntington

The following list includes those individuals who served as "chairman" when music was a section of the State Education Association, now the West Virginia Education Association.
1920 - Lucy Robinson, Wheeling
1921 - Agnes C. John, New Cumberland
1922 - Clarence C. Arms, Clarksburg
1923 - J. Henry Francis, Charleston
1924 - Sarah E. Galloway, Clarksburg
1925 - Sarah E. Galloway, Clarksburg
1926 - Clarence C. Arms, Clarksburg
1927 - Clarence C. Arms, Clarksburg
1928 - Marie Boette, Parkersburg
1929 - Karl V. Brown, Terra Alta
1930 - Alta Cherrington, Huntington
1931 - Glenn Sallack, Beckley
1932 - Katherince A. Moore, Bluefield
1933 - Ruby Anderson
1934 - Gem Huffman, Spencer
1935 - Lucy Jackson, Charleston

If you know of any errors in the above listings, please send the correction to John L. Puffenbarger, P.O. Box 6, Buckhannon, WV 26201. Does anyone know where Ruby Anderson (1933) lived? Many thanks to past-chairman Marie Boette (1928), former member of the music faculty at West Virginia Wesleyan and currently a Parkersburg organist, for her kind assistance on the 1920-36 list.

The teaching of music in the elementary schools of West Virginia has been - and still is in some areas - quite vicarious. In 1849 Wheeling became the first independent school district in the state and was one of the first to include music in the elementary schools. By the turn of the century other independent districts such as Parkersburg, Charleston. Huntington, Ceredo, Morgantown, Fairmont, Ravenswood, Clarksburg, and Bluefield began to teach music to some extent. The control of the educational program by the local school board created great variation, not only in music, but in all subjects.

The philosophical principles initiated by Lowell Mason in the Boston schools in 1838 were used in many states, including West Virginia, to justify the teaching of music. Lucy Robinson, supervisor of music in the Wheeling schools, stressed the physical, mental, and moral values of music in a report to the State Education Association in 1897.

When a school board decided that music should be taught in the elementary grades, administrators were faced with the responsibility of finding qualified music teachers. What happened in most instances was the appointment of a special music teacher who, in some districts, was given the title of supervisor of music. This position might be compared to that of the traveling music teacher of today. As music gradually gained more recognition and as courses of study were developed. the classroom teachers began to teach what music they knew or traded the music class with a more talented colleague.

In rural schools of West Virginia there was almost no teaching of music prior to 1900. There were no statewide requirements and no institutions within the state offered preparation for teaching school music. In 1904 music was included for the first time in the state manual for elementary teachers. In that same year only eight music teachers were listed in the West Virginia Educational Directory, and all eight had obtained their preparation outside the state.

As more school districts included music in their elementary curriculum, music "courses of study" were developed for each of the eight grades. A further recognition of music was indicated when the state manual of 1914 listed an adopted text for music, the Congdon Music Reader. In many districts there were inadequate funds to hire special teachers, even if they had been available. (To be continued in a future column.)

In a prior column on the above subject it might be concluded that our forefathers of the early 1900s had little interest in music and education in general. But when information about the economic, social, and political circumstances is known, one becomes quite sympathetic. Similarly, when the history of education in West Virginia is written for the 1980s, the present generation might be accused of educational neglect. If it is reported that the economy was depressed, that the state had the highest unemployment in the nation, and that there were disastrous floods, our grandchildren would likewise be sympathetic. Therefore, it seemed appropriate to present the following information about the conditions that pertained to education in the early years of this century.

West Virginia has always been proud of its natural resources. The optimism of some of our early political leaders in predicting great wealth from our minerals and coal was gradually thwarted by the fact that industry substantially was owned and controlled by out-of-state interests. Educational development was of secondary concern to the non-resident owners; their primary objective was material gain. When the gravity of this situation was fully realized, a gradual apathy developed that was to persist for decades. Under these circumstances the quality of the teaching personnel and the educational leadership, with some exceptions, deteriorated. Thus, the "thorough and efficient system of free schools" authorized by the state constitution could not be inaugurated.

Moreover, World War I caused a major interruption and added to the struggle to provide a five or six-month school term along with unqualified teachers, poor salaries, agitation to teach agriculture, and other problems. In-fighting among educational factions and some politicians about the establishment of teacher- training instead of normal schools, whether knowledge should receive primary emphasis over method, control of teacher certification, attendance requirements, and numerous other problems kept education in a state of flux. A 1921 survey revealed that 4800 of 10,600 teachers had only an elementary education themselves! Except for the few affluent independent districts of the 389 in the state, an organized and sequential system of education was the exception. It was in the independent districts that music was introduced and ultimately accepted as an integral part of an elementary education.

Although teacher certification requirements adopted in 1929 included one or two college courses in music, rural school positions were filled by persons with only emergency or temporary certification. There were hundreds of one-room schools, some of which could be reached only by walking, where the limitations of some of the teachers were readily obvious. This writer visited a one-room school in the late 1940s that was being taught by a high school graduate of the previous spring who had completed only six hours of college courses during the summer. Why? No one else better qualified was available. Of course, there were some exceptional teachers in the rural schools, including some who loved music and taught it expertly. Of major significance to the teaching of music at this time was the publication of music series textbooks that provided graded songs, supplementary explanations, and teacher manuals.

The creation of the county unit plan by the legislature in 1933 obliterated the progress that had been made in the independent districts. Music supervisors and special teachers were eliminated overnight. With a salary cut of one-half or more to equalize salaries statewide, these highly qualified teachers sought positions in other states. Fortunately for music, the band movement in the towns and cities was generating a new interest that helped dispel some of the gloom of the great depression. After surviving World War I and a number of economic and environmental problems, the county unit plan began to operate effectively. Although much remains to be accomplished, music is now recognized as a basic component of the educational program.

Tacet - for now.

Each of us needs to recall occasionally the events that led to the introduction of music into the public schools. The early settlers were so occupied with their daily existence that more than a hundred years passed before any organized musical activity evolved. It was in the religious services where a small group began the singing of psalms. Publication of The Bay Psalm Book in 1640, the first book printed in British North America, gave great impetus to music in the church. The good singers grouped themselves together, forming a choir. The desire for improved performance and for more individuals to participate led to the establishment of the New England singing schools. The primary objective of these schools was the teaching and learning of music reading.

For the next 150 years the singing school was the most influential source of music learning throughout the East. My grandmother, born in Pennsylvania in 1858, only 20 miles from Morgantown, recalled quite vividly her attendance at a singing school in 1870. She sang some songs for me; she said she learned by the "fa-so-la's."

Contrary to widespread belief, Lowell Mason began teaching music to children in the grammar grades. He had taught extensively in the singing schools in the South prior to being responsible in 1827 for the music in three Boston churches. In 1836 Mason requested the Boston School Board to provide music instruction in the public schools. They did not accept his proposal, but released the following statement on the philosophical ideas of Mason concerning the values of music: "Intellectually, as an aid to memory, comparison, attention, and intellectual faculties. Morally, as leading to happiness, contentment, cheerfulness, and tranquility. Physically, as developing chest expansion and thereby strengthening the lungs and vital organs."

When the School Board did give approval for music, the city council would not grant the necessary funds. Mason then offered his services on a trial basis for one year. In 1838 a favorable report revealing the positive effects of music on the children prompted the Board to include music as a regular subject in the curriculum of the Boston schools. Other cities soon followed Boston's example.

As stated in a previous column, Mason's concepts were prevalent in West Virginia as revealed by Lucy Robinson, supervisor of music in the Wheeling schools, in a paper read to the State Education Association in Clarksburg in 1897. She claimed that unless music could be taught to serve as a valuable aid in the physical, mental, and moral culture of the pupil, it did not belong in the common schools. C.H. Congdon in 1914 likewise confirmed the cultural and disciplinary values of music. By 1920 music was included in most high schools in the independent districts and was being gradually introduced as a curricular subject irk their elementary grades.

Hannah M. Cundiff of Marshall College, co-author of the widely used School Music Handbook, and Lydia 1. Hinkei at West Virginia University had promoted music as a curricular subject and were teaching classroom procedures and techniques to prospective music teachers and supervisors. No one could have foreseen the quantity and diversification of the present school music programs. As for its quality, subjective evaluations differ.

Tacet - for now.

He was a pioneer in the development of school orchestras, a philosopher, author, administrator, editor, conductor, recipient of a doctorate, MENC president, and chairman and member of national educational and research groups too numerous to list. He was self-educated, was a high school dropout, never attended a college, but he was one of the most influential music educators in the nation through his years of teaching and writing from 1918 to 1956. Today's teachers may not know of him, but they probably are utilizing some of his philosophy and methods in their teaching.

Though this great leader, Dr. Will Earhart, was Director of Music from 1912 to 1940 in the Pittsburgh Public Schools, just seventy miles north of Morgantown, there is no record that he ever appeared professionally in West Virginia. However, a number of his proteges and students from his graduate classes at the University of Pittsburgh and Carnegie-Mellon became teachers and administrators in West Virginia and, of course, throughout the nation.

When Earhart was Supervisor of Music in Richmond, Indiana, 1898-1912, the Richmond High School Orchestra - which he had developed - performed at the Music Supervisors National Conference (later the MENC). The supervisors could not believe what they were seeing and hearing - probably the first high school orchestra in the nation to achieve symphonic proportions.

The excitement created by this orchestra motivated the supervisors to go back home with an enthusiastic attitude about school orchestra. Earhart became an immediate celebrity. In addition to orchestral music, Richmond was one of the first to give credit for high school music elective courses such as harmony, music history, and chorus. Within the next two decades, 1910-1930, the community orchestra movement accelerated, due in large part to the many disciples of Will Earhart.

School orchestras did not exist in West Virginia before 1900. The first orchestras organized after the turn of the century have been called "private" groups, apparently because the students of private teachers were the nucleus. They really were community orchestras with adult musicians, private teachers, and school students joining together. In some areas there were recent immigrants from Europe who were quite skilled, and for whom music was integrated into their cultural background. They were anxious to play traditional European and American compositions. These community orchestras would usually perform at civic events, school assemblies, graduation exercises, and drama productions.

One of the earliest known performances of a school orchestra was by the Charlestion High School Orchestra at the State Education Association meeting in Charleston in 1910. J. Henry Francis, supervisor of music in Charleston, was the conductor. It is recorded that Morgantown High School was also attempting to organize an orchestra about this time.

Orchestras were started in Moundsville High School under the direction of Mary Nesbitt, supervisor of music. and in Huntington High School. director unknown, in 1915. A couple years later orchestras were organized in the Parkersburg junior and senior high schools. The Triadelphia District (Wheeling) established an orchestra in 1919 under the direction of Bess McGranahan, supervisor of music. It is obvious that only the large high schools in the independent districts had enough students studying with private teachers to form an orchestra.

Information on the size or instrumentation of these school and community orchestras is unknown. It would be interesting to know - but what's the difference? Music groups start with what is available and then discriminately develop quality and quantity. One can conclude, however, that stringed instruments dominated, possibly including some mandolins, in producing the traditional orchestral timbre.

In 1927 the first All-State Orchestra organized by Glenn Sailack of Beckley, Karl Brown of Terra Alta. and J. Henry Francis (who was also the conductor), performed at the State Education Association Meeting in Charleston. Interest in orchestra was spreading as shown by the fact that 143 students participated in the 1931 All-State Orchestra from the following twenty-four schools: Beckley, Buckhannon, Charleston, Dunbar, Elkview, East Bank, Elkhorn, Fairview, East Fairmont. Huntington, Morgantown, Mark Twain at Stocesbury, Montgomery, Martinsburg, Parkersburg, Pennsboro, Poca, St. Marys, Spencer, St. Albans, Triadelphia, West Union, Weston, and Wheeling.

(WVMEA Historian Clifford Brown has invited Patricia Ann Green, Associate Professor of Music at Marshall University to be guest columnist for the All-State Orchestra history.)

My first memory of the West Virginia All-State Orchestra was when it met in Huntington on 13 November 1942. 1 had just turned twelve years of age and was asked by Mr. Leland Arnold, Cabell Country string instructor, to play in the All-State Orchestra. I didn't understand why I was asked to play, except that maybe they needed extra string players, and a number of junior high students from the Huntington area were asked to play. I remember being very excited and still recall how I loved the big, beautiful sound - or at least I thought it was beautiful at the time - an orchestra trade and the thrill of being a part of that sound. The conductor was Dr. John Warren Erb of New York University. At that time the All-State Orchestra was held in conjunction with the West Virginia Principals' Association meeting.

The orchestra members that year received a card with a picture of the orchestra in lieu of the usual orchestra pin. This was done to conserve essential metal for the war effort - World War 11, that is. I still remember the tryouts for the first chair; it made quite an impression upon me at the time. Only the first four chairs were placed by tryouts; the instructors placed the rest of the students. I am sure this was due to lack of time - time which was needed to rehearse. Mariam Wheeler of Huntington High was placed in the first chair, and our own David Becker of Huntington East, now Cabell County supervisor of music, was placed in the second chair. I personally made up my mind at that time that one day I would sit in that first chair position.

The All-State Orchestra was discontinued for several years because of World War II. The next All-State Orchestra I remember was the 15th annual concert held at the Ramsey Auditorium in Bluefield on Friday, 5 April 1946. Dr. John Warren Erb was again the orchestra director for the concert. The program included: Overture to Iphigenia in Aulis by Gluck, "Lucio Silla" by Mozart, "Andante Cantabile" by Tchaikovsky, "Malaguena" by Lecuona, "Cripple Creek" by Stringfield, and "Finiandia" by Sibelius. This was quite a program to put together in three days, since the orchestra had no extra rehearsals. I remember how I personally loved the long rehearsals of intense practice. I felt a real sense of accomplishment.

Schools and instructors represented in this concert were: Beckley, Glenn Sallack; Burnsville, Autumn Amos; Charleston, Christine Johnson; Charleston Stonewall Jackson, Julian Spencer; Clarksburg Washington Irving, Mr. Mayer; Clendenin and Elkview, Dewey Canfield; Elkhom, Elizabeth Jackson; Harrisville, C.C. Arms; Huntington and Huntington East, Leland Arnold; Middleboume, Van Hom; Northfork, W.J. Skeat; Parkersburg and Parkersburg DeSalle Academy, Gladys Sorsby; Spencer, Karl Brown; St. Marys, Mrs. W.B.J. Corrnany; Terra Alta, Mrs. McConnell; War, William Skeat; Welch, Mr. Wade; Wirt County, Evelyn Newhart; South Charleston, Mr. Raspellaire.

I noticed in the program, while working on this article, that internationally known composer George Crumb played clarinet in this All-State Orchestra. I also noticed that a number of orchestra directors also prepared students for the All-State Chorus. These included Elkhom, Elizabeth Jackson; Harrisville, C.C. Arms; Spencer, Karl Brown; Wirt County, Evelyn Newhart; and Beckley Woodrow Wilson, Glenn Sallack. (To be continued).

The 16th annual All-State Orchestra concert was held in the Morgantown High School Auditorium 18 April 1947 with Dr. John Warren Erb again as director. I had the privilege of being concertmaster for the orchestra that year, and I remember that Dr. Erb needed help to step on and off the podium because of his advanced years--BUT--he was still able to "crack the whip," and did we work! The program that year was: Overture to Egmont by Beethoven, Prelude to Hansel and Gretel by Humperdinek, "Karelia Suite" by Sibelius, "Minuetto in Bb" by Bolsoni, "Minuet in G" for string choir by Valensin. and the "Procession of the Grail" from Wagner's Parsifal.

As I consider the schools and teachers represented, I have fond memories of outstanding teachers who left strong impressions on me because of their musicianship, integrity, love for music, and their love, concern, and patience for music students leaming the art of making music. These persons included Glenn Sallack of Beckley; Richard Wellock of Beaver High, Bluefield; Frank Gelber of Parkersburg; Karl Brown of Spencer; C.W. Brown of University High, Morgantown; and John Brisbane of St. Marys.

At that time I did not know that in 1952 and 1953 1 would be preparing students from St. Marys High School for All-State Orchestra. Schools represented in the orchestra for 1947 were: Beckley (Glenn Sallack), Beaver, Bluefield (Richard Wellock), Charleston (John Hiersoux), Stonewall Jackson (Julian Spencer), Washington Irving, Clarksburg (Henry Mayer), DuPont (L.L. Carson), EMns (C.H. Siedoff), Elkhorn (Elizabeth Jackson), Huntington East (Leland Arnold), Huntington (Leland Arnold), Parkersburg (Frank Gelber), Morgantown (Enunet Sinnnons), University, Morgantown (C.W. Brown), Sistersville (E.E. Van Horn), South Charleston (O.E. Raspellaire), Spencer (Karl Brown), St. Marys (John Brisbane), Terra Alta (Mrs. McConnell). I remember that only schools which had string players could enter students who played brass, woodwind, and percussion instruments.

As stated, my next acquaintance with the All-State Orchestra was as an instructor. After those two years I had very little connection with the orchestra except as a listener. It is common knowledge that the orchestra-- particularly strings--hit bottom for a few years, but with the resurgence of strings throughout the country and the hard work of dedicated string and orchestra directors throughout the state it has more recently made steady progress - year after year.

Today's music teachers may not realize how much non-school groups have contributed to the development of music education. One of the earliest and most influential groups was the West Virginia Federation of Music Clubs. It was organized in Clarksburg in 1917 under the auspices of the Marcato Music Club "to stimulate an interest in good music and the encouragement of musical education and native creative talent." An early convention program of a meeting in Parkersburg reveals extensive efforts to establish artist bureaus and to study public school music credit systems, community and municipal music, American music, and programs by club members and guest artists.

By 1919 the following local clubs were organized in the state: Charninade Club, Welch; Buckhannon Music Club, Buckhannon: Fairmont Choral Society, Fairmont; Madrigal Club, Grafton; Music Teachers Association, Clarksburg; Music Department of Women's Club, Parkersburg; Weston Music Club, Weston; Woman's Music Club, Grafton; and Woman's Music Club, Morgantown. By 1929 there were eighty-eight clubs in the state with a total membership of approximately 2500. State contests in piano, voice, violin, high school orchestra, glee club, band, church choir, and composition had evolved. The total membership by 1954 was approximately 3000.

In 1958, with the American Music Conference and the National Recreation Association, the Federation sponsored National Music Week. West Virginia is the only state to have received an annual individual scholarship from the National Federation of Music Clubs for opera coaching. The recipient studied under Boris Goldovsky, who directed the Oglebay Institute Opera Workshop in West Liberty and Wheeling. J. Henry Francis, one of the organizers of the WVMEA, was somewhat of a catalyst between the Federation and the public schools when he served as Director of Music in the Kanawha County Schools. He was a long-time member and officer in the Federation along with being involved in statewide activities of the WVEA.

The music clubs have spearheaded activities and projects in schools and communities, developed music contests, raised funds for scholarships or other student assistance, provided music in hospitals, grassroots opera, music in industry, folk music, and sacred Music. We owe a debt of gratitude to those dedicated individuals who helped to establish music as an integral part of school and community life throughout West Virginia.

[Much of this information about the Federation of Music Clubs was extracted from the West Virginia University doctoral dissertation of Owen West, formerly a member of the music faculty at West Virginia Wesleyan.]

Brown had been a leader in West Virginia music education since joining the faculty at West Virginia University in 1945. He was instrumental in re-organizing the WVMEA into its present structure, and from 1952-1955 he served as the first president of the new WVMA. Cliff also provided much of the leadership that led to the founding of NOTES A TEMPO with Walter Coplin as the first editor.

He served as chair of music education at WVU until he became assistant dean of the College of Creative Arts in 1966, a position he held until his retirement in 1974. At the time of his death he was serving, the WVMEA as historian. Cliff was responsible for seeing that the official WVMEA archives were organized in the West Virginia Collection of the WVU library.

His wife, Carolyn Henderson Brown, taught for many years in schools in Uniontown, Pennsylvania, and in Monongalia County. She, too, was very active as an educator and was well known throughout the state.

Memorial services were held at 11 a.m. Friday, 18 November in the First Presbyterian Church of Morgantown. Interment was in the Oak Grove Cemetery, Uniontown. Survivors include two daughters, Mrs. Susan Hardesty of Ripley, WV and Ms. Nancy Grayson of Spring, TX. and three grandchildren.

The WVMEA and West Virginia music education owe a great debt to Cliff Brown and his work. He and his wife will be missed.

In 1981 the MENC national office requested that the WVEA create the position of historian in order that records pertaining to music education in our state might be preserved. The WVMEA Executive Board appointed Clifford W. Brown in June of that year to be the first historian, and he served in this capacity until his tragic death in November of 1988.

Since January 1989, when I accepted the WVMEA Executive Board's invitation to assume the responsibility of historian, I have studied the work which Clifford Brown began and have grown very appreciative and grateful for his interest those seven years.

He was well suited for the position of historian. He had been very active in music education since the late 1940s, serving as WVEA president as well as holding other positions. He had collected many documents concerning the WVEA over the years, and he gave his personal collection to the archives at Colson Hall at West Virginia University today.

During the past months I have been studying part of what he collected, It includes 25 boxes of material relating to music education in our state, and it is available at Colson Hall to anyone who wishes to use it for research. Because of its value, it is placed on reserve. Please feel free to look at any of the documents whenever you are on the WVU campus. Materials on file include minutes of past meetings, conference programs, records of affiliate organizations, and records from past presidents. Some materials date from the 1920s.

We need to continue to add to and collection because and value of history lies in the perspective it gives us is we take up the problems of the present. The activities of today become the history of tomorrow; therefore, we should begin now to preserve what we are doing this year. Printed music programs, newspaper articles, pictures (both past and present) should be sent to me during the year so they will become part of' our heritage. My address is: 46 Rohr Avenue, P.O. Box 6, Buckhannon, WV 26201. I hope each of you will take time to send anything you think would be interesting and of value to music educators in the future.

Music educators in our state have long recognized the importance of all-state groups, which give talented young musicians from across the state an opportunity to perform with their peers in an outstanding organization.

All-state groups in West Virginia were first organized during the late 1920s. In 1931 the fifth annual West Virginia All- State Orchestra and Chorus (there was no All-State Band) gave concerts on the evening programs of the West Virginia Education Association meeting in Charleston. It was not until many years later that the groups played as part of the WVMEA Conference.

Orchestras were very strong in those days as 143 students from 25 schools comprised the All-State Orchestra. In the All- State Chorus 198 students from 25 schools participated. The programs were presented to capacity audiences at the Charleston High School auditorium.

The West Virginia School Journal reviewed the concerts and stated, "The instrumentation of' the orchestra left some things to be desired in the way of some of the woodwinds and some of the lower string parts and was also a little overbalanced in the brass and clarinet sections. The concert given by this organization, however, was accounted the finest work, yet heard in West Virginia." In reference to the chorus concert the School Journal wrote, "'The organization of the voice parts in the chorus was beautifully balanced and from many sources was regarded as the best concert that has been heard in this series of assembling the young folks from the high schools in West Virginia."

We should always recognize the contributions of music teachers who work behind the scenes. Some of their names appear frequently throughout the years. These programs were under the general direction of J. Henry Francis, director of music education in the Charleston schools. Karl V. Brown, supervisor of music in the Spencer schools, was general chair for the chorus, while the chorus conductors were Marie D. Boette, supervisor of music in Parkersburg, and Francis. The accompanist was Christine Johnson of Point Pleasant. Henry C. Shadwell, director of industrial music in Huntington, served as general chair for the orchestra, while the directors were Francis and Shadwell. Sectional directors and their schools included Lucy Jackson, South Charleston; Virginia Cooper, Moundsville; Olla Walton, West Union, Gladys Medley, Elkview. Magdalene Servais, Dunbar, Virginia Brand, Wheeling (Triadelphia), and Alta Cherrington, Huntington.

Sectional directors for the orchestra were John Swales, Parkersburg; Katherine Moore, Fairmont, Marguerite Cormany, Stotesbury; Sadie Lidin, Pennsboro; F. Oliver Edwards, Wheeling; Stefano Ceo, Wheeling (Triadelphia); W. Conrad Paff, Saint Marys; Harry Bowman, Montgomery; F,.W. Nalbach, East Bank; Glenn Sallack, Beckley; and M. F. Fortney, Elkview.

In lieu of an all-state band. a band contest was promoted by the Wheeling Chamber of Commerce in witch nine high school bands participated, including five from Ohio. Walter Metrezat, director of the West Virginia University band, was the adjudicator. The West Virginia bands were Triadelphia District's (Wheeling) state champions, Warwood (Wheeling), Wheeling, and New Martinsville. Because of hard feeling created by the band contests, they were eliminated in 1935 and replaced by "festivals". (More about this later).

(Please send pictures or other items of historical interest to John L. Puffenbarger, P.O. Box 6, Buckhannon, WV 26201).

When Charleston's Capital High School opened this fall displaying the latest in technology, educators were impressed as they observed state-of-the-art equipment throughout the school. They realized that education is changing to meet changes in our society.

Music education has shared in these changes over the years. For example, methods for developing half-time shows have changed from a task that once took weeks to finish to one that can be done in a day. About 1964, Owen West, then West Virginia Wesleyan College band director, remarked that he had a habit of sitting in the bleachers at Ross Field looking at the yard lines and trying to visualize how his next football half-time show would look. He would take drawings of the show, look at them and then at the field to see if the spacing and depth of the field would be correct.

During the 1950s through the mid-1970s band directors designed formations by penciling circles on a worksheet which had the outline of a football field. During the 1960s the Instrunientalist magazine advertised a magnetic board complete with magnetic objects representing bandsmen. These could be moved around and then circles drawn on a paper football field.

Prepared dittos with the outline of a football field could also be used to draw circles. These could be reproduced and given to squad leaders. Many hours were spent drawing several pages representing every six or eight steps of a show. One took much care that band members would not collide with each other. In order to gain proper perspective, band directors used ingenious methods such as standing on tall ladders, the roof of a car, the top row in the bleachers, or even the roof of a school!

During the 1970s music publishers designed and printed shows which were sold along with the musical selections. Sometimes these included entire shows and music designed for a 64 or 98-piece band. Most bands A'cre of different sizes, so the director still had to adapt the shows to his particular band--which meant rewriting the entire show in some cases.

Recently the use of computers has made the drudgery of designing a show almost fun. Software is available which allows information such as the size of the band or type of formation desired to be fed into the computer. Thus, a complete show can be designed in as little as 15 minutes. The computer will also check footstep by footstep to see whether any head-on collision is probable. It will check depth of field, angles, and spacing from several points of view. Band directors today may also choose to hire a computer specialist to design, write, and print a show for them.

In contrast, Bob Hill (Morgantown High School director in the 1950s and early 1960s) said once that before the school year was over he would begin drafting designs for the next half-time season. Even when he went on vacation he would find himself drawing formations in the sand. His summer would have been more enjoyable if he could have had the assistance of today's computers!

(Note: Prior to 1957 twelve or more region bandfestivals sent selected repre- sentatives to the state band festival in Huntington. The following is an outline of the guidelines which were developed to organize the state into four area festivals, held at Fairmont, Clarksburg, Bluefield, and Huntington).

Since the formation of the West Virginia Secondary School Activities Commission in April 1955, officers of the Commission had met several times with representatives of the West Virginia Bandmasters Association and other affiliated groups to formulate a program of activities and work for achieving the objectives of the Commission.

Consequently, the Bandmasters Association submitted a program of band festivals for consideration at the annual meeting of the Commission. The bylaws directed the Commission's Board of Appeals "to divide the state into sections and regions for the purpose of band festivals ... and to determine the time, place, and management of festivals." While subsequently working on specific details, an outline for four areas (regions) and twelve regions (sections) was printed and distributed, including a fee schedule to make them self-sustaining; it included a plan of adjudication by recognized band authorities.

The Board of Appeals accepted the following recommendations: (a) that regional festivals be permitted at the option of the member schools in that region; (b) ad- judicators will be selected by representatives of the local participating units; (c) the Commission will not require a fee for region festivals because the Commission will not incur any expense. Therefore, the plans for regions followed the same arrangement as in previous years.

In the ten regions under the supervision of deputy and assistant deputy board members, member schools met to formulate plans for twelve band festivals. This group established the fee, selected the adjudicators, and conducted a one-day festival within the bylaws printed in the handbook of the Commission. Festival dates were optional provided they were held on or prior to 27 April 1957. Participation in region festivals was limited to approximately the same boundaries as in former years.

Many schools participated the year before (1956) in classes different from those designated by enrollment. Following a precedent established in other activities, entrants were permitted to elect to participate in the music selections for the next higher class. The fact that participation actually rested on the music selected by the state committee for class A, B, or C provided no conflict if the director believed his band could play the more difficult selections. The process of adjudication furnished the "yardstick" in measuring such qualification.

(If you have items of interest concerning the history of music education in West Virginia, please contact John L. Puffenbarger, WVMEA Historian, 46 Rohr Avenue, P.O. Box 6, Buckhannon, WV 26201).

In 1918 Miss Marguerite Conner organized the first glee club, comprised entirely of girls, at St. Marys High School, while the first boys' glee club was organized in 1921. Music prospered in the school, and in the spring of 1922 the students presented their first operetta, The Gypsy Rover. However, it was not until 1930 that the first concert was held with Mrs. Olla Walton serving as director.

The high school band was organized in 1928 under the leadership of George Dietz, while three years later W.C. Paff became the director and organized a senior and junior band as well as a school orchestra. The music program at St. Marys High School continued to grow until by the end of the 1940s the band, orchestra, and chorus were all enjoying great success.

In 1948 Lucile Keith VanValey directed the choir and the accompanist was Marguerite Strope Cormany. Mrs. VanValey was an excellent choral director as well as an accomplished violinist. That year the glee club had sixty-four members. At this same time the band and orchestra were directed by John D. Brisbane. The band had about eighty and the orchestra around fifty members.

However, a problem did exist. The stage in the school auditorium was not large enough to accommodate the increased size of the groups, so at this time the Christmas concert was moved into the Main Theater across from the railway depot in downtown St. Marys. At the first concert the mixed chorus formed the outline of a Christmas tree, with one person on top as the "star."

Since the Main Theater proved suitable for such programs, the annual spring concerts were also moved from the school to the theater. The stage was large enough for each of the performing groups, and the auditorium could easily seat the audience. About this time the band was also able to obtain new uniforms.

A few years later a new auditorium was built at the high school, and the Main Theater subsequently became a store. Lucilel VanValey passed away during this past summer of 1989, while Mr. Brisbane later worked with the admissions department at West Virginia University until his retirement. He now lives in Morgantown.

(Mrs. David H. Delong of St. Marys supplied information for this article.)

This past summer marked the end of an era in West Virginia music education. The West Virginia Bandmasters Association annual summer clinic was not held. In 1989 the membership had voted to discontinue the clinic because of declining attendance and lack of purpose; it had outlived its usefulness.

Before 1964 two-day clinic meetings were held in the fall, while annual meetings occurred during the WVMEA Conference. Band directors would gather to select the required music for the spring band festivals, conduct business, and develop programs and projects. During one of the last December meetings Wayne Reger presented a trumpet workshop, a banquet was held for the eighty or so participants, music publishers distributed sample miniature scores, music stores displayed their wares, and music was shown on a large screen while directors listened to recordings.

However, several band directors complained that there was not enough time after the clinic to order music and then prepare it for the spring festivals. They also felt that attendance would be better in the summer (which proved to be incorrect). So, another format was sought.

On 6 December 1963 the WVBA Executive Board met at Morris Harvey College, and among other items discussed a proposal presented by Randall Hall to change the fall clinic from December to July or August. At the WVMEA Conference in Huntington the following April Francis Borkowski invited the WVBA to hold their first summer clinic during the WU Fine Arts Camp. The players and faculty would cooperate to make the session a success and could furnish a clinic band. The invitation was accepted, and the meeting was a success.

In 1965 approximately sixty directors attended the second two-day summer clinic at Marshall University. President Ron Wood noted that this was about 25% of the total WVBA membership, and he was concerned about the lack of active participation at the meeting. For several years thereafter attendance averaged about fifty.

In 1966 Howard Bell did an outstanding job hosting the summer clinic at Marshall University, providing a clinic band to read proposed required festival music, along with reed and marching band workshops. .The WVBA voted at this meeting to elect officers every two years.

Over the years the summer clinics continued to have outstanding clinicians. These included Al Ascercion, Bill Moffitt, Harold Bachman, Nilo Hovey, Bud Udell, Harry Faulk, and Ernie Bastian. Fred Ross and Charles Gorby, who were (and are) not only music dealers but VIVMEA members as well, made most of the arrangements to acquire the clinicians. In addition WVBA members held panel discussions and gave demonstrations. Some of the sessions concerned topics such as "How to Plan an Out-of-State Trip," "Scoring for the Marching Band," "Fund Raising Ideas," and "Correct Clarinet Embouchure."

Meetings were held at various locations such as Mt. Chateau, WVU, Marshall, West Liberty, W.Va. Wesleyan, W.Va. Tech, Concord, and Shepherd. Who could forget the fellowship enjoyed by all the participants at Shepherd College? For instance, Joe Henry was a delight with his unique story telling. Band directors built friendships in a competitive music world that last to this day.

The demise of the summer clinic, however, was on the horizon. Some colleges and music stores began hosting summer workshops on their own; high schools organized band camps; more summer opportunities in music education became available outside the state. Since the WVBA had earlier changed the festival plan and bands no longer had to perform a state required number, the main purpose of the summer clinic was eliminated. As a result attendance plummeted. It was a sinking ship with no freight to throw overboard. Rather than having it repaired, it was cast aside. However, fond memories remain with those who remember the quality of music education in many of the sessions.

(Please send pictures and items concerning West Virginia music education history to John L. Puffenbarger, WVMEA Historian, P.O. Box 6, Buckhannon, WV 26201).

As a few West Virginia music teachers sat down to breakfast at the Hotel Jefferson in Richmond, Virginia on 5 April 1927, several thoughts ran through their minds. They were attending a sectional conference of the National Conference of the Education Association and were combining business with the pleasure of having breakfast together.

They were troubled by the fact that of the 300 music supervisors and teachers in 389 school districts in West Virginia, only 25 were members of the National Conference, and they discussed ways to raise that total to one hundred percent of West Virginia music teachers. As a way for improving West Virginia music instruction, Marie Boette, serving as secretary, reported, "It was suggested that every normal school require two hours a week for music, and this amount of time [was] to include laboratory work, as frequently work done outside the classroom was found to be incorrect and inadequate."

These teachers had traveled a long way to Richmond, probably by train. The ideas they exchanged would affect West Virginia music students from then until now. Minutes of the meeting do not indicate who thought of the idea, but they discussed plans for an all-state orchestra and an all-state chorus of school children who would perform at the next meeting of the State Education Association to be held in the senior high school building in Charleston. Did music teachers from other states first discuss the idea of all-state groups, or did someone among the West Virginia teachers think of the plan? Did other states already have all-state groups or were they discussing the new plan, also?

J. Henry Francis, supervisor of music in Charleston, was appointed to make plans for the all-state orchestra. He and other unknown co-workers labored long hours assembling the orchestra, which performed on 4 November 1927 at the State Education Association meeting in Charleston. Plans for the all-state chorus were not developed in time for the Charleston meeting, so the group recommended that it be organized for the meeting in 1928. However, Richard J. Scarton noted in 1962 that the first performance of an all-state chorus was 7-9 February 1929 in Parkersburg.

An All-State Orchestra, Band, and Chorus Association was organized in Charleston 7 November 1930 to sponsor and promote the three groups. This association was endorsed by the State Education Association Music Section when they met at the First Methodist Church in Charleston on 14 November 1930. One year later, however, the Music Section voted to dispense with the association and replace it by a board of directors consisting of five members.

While an all-state band was included in these discussions, it was not organized at this time. On 5 November 1937 Dr. Frank Cuthbert" dean of the School of Music at West Virginia University, expressed the desire to have an all-state band represented at state music meetings. Thus, the present "AWMEA All-State Band is the youngest of the three high school all-state groups.

(Activities of today become the history of tomorrow. Please send current or past items of West Virginia music history--including photos--to John L. Puffenbarger, P.O. Box 6, Buckhannon, WV 26201).

Each February young people throughout West Virginia participate in Solo and Ensemble Festivals. The number of participants has been increasing because students and their teachers realize the benefits of such performance. No other activity does as much to develop the fundamentals of good performance such as balance, rhythm, intonation, and style.

Individual schools have promoted solos and ensembles for many years. Northern panhandle schools such as Weir and Moundsville encouraged practically all students in the band program to play a solo or join an ensemble. Bandmasters such as Loren Mercer and Dale Parks knew that musicianship learned in small groups would strengthen the school band. Now Chester Junior High and Bridge Street Junior High (Wheeling) follow this plan.

The West Virginia Bandmasters Association initiated a program of Solo and Ensemble Festivals in 1962-63. with regions somewhat patterned after the old region band festival format. Adjudicators at the region festivals recommended students who received a "I" rating to attend one of the two area festivals Area judges in both the woodwind and brass-percussion categories would select two finalists who would then perform on a recital at the WVMEA Conference.

One of the most important actions to come from the 1967 Parkersburg WVMEA Conference was revision of the Solo and Ensemble format. The festivals would no longer be a Bandmasters Association project, but would be expanded to include the entire WVMEA and would be under WVMEA administration.

The WVMEA Solo and Ensemble regions corresponded to the State Department of Education regions. A state coordinator was selected to coordinate the regional festivals and to serve on the WVMEA Executive Board. Region coordinators were appointed to obtain a suitable festival site and to administer festival details. After the 1967 WVMEA Conference, WVMEA President Ron Wood asked John Puffenbarger to serve as the first state coordinator. Other coordinators have been Saul Fisher, Michael Berry, Harry Faulk, James Guarriero, and presently Fred Meyer. A listening committee (the state NIMAC committee) was appointed to select ten events to appear at the WVMEA Conference.

This new format was very successful. Solo and Ensemble Recitals at the 1968 and 1969 Conferences were expanded to include a pianist. vocalist, classical Guitarist, and several wind instrumentalists.

Several counties continue to hold their own festivals. Jack Basil organized a festival in Randolph County a few years ago. Recently Robert Dunkerley has served as the Randolph Countv Solo and Ensemble festival chair. Students in all phases of music participate in the one-day Randolph County event. The adjudicators select two finalists who then perform on the local television station. Last year Brian Flanagan served as chair of the First Tucker County Solo and Ensemble Festival.

(Activities of today become the history of tomorrow. Please collect current or past items of West Virginia music history--including photos--and keep them on file at your school. And send copies to the WVMEA historian so they can be placed in the archives at Colson Hall, WVU.)

Assistant Bandleader Lt. 3. Harold Fultz. age 42, was among the nineteen U.S Navy Bandsmen killed in the crash of a Navy transport plane with a Brazilian airliner in February 1960. The bandsmen were members of the U.S. Navy Band who were flying to Rio de Janeiro to participate in the festivities surrounding President Eisenhower's tour of South America. The band was to play at a reception the President was to give for the President of Brazil.

Lieutenant Fultz was a native of Buckhannon. where he attended high school. His wife was Luna J. Fultz and his parents were Mr. and Mrs. L.G. Fultz. He became a member of the U.S. Navy Band in 1935, when he was the honor man of the first Graduating class of the Navy School of Music. He served the band both as soloist and administrator, and in the spring of 1956 he organized the Navy Sea Chanters, which became an integral part of each of the band's concerts. It was also in 1956 that he received his commission.

Fultz accompanied President Roosevelt to the Pan American Conference, and he went with President Truman to Potsdam. He received a Presidential letter for his service and was awarded the Medal of Commendation. He was instrumental in forming the All-Eastern Band and Instrumental Clinic and served as chair for its first two years.

Lieutenant Fultz and thirteen other Navy bandsmen were buried with full military honors at Arlington National Cemetery. About five hundred mourners led by then Vice President Richard Nixon paid final tribute to the musicians. It was a great honor for West Virginian Lt. Fultz to have risen to the high musical position he held.

Item: "Budget cuts have hurt many schools' efforts to teach children to love music, art. and drama ... More than half the state's high school students never take a class in fine arts or performing arts." -- Charleston Gazette-Mail, March 10, 1991.

This is unfortunate news, since over the years many teachers of the arts have tried to spread all aspects of music and art education throughout West Virginia. They have seen programs grow only to see quality education including the arts begin to diminish today. Leaders in West Virginia arts education include such persons as Harrv Leeper, a former teacher at East Fairmont High School, who was a participant in forming the first Thespian drama clubs--an idea which spread nationwide. East Fairmont holds Thespian Chapter No. 3.

During the 1950s, the art supervisor in Marion county hosted a radio program during the school year. Schools provided elementary students with cards on which were printed works by some of the world's most famous artists. The supervisor would describe the artists' lives as well as the aesthetic values of the pictures to help the children develop an appreciation of art.

In other counties supervisors of music and art would travel to schools to assist teachers with lessons, teach a class, or explain techniques. Today special traveling teachers visit many schools to introduce all the students of the county to the arts.

Other innovations over the years have enhanced the world of music for students. Remember the toy orchestras organized in the primary grades which used sticks, drums, and cymbals, and even had a student conductor? Many counties held "song fests" for choirs, and at the day's conclusion the county chorus would present a concert. High school bands held exchange concerts, with friendships being made in distant cities.

Bands began to participate in state band festivals, solo and ensemble festivals, and jazz band festivals. Choirs sang in choral festivals. Some schools staged musicals, while others invited students to perform in talent shows.

Many of these programs are still in our schools today. Let us hope that the economic climate in our state will permit us to continue to expand the arts programs in all schools and thus insure future generations of students with a quality education.

(On a Saturday in February 1991 1 had the pleasure of sitting in Charles Gorby's office, reminiscing with him about his musical career, which spans several decades. Mr. Gorby, who is now eighty-one, continues to be active in music circles. This is the first of two articles).

"My uncle always said to me, 'Charles, if you will prepare yourself to be a band director or a shop teacher, you will never be without a job." -- Charles Gorby.

When a person thinks of Gorby's Music House and its proprietor, Charles Gorby, one naturally thinks about band instruments, sheet music, and pianos, but that is only part of the story. Music education has also played an important role in his career.

Charlie (as he is known to his friends) was raised in the Ohio River town of New Martinsville, and it was here that he met his wife, Mary. In the tenth grade he was encouraged to play trumpet by his school principal and, also, his father. In 1926 his father went to Wheeling and purchased the instrument for $105. Charlie helped pay for the trumpet by working part time in his father's grocery store.

When Charlie was a junior in high school, Harold Leighty, (who taught Spanish and bookkeeping) was asked to give one period daily to start a band. Charlie was the first to report with his trumpet and, therefore, can take credit for being the "original beginner" of the Magnolia High School Band.

He attended Ohio University from 1928-1932, earning a B.S. degree in education with a major in industrial arts and a minor in music. He was in the marching and concert bands, orchestra, and brass quartet. He was, also, president of the band and still had time to join the track team. One of the boys on the track team organized a band and asked Charlie to play in it. His name was Sam Zarnocay, Jr., who is better known today as Sammy Kaye.

Charlie's first teaching job was in Kanawha County at the Loudon District Six-Year High School, where his monthly pay was $135. His duties were to teach mechanical drawing, electricity, woodworking, and to organize a school band. Starting with a brass quartet playing for a student assembly, the group grew to 16 players within a short time. During the first year rehearsals were limited to two per week. The second year brought daily rehearsals, while a second period each day was added for beginners during the third year.

The band boosters club met with the administration the following year and requested more time for band, suggesting that an instrumental music program be available to elementary students. The board of education approved the program, and a junior band was formed along with an elementary group.

The senior band played at all home and away football games and gave annual Christmas and spring concerts. It also played for many community functions. A five-piece German band known as "The Hungry Five" entertained many service club and social events.

During his time as band director at South Charleston High School Gorby helped form the West Virginia Bandmasters Association (serving as its first secretary) and the first state band festival. The theme of the festival was "Let us pace each other on the road to excellence." He also helped form the Kanawha County Band Directors Association.

To be continued.

"Gorby's is more than a music store-it's an institution."--Charles Gorby.

Charles Gorby's success in building the South Charleston band program prompted the H.N. White Company, a manufacturer of band instruments in Cleveland, Ohio, to hire him to promote and develop school bands in West Virginia and Virginia. At that time (1938) band instrument factories sold direct to consumers and schools, as there were very few band instrument dealers. And that's how Charlie Gorby became West Virginia's own "music man."

During the next four years he covered both states, selling band programs to community leaders, administrators, and school boards. He told them about the advantages of bands and talked about uniforms and trips. At the Covington (Virginia) High School, after giving his usual talk about the band he asked how many wanted to be in the band, and every hand went up except for the eleven boys on the football team. Student-grade trumpets, comets, clarinets, and trombones in silver finish and with cases sold for $40 cash or rented at $2 down, $6 C.O.D., and $3.60 for ten months. In many instances the band director would serve five schools, spending one day each week in a school. By the second year the bands were doing so well that a full-time director was hired for each school. Charles Gorby started over 150 school band programs in four years.

This part of his career continued until Decoration Day, 30 May 1942, when the government froze everything made out of metal: stoves, refrigerators, bicycles, and musical instruments. Gorby was out of business overnight. Then, at age 34, married, and with two small boys, he received "greetings" from Uncle Sam. He served in the U.S. Navy during World War n, directing a naval training station band and drum corps in Detroit, Michigan.

When he mustered out of the service in 1945, the H.N. White Company wanted to make him director of sales. Since his home was in West Virginia, he chose to become a dealer here, where he first sold instruments from his garage. The company sent him four horns, and he sold them. Then he bought six and sold those, bought eight and sold eight--and that is how his business grew.

His store officially opened in 1946 in a room over Vogue Dry Cleaners. At the end of the first year the business was incorporated, and then he leased a building on Seventh Avenue in South Charleston. The present Gorby's Music House was built in 1955, and was expanded in 1967. Sons Jerry and Steve, and wife Mary contributed to what became a family corporation. Mary, who was in the business from the beginning, handles the sheet music department, and Jerry is president and general manager. Steve was killed in a tragic airplane accident in 1985.

Over the years Charles Gorby has contributed greatly to music education in West Virginia. Gorby's sponsored its First Annual Stage Band Festival on 10 January 1959. The festival was held for fifteen years until the West Virginia Bandmasters Association took it over. Gorby's also held annual marching band clinics. Gorby's has supported the WVMEA and Charlie has twice served as exhibits chair and chair of printed programs for the annual Conference. He is an honorary member of Tau Chapter of Phi Beta Mu, national bandmasters fraternity. In 1989 he was inducted as an associate member of the American Bandmasters Association.

John Philip Sousa and his famous band stopped in Fairmont, West Virginia as part of a tour of the United States. Gustav Holst toured the United States as a lecturer and conductor of his own works. On December 31, Radio station KDKA in Pittsburgh, Pennsylvania successfully sent a "short-wave" program to England and Billy Rose wrote the hit song, "You've Got to See Mamma Ev'ry Night--or You Can't See, Mamma at All".

It was 1923, and West Virginia music teachers were meeting with college music educators to discuss the new Course of Study that was to be issued by the State Department of Education. J. D. Muldoon, Supervisor of the Division of Rural Schools, and George M. Ford, State Superintendent of Schools, had asked the teachers to work with other education groups to develop a booklet which would be issued to the 398 independent school districts in the state.

Music teachers have always been interested in promoting music curriculum in our schools. In 1904, music was included for the first time in the state manual for elementary teachers. As more school districts included music in their elementary curriculum and hired more music teachers, music courses of study were developed for each of the eight grades.

The Music Section of the 1923 West Virginia Course of Study was divided into four parts. The first dealt with a philosophy of music; second, Music In Rural Schools; third, a list of familiar songs which could be sung by memory; and fourth, an overview of the teaching of music by grades.

We do not know the names of the music teachers who contributed to the booklet, but we do know that they felt that the purpose of music in the elementary schools was not to make technical musicians but intelligent lovers of one of the noblest of the arts. They thought teachers should aim to give the child experience in music by bringing him in touch with songs of lasting value and to give him ability to stand the symbols of music and to interpret them in tones.

They felt that the curriculum should be divided into three periods. The first period, covering the first, second and third grades, was an experience-getting period; a great variety of rote songs being the chief feature of the work. The rhythmic work was to be carried out through imitation of rhythms in rote songs, through singing games, and through folk dancing.

The second period covering the fourth, fifth, and sixth grades was to be characterized as a drill period. It was to be the time for independent work; for facility in sight reading and for the working out of time problems. Rote singing was still continued, but in far less proportion.

In the seventh and eighth grades, a period of hero worship and strong ideals, the result of the preceding drill period would show the children's ability to sing and appreciate the best in music literature.

In all grades, constant attention was to be given to correct position, to the cultivation of the voice by the use of suitable vocalizes, to natural breathing, to enunciation and phrasing, to rhythm, to song interpretation and to individual effort. Written work was to be done throughout the grades at the discretion of the teacher.

After being part of the State Education Association (SEA) for more than ten years, state music teachers began steps to organize the West Virginia Music Educators Association in 1936. It was an exciting time for the young state organization. The All-State groups had been organized previously, and now their structure had to be changed as problems arose. When the music teachers did break away from the SEA, the WVMEA was formed to meet the changing times.

A question arose as to the size of the All-State groups at a meeting 29 February 1936 in Parkersburg's Chancellor Hotel with Oliver Edwards presiding. A questionnaire was mailed to music teachers to solicit their approval for limiting the groups to 75 members. Later, however, a committee recommended that the All- State Orchestra membership be increased in 105, while the All-State Chorus was to be limited to 150 members. A committee was appointed to screen applicants and to have authority to reject any over the limit. Another committee was to work with the All-State chairs to help select music and directors.

Teachers were informed that if they joined the MENC, the dues would be $4 with $1 being returned to the state. A $2 membership would provide a subscription to the Journal, with $1 being returned to the state.

In 1937 WVMEA officers met to discuss some problems which needed prompt attention. This was a new organization with no traditions. and new programs were being instituted. Correct parliamentary procedure was not always followed as there were no formal guidelines. Other discussion topics included inadequate student housing at conferences and which group should appear first on the All-State Concert--the chorus or orchestra. After discussion it was decided that the orchestra should be first.

Robert Clark, then president of the SEA, informed the VVVMEA officers that there was a lack of knowledge as to who had authority and who gives information to the SEA. He said that much had been done "out of meetings" by a group which had no real authority. Things seemed to be done out of necessity, and he recommended that the officers develop a plan for music education. They decided that a constitution was needed. and a committee was appointed to study the matter after considering a model provided by the Michigan Music Educators plan.

The SEA secretary, Mr. Hickman. suggested that the music teachers take better care of student housing, get programs to the SEA ten days before a meeting, and give better thought to organization. At the Charleston annual meeting in 1938 the new WVMEA constitution was read and approved. Amendments were then read and approved, Even though it was to undergo further revisions in future months, the VNMEA had a constitution!

On 14 January 1939 the Board of Directors voted to "let it be known their desire to become affiliated with the MENC." More about this later...

"Music education is on the march in West Virginia, and I feel sure that every school music teacher wants to join the parade." This quote by Claren M. Peoples, WVMEA President in 1946, appeared in one of the early editions of NOTES A TEMPO. The banner on the issue stated, "Published every so often for the W.V.M.E.A." The program for the first WMEA Conference held in Clarksburg in November 1946 was also outlined in this same issue.

NOTES A TEMPO, the official publication of the West Virginia Music Educators Association, continues today to keep members apprised of the latest happenings in music education in the state. Prior to 1939 the WVMEA communicated with the membership through articles in the S.E.A. (State Education Association) Journal or Bulletin.

The first time NOTES A TEMPO is mentioned in the WVMEA minutes was on 14 January 1939. The minutes state. "The matter of carrying on NOTES A TEMPO was discussed. It was decided to keep it. J. Henry Francis was appointed editor." Francis served as editor during the 1940s, and the mimeographed newsletter was published sporadically.

NOTES A TEMPO was "revived" on a more regular basis in 1951 as a mimeographed newsletter when Clifford W. Brown was appointed editor. The first printed edition was published in 1952, when Walter Coplin was appointed editor, and he served until 1959, when David Wallace became editor for one year. The current numbering system for issues of NOTES A TEMPO begins with the printed edition of volume, No. 1 of January 1952.

Under editor Earl Houts (1959-1960) NOTES A TEMPO was printed three times a year in November, January, and April. At this time the publication used a small magazine format of six inches by nine inches. While attractive. it was somewhat expensive to produce. In 1960 Jay Robinson became editor. and he was followed by Nels Leonard in 1963. Edward Wolf served as editor during 1964-65, with Nels Leonard returning to the position from 1965-67.

In order to make more news available to the membership with less lead time, in 1968 the NWMEA voted to have a monthly newsletter. To save on production costs the format again became a mimeographed newsletter, this time consisting of eight pages. John L. Puffenbarger served as the newsletter editor.

In 1971 the Executive Board asked editor Pat Fitzgerald to develop a printed version to appear monthly during the school year. He supervised the growth of NOTES A TEMPO until 1975, when Edward Wolf returned to the editor's desk and has continued in this position until the present (1992). The current publication schedule calls for seven issues during the school year, with issues appearing in September, October. November, January, February. March. and a combined April-May issue which includes reports from the conference.

Highlights of music education in West Virginia for the past forty-plus years can be found in the pages of NOTES A TEMPO. All issues from 1958 to the present are on file in Colson Hall at West Virginia University for public use. A second complete set of issues from 1952 to the present is in the Paul N. Elbin Library at West Liberty State College.

One evening in 1935 after a Huntington High School band concert, the director, Henry C. Shadwell, invited Carl McElfresh and Charles Gorby to his home for a few hands of bridge. His mother, with whom he lived, served refreshments. McElfresh. director of the Logan High School Band, and Gorby, director of the South Charleston High School Band, mentioned to Shadwell that it would be great if the various bands of the area could come together on a weekend for a band festival. The last band contest had been held on 20 April 1933.

Shadwell stated that "we could pace each other on the road to excellence." It would give bands an opportunity to compare one another's progress, and soloists would have a chance to be heard. The three directors agreed that the idea had merit, so Shadwell took the lead and began making plans to hold a band festival in Huntington in the spring of 1936. This first West Virginia band festival involved bands from West Virginia, Ohio, and Kentucky. Each band played concert selections for audition and received constructive ratings and comments from qualified judges, rather than have direct competition.

Although some bands wore uniforms, many wore white duck trousers, white shirts, and "overseas caps." The students were housed in private homes. and free meals were provided by the city of Huntington, which also bore the expense of adjudication and guest conductors.

After the auditions a parade was held, and this resulted in an amusing anecdote. A Sousaphone was found in the middle of one of the streets and was delivered to Mr. Shadwell. It was thought that the instrument belonged to one of the high school bands. Shadwell contacted all the bands which had participated, but no one was missing a Sousaphone. Later, the Owens-Illinois Company revealed that its band had lost a Sousaphone. It seems their Sousaphone player became tired, and since his feet were hurting he put his horn down in the middle of the street and went home!

Today Henry C. Shadwell is recognized as the founder of the West Virginia high school band festival. He was a junior high science teacher for the first nine years of his educational career, but his interest in music enabled him to organize the first Huntington High School Band in 1924. He then became supervisor of instrumental music in the Huntington and later the Cabell County public school system.

Shortly after his retirement in 1951 his death left a void in the life of those who knew him. But this void is somehow filled again every spring when bands travel to band festivals throughout the state and continue a tradition which he had helped start.

(Thanks to Charles Gorby for supplying background for this article.)

Many individuals have contributed to the growth and success of the WVMEA; one such person was Dr. J. Henry Francis. Dr. Francis retired as director of vocal music for Kanawha County Schools in 1947 after 44 years of service, and his influence is felt not only in that county, but also throughout the state.

Dr. Francis was a native of England and received his early training in music there. He once recalled that "as in all European countries there was much interest in singing. Members of our family used to assemble around the harmonium [a reed organ] on Sunday and sing hymns and anthems that were popular in that day and age. Grandfather would sing bass. Mother would take the soprano. Father the tenor, and I would sing alto and play the harmonium. We had some good times back in those days. and it was largely those song lessons that gave me my lasting love for music."

His family moved to America when he was 17 years old. and he continued to study music. For over five years he lived in New Bedford, Massachusetts, where he studied organ. Later he moved to Cooperstown. New York, where he became choirmaster and organist of Christ Church.

In 1902 he moved to Charleston, West Virginia, and assumed the organ and choir work, at St. John's Episcopal Church, holding that position until 1945. His work with the public schools began in 1903, when he was named director of music in the Charleston schools, where he instituted instrumental music--first with a small orchestral ensemble and later a band.

When West Virginia established the county unit school system, Francis became music supervisor of Kanawha County. Three years later another instrumental music teacher was employed to assist him.

Dr. Francis was active in state music activities and helped organize the All-State High School Orchestra in 1927, In 1928 he assisted with organizational plans to form the State High School Chorus. He also contributed his influence with ideas for a State High School Band Festival the same year.

Over the years Francis became well known for his administrative work, his teaching, and by his hundred or more compositions that were published nationally. Among these was the Christmas carol-anthem, "Sleep! Dear Christ Child," which was published by the Arthur P. Schmidt, Co. of Boston.

During 1912 and 1913 Francis served as chair of the Music Section of the State Education Association. He later helped to organize it as the West Virginia Music Educators Association. He served as WVMEA president in 1938 and 1939, and remained active in the WVMEA in later years. He was elected president of the Southern Conference for Music Education (now the MENC Southern Division) in 1931, and he served in that position for four years.

Nineteen thirty nine was an interesting year. After seeing the Wizard of Oz, starring Judy Garland, movie goers were anxiously awaiting the release of Gone With the Wind, and Maurice Taylor was putting the finishing touches on his new method book, Easy Steps to the Band. (Note: Mr. Taylor is now living in Montrose, Pennsylvania).

West Virginia music teachers gathered at Wilson Lodge in Wheeling's 0glebay Park on 3 November 1939 to refine the new constitution of the young West Virginia Music Educators Association. They also were to discuss ways to spread music further throughout West Virginia.

The WVMEA president, Dr. J. Henry Francis, clarified a question concerning membership in the WVMEA by reminding the teachers that the constitution stated, "Active membership in the association will be granted to any individual engaged in or associated with the teaching or supervision of school music in the state upon the payment of current dues." Dr. Francis read a letter from MENC President Curtis which stated that the application for MENC affiliation from the WVMEA had been placed on record for the consideration of the MENC Executive Board.

The constitution committee had studied several amendments to the constitution which were presented and adopted at the luncheon meeting. The constitution committee was re-appointed and asked to continue to study proposed amendments.

Music teachers present at Wilson Lodge were hopeful that music education would grow in West Virginia, and they were beginning to see some signs that it was growing. Forty-one schools were represented in the l939 All-State High School Chorus, which was directed by George Strickly of Cleveland, Ohio. Efforts were being made to expand music into more schools in the state. While several towns had their own music teachers, many rural counties did not. In 1939 twenty-four counties had "visiting" music teachers.

History repeats itself, only now the digits in 1939 are rearranged to become 1993. This coming March, fifty-four years later, WVMEA members will gather in a greatly enlarged Wilson Lodge in Wheeling's Olgebay Park to discuss music education in West Virginia, attend workshops by nationally recognized clinicians, and hear outstanding performances by honor groups as well as the All-State High School groups. Begin making plans now so that you can be a part of this history.

Richard Wellock may be retired, but he is still very much involved with music. Recently he finished a piano suite on which he has been working since his retirement in 1978. He has composed twenty-nine compositions for choir, band, piano, voice, handbells, and numerous other combinations, and he has several more in progress, including a major piece for piano and orchestra. Several of his compositions have been published, and most have been performed.

Last year he was invited to be the keynote speaker for the WVMEA County Music Directors fall conference. He displayed his love of music through an inspiring talk. Enthusiastic as always, he told of his long career with music education.

Wellock served as WVMEA president from 1957-58, and was president of the W.Va. College music Educators from 1961-62. As the first chairman of the Fine Art Division at Fairmont State College, he has had the opportunity to watch the college grow.

Born in Enid, Oklahoma, on 14 September 1917, he attended public schools in Springfield, Missouri. Encouragement at home played a major role in his introduction to music. Wellock comments, "My father was a fine musician and my sister was a professional singer in New York during the 1940s and 1950s. I had excellent training in my youth. The city I grew up in had an excellent music program, and I had some very good teachers. My grandmother taught me piano, and then I started practicing the trumpet. I was trained in classical music and played trumpet in my high school band and orchestra. I won first-place trumpet at the Missouri state and at the Oklahoma, Kansas, Missouri Tri-State Music Festivals."

Wellock studied trumpet with Winston Lyons at Southwest Missouri State College from 1928-1938 and with Joseph Gustat, principal trumpet of the St. Louis Symphony Orchestra, from 1933-1944. He studied composition with Will James, nationally known choral composer of Springfield, Missouri; Dr. T. Stanley Skinner at Drury College; and Thomas Canning at West Virginia University. he received a B.S. degree in music education, trumpet, and voice from Southwest Missouri in 1942. He played third to principal trumpet in the Springfield, Missouri Orchestra from 1936-1941. Wellock played in the U.S. Air Force Band, Jefferson Barracks, St. Louis, and Washington, D.C. from 1942-1946. He had short tours of duty in Goose Bay, Labrador, and Miami Beach, and was discharged from Greensboro, North Carolina, in February 1946.

He says, "I first came to West Virginia for the first time because of my first wife. We met at a choral workshop in Chambersburg, Pennsylvania, in 1940." Hortense Martin was from Athens, West Virginia, and was a music teacher at Oakvale High School. They were married in 1943, and their son, Rick, was born in 1947. Hortense died of cancer in 1959; Rick lives with his wife Dorothy and their two children, Amy and Reid, in Ligonier, Pennsylvania.

Having been the supervisor of music in the Ozark, Missouri, public school, Wellock became involved in many areas of music when he moved to West Virginia.

When Richard Wellock arrived in Bluefield in 1946 there were only fifteen in the high school hand. The band program was in poor condition because of an inadequate elementary program. Wellock began to develop musicianship tests which included scales, technique, arranging, and conducting, and by 1953 approximately four hundred students were in the total music program.

When Wellock became Mercer County music supervisor in 1953, he was concerned about the lack of general music in the schools. He began work on a comprehensive music program and completed an eight-year plan for the county in just five years. The music staff grew from thirteen to thirty-five teachers. and a county budget of $15,000 was added.

In addition to his music supervisory duties, Wellock served as WVMEA president from 1957-59, and as president of the College Music Educators in 1961-62. During, his term as WVMEA President he met with Rex Smith, West Virginia Assistant Superintendent of Schools, and learned that the State Department of Education was considering adding a supervisor position. but the specialization had not been determined. Wellock wrote a job description for the position of state music supervisor and presented it to the state superintendent. Consequently, the position of State Music Consultant was created. Dr. Myllan Smyers was the first person to hold this position. He was presented to the WVMEA membership at the Conference in Charleston in March 1958.

After Wellock's first wife Hortense Martin died of cancer in 1959, he moved to Fairmont. In the fall of 1960 he became chair of the music department at Fairmont State College, beginning his career at the college in the music wing of the administration building. "Those were wonderful years." Wellock said. "I saw the music department grow. We moved into a new fine arts building, which gave us an opportunity to expand our program." In 1966 he became the first chair of the Fine Arts Department. He developed a program for the music department, and by 1969 it was the second largest among state colleges. More teachers were added to the faculty, and the student population crew to ninety-three music majors and forty minors.

Wellock stopped playing the trumpet in 1950 because of an inner ear infection. He stated. "I played my master's recital in 1950 and, in fact, that was the last time I technically played the trumpet. But I still play the piano and sing. And I have had an opportunity to conduct band and choral festivals, and teacher workshops on boys' and girls' changing voices." He also has served as an adjudicator at many band festivals.

He has been as busy in retirement as when he was working professionally. "Retirement has given me a chance to continue to work in my church as the hand bell director." he said. "I have had the opportunity to work on my own compositions. I have had three of my compositions performed in Washington, New York, different places in the Midwest, and at Fairmont State College. My favorite composition is the anthem I wrote for the church called 'Come, Ye Christian Pilgrims.'"

In 1962 Wellock married Virginia Holden Palmer, who was an instructor of piano and organ at Fairmont State College. He said, "Mrs. Wellock and I have completed six tours to Europe, one to Israel, and a tramp freighter trip to South America via the Panama Canal, and another tramp freighter trip on the St. Lawrence Seaway to Montreal and on to Tunisia, Egypt, and, Morocco." Wellock said that the reason for the success of his life while living in Fairmont was the unique relationship with his wife. "She has been wonderful." he said. "We will be celebrating our 31st wedding anniversary this year."

Imagine how pleased music teachers were in February 1929 when their plan for a chorus of high school students performing during the music section of the State Education Association meeting became reality! That was the first All-State High School Chorus.

As the young WVMEA grew during the 1930s and 1940s various changes were made in the organization of the chorus. Improvement in the method for selecting students, the number of students selected, the size of the chorus, payment for guest conductors, and the amount of fees were some of the items discussed.

In 1947 the WVMEA directed that the All-State Chorus chair develop guidelines to govern the activities of the chorus. These guidelines grew out of improvements which had been made over the years and resulted in a handbook that was printed in 1948.

This handbook stated that a general letter to all "first-class" high schools was to be sent during the first month of school. The letter was to include a survey for prospective chorus members and would announce the dates and meeting place for the chorus. Only schools with organized mixed choral groups would be eligible.

After compiling the survey's results, chorus members would be allocated according to the enrollment of the school. Two hundred students outside the host city would be selected, and the host city could add any number which would be possible to seat in the auditorium where the concert would be held. Tryouts were before a board of three adjudicators and were held on the first afternoon of registration before the first general meeting.

In 1948 the chorus fee of $2.50 was due by 1 February. The Principals' Association developed the method of paying the fee, which was that the student paid $1.50 and the school paid $1.00. These fees paid for the guest conductor, who received $50 per day in addition to hotel, food, and travel expenses. The accompanist received $15. The fees also covered other expenses such as stationery, stamps, telephone, and chorus pins.

The all-state chair had a lot of responsibility. He or she had to engage the director, select the program, send the program to the schools by October, contact the host city concerning housing for students, select an official jeweler, and order pins.

The Principals' Association paid for hall rentals, piano rental, and programs for the final concert. The chorus chair sent the balance of the money collected to the Principals' Association, which kept it in a special music fund. Today the WVMEA Vocal Association is responsible for all operations of the WVMEA All-State High School Chorus.

(Note: This past April I drove to Parkersburg, where Libby Henderson, Wood County music supervisor, introduced me to Marie Boette. Ms. Boette was full of charm, a delightful conversationalist, and very interested in music. In 1925 she served as secretary of the music section of the State Education Association, which was the forerunner of the WVMEA. Ms. Boette is 98)

"Why don't you tell him about the book you wrote?" asked Libby Henderson. Marie then related that when she taught at West Virginia Wesleyan College she began a compilation of ballads and songs to keep West Virginia's heritage of folk music alive. She drove her car around various parts of Upshur County and visited families who loved to sing. "I would listen to the songs and would later write down the words and notes. Then I would drive on down the road until I came to another home, and would stop and ask if I could hear some songs from them." She edited this book, Singa Hipsy Doodle and Other Folk Songs of West Virginia, which was printed in 1971 and distributed throughout the state.

Marie is a native of Parkersburg, and for most of her life and career has lived in that city. The youngest of five children, her father came to America from Germany, and she says that she inherited her musical ability from her father, who sang in Parkersburg's Germania Singing Society many years ago.

She began playing the family pump organ when she was very young, and she also took lessons on an upright piano. As a youngster she enjoyed excursions to Blennerhassett Island to hear band concerts, watch ball games, and explore the site of the Blennerhassett mansion. She began pipe organ study with Mrs. J.G. Cochran at the First Presbyterian Church at 10th and Market in Parkersburg, where she later became organist and director of music.

After graduating from Parkersburg High School, Marie entered Theil College in Greenville, Pennsylvania. After one year, she transferred to West Virginia Wesleyan, where she graduated. She also holds a Bachelor of Science degree in music education from New York University and a Master of Arts degree from Ohio University. She has been awarded honorary Doctor of Music degrees from West Virginia Wesleyan and Davis and Elkins colleges.

In 1914 Marie became a substitute teacher at McKinley School at a salary of $25 per month. In 1920, she became the first girl scout leader in the Parkersburg area. "I had four brothers in scouting. I was the only girl in our family, and I wanted girls to have a chance to participate in outdoor camping, also." (To be continued.)

In April 1927 Marie Boette traveled to Richmond, Virginia, where she attended a sectional meeting of the National Music Conference at the Hotel Jefferson. During a breakfast meeting West Virginia music teachers attending this conference discussed plans for an all-state high school orchestra and an all-state high school chorus. The teachers who attended presented many ideas and generated much excitement as they laid plans. Later Miss Boette would serve as conductor of the All-State Chorus in 1932.

She was responsible for much of the development of the first All-State Orchestra and All-State Chorus. In 1928 she became chair of the music section of the Secondary Education Association, and after leaving this position she continued to chair clinics at future meetings of this group.

In 1931 she organized the first a cappella choir in West Virginia while teaching at Parkersburg High School. She also played a vital role in the formation of the vocal music department at the school.

Marie left Parkersburg in 1936 to become associate professor of music at West Virginia Wesleyan College, remaining there until 1947. During this period she compiled her book of West Virginia folk songs, Singa Hipsy Doodle.

She returned to Parkersburg in 1950 to become music supervisor for Wood County Schools. After her retirement she maintained a leadership role for many years throughout the community, where she enjoyed success as a private instructor in piano, organ, and voice, and as a church organist and choir director.

Two years ago Dr. Boette gave $100,000 to the Parkersburg Community Foundation to establish a music scholarship to be awarded annually to a Parkersburg High School graduate. It will provide a minimum of $1,000 to a student who has displayed an interest in and dedication to music.

In establishing the scholarship Miss Boette said, "I have spent a lifetime teaching students in music, and it is my wish to help worthy students of the future obtain their higher education. Higher education is so important, and the cost of education is so great. I want to do whatever I can to assist promoting music students of the future to obtain their college education. The Lord has blessed my life, and now He has given me the opportunity to help others in this way."

Miss Boette is now 98 and lives in Parkersburg at the Colonial House on 23^rd Street, where she continues to perform on the piano.

The theme of the 1993 Fall Music Curriculum Conference sponsored by the West Virginia Department of Education in cooperation with the County Music Directors Association was "Our Heritage of Excellence." Dr. Jeanne Moore, coordinator of fine arts for the Department of Education, led a session highlighting some important events in WVMEA history. I have compiled a partial list of these events as follows:

• 1925--Music section of the Secondary Schools Association (SEA) meets in Huntington 6 November. The first recorded meeting, of state music teachers as a subject-matter section of the State Education Association was in 1920, with Lucy Robinson as chair, but it is not certain that this group continued to function independently.
• 1927--On 5 April West Virginia music teachers attending a sectional conference in Richmond, Virginia, meet to discuss the possibility of' organizing an all-state high school orchestra and chorus.
• 1927--First All-State High School Orchestra and All-State High School Band perform in Charleston on 4 November. Photos of these groups were reproduced in NOTES A TEMPO in October 1982.
• 1929--First performance of the All-State High School Chorus in February.
• 1932--State band contests are replaced with state band festivals.
• 1936--West Virginia Music Educators Association meets for the first time at the Frederick Hotel in Huntington on 13 November.
• 1936--First mention of West Virginia Bandmasters Association in WVMEA minutes.
• 1936--The WVMEA becomes an affiliate of the National Music Educators Conference (today's MENC).
• 1937--About this time a mimeographed newsletter called NOTES A TEMPO is published every now and then.
• 1939--The WVMEA writes a constitution.
• 1942--WVMEA Executive Board decides to continue hiring out-of-state directors for the All-State High School Orchestra and the All-State Chorus in a meeting, 10 January.
• 1942--On 13 November the County, Music Directors arc first mentioned in the WVMEA minutes.
• 1943--A permanent music library for All-State Orchestra music is organized, indexed. and catalogued according to an item of 17 April.
• 1947--First annual WVMEA Conference is held, and guidelines governing All-State Orchestra and All-State Chorus are developed. (All-State Band remained independent from the WVMEA until 1962).
• 1948--Plans are made for unification of the Bandmasters Association and the College Music Educators Association with the WVMEA.
• 1950--Revision of WVMEA constitution.

The WVMEA has had a rich heritage of growth in music education. Sometimes progress was slow and difficult, but it has developed into a strong organization that now is recognized for its positive influence on the youth of our state.

The first meeting of West Virginia Music Teachers as a subject-matter section of the State Education Association was in 1920 with Lucy Robinson as chair. Since then music education in our state has grown in many areas.

• 1950s--All-State High School Orchestra and All-State High School Chorus were part of the Secondary Principals Association Meetings. An All-State College Orchestra was the major performing group at the annual WVMEA Conference.
• 1951--NOTES A TEMPO revived. The first issue of the new NOTES A TEMPO appeared in 1952 with Walter Coplin as editor.
• 1955--State Board policy established music as a required subject in the elementary grades.
• 1957--First West Virginia State Supervisor of Music appointed.
• 1958--WVMEA Executive Board adopted the first "Outline of a Program for Music Education" printed by the State Department of Education in the first state Music Education Handbook.
• 1959--First Annual State Stage Band Festival sponsored by the Bandmasters Association (continuing a festival originally started by Gorby's Music).
• 1962—First WVMEA All-State High School Band organized as part of the annual WVMEA Conference. WVMEA All-State High School Chorus and All-State High School Orchestra became part of the annual Conference. (This is considered to be the first All-State Band and has functioned annually since then, although some all-state bands did occur as early as 1927).
• 1963--Southern Division MENC meeting in Charleston, WV 20-23 March.
• 1967--First state-wide Solo and Ensemble Festivals in February.
• 1978--First Music in Our Schools Month, and first Show Choir Festival at Buckhannon-Upshur High School.
• 1988--WVMEA Executive Board voted to establish an All-State Children's Chorus.

The early pioneers of music education would be proud of the heritage of excellence that WVMEA members have established. It will be interesting to see what other events develop in the future.

The Charleston meeting of the newly formed West Virginia Music Educators Association on 28 October 1938 decided to elect a chair who would represent county music supervisors. Thereafter it became customary to elect a music supervisors' chair at regular WVMEA elections. No formal organizational structure was established, but by electing a chair the group eventually became the West Virginia County Music Directors Association.

Music supervisors' chair Regina Caulfield reported at a WVMEA meeting in Huntington on 13 November 1942 that meetings of music teachers had occurred in Bluefield the previous April to discuss problems relating to all phases of public school music. That same year fifty-eight teachers representing twenty counties attended a conference in Clarksburg.

In August 1946 the West Virginia Department of Education sponsored a "school in supervision" for county education supervisors. One item considered was whether a state organization for county supervisors of instruction and curriculum should be promoted. and by 1948 the West Virginia Association of School Supervisors was established.

In 195l the music groups from the Association of School Supervisors recommended that there be a music group session at each state supervisors' conference, and that there be a music representative invited to meet with the conference planning committee. In October 1953 "Music and Child Development" was among the topics discussed at the Jackson's Mill meeting. In 1959 the program of the state supervisors' conference was built around the creative arts. Margaret Pantalone, Marion County, Mary Emma Allen, Logan County; Magdalene Servais, Kanawha County, and Lureata Martin, Cabell County presented a program on creative activities in the classroom.

Fifty county music directors held a luncheon at the West Virginia Education Association meeting, in the fall of 1959. During, February 1960 a constitution was presented and approved by members of the County Directors Association attending the WVMEA Conference in Morgantown. Membership was open to all qualified county directors of music in the state's public schools.

For a while the county directors continued to meet in regular session at the state supervisors' conferences at Jackson's Mill. From 1959-1962 a column headed "A Letter to Music Supervisors" appeared in NOTES A TEMPO.

James Andrews, state music specialist, organized a special fall meeting for county directors during the mid-sixties. Under the leadership of Dr. Jeanne Moore this evolved into the annual fall conference for county directors and representatives.

The West Virginia University Marching Band traces its origins back almost 100 years when an ROTC band was formed, and it existed as an all-male organization until 1972. The modem era for the band began in the 1950s and 1960s with Larry Intravaia and Bud Udell as directors. Outstanding arrangements, creativity, and planning began to bring recognition to the group. In 1970, Gerald Zimmerman served as director for one year, and later as an arranger and assistant director. In 1971, Don Wilcox came to WVU as director of bands.

Wilcox graduated from the University of Michigan and taught eight years in the public schools before moving into higher education and directing out-standing university band programs in both California and Kansas before coming to WVU. Last summer he conducted the Wind Ensemble on a tour in Japan and also made a recording with the group.

In 1971, the 88 members of the band gave a performance in mid-December on national television at the NFL playoff game between the Colts and the Dolphins. Women were admitted in 1972 for the first time, and a trip to the Peach Bowl in Atlanta capped the season in December. In 1973 and 1974 the band's performance took a large step up to a whole new level due to the band members' attitude, desire, and dedication. Their success and recognition resulted in an even higher degree of public support for the "Pride of West Virginia" as the band grew to 180 members during 1974.

With a brand new set of custom-designed uniforms and 200 members, the 1975 band set new performance standards. They appeared at a Steelers-Bears game, traveled to Penn State, and finished the season at Atlanta's Peach Bowl. The end of the 70s reached several "highs" with trips to Kentucky, Virginia Tech, and Oklahoma.

By 1979, the band had grown to over 280 members. It traveled to New York City for the WVU-Syracuse game, a halftime performance for the New York Jets, and band members attended a performance of A Chorus Line on Broadway. They also performed a "Good-by to Mountaineer Field" show in the old stadium for which they won great reviews.

The 1980s opened with a new stadium, and the band was over 300 strong. During the 80s the band traveled to the Peach Bowl, Gator Bowl, Hall of Fame Bowl, Bluebonnet Bowl, Sun Bowl, and Fiesta Bowl. New uniforms were introduced in 1984 to the delight of Mountaineer fans. Since 1985 the Bands of America's Eastern Regional festival has been hosted by the WVU band, and many of our country's finest high school bands have performed on Mountaineer Field.

(Editor's note: Here's an amusing tidbit on WVU band and orchestra music before the ROTC band was formed. Beginning in 1886 and continuing for several years the Opera House Band of Wheeling provided both band and orchestral music for commencement festivities at West Virginia University. An account in the Wheeling Intelligencer for 10 June 1892 indicates that Wheeling's Gennan-oriented musicians did not find Morgantown's prohibition laws to their liking. It reads: "The Opera House Orchestra returned from the Morgantown University commencement exercises yesterday morning. Prof. Speil says that, notwithstanding the heavy rains, the town was very dry so far as the musicians were concerned. On account of the last election they could find nothing to lubricate their mouth pieces.")

Prior to the county system being introduced in 1933, education was managed by local school districts. Music was taught in rural schools primarily by the classroom teacher. The Course of Study issued in 1923 by the State Department of Education was of great help to the teacher in one-room or two-room schools.

It was advisable to separate the pupils into at least two groups, placing Grades I, II and III in one group, and Grades IV to VIII in another, if pupils in Grade IV were capable of working with the older children.

The Course of Study recommended that the students should sing a lot of unison songs. The older boys and girls were to have an opportunity to sing alto and, if the boy's voices had changed, they would be encouraged to sing tenor or bass. They were not to sing an octave lower until their voices changed. It was thought that boys would enjoy singing and whistling songs which had a good swing.

This was about four years after World War I, and in 1923 Lieutenants Kelly and Macready in May made the first nonstop transcontinental airplane flight from New York to San Diego, California - 2,516 miles in 26 hours, 50 minutes. "The Charleston", a new, fast fox-trot captured the fancy of ballroom dancers. Edwin Franko Goldman introduced On The Mall march to the Washington crowd.

So rural music teachers in West Virginia were encouraged to teach the standard hymns, patriotic and folk songs. Songs of the seasons and those which correlated with the work in history and geography were to be the most interesting. The text was to be used for technical work.

Plenty of rote work (songs, scales and short melodic and rhythmic phrases) was to be given to Grades I, II, and III, which would lay a firm foundation and would lead up to sight reading by easy stages.

In upper grades, cards of greeting at special seasons such as Thanksgiving and Christmas were to be composed, with the music set to short sentences or couplets. The study of the lives of the great musicians was to be correlated with the study of English.

Since pupils in rural schools did not have the same opportunities to attend fine concerts and recitals which were open to children living in the cities, it was important that these musical experiences were supplied in so far as possible through a "talking machine". It was hoped that every school would be supplied with a number of better records and that teachers would tell the students something about the composers, artists, and music.

Teachers in 1923 thought that instruction of the standard familiar hymns, national, patriotic and folk songs "should be begun even in the first year,, and carried forward through -succeeding years until all the best of such songs are known by each child and he is able to sing them from memory". Some familiar songs to be taught included "Come, Thou Almighty King", "Abide With Me", "Holy Night, Silent Night", "Tenting Tonight", "Rally Round the Flag", "Old Folks At Home", "Blue Bells of Scotland", and "Last Rose of Summer".

(Note - This is the last of a series of articles about the 1923 Course of Study issued by the West Virginia State Department of Education.)

In 1983, Roy Truby, State Superintendent of Schools in West Virginia stated "West Virginia schools have the obligation to provide quality education for all of our young people. This cannot be accomplished without recognizing the role that music plays in the balanced curriculum".

During the 1980's, learning outcomes for music classes were developed under the leadership of the WV County Music Directors Association and Dr. Jeanne Moore, Coordinator of Music, State Department of Education.

Music teachers in 1923 were also concerned about improving opportunities for young people to achieve the musical objectives which contributed to the goals outlined in the Course of Study developed that year. Listed below are excerpts from that booklet.

FIRST GRADE - The basis of all music work in this grade is the rote song. Through it we give the child a musical experience and lay the foundation for the melodic and rhythmic instincts. The entire song should first be sung by the teacher in as perfect a manner as possible, then learned by the class, phrase by phrase. Children should sing softly in the quality which is obtained by singing "loo" on upper E Flat or D, this quality being carried down through the lower tones. With light head tone, children cannot sing too low.

SECOND GRADE - Rote song work should be continued throughout the year. Strive, for a more artistic rendering and a more beautiful tone quality. The compass should be not higher than G in the space above the staff to E flat on the first line. If music representation has not been introduced in the first grade, it may be begun in this grade. Explain lines and spaces.

THIRD GRADE - Rote singing should be continued, many of the songs being taught with books in the hands of the children. Sight singing should be by phrase rather than note to note. Use quarter and eighth notes as the beat notes. Teach how to find "do" from the last sharp or flat, and introduce pitch names.

FOURTH GRADE - Rote singing is continued but in far less proportion. Teach keys from the position of "do". Musical terms should be explained as they occur. Two-part singing may be introduced if the class is exceptionally good. The beat and a half note is the new time problem.

FIFTH GRADE - Special attention should be given to the development of the boy's voice and the production of the round flute-like tone of the head voice. Begin two-part work, if it has not been, introduced in the fourth grade, the parts being interchangeable. The minor mode may be introduced. Finish the study of chromatics which were started in the fourth grade and teach the chromatic scale.

SIXTH, SEVENTH AND EIGHTH GRADES - The class should aim for distinct enunciation, good tone, quality and correct interpretation of songs. Continue the minor mode, and learn the different forms of the minor scale. Three part singing is a new feature of this year's work. Begin testing voices. Children may begin to compose short melodies.

(Thanks to Kathryne Williams of Beckley for sending background information on the Course of Study. Please send historical information to John L. Puffenbarger, WVMEA, Historian, P.O. Box 6, Buckhannon, WV 26201)

John Philip Sousa arranged concert programs which featured a wide variety of music from classics to common street melodies--anything he thought his audiences would appreciate. He featured soloists on practically all instruments; his philosophy was to entertain and not just educate the public. Over the years West Virginia band directors have tried to make their concerts more interesting by adding showmanship. One director always used an announcer to help explain the music and to keep the performance flowing.

Several years ago Harold Glasgow, band director at Man High School, thought it would be interesting to add special lighting to enhance his band concert. Lacking enough money to purchase stand lights, he used various resources to make them by hand. Band members cut holes in the end of cans and added fixtures and wire which were donated by an electrical shop. During the concert the lights were raised or lowered according to the mood of the music being performed, thus adding a dimension to the performance.

Bob Hill liked to have guest artists perform with his Morgantown High School Band. One such soloist was the renowned trumpet artist James Burke. Another famous guest was Meredith Wilson. Wilson gave a one-man show describing his days with the Sousa band and explaining how he wrote the Broadway musical, The Music Man.

Harold Davis enjoyed inviting other schools to have exchange concerts with his St. Marys High School Band. His band would travel to another town, have lunch at the local high school, and perform an afternoon concert for the student body. After giving an evening concert for the community, his students would stay in the homes of local band members and then return home the next day. A few weeks later St. Mary's would reciprocate by serving as the host school.

During the 1960s the West Virginia Bandmasters Association encouraged band directors to mail concert programs to area band directors in advance of their concerts so that colleagues could attend. Phil Bowers, Clarksburg Victory band director, always reminded directors that they could attend his concerts free by showing either their WVBA or MENC membership cards.

At a Fairmont Senior High School concert, director Walter Moore created a special effect by having a hidden fan blowing the American flag as the band opened by playing the "Star Spangled Banner." Henry A. Mayer would have the stage curtain closed before the program began. The curtain was pulled as the Clarksburg Washington Irving High School Band began to play the opening march.

The Cameron High School Band always invited the board of education members to their concerts. Following the program they were invited to the band director's home for refreshments. Frank Schroder would invite visiting bands to combine with his Parkersburg "Big Red" band for playing the National Anthem at home football games. Earl McConnell, Sr. turned his East Fairmont High School band concerts into elaborate Broadway productions and packed the school auditorium for four nights each spring. He had discovered the Sousa philosophy: "A concert is more than a mere concert -- it is a dramatic performance, a stirring lesson in patriotism, and a popular musical event, all on the same program."

Any additional ideas? Please send them and other items of historical interest to John Puffenbarger, WVMEA Historian, PO Box 6, Buckhannon, WV 26201.

Southern Division President James MeRaney attended this year's WVMEA Conference and he stated that while West Virginia is a small state, we have excelled in many areas of music education. He felt that our success was due in part to our willingness to adjust to change. Several WVMEA affiliates have recently changed their procedures so as to run their programs more efficiently and effectively.

Gary Marvel, Bandmasters Association president, met with members of the bandmasters executive board this past summer to discuss changes for bringing their constitution up to date. The bandmasters acted upon these changes at the recent WVMEA Conference.

In 1963 WVMEA President Saul Fisher convinced the various state music organizations to affiliate with the WVMEA. During that year's Conference he went from group to group explaining the advantages of consolidation. Several band directors thought their organization would lose its identity if it joined with the WVMEA. But at the WVMEA general business meeting Ronald Wood of Fairmont moved that all organizations affiliate with the WVMEA, and the motion passed easily.

Also in 1963 John Barnes of Clendenin and others pushed for the formation of the WVMEA All-State Band. It was organized and has performed in the All-State Festival Concert since then.

Some groups had been invited to perform at past Conferences as guests, but in 1966 the Mannington High School Band directed by William Long became the first honor group when they performed at the Conference in Wilson Lodge, Oglebay Park. Now there is a formalized procedure for selecting several honor groups.

The Bandmasters Association had sponsored some solo and ensemble festivals for several years, but in 1967 the WVMEA expanded these to become state-wide. The new festivals included vocal and strings as well as wind and percussion. In 1968 they were held in seven regions, and from these regions ten honor finalists were selected to perform at the state WVMEA Solo and Ensemble Recital that year. This tradition continues today with both a senior high and a junior high recital.

Since the 1960s the WVMEA Conference program has expanded to include stage band finalists, show choirs, the All-State Children's Chorus, general music sessions, and multi-cultural events. Other changes in the Conference facilitated transportation concerns. The All-State Festival Concert was moved from evening to afternoon so that students, teachers, and parents would not have to return home late at night. The WVMEA Executive Board, which formerly met on the Wednesday evening before the Conference, now meets on Thursday morning.

In order to emphasize community music making and to encourage teachers to continue performing, this year's Conference featured professional performers from the Glenville-Parkersburg area.

The newest group to join the WVMEA Conference is the Retired Members led by Elizabeth Henderson of Parkersburg. The retired members met for the first time this year at a luncheon.

These on-going changes demonstrate that the WVMEA continues to select a Conference program adapted to the changing needs of West Virginia music teachers.

Last month's "Notes da Capo" listed some of the important musical events which occurred during the 1960s. These items originally were reported in "Gorby's News and Views" printed by Gorby's Music House. Let's take a look at some additional events and persons that helped to shape West Virginia music education.

The United States Marine Band directed by Lt. Colonel Albert Schoepper appeared at the Charleston Municipal Auditorium Wednesday, 18 September 1968 for both a matinee and an evening concert. Bob Rose, a former faculty member at Concord College, played clarinet in the band.

In September 1968, West Liberty State College expanded its offerings in music by starting a bachelor of music degree program. The inauguration of this program gave West Liberty the most complete degree offerings in music of any public college in West Virginia at that time.

In August 1968 the 120-member Ravenswood High School Band directed by James Porter represented West Virginia during the Veterans of Foreign Wars national convention in Detroit. The Ravenswood band was organized in 1927 by D. M. Whetstone, a leading figure in the development of school bands. By 1929, the band totaled forty members. During the early 1950s, the late Lawrence Cappilenti contributed much to the growth and history of the band.

The Shepherd College Music Department held a high school choral and band festival on Saturday, 22 March 1969. About two hundred students from Pennsylvania, Maryland, Virginia, and West Virginia rehearsed during the day and then presented a combined concert in the evening. Dr. Gordon Fouts was the festival director.

After several months of planning and almost a year of construction, Gorby's Music House opened its new store in the spring of 1969.

Pittsburgh's American Wind Symphony Orchestra, in cooperation with Fairmont State College, held the West Virginia Festival of the Arts from 15-30 June 1969. It was a specially designed program for high school and college choral and instrumental teachers and conductors. Richard Wellock was the festival chair.

In May 1969, Harold B. Leighty retired after 43 years of directing bands. He became band director at Magnolia High School in New Martinsville in the fall of 1926. After moving to St. Albans in 1933, he directed the high school band there for a number of years. His son, Robert, conducted the Herbert Hoover High School Band for several years.

Conrad Paff died 24 October 197 1. He was a retired band director at Nitro High School who had taught at St. Marys, Newell, Morgantown University High, and Weston High School. The St. Albans "Red Dragon" High School Band, directed by James Keadle, attended the Edison Pageant of Light Parade in Ft. Myers, Florida, on Saturday, 12 February. 1972.

One cold morning in November 1775, busy citizens of Philadelphia turned their curious gaze upon a small but determined looking military company marching down the street to the stirring cadence of rolling drums and whistling fifes. It might have been the music, or it might have been the resolution they saw in those marching men, but the early morning activity of the city was suspended by the sight of this little group pacing the cobblestone streets. Some spectators recognized them as marines.

Fifes and drums were the only instruments generally used in those days, and when ten or more played together it was called a band. Thus the U.S. Marine Band, the nation's oldest military musical organization, came into being with the organization of the Continental Marines 10 November 1775. Twenty-three years later, on 11 July 1798 President John Adams signed an Act of Congress creating a per7nanent Marine Corps and officially designating the formation of a Marine Band. Instrumentation was established as one drum major, one fife major, and thirty-two drums and fifes. Its primary mission was for recruiting.

On New Year's Day 1801 the Marine Band played for President John Adams at the Executive Mansion. This White House engagement was the beginning of a tradition, which became so well established that today the name U.S. Marine Band and "The President's Own" are synonymous throughout the world.

While it is primarily known as "The President's Own," the band also might be called the "band of the people." In 1890, during the twelve-year leadership of the "March King," John Philip Sousa, the Marine Band received the President's approval to make a nationwide tour. Since that time, they have toured annually.

In the early 1900s, instrumentation was increased to seventy-five, then eighty-five, and again in 1955 to one hundred. Today the band maintains a very busy schedule. Since their first White House engagement in 1801, the red-coated Marine musicians have played for every president as well as for visiting heads of state and dignitaries from around the world.

The Marine Band has visited West Virginia a number of times. One of the most recent trips was to the campus of Davis and Elkins College in Elkins.

Marie Boette of Parkersburg died 21 November 1995 at the age of 100. She was a renowned musician, music educator, and civic leader who held many offices in West Virginia music education in the earlier years of this century. She was present at the beginning. In 1923 her name appears as secretary in the minutes of our earliest state music education records, more than ten years before the WVMEA was organized.

"Marie conducted many clinics during state music meetings in the days before the WVMEA," said WVMEA Retired Membership Chair Elizabeth Henderson, who was a student under Ms. Boette and a life-long friend. She described Ms. Boette as "a delightful person, full of pep and energy. She always made music exciting for her students."

"The people who knew her have a legacy of many years of giving from a person whose life was built around sharing her gift of music with anyone and everyone she touched," said Kathleen Reel of Belpre, Ohio. Reel became music director and organist at the First Presbyterian Church in Parkersburg after Ms. Boette resigned from the position.

Reel also stated, "Marie Boette was a woman of distinction. She was the epitome of a teacher; she focused on your accomplishments, not your faults. She was truly selfless and an inspiration to everyone. I am grateful to have had the chance to know her."

In 1932 Ms. Boette established Parkersburg High School's first a cappella choir. It was the first such choir in West Virginia. She also organized the first junior high school band in Wood County in 1922. Ms. Boette became music supervisor for Wood County Schools in 1950, and she also served as organist and music director at the First Methodist Church in Parkersburg, later moving to the same position at the First Presbyterian Church, where she served until 1962. In 1963 she composed the West Virginia centennial song, and Gov. Gaston Caperton presented her with the "Outstanding West Virginian" award in 1993.

Jean Singer, director of the choir at Parkersburg High School, took the choir to a birthday celebration for Ms. Boette in 1993. The celebration also featured the a cappella choir from West Virginia Wesleyan College, from which Ms. Boette had graduated and where she had worked as an associate professor for eleven years. Ms. Boette was surprised when she was invited to conduct Wesleyan's choir, and later during this birthday celebration she was on stage to play piano duets with Mrs. Reel. "At the conclusion she smiled and took a bow. She amazed everyone that she was capable of performing it (at age 98)," Mrs. Reel said.

Throughout her life Ms. Boette was devoted to involvement and service in her community, both local and state, touching the lives of all who knew her. She loved people. Her positive attitude served as an inspiration to others, always seeing the good in everyone and every situation. She will be missed.

(Thanks to Wayne Towner, Donna Huffaker, and Elizabeth Henderson of Parkersburg for back-ground information for this article.)

The rose window above the main entrance shown brightly that day. Enormous cylindrical pillars and arcade walls displayed the typical features of the great Gothic cathedral of Notre Dame of Paris, which is also noted for its beautiful facade. Nearly twenty years ago West Virginia University's Dr. Clyde English positioned himself at the mighty Notre Dame organ and presented a recital to an audience of more than ten thousand persons. The beautiful chords filled the nave and reached all comers of the ribbed vaulting. This performance was one of the many highlights in English's career.

Dr. English has performed recitals at St. Lawrence Jewry in London, England and the National Shrine of the Immaculate Conception in Washington, D.C. He has played in France, Great Britain, Germany, and the Netherlands. His has been a life in the ministry of music and as an artist on the king of instruments, the pipe organ.

On 29 October 1995, English was honored at the Wesley United Methodist Church in Morgantown for his many years of service. He had become choir director and organist at the church in 1951, and later he had supervised the rebuilding of the church's pipe organ. Now the church was recognizing his ministry of music in the life of the church at a special worship service honoring his life and work. The celebration was held in the year of his 80th birthday.

English himself coordinated and performed the service music for the worship celebration. Guest organist Beverly Collins Clark (a native of Parkersburg who had studied organ with former WVMEA secretary Dr. Marie Boette and later with English) provided the organ prelude music.

English holds degrees in music from Carnegie-Mellon University and the School of Sacred Music at the Union Theological Seminary in New York City. While in New York he was organist at Hitchcock Memorial Church in Scarsdale. He joined the faculty of West Virginia University in 1945. During his long tenure on the faculty he oversaw the design and construction of the moveable pipe organ in the Creative Arts Center Concert Theater.

Throughout his distinguished career as a professor of organ he not only served Wesley Methodist Church, but also Eastminster and East Liberty Presbyterian churches in Pittsburgh. English is well known throughout West Virginia and adjacent states as a guest organist, recitalist, and teacher. His wife, Mary Jane, was a former student of his and a former organist for the early morning service at Wesley.

Once the Bridgeport High School Band was waiting outside Clarksburg's Washington Irving High School auditorium to perform their selections for the adjudicators at the Area 11 Band Festival. A senior member of the band turned to a sophomore and said, "This is the first time you have played at a band festival. Are you nervous?" Bravely the sophomore replied, "Nah -- there's nothing nervous to be about!"

Perhaps there is something to be nervous about at a musical performance, Many humorous things have happened at concerts and festivals in our West Virginia schools; the following are a few. The Point Pleasant High School Band, under the direction of Jim Andrews, was playing "The Universal Judgment" at the Ravenswood regional festival. A thunder-storm began, and as the music progressed to its famous dynamic ending, the storm became more fierce. It was as if Mother Nature had been hired to furnish special effects. (Your editor was one of the judges at this event, and the judges were seated on a stage where they could see the approaching storm clouds through windows around the upper part of the room. After the event all three judges admitted that each was becoming increasingly concerned watching the black, swirling clouds, and each of us had already figured out a place to seek refuge in case we spied a funnel cloud or the windows started to blow out! Meanwhile, Jim Andrews and his fine band played on as if nothing were happening).

When the Moundsville High School Band played an arrangement of the "1812 Overture" at the Nathan Goff Armory in Clarksburg, two percussion players were firing blanks from rifles to simulate the cannon shots notated in the music. The rifle fire formed perfect smoke rings which floated to the ceiling. Band director Dale Parks remarked that he had not planned that effect.

Several years ago the Fairmont State College Band was performing at Washington Irving High School. The march they were playing called for a cornet trio to stand at the beginning of the march trio and play an obbligato part. Thinking they were using the normal Manhasset-type stands, they waited until the last few measures of the second strain before rising. They were startled to find that when they raised their stands, the entire top sections came out of the bottom sections, and there was a frantic struggle to get the stands back together before the trio began. They were successful!

It has been said that a short bass drummer in a southern West Virginia high school band stumbled while marching across a wooden plank bridge and landed on top of the drum. It took two snare drummers to roll him back into a standing position.

A band was performing at the Area II Band Festival in Clarksburg when at least two-thirds of the overhead stage lights suddenly went out. The students did not lose their composure and continued to play the selection.

Fairmont native John Caroll Carr was a clarinetist in the famed John Philip Sousa band. It was Sousa's custom to wear a new pair of white gloves for each performance of the band. Carr was able to save a few of the gloves and had stored them in a box in his garage. One day his sister was helping him clean out the garage. Seeing the box with the worn gloves -- well, you guessed it -- she threw them away!

[Editor's note: Concert mishaps are nothing new. About twenty years ago an elderly Wheeling resident related a story that one time (probably for a 1906 German singing society festival) Ms. Lucy Robinson of Wheeling was directing a massed children's chorus in a concert at Wheeling's Court Theatre. All the children were ready on the risers, so Ms. Robinson gave the signal to raise the curtain. Unknown to her, her long formal gown had caught on the bottom of the curtain, and as it quickly rose so did her gown, going up over her head and leaving her in the middle of the stage attired with whatever women wore beneath their dresses in 1906. The episode "brought down the house" and provided quite an opening to the concert!]

As was mentioned in this column in the last issue of NOTES A TEMPO, there is "something to be nervous about" at musical performances. Here are a few additional actual happenings.

Sometimes participating in a parade can be dangerous. Once the Fairmont State College Band was marching in the annual FSC Homecoming Parade. The driver of the float directly behind the band became blinded by the decorations on the float, turned toward the sidewalk, and hit two clarinet players as he ran into the back row of the band. One young lady was knocked down and could not continue to march. The other student, a young man, marched from downtown Fairmont to the college field. Later he was taken to the hospital where it was discovered that he had tom a ligament in his ankle. He was dedicated enough to march with the pain.

The Fairview High School Band once was playing a song which featured the flute section, and the flutes were to enter after an eight-measure introduction. However, they began playing four bars early. The band realized what had happened and skipped four measures. Everyone, that is, except the lone tuba player who continued playing his part, with the bass line not quite fitting the chords which the band played.

A junior high band attending a festival warmed up in a classroom and had time to check only the brass section on the school's Strobotuner. The band then went to the festival warm-up room where the director tuned the woodwinds. However, the tuner in the warn-up room was set about one-half step higher than the first tuner. Being in a hurry and feeling a certain amount of pressure, the band director did not check the second tuner's calibration before his group rushed off to play. One can only imagine the intonation that resulted when the band played in the auditorium!

A clarinetist had burned his fingers on a hot teakettle the afternoon of a solo and ensemble recital. He received a shot for pain at a doctor's office, and then played Carl Maria von Weber's "Concertino" without missing a note.

A central West Virginia band director was surprised to find a doll baby on his music stand when he walked onstage to begin directing a concert. His wife had delivered a son that morning. The doll was from members of the band and had a note attached which read, "Congratulations!" This same band director had received a traffic ticket from an unsympathetic policeman while driving quickly (speeding?) to the hospital that morning from his school.

A music teacher left the building to travel to another school. When he reached his car he remembered that he had left something in the music room. He put the music he had with him on top of the car and returned to the building, picked up the item he had forgotten, and once again walked to the parking lot. He started his car and drove down the highway, whistling a song his group had just worked on, while the music he had left on top of his car was blowing all over the landscape.

[There is enough space for your editor to add another story from a West Liberty State College recital many years ago. College maintenance personnel were allegedly working on some paneling above the recital hall stage just before the program. While a young lady was playing a flute solo with piano accompaniment, unknown to her a few pieces of insulation began slowly to fall behind her, giving the effect of snow. This falling "snow" gradually increased in intensity until a large piece of the ceiling paneling suddenly let loose and fell to the stage floor with a resounding thud, while the "snow" turned into a veritable blizzard of insulation. At least this student will always remember that when she played her solo she really "brought down the house!"

Here are some additional stories of events at concerts, festivals, and happenings in the life of music teachers to add to the tales from last year's columns:

A board of education member asked a county school superintendent why a music teacher was seen driving downtown during school hours several days each week. After talking with the teacher (who taught in several schools), the superintendent told the board member that the only way the teacher could travel from school A to school B was via downtown.

The Strawberry Festival Association in Buckhannon used to provide lunch for visiting bands before the students performed at an afternoon massed band concert. One year sandwiches for the noon picnic were made in advance in order to save time and were placed in a freezer. However, the committee members forgot to take them out of the freezer until time for lunch. Some ingenious band members placed their sandwiches on large rocks in the schoolyard, where they were thawed by the sun.

A band was to play at a state Majorette Melee, but the band had only one tuba player, who had just broken his leg. His leg was in a large cast and he could not march. When the band marched onto the field that night someone pushed a wheel chair with the tuba player in it onto the far side of the field, where he remained while the rest of the band performed the show.

It still happens! One high school band director always invited a visiting band at a football game to join with the host band in playing the "Star Spangled Banner." However, one night the guest band played the anthem in the key of B-flat while the host band played in A-flat. The band director learned that it is always good to double check small details.

The day before a southern West Virginia high school band was to play at a festival, the director instructed students to place their folders in a box in the front of the room. The next day when the band arrived at the festival they discovered that only half the students had followed the directions. Fortunately the festival director was able to supply the needed parts to the selected and required numbers, but half the band had to play the warm-up number from memory. The director had arranged the overture to Messiah for the warm-up.

When their football team won a berth in the state play-offs, band members were excited, since they would also perform at the game. The band director hurriedly wrote a new entrance drill for the pre-game show. He decided that the band would make a giant "S," the first letter of the school's name, and stretch the letter from goal line to goal line. With only a couple days to practice and no time to prepare another drill, the director discovered to his horror that the band could not play together due to the extreme distance. He came up with a solution, however. He placed the drum major in the center of the field and told everyone to watch his feet. It worked. Band members did not pay attention to the time delay in the sound of the march.

Leland Arnold was an easygoing man who liked people. He had a pleasant personality, was able to get along with almost anyone, and would help anyone whenever he was asked. The many music festivals he conducted always ran smoothly because of his organizational skills.

Leland was born 17 March 1909 in Buckhannon, W.Va. He was very interested in music and began playing violin at an early age. He walked to Buckhannon High School on College Avenue, where he was involved in many music activities. While music was his main interest, he was also an ardent coin and stamp collector, and he liked to go to shows in West Virginia and neighboring states.

The old Grand Opera House in Buckhannon was located just a little distance off Main Street. Leland began playing for silent films in the orchestra there. The conductor watched a script which included pictures, and as a scene would appear on the screen he would give a downbeat for the orchestra to play the appropriate music. He also played at the Robinson Grand Theatre in Clarksburg and other area theatres until silent pictures were replaced with sound movies in 1928.

He did not have to go far to college since he simply walked a little farther down the street to West Virginia Wesleyan College. While at Wesleyan he dated Ruth Reger and married her while still attending school. They had three sons: Dr. Richard B. Arnold of the Department of Health in Tucson, Arizona; Raymond L. Arnold of the West Virginia State Department of Natural Resources in Beckley; and Robert C. Arnold, who teaches botany at the University of Kentucky in Lexington.

Artists, public speakers, actors, and musicians traveled around the country during the early part of this century performing in Chautauqua shows. Leland traveled with some of these shows around 1930. He also played violin in various orchestras in some New York shows.

In 1931 he began teaching band and orchestra in the small town of Monroe City, Missouri. He returned to West Virginia in 1933, where he accepted a position as county director in Tucker County. In 1937 he became the county director for Marion County.

Most of us remember Leland as a music educator in Cabell County. He came to Cabell County in 1940 and served in many ways. He was music supervisor, All-State High School Orchestra president (eight times), West Virginia Bandmasters president, chair of the WVMEA All-State Orchestra, assistant chair of the West Virginia State Band Festival for ten years, and state chair for the West Virginia State High School Band Festival in Huntington for twenty-four years. Many WVMEA members remember him for chairing the 1974 WVMEA Conference in Huntington.

He composed a considerable amount of music, including a Christmas song he wrote each year and which he mailed to friends all over the world. Some of his songs have been used in schools, churches, and by dance bands.

Leland and his wife liked to travel, and they were able to visit Hawaii, Canada, Mexico, Europe, and Africa.

(This is the first in a series of short articles on West Virginia Bandmasters Association history compiled by Owen West and John Puffenbarger).

In 1935 a state band festival was suggested in which bands would come to Huntington and perform for ratings rather than in competition. Consequently, the first Huntington band festival was held in the spring of 1936. Although some bands had uniforms that year, many wore white duck trousers, white shirts, and "overseas" caps. These were soon replaced by regular uniforms. The people of Huntington housed the various band members and opened their stadium and city auditorium for festival events. For more than twenty-five years the city of Huntington provided free medals and the expenses of adjudicators and guest conductors.

A program of the band festival in Huntington on 11, 12, and 13 May 1939, included the names of twenty-seven participating schools: Alderson, Barboursville, Calhoun County, Clarksburg Washington Irving, Charleston, Doddridge County, Elkview, East Bank, Elkins, Hinton, Huntington, laeger, Lincoln County, Logan, Montgomery, Magnolia, Mercer, Mason County, Oak Hill, Rainelle, Spencer, South Charleston, St. Albans, Van, Welch, Williamson, and Walton.

Because of World War II, in 1943 transportation was curtailed to such an extent that northern bands were not permitted to travel to Huntington, so a festival was held in Clarksburg. In 1944 war-time restrictions had eased somewhat, so it was decided to hold only the Huntington festival. However, so many bands were entering that problems arose, especially in housing.

At this time the Non-Athletic Committee of the Secondary Schools Principals' Association began to study the State Band Festival. In September 1946 Paul Musgrave, chair of this committee, wrote the WVBA insisting that the Huntington Band Festival had grown too large for proper supervision of the students involved. Also, because of the distance involved, many school bands could not participate. Musgrave wanted the band directors to consider the possibility of holding several regional festivals. This was the beginning of a controversy between the Secondary Schools Principals'Association and the WVBA for control of band festivals.

Early membership records of the WVBA are not preserved, but according to the minutes of meetings sixty members attended the November 1952 business session, while fifty-three attended the April 1954 meeting. From 1956 to 1967 membership in the WVBA averaged one-hundred-eighty band directors.

Henry A. Mayer always enjoyed introducing young band directors to the world of music education. Each year he and his wife, Lou, took several directors to the Mid-East Instrumental Music Conference in Pittsburgh. Later they would invite others to the MidWest Conference in Chicago.

Known as "Hank" to his friends, Mayer enjoyed the company of musicians. He was a good organizer, and the Clarksburg Area 11 Band Festival always ran smoothly. Hank's trademark was the bow tie he always wore. Born on 8 January 1911 at Salem, West Virginia, he graduated from Salem High School, Salem College, and did graduate study at the University of Michigan, Ohio State University, and West Virginia University.

Hank started his teaching career in 1932-33 in the Monroe Public Schools. He moved back to Harrison county in 1932, teaching strings at Shinnston High School. From 1940-1961 he taught band at Clarksburg's Washington Irving High School and Central Junior High.

He always liked to begin a concert on time. Sometimes his band would start playing a march with the curtain drawn. After the first few measures he would signal the stagehand to open the curtain. Hank liked a certain amount of showmanship.

During pre-game at Hite Field in Clarksburg, Hank would march his band single file down the slope to the field, where they would line up in a block formation and on the whistle from the drum major march down the field playing the Washington Irving fight song. It made quite an impressive entrance.

Hank Mayer always had a story to tell. One tale he told was that once while attending the Mid-East Conference in Pittsburgh, he started to drive through a red light at an intersection on Sixth Street. A policeman stopped him and shouted words that one should not use in mixed company. Hank then said to the policeman, "My good man, I'll have you know that I am a man of the cloth, and I would rather that you not talk that way in front of my parishioners." "Oh, I'm sorry, father," said the policeman; "You go right ahead."

Mayer served on numerous boards and committees of the WVMEA. The fact that his name is listed in the WVMEA minutes year after year indicates how active he was in the organization. He was active in civic and community organizations, as well. He served as president, secretary, and Area 11 Band Festival chair for the Bandmasters Association. He was also president of Tau (West Virginia) chapter of Phi Beta Mu.

Hank married Luellen Johnson of Shinnston. After his death she moved near her son, Henry A. Mayer, Jr. in Lubbock, Texas. A daughter, Mrs. Nancy Lou Capilla, lives in Cincinnati, Ohio. (Some WVMEA members may not be aware that John Puffenbarger recently retired from teaching in the Upshur County Schools, but continues to serve as WVMEA historian. Please send information concerning music education in West Virginia to him at PO Box 6, Buckhannon 26201).

(Part two of a series of short articles on the West Virginia Bandmasters Association's history by Owen West and John Puffenbarger).

At the meeting of the Bandmasters Association in Charleston 29 September 1946 a committee was appointed to outline policies that could be acceptable to both the WVBA and the Secondary- Principals Association. This committee reported at several subsequent Bandmasters meetings, and a plan was developed whereby there would be eight regional festivals preceding the state festival. Eight regionals were held in 1948, and two additional regions were established in 1949 to eliminate the long distance some bands had to travel.

In April 1950 the Secondary- Schools Activities Commission or SSAC (the principals' association) approved a recommendation limiting the state festival to bands which had received superior ratings in their respective regions. In a report issued at that time, the SSAC also stated that then, felt the state band festivals should be more closely under their control.

The MVBA discussed this report on 30 April 1950 and wrote a letter of protest to the SSAC outlining their objections. The WVBA did approve a motion to abide with the 1950 ruling restricting participation in the state festival to those bands earning a superior" rating in their regional festivals.

Despite pressure to reduce the size of the state festival in Huntington, 75 bands participated in 1950. Remembering the two festivals - northern and southern - held during World War 11, the Bandmasters recommended at their meeting in October 1955 to divide the state into three areas. Each area would hold a state band festival on the same weekend. This proposition was approved, and later a fourth area was designated. With approval of the SSAC. there were four area band festivals in the spring of 1957. The northern festival was at first in Fairmont. but was moved to Clarksburg in 1958. For a while some parts of the state continued to schedule regional festivals on an optional basis.

Another major area of WVBA activity was a series of annual band clinics which were initiated in 1940. A clinician was employed and high school musicians were selected to perform in a clinic band. This event occurred yearly in Huntington during January. Due to wartime restrictions on travel a similar event was held in Clarksburg in 1943 and 1944 for directors and students in the northern part of the state.

In 1950 the WVBA and WVMEA held a joint music clinic, and for many years this continued at the WVMEA Conference. However, this helped lead to another controversy when the WVMEA suggested that the Bandmasters become an affiliate of the WVMEA. Many band directors wished to keep the two organizations separate.

(This is the third in a series of short articles on the history of the West Virginia Bandmasters Association by Owen West and John Puffenbarger).

Final full affiliation of the West Virginia Bandmasters Association (WVBA) with the WVMEA and MENC was effected as of 1 July 1963-the West Virginia centennial year. Affiliation meant unified dues, and members could no longer join just one organization. Henceforth the annual business meeting of the bandmasters would be held in conjunction with the WVMEA Conference each spring.

On 22 March 1963 the WVBA changed its constitution so that terms of office and of standing committees of the affiliated organizations within the WVMEA would be the same. Terms of office became two years instead of one, and elections would be held on the odd-numbered years. There was additional controversy considering this decision as some band directors questioned if this was a wise move.

During the early years of the Huntington state band festival, which began in 1936, outstanding students were selected to perform at the festival in what was known as the "All-State High School Band." Although theoretically all schools in the state were eligible to enter this festival, transportation difficulties were such that participation was predominantly from southern West Virginia. When four area festivals were established in 1957, the title "All-State Band" was also applied to the selected bands from each classification within each area. In reality these bands were "All-Area Bands." They were classified "A," "B," and "c" (later known as "AAA," "AA," and "A").

In the spring of 1962 the WVBA sponsored only the All-State High School Band and held auditions for membership in each of the four areas that currently existed for festival purposes. At the WVBA general business meeting 23 March 1962 at Morris Harvey College (now the University of Charleston), a motion passed that area festival concert bands no longer use the title "All-State". Henceforth there would be only one All-State High School Band, and it would perform each year at the WVMEA Conference.

Interest in auditioning for the All-State Band has grown over the years. Each year an average of a thousand students throughout West Virginia participate in the tryouts. Usually about forty to fifty bands are represented in the band out of the 120 or so secondary schools in the state. Adjudicators usually come from state university and college music departments, and auditions normally are held over a three-day period about the second weekend in January.

The size of the WVMEA All-State High School Band has not changed much since 1962, and it usually numbers about 120 students. Each year an outstanding, nationally known conductor is selected to direct the young musicians. The West Virginia All-State Band has consistently performed an outstanding concert.

(This is the fourth in a series of short articles on the history of the West Virginia Bandmasters Association by Owen West and John Puffenbarger).

The West Virginia Bandmasters Association decided to organize an An-State High School Band in the spring of 1962. This resulted in an eighty-piece band whose members represented thirty-five high schools, and the band presented a concert on 24 March 1962 at the WVMEA Conference in Charleston. Glenn Cliffe Bainum, director emeritus of the Northwestern University bands, was the guest conductor.

After the Conference the Bandmasters Association received an invitation for the 1962 band to represent West Virginia at the Seattle World's Fair in June 1962. Band members traveled to Seattle by train, and Dr. Lawrence Kingsbury conducted the band at the concert in Seattle.

Thereafter the All-State Band began to perform at other functions than just the WVMEA Conference. The 1963 band became the "West Virginia Centennial All-State High School Band" and played on the "West Virginia Night" program at the Southern Division MENC convention in Charleston. During the summer this group took the title of "The Governor's Centennial Band of West Virginia" and traveled to present concerts in Virginia, Washington D.C., Maryland, Pennsylvania, and Kentucky. Francis Borkowski of West Virginia University served as director.

In 1964 Donald McGinnis, director of The Ohio State University Concert Band, was guest conductor for the AVMEA All-State Band at the Conference in Huntington. One hundred eleven student musicians were selected for this band. The Bandmasters Association received an invitation for the band to perform at the West Virginia Pavilion at the New York World's Fair in June 1964. For this occasion J. Loran Mercer of Warwood High School in Wheeling was conductor.

The BandmastersAssociation continued to arrange summer tours for the All-State Band. However, it was difficult to draw crowds to hear the band when then. were out- of-state and not part of a special event such as a world's fair. Since seniors in the band usually had summer jobs, the group's membership had to be adjusted, and sometimes because of personnel changes the performance quality was not the same.

In the late 1960s a trip to Florida proved to be difficult to arrange. Many students in the original band could not go, and replacements were hard to find. Moreover, arrangements in Florida were not up to par. After that trip, the Bandmasters Association voted to discontinue future summer tours.

(This is the WI in a series of articles on the history of the West Virginia Bandmasters Association by Owen West and John Puffenbarger).

The first stage band festival in West Virginia was sponsored by Gorby's Music House of South Charleston on 10 January 1959 in the South Charleston Recreation Center. Arrangements included a demonstration program by the "Commanders," a stage band from Concord College. After the "Commanders" had played several selections, their director, William E. Caruth, discussed phrasing, interpretation, seating, and musical arrangements. In the afternoon, eleven stage bands from schools in Ohio, Virginia, and West Virginia performed for a panel of three adjudicators, who gave the bands constructive comments.

For the next two years a stage band festival was co-sponsored by the West Virginia Bandmasters Association and Gorby's, and in 1962 Morris Harvey College became an additional sponsor. For a while the festival was held on the campus of Morris Harvey, and each year an outstanding musician of national reputation served as a clinician and adjudicator.

About 1965 Fred Ross' BANDLAND of Clarksburg organized the northern stage band festival. Like Charles Gorby, Fred Ross was a corporate member of the WVMEA who supported music education. Ross himself had played saxophone in several dance bands. The two festivals existed until 1973, when the Bandmasters Association voted to emphasize the educational rather than the competitive aspects and became the total sponsor. A state stage band contest was also organized that year.

Over the years the bandmasters have made modest changes in their organization to meet changing times. In 1961 the membership voted to allow a band to perform "anything" as its selected number, though there would still be a required number in each class that all bands would be required to perform. The bandmasters also decided that no band should receive prize money at a parade or any other event in the state.

In 1964 the Bandmasters Association sponsored solo and ensemble festivals in several regions of the state. At this time executive board members were allowed four cents per mile as expenses to attend meetings and official bandmasters functions. This was also the time when the bandmaster’s constitution was changed to have their annual clinic in summer months rather than in December.

About 1967 WVMEA President Ron Wood encouraged the Bandmasters Association to drop their solo and ensemble festivals and join the WVMEA’s newly formed solo and ensemble festivals. These festivals included strings and voice in addition to band instruments. A booklet titled "Instructions for Adjudicators" was developed for band festivals, and the fee for participation in state band festivals was set at 25 cents per student.

Thereupon the Bandmasters Association began work on a new festival plan. Rather than using a point system to determine ratings, an education plan was developed using ratings of "superior, excellent, good, fair, and poor." Music grade levels from one to six were introduced, and the emphasis was to be on music education instead of competition.

In the middle 1950s Charles Gorby invited Maurice Taylor to speak at a bandmasters clinic which he held at his store, Gorby's Music House, in South Charleston. Taylor was the author of the popular band method, Easy Steps to the Band. A few West Virginia music educators such as Saul Fisher, a former band director from Buckhannon and a past president of the WVMEA (1961-1963), still remember this outstanding clinic.

Taylor told the group, "I organized the Montrose, Pennsylvania, High School Band in 1927. Early in my career I noticed there were few band method books, so I began to write exercises down on paper for my students to play. Some of those students wanted those exercises to play at home, so I began to duplicate them to hand out. This gave them the essentials they needed to progress.

"I discovered that the books that were available were either written over the students' heads in language they could not understand, or were beyond the beginning level of musicianship. Even the way they were printed was intimidating."

Taylor is now 92 years old and has been retired from active teaching for more than two decades. He had been a band director for over 67 years, but even in retirement his love for music, education, and people pulled musicians together for community band concerts.

In an article in the Susquehanna County Independent, Elaine Henninger noted that Taylor could not afford to attend college, so he came by his knowledge from firsthand experience. When Montrose High School wanted to form a band in the 1920s, he was asked to teach, since he had already had experience from a community band which he had formed with his brothers and boyhood friends.

He didn't have the required teaching certificate, so he was listed in the school budget as an assistant janitor! He later received a teaching certificate, and in 1980 was awarded an honorary Doctor of Music degree from Susquehanna University.

Taylor developed a method of teaching the whole band from the first time they sat down together. It was difficult to get time to have each section sit down separately to practice, so he had to devise a way to teach them all together. His solution was to write his own book, Easy Steps to the Band. It is estimated that the book, along with 160 others he has written, has helped teach between six and eight million youngsters since it was first published in 1939.

John Schooley, a Montrose High School graduate and now a faculty member at Fairmont State College, states that at least half the woodwind and brass players in the Boston Symphony Orchestra learned from the "Easy Steps" books. Schooley says, "His great strength as a teacher was that he was a master of every instrument. He used to have a cart in front of him when he taught, and if a student had a question, Mr. Taylor could pick up any instrument and demonstrate. There wasn't the luxury of giving individual instruction at that time. He had to teach A students together."

Taylor said that a key to his success was the realization that students learn at different speeds, so a teacher has to be patient in order to bring them along all together. He believed that the essentials have to be taught until they are learned. He realized that for some students this takes time-weeks, months, even years.

Many band directors in West Virginia have used the "Easy Steps" series of books, and they are still in use in several schools. Many successful band programs are the direct result of Maurice Taylor's vision.

Are you interested in learning about the early activities of music education in West Virginia? Interested in reviewing the programs or hearing recordings of any all-state groups since the 1960s? Interested in reading about the beginnings of solo and ensemble festivals, for example?

Travel to Colson Hall on the campus of West Virginia University in Morgantown. Their helpful personnel will direct you to the archives of the West Virginia Music Educators Association. This collection has been developed and continued by the WVMEA historians.

In 1981 the MENC national office requested that the WVMEA create the position of historian in order to preserve records pertaining to music education in our state. Phyllis Osenton, who was WVMEA president at that time, appointed Clifford Brown to this position. Brown served as historian until his untimely death from an automobile accident in November 1988. 1 was appointed historian in December 1988.

Each year we collect material related to music education in West Virginia. The materials are sorted and placed in files belonging to the WVMEA affiliates. These files include minutes of the WVMEA Executive Board, WVMEA Conference programs, records of affiliate organizations, and records from past presidents. Materials date back to 1920. Also on file are recordings of all-state groups dating from 1961 to the present (band, chorus, and orchestra).

The WVMEA archives at Colson Hall are organized using the "series" method. VNNEA records are placed in boxes labeled "Series I," "Series 2," and "Series 3." Bandmasters Association is "Series 4;" Vocal Association is "Series 5," etc. A listing of the WVMEA affiliate series number is available from the desk personnel.

While we are fortunate to have a lot of material in the archives, it is not complete. Any affiliate, which has additional historical documents, is encouraged to store these in the archives in order to preserve music history in our state. Also, each affiliate should appoint its own historian.

Schools in our state have a rich history which should be preserved for the future. Each director should take time to save pictures and programs of all past activities. Don't throw away old programs and recordings; these are part of your school's music history. Designate a drawer or two in a file cabinet for this historical information.

On a personal note: I have enjoyed working with NOTES A TEMPO editor Dr Edward Wolf these past nine years. He has served on the WVMEA Executive Board as editor, WVMEA President, and Conference Chair. He contributed much insight, and has been a valuable member of our organization.

The competition was very fierce. Delegates from Florida, represented by a convention bureau, presented a film highlighting the features that Miami provided. Other states also had well-organized presentations. Several states in the MENC Southern Division wanted the 1963 convention held in their cities.

It was now or never for West Virginia. The West Virginia delegation realized that being such a small state, it might never have another opportunity to host a convention. Richard Wellock, Leland Arnold, and Saul Fisher attended the Southern Division convention planning meeting. They held one card that might sway the committee their way.

1963 was West Virginia's Centennial year. The West Virginia delegation had convinced the Governor's office and the Charleston Chamber of Commerce to provide funding for the convention. Finally, the Southern Division planning board realized this may well be the only time West Virginia could host such an event, so they awarded the meeting to our state.

Many WVMEA activities in 1962 were in preparation for the 1963 Southern Division Conference. The West Virginia Bandmasters Association organized the West Virginia All-State High School Band. Tryouts were held and the band presented its first concert at the 1962 WVMEA Conference. This conference was held in Charleston as a dress rehearsal for the 1963 conference. The purpose was to see if the all-state groups were effectively organized. It also gave the local committee a chance to see if things worked properly.

Prior to 1962, the West Virginia Bandmasters Association was not affiliated with WVMEA or MENC. After much contemplation, Saul Fisher, WVMEA president, and Walter Moore, Bandmasters president, decided to bring the matter to a vote. At the next WVMEA general business meeting, Walter Moore moved that the Bandmasters Association be affiliated with WVMEA. Much to his delight, the motion passed without any opposition.

The 1963 MENC Southern Division Conference was held at the Charleston Civic Center March 20-23. It took a great deal of work on the part of the local committee to host the four-day affair.

One of the outstanding speakers at the event was Stanley Chapple from the University of Washington, Seattle. L. K. Lovenstein, Superintendent of Kanawha County 10 Schools, attended the opening session where Mr. Chapple spoke. He was so impressed that he asked Saul Fisher when Mr. Chapple would be speaking again.

WVMEA held its conference during the Southern Division meeting. It was limited, however, to a one-hour business meeting. The West Virginia AH-State high school band, orchestra, and chorus performed. Other performing groups from West Virginia included: Fairmont Senior High School Choraliers, Betty Knapp, director; Marshall University Symphonic Choir, Lee W Fisher, director; South Charleston Jr. High School Band, John P Jarvis, director; and the West Virginia University Opera Group, Joseph Goltz, director. These groups applied to perform at the Southern Division MENC Conference.

As WVMEA president, Saul Fisher had the honor of leading the conference in the "Star Spangled Banner." West Virginia's once-in-a-lifetime opportunity to host the MENC Southern Division Conference became a reality.

Saul Fisher wanted his students to appreciate music. In a recent interview, he stated, "I always hoped that some of the students I taught would become professional musicians or teachers. And some of them did. But if they didn’t, I hoped that I had prepared them to become consumers of music."

As a child, Saul's knowledge of music consisted of little more than the general understanding that "black notes were sung faster than white notes" When he began playing clarinet in the school band in his hometown of Buckhannon, he was not too serious about it until he heard a performance by a guest clarinetist one summer at the West Virginia Wesleyan band camp. After hearing how a clarinet really should sound, Saul became serious about practicing, hoping to duplicate the sound and technique that he had heard.

Saul continued to refine his musical skills as a student at Buckhannon-Upshur High School, resulting in his selection to the West Virginia All-State Orchestra. After graduation, he chose to pursue a career in music. He continued his education at the prestigious Julliard School of Music in New York City, where he studied with many well-known musicians and performed at Radio City Music Hall.

World War 11 changed the lives of many people. Saul's life was affected when he temporarily abandoned his music career to serve in the Merchant Marines. Following his period of service, he returned to Julliard, but found that the school did not provide as many performance opportunities as before. Consequently, Saul enrolled at West Virginia Wesleyan College and eventually earned a teaching certificate.

After graduation, he accepted a job at Van High School in Boone County, where he found a small, but enthusiastic group of students. Under his direction, the band program grew impressively. Saul's next career opportunity arose when he learned of the resignation of Frank Schroder as Director of the Buckhannon-Upshur High School Band. In 1950, Saul applied and was awarded the directorship of the B-U Band.

In the early 1950’s, the B-U band averaged sixty members. Half-time shows were based on themes and involved the formation of pictures in accordance to scripts read by the PA announcer. During concert season, the band performed quality music with outstanding musicianship.

Because of its fine reputation, the B-U Band was chosen as a clinic band for the WVMEA Conference in Morgantown. The band later traveled to Washington, D.C. as guests of the United States Navy Band. in Washington, band members heard the Navy Band in concert, practiced with Navy Band members, and toured the city. Another year, the band attended the Virginia Beach Band Festival.

In the late 1950s, the B-U Band continued to grow (averaging eighty members) and to earn superior ratings at band festivals. In 1959, a new Buckhannon-Upshur High School was built, combining a city and county division. The band received new blue and white uniforms and practiced in a new facility. During these years, Saul served as President of the West Virginia Bandmasters Association, was a member of Phi Beta Mu, and was WVMEA President when the 1963 MENC Southern Division Conference met in Charleston, WV.

In 1964, Saul resigned his teaching position to open SEFCO Plumes (Saul E. Fisher, Company), a business he ran for twenty years. He kept his hands in music by playing in the pit orchestra for operas at West Virginia Wesleyan College, the Leonard Hanigen Band, and a local saxophone quartet. Saul has always believed that music is to be performed and shared.

If you were a musician, especially a brass player, living in West Virginia during the 1930s and wanted to further your music education at an outstanding school, which one would you choose? Several West Virginians chose the Ernest Williams School of Music, located at 153 Ocean Avenue in Brooklyn, New York.

Prior to founding the school, Ernest S. Williams toured with the John Philip Sousa Band during its 1901 European tour and, that same year, became soloist and first cornetist with the 13th Regiment Band at Ontario Beach. In 1904, he founded his own publishing business, the catalog of which included E.E. Bagleys "National Emblem March" well as many other important works for band.

According to historian Laura E. Drake, Williams continued his successful performing career in 1917 as soloist with the Patrick Conway Band. He later played first trumpet in Victor Herbert’s Orchestra and the Philadelphia Orchestra.

Williams founded the Ernest Williams School of Music in 1923, which remained open until his death in 1945. The school's curriculum emphasized artistry and technique in band, orchestral, and choral performance. Solo performance was also stressed, and it was not unusual for students to receive several private lessons per week.

The Ernest Williams Music Camp was established near Saugerties, New York. Parkersburg High School bandmaster George Deitz sent up to six students to this camp each summer. Camp instructors included Erik Leidzen, Robert Hoffman, Leonard B. Smith, Ernest Williams, and Williams' brother, Jan.

West Virginia Wesleyan music professor Lawrence Kingsberry invited several faculty members from the Earnest Williams Music Camp to teach at Wesleyan’s summer music

camp, which offered band, orchestra, and private lessons. Past WVMEA president Saul Fisher was a young clarinetist when he attended a Wesleyan summer music camp and heard, for the first time, a "real' clarinet sound. Fisher stated, "It was the first time I ever heard a clarinet sound the way it was supposed to, and it inspired me to work hard to duplicate that sound.' He later studied clarinet at Julliard with Jan Williams.

Well-known music merchant Fred Ross attended the Ernest Williams school in 1938. He boarded at the school and worked in the dining room and performed in the school's band and orchestra. He said that Williams was a nice gentlemen, but that he was also very demanding. Ross stated, "Mr. Williams understood if a person made an honest mistake while playing, but he became very upset if a performer made a careless mistake. He sometimes would tap the person on the head with his baton'

The Ernest Williams Symphonic Band traveled to West Virginia and performed a concert in the Parkersburg High School Auditorium on Friday, April 22,1938. During the concert, Williams surprised Fred Ross by asking him to play a clarinet solo. Since Ross had been playing alto saxophone in the concert, he had to ask the music custodian to get his clarinet from the bus. After taking a couple of minutes to warm up, Ross played "Concertino for Clarinet" by von Weber. Ross later remarked, "One always had to be prepared when playing for Mr. Williams.' Other West Virginians in Williams' band included Frank Dodd, horn; William Brooks, clarinet; and Harold Eberhardt.

Frank Schroder was another West Virginian who attended the Ernest Williams School. Because the school did not offer a degree in music, Schroder returned to West Virginia and graduated from West Virginia Wesleyan College. He became band director at Buckhannon-Upshur High School and, in 1950, accepted the position as director of the Big Red Band in Parkersburg.

.... The music teacher parked his car in the school parking lot. He unloaded his briefcase, music, and equipment and walked to a large door on the ground floor of the building. He opened the door and walked into the dimly lit room. As usual, he had to move boxes of trash from the center of the floor to make room for his students. The room he was teaching in was the furnace room ....

At the 1999 WVMEA conference, I participated in a conversation with several retired WVMEA members about facilities that were less than desirable for conducting classes. One member concluded that since she taught successfully in a room not suited for music instruction, she could teach anywhere.

In earlier years, music was taught in a variety of environments, including a boiler room, boy's bathroom, stage, converted coal bin, hallway, converted pool, and shower room. Many instructors have experienced teaching in Quonset huts" - those metal buildings which were purchased from the government after World War 11 and placed behind school buildings. One can only imagine the sound of a performing group in one of those buildings! In one county, students attended band class in a room located over a school bus garage. When band members paused to take a breath, they inhaled gasoline and exhaust fumes. Chorus students in another county had class in a room beside the shop. Since the wall dividing the two rooms was made of thin fiberboard, they could smell varnish and paint as they sang.

Often music teachers taught in rooms intended for other purposes. One band class met in a converted coal bin. Entrance to the room was via the boy's bathroom. Girls did not wish to go through the bathroom, so they walked outside and entered through the coal chute door. In another county, band class was held in the boy's bathroom, and a sign was hung on the door stating: "Band class in session - Please do not enter."

Several administrators apparently believed that all "noise makers" should share the same area. Some music teachers were therefore forced to teach music, a discipline requiring listening, in a noisy environment. One teacher taught chorus next to a woodshop. A band director also taught next to a woodshop, which he claimed was bearable until the shop students began to use the planer. Several teachers taught music in rooms located below gymnasiums.

In one school, a Burnside stove dominated the center of the room. Students could play their band instruments while seated around the stove and be miserably hot, or they could sit in front of the windows and be cold. One music class was held on the cafeteria stage with the curtain drawn, while a noisy study hall occupied the rest of the room. The classroom teachers in one school wanted the traveling music teacher to come to their school, but the hallway was the only place the class could be held.

Simply getting to school posed problems for some teachers. Several years ago, one female teacher rode a canoe across the Guyandotte River to get to her elementary school. Others encountered whooping cranes, deer, turkeys, and groundhogs while driving from school to school. One teacher recounted an incident where a deer jumped off a mound on the side of the road and landed on the hood of a car, shattering the windshield.

Today it is gratifying to see new buildings in many West Virginia counties. More music departments have modern facilities with spacious risers and adequate equipment and storage space.

John Philip Sousa liked to wear a new pair of white calfskin gloves each time he conducted his band in performance. One day, early in 1920, he entered Centremeri's, a shop on Fifth Avenue in New York, and asked the proprietor how much it would cost to order one hundred dozen gloves. The startled man figured the cost to be six dollars a pair, a total of seventy-two hundred dollars. Sousa was satisfied, and the gloves were ordered.

Fairmont native John Carroll Carr played clarinet for a few years in the Sousa band. Years later, Carr's sister was cleaning the garage when she found a pair of old discarded white gloves in a box and threw them away. Alas, they had been given to Carr by John Philip Sousa.

Sousa’s band was one of several which toured the United States from the late 1800s through the 1930s. In 1873, Patrick Gilmore was asked by the officers of the 22nd Regiment of New York to lead their band. In 1892, John Philip Sousa resigned from the Marine Corp and organized his new band. Other bands were formed by Pat Conway, Arthur Pryor and Alessandro Liberati.

The traveling bands were immensely popular. Once, on a seventeen-week tour of the United States, Sousa’s band traveled over 10,000 miles and played in ninety-eight cities. Touring bands inspired the formation of town bands in every state. Thousands of town bands were formed between 1880 and 1930, some lasting beyond World War 11.

In West Virginia, Buckhannon organized a town band in 1875. Hedgesville, which had a singing school as early as 1858, sponsored a concert band. In 1887, the French Creek band was organized. Several coal mining companies started bands in their communities, such as the Monongah Mine Workers Band in Marion County. The Harrison County community of Johnstown had a community band which played until the late 1970s.

In his book titled A West Virginian's View of musical Life Yesterday and Today, Dr. Randolph E. Spencer wrote "...the Martinsburg City Band was organized by C.P Curtis on December 18, 1883. Weekly programs were performed by the band at the Public Square. For many years Martinsburg had two municipal bands - the McAneny and Comrey bands. A popular form of entertainment in the early 1900's were regular concerts during the summer months in the Public Square's bandstand. The increasing popularity of such things as motion pictures and radio, plus the removal of the bandstand in 1934, finally brought about the end of both bands."

Because of the interest in band concerts, parents began to want their children to experience the thrill of playing in the band. School bands began to be formed. The first band at Buckhannon High School was established in 1923 when eleven boys developed an interest in instruments. Martinsburg hired Mr. Christianson (first name unknown) in 1929 to serve as its first paid school band director. Bands were organized in many schools during the 1930s and 1940s as interest in instrumental music grew.

As WVMEA historian, I believe that it is important to have historical records about musical organizations in West Virginia’s schools. For schools that have no written history on file, I suggest that music teachers take time to write a document themselves. In doing so, I suggest that teachers research local newspapers and talk to previous teachers about earlier performances.

Harold W. Glasgow believed that it was important to expose students to a wide range of music. As director of the East Fairmont High School Band in the 1950s, he would load his car with students and take them to concerts in the area. I remember when he took some of us to Pittsburgh to hear the Salvation Army International Staff Band from London, England, and to Morgantown High School to hear Meredith Wilson speak about his experiences in the Sousa Band. After Mr. Wilson’s lecture, Mr. Glasgow took us backstage to get his autograph. On another occasion, we traveled to Pittsburgh to see the Barnum and Bailey Circus, where we were introduced to well-known circus bandleader Merle Evans.

These experiences helped us, his students, to develop a love for music. I was reminded of these experiences when I attended a concert of "The President's Own," the United States Marine Band this past October at Robert C. Byrd High School in Clarksburg. Under the direction of Colonel Timothy W. Foley, the band brought a bit of history to Clarksburg. For two centuries, the United States Marine Band has participated in events that have shaped our national heritage.

Since its founding in 1798, the band's primary mission has been to provide music for the President of the United States and the Commandant of the Marine Corps. Marine Band musicians appear at the White House more than 200 times annually, performing at South Lawn arrival ceremonies, state dinners, and receptions, and accompanying famous entertainers.

The concert performance in Clarksburg, co-sponsored by the Clarksburg Exponent- Telegram and the Harrison County Chamber of Commerce, was a part of the 1999 National Concert Tour. Colonel Foley stated that "The President's Own" frames each concert with Sousa marches. In Clarksburg, the band opened with "The Glory of the Yankee Navy" and closed with "The Stars and Stripes Forever."

Two West Virginians performed with the band in Clarksburg: GySgt Betsy J. Hill of Shepherdstown played piccolo and GySgt Aaron D. Clay of Fairmont played string bass. GySgt Clay, a graduate of West Virginia Wesleyan College, was featured soloist.

At intermission, I spoke with Gary Poling, who had been a percussionist in my band at Washington Irving High School in Clarksburg. Gary, now a history teacher at Robert C. Byrd High School, reminded me that I had taken him and other students to a performance of "The President's Own" in Elkins in the early 1960s. Mr. Glasgow's belief in the importance of exposing students to great performances had clearly influenced my teaching.

As I enjoyed this spectacular afternoon, I could not help but notice that years of music education history in West Virginia were represented in the audience. Among those I saw were: Blaine Corder, retired band director from Barbour County Schools; Don Hamilton, past WVMEA president and retired music educator from Harrison County Schools and, more recently, West Virginia Wesleyan College; Ron Wood, retired band director at Fairmont Senior High School and past WVMEA president; Barry Vingle, current band director at Fairmont Senior High School; Dave Milburn, band director at West Virginia Wesleyan College; Randall Hall, retired band director from Harrison County Schools and recent WVMEA Hall of Fame honoree; James Ellis, band director at Robert C. Byrd High School; Jude Gore, band director at Salem Middle School; Charles Freeman, retired instrument repairman from Bandland; and Phil Wyatt, band director at Washington Irving Middle School. Their love of music was evident as they listened to the concert.

Musicians by nature have always been competitive. In an orchestra, principal players are given most responsibility for each performance. They are the highest paid members of their section, and they practice hours each day to maintain their place in the ensemble.

During the 1920’s, highly competitive band contests were held in West Virginia and many other states. Contests in West Virginia were usually held in Wheeling or Huntington. One day in 1935, Huntington band director Henry Shadwell invited two other band directors, Charles Gorby of South Charleston and Carl McElfresh of Logan, to his home. (Charles Gorby points out that the three schools often exchanged band concerts, and he remembers how informative it was to work together.)

Sometimes, an idea comes from nowhere. While discussing band concerts they had heard recently, Henry Shadwell suddenly spoke up, saying, "Let's have a band festival so we can pace ourselves on the road to excellence." Since Shadwell wanted to emphasize cooperation and learning in a friendly atmosphere, his idea of a festival was different than the highly competitive contests of the time. It was natural that Huntington would serve as the host town for the first WV Band Festival, with Henry "Shad" Shadwell serving as festival chairman.

Shadwell had a reputation as a fantastic organizer. The late James Rathburn of Huntington recalled that "Shad" created several committees to plan the huge Huntington Band Festival. He arranged for townspeople to house and feed the thousands of students in attendance. The festival ran smoothly because of Shadwell's emphasis on details. The Huntington festival grew from a little over a dozen bands to about 75 at the time of his death at age 52 in 1951.

Henry Shadwell was born in Caldwell, Ohio. He attended Ohio State University and later earned bachelor's and master's degrees in music from Capitol College of Music in Columbus, Ohio. In January 1918, he was hired to teach science at Huntington (WV) Central Junior High School. His love of music prompted him to teach music after hours. For five years, he directed the Huntington Boy Scout Band, which played before the United States Congress in 1926.

For many years, Huntington had a tradition of music organizations, including fireman’s bands, dance bands, and a town band. In 1923, John Philip Sousa’s band performed a concert in Huntington. Shadwell arranged for about thirty of his music students to sit in with Sousa’s band on the afternoon of the concert. Interest in music was beginning to grow in the hearts of school children.

Shadwell began a campaign to persuade the Cabell County Board of Education to offer music in the public schools. Although it was difficult to convince the members of the board that music was a worthwhile subject for the public schools, Shadwell prevailed in 1926. He served as the first supervisor of instrumental music in the Huntington schools, and he also directed the band at Huntington High School. He took the band on concert tours as often as possible, including concerts at the Canadian National Exposition in Toronto in 1937, the Chicago Exposition in 1935, and the New York World's Fair in 1939.

Charles Gorby states that, "Shadwell had a great sense of showmanship. 'Shad' liked to have his bands play 'Overture 1812.' Once, while playing at the Huntington City Hall auditorium, Shadwell decided to add some flare to the finale. He had black powder placed in empty drums offstage to simulate cannon fire. However, the charge was larger than planned, and dirt and debris from the rafters were shaken loose, and drifted down onto the band members and Mr. Shadwell. The stage filled with clouds of dirt and dust. Fumes from the explosion prompted someone to call the fire department."

Henry Shadwell was a fine musician and a compassionate teacher, whose love of music filtered down to countless students. He is remembered as a pioneer of the high school band movement in West Virginia, organizer of the first Huntington High School Band (1924), and founder of the West Virginia High School Band Festival (1935).

A clinician conducting an in-service session for educators remarked, 'Get rid of two things, and you will have a successful class. Get rid of motion and noise. For example, if a door opens, everyone will look towards the door. And if a pencil drops, everyone will turn towards the sound. Motion and noise always destroys the attention of students.'

Music educators realize it takes a great deal of concentration to perform music. Musicians must look at notation and perform several functions at once. To perform these functions well, a musician must listen, which requires a special ingredient: silence. It has been said that an artist paints on canvas and a musician paints on silence.

Even though a music teacher may try to eliminate motion and noise from the classroom, outside influences may sabotage the effort. In spite of enormous efforts, certain incidents are beyond the teacher's control. Let's examine several of the numerous situations that actually happened in WV schools.

A custodian looked at his calendar and noticed that a PTO meeting was scheduled for that evening. He connected a garden hose to an outside faucet and proceeded to hose down the classroom windows. Inside, a band director tried to instruct young musicians in their first week of beginning band.

While rehearsing in the school auditorium, an orchestra director's class was interrupted as workmen carried furnace parts through the rear door, down the aisle, up the stairs to the stage, and across the stage to the furnace room door. They made the trip several times, compounding the interruption.

Construction knows no barriers in the educational environment. Teachers' classes have been interrupted by maintenance workers repairing doors, replacing windows, wiring outlets, installing light bulbs, and fixing heaters and air conditioners. And who has not had to talk louder as the grass was being cut outside the window? The ultimate trial for a teacher trying to present difficult concepts to students occurs when workmen use a jack-hammer next to the classroom.

At some high schools in years past, announcement sheets were distributed and read during homeroom periods. Then came the invention of the intercom system. Some principals made announcements over the intercom anytime persons delivered messages to the office, regardless of whether class was in session or not. Of course, these announcements were often made just as a music teacher was explaining an important passage of music.

One day a choir director was tape recording a rehearsal so that the recording could be submitted to the WVMEA Honor Group Selection Committee. The teacher had asked that no announcements be made during the taping. The choir was in the middle of the second selection when the principal made an announcement over the intercom. The teacher was so upset he climbed onto a counter and tore the speaker off the wall. (That's one way to get rid of noise.)

A band director was teaching in a small kitchen/lunchroom while three cooks prepared lunch. One day, the band director noticed that students in the back room were rubbing their eyes. Soon, other students stopped playing and began rubbing their eyes. The band director soon realized that the cooks were chopping onions, so he dismissed the class and sent them back to their rooms. When the principal asked why class was stopped early, the director explained that the students could not see the music. The solution was for the cooks to order dehydrated onions for use in future meals.

The Second World War was drawing to a close. Harry S. Truman, Winston Churchill, and Joseph Stalin attended a Big Three meeting on July 19, 1945 in Potsdam. Truman invited the brilliant young pianist, Eugene List, to play Russian, American, and British music, as well as a little Chopin at the meeting. Although Churchill was a great writer, orator, and artist, he was not particularly a music lover.

Also during the summer of 1945, teachers and administrators from all over West Virginia traveled to Jackson’s Mill for a State Department of Education conference. During a break, seven music teachers began a discussion about the status of music at higher education institutions in the state. The seven teachers involved in the discussion were: Marie Botte, West Virginia Wesleyan College; P Ahmed Williams, West Virginia State College; Gem Huffman, Roane County music supervisor; Mary B. Price, Fairmont State College; Bertha Olson, Glenville State College; Miriam Gelvin, Marshall College; and Clifford Brown, West Virginia University.

During the discussion, they observed that WVMEA was comprised mainly of choral and elementary teachers, and that ninety percent of the membership were women. The Bandmasters Association was larger than WVMEA, but its membership wished to remain independent, even though MENC recognized WVMEA as the official state unit.

The group discovered that there were great differences in requirements and degree programs among institutions, and that all institutions had inadequate facilities. They decided that college teachers needed to get together to discuss educational programs and to establish professional standards to assist administrators and governing boards in making decisions. They planned a meeting of higher education teachers for the following October.

The first meeting was held October 29, 1945 in Clarksburg. Surprisingly, twelve institutions were represented. Bertha Olsen of Glenville State College presided and Marie Botte of West Virginia Wesleyan College served as secretary. Others in attendance were: Mary B. Price, Fairmont State College; Katherine W. Church, Potomac State College; Gladys B. Johnson, West Virginia State College; Luetta L. Spenser, Bluefield State College; Ella Holroyd, Concord State College; Lucy Woodford Lowry, Alderson-Broaddus College; Harry Mueller, Marshall College; W. H. Ehrich, Salem College; Carl J. Farnsworth, Shepherd College; Richard C. von Ende, Bethany College; and Clifford W. Brown and Frank Cuthbert, West Virginia University.

Bertha Olsen gave the participants time to become acquainted and then announced that the main purpose of the meeting was to identify the aims and purposes of the group. After discussion, the group decided that standardization and unification should be the organizations immediate objectives.

A second meeting of the Music Section of the Higher Education Group was held October 28, 1946 at West Virginia University. The teachers in attendance decided to change the name of the group to West Virginia College Music Educators. They thought that the organization should meet twice annually - the fourth Monday in October and during the spring meeting of the Higher Education Group of the State Education Association.

When the group opened a discussion of eligibility, the meeting began to bog down. Several participants thought that only department chairmen should belong, while others believed that it was important to include all college instructors.

(In the next issue of Notes A Tempo, part two of this article will reveal the group's decision about eligibility, the group's additional goals and objectives, and the ways in which it became a vital part of WVMEA.)

Several college music educators at the Higher Education meeting in October 1946, believed that only heads of state college music departments should be members of the College Music Educators Association (CMEA). However, the majority in attendance favored allowing all music teachers membership, and their proposal was accepted.

Three committees were appointed to study and report the following items: 1) A clarification of the term " conducting" when used as a requirement for state certification of teachers. 2) Teaching loads for college music teachers. 3) Minimum hours for various teaching certificates (teacher training).

The group was satisfied with its progress in the 1946 meeting and decided to meet again in October 1947. This meeting was a complete disaster. The first committee had done nothing about the conducting issue, and the second committee's chairman was unable to attend the meeting, but had reported progress. The chairman of the teacher training committee was also absent. A questionnaire had been mailed, but no report concerning results was made. The committee chairman and secretary resigned because "the group voted to act as a unit in the election of officers rather than accept the suggestions of a nominating committee."

Since there were no committee reports, the group discussed the merits of having a state music supervisor as well as the future relationship of CMEA and WVMEA. (Miriam Gelvin, Gem Huffman, and Clifford Brown later interviewed Dr. Trent, state superintendent of schools, about the possibility of a state supervisor. Miriam reported that "Mr. Trent's consideration was so unsatisfactory that it should not be pursued further at that time.")

ID. Philips, music professor at West Virginia State College, invited the group to hold a spring meeting at his college at Institute. This was an innovative move since West Virginia was still struggling with racial issues, and WVSC was recognized as a black institution. The meeting was held there in spring 1948. By that time, WVMEA had invited the CMEA chairman to serve on the WVMEA Executive Board.

By the time a fourth meeting was held at Fairmont State College in October 1948, the committees appointed earlier had begun to make progress. Committee members had begun to write positions on conducting credit, voice requirements, string major requirements, and instrument requirements. CMEA was becoming an advocate for strong music programs in the West Virginia public schools.

In later years, CMEA would start the movement to unify all school music organizations by affiliating with MENC and WVMEA. It restarted Notes A Tempo, which had been silent for several years. All editors since then have been college educators (except for John L. Puffenbarger and Becky Taylor). CMEA started the all-state college orchestra in 1950, and the organization assisted WVMEA with its conferences each spring.

In 1990, poor attendance caused CMEA to cease holding meetings. Interest in the organization was lacking. However, it was re-organized in 1996 as the West Virginia College and University Music Teachers Association. Frederick Meyer of West Virginia Institute of Technology was elected president. A college student recital was held in 1998. Five colleges/universities participated in a second student recital on Saturday, March 27, 1999, during the WVMEA conference in Huntington. A Directory of College Music Educators was printed and mailed to all WV college music teachers.

Future plans include a proposal for a web site for the organization. The college student recitals have been successful and will continue. C/UMTA has been an influential voice for music education in the past and will continue to make great contributions in years to come.

West Virginia's music education community lost one of its pioneers this winter. Francis "Frank" J. Schroeder of Bel Air, Maryland passed away on Friday, January 19 in Cumberland, Maryland. His obituary appears on page 15 of this issue.

I first met Frank Schroeder the first year I taught school. After graduating from Fairmont State College, I was hired as a band director at Clarksburg Washington Irving High School a scant eight days before the first football game. I was forced to learn many things about the band program in a short amount of time.

The third football game was against Parkersburg High School. That was when I became acquainted with Frank Schroeder Not knowing anything about the layout of the Parkersburg field, I wrote Mr. Schroeder, asking him for information about the game. I received a four-page letter from the drum major of the Big Red Band. The letter contained all the information I needed to take the band to Parkersburg, including the name and phone number of the manager at the Wilmar Cafeteria, instructions for parking our buses, and the location of the dressing rooms. Also included was an invitation to join the Big Red Band in the performance of the Star Spangled Banner.

When I called Mr. Schroeder to discuss the arrangements for the Star Spangled Banner, he said he would like our band to march in block formation to the center of the field. His band members would then march between our files. He wanted to know the concert key in which we played the piece, and I said, "Concert Bb." He said that his band could perform the piece in Bb or Ab. He explained that he wanted to be sure of the key because he once invited a band to play with his band and forgot to confirm the key. The visiting band began the piece in Ab while Parkersburg started in Bb. When the Big Red Band members realized what was happening, they switched to Ab.

The night of the game, I discovered what a real professional Mr. Schroeder was. The band's drum major, commander, and other officers met our buses and showed us around the field, pointing out where our band would sit and the location of the rest rooms. Mr. Schroeder invited me to direct the Star Spangled Banner, which was quite a thrill since it was the largest band I had directed at that time. In the following years, I tried to emulate his example by treating other colleagues with respect.

Frank Schroeder was Saul Fisher's band director when he attended Buckhannon High School. Fisher said recently that Mr. Schroeder always programmed good quality music on band concerts. Tone quality and precise intonation were stressed to a high degree, a tradition that has continued to the present day. Mr. Schroeder placed great emphasis on the development of musicianship in each band student. As a result, a number of outstanding student players from the Schroeder era went on to have distinguished careers in music, including David Casto, Harry Hoffman, and Richard Lawson.

Fred Ross, former owner of Fred Ross' BANDLAND in Clarksburg, recalls the first time he met Frank Schroeder. About 1934, when Ross was a junior at Pennsboro High School, he attended a summer band camp at West Virginia Wesleyan College. Lawrence Kingsberry, WVWC band director and graduate of the Ernest Williams School of Music in New York City, invited several Ernest Williams graduates, including Mr. Schroeder, to teach at the camp.

Fred Ross took clarinet lessons from Mr. Schroeder, who taught him the proper embouchure, correct tone, and proper position of the fingers on the instrument. Mr. Schroeder performed passages of music for Fred to show how phrases should be played. Mr. Schroeder made a great impression on Fred and perhaps was the person s who was most responsible for Fred's growing love of music.

During the six week session, summer camp students practiced every day and presented concerts at Adkinson Chapel on Sundays, with Ernest Williams instructors playing alongside students. It was a wonderful learning experience - one that Fred Ross never forgot.

About ten years ago, Fred Ross attended a reunion of Ernest Williams students that was held at the University of Maryland. At dinner the first night, the moderator asked graduates to stand and introduce themselves and their spouses, and to explain what they did for a living. After Fred introduced himself and his wife Gerri, he heard a voice yell out, "Fred, it's Frank Schroeder!" Neither of them knew the other was attending the reunion. They had a great time reminiscing.

Teachers in West Virginia have long known the value of playing solos or performing in an ensemble. The Bandmasters Association held region solo and ensemble festivals during the 1950s and early 1960s. While the festivals were mainly for wind and percussion students, a few regions also invited piano students to perform.

On September 7, 1963, WVMEA president Elinor Copenhaver met with the WVMEA Executive Board to discuss plans to organize a Piano Division for WVMEA. A constitution was written for the organization that stated the purposes of the Piano Division. The purposes included: developing the advancement of piano music in public schools, educational institutions, and organizations; improving piano teaching and performance through festivals, clinics, and workshops; and developing greater recognition for piano class as an integral part of the school curriculum.

The first Piano Division Festival was held on May 1,1965 at Morris Harvey College in Charleston. Russell Falt from Princeton served as the Piano Division chairman. The festival was approved by the Secondary Schools Activities Commission, and all public school students were eligible to participate in one of three divisions: elementary, junior high, or senior high. Arno Drucker of West Virginia University served as adjudicator. The ratings were indicated on MENC rating sheets and were non-competitive. The registration fee for each student was $2.00.

In September 1965, Russell Falt accepted a position at Ithaca College and resigned as chairman of the Piano Division. Joanne Drescher of the Marshall University School of Music was appointed chairperson. Piano workshops were added to the WVMEA spring conference. Alison Demarest of the Baldwin Piano Company and Dr. Lawrence Rust of the Wurlitzer Piano Company held workshops at the 1967 conference.

The first WVMEA solo and ensemble festivals were held in 1967. These festivals included wind, percussion, voice, and piano students. Margaret Lorince became Piano Division chairperson in 1969, and interest grew as piano students continued to participate in solo and ensemble festivals. A further development was the appointment of a selection committee to choose a student accompanist for the All-State High School Chorus. The runner-up would serve as substitute and would also turn pages for the accompanist.

In the early 1970s, interest began to dwindle once again, and the Piano Division became inactive from 1971 to 1983. It was difficult logistically to have pianos tuned and ready to play at all region festivals. In June 1983, the WVMEA Executive Board discussed the prolonged inactivity in the Piano Division and concluded that piano students would be served better if a separate piano festival was held. In September 1983, Kathryne Williams from Beckley wrote an article for Notes A Tempo on behalf of the WVMEA Executive Board that included a questionnaire designed to determine the interests of piano teachers in the state. The results showed that there was enough interest for the Piano Division to once again sponsor festivals.

The first of the revived festivals was held at Woodrow Wilson High School in Beckley on Saturday, April 22, 1989. Twenty students from eleven schools participated. Students who had participated in solo and ensemble festivals received a discount. Piano festival winners were invited to perform at the 1989 WV County Music Directors Association fall conference, which was held at the Oak Hill Holiday Inn.

Betty S. Wilson was appointed Piano Division chairperson in 1990. The following year, the Piano Division festival was held on the Wednesday before the WVMEA conference. At the conclusion of the day, all participants were invited to attend the WVMEA conference piano master class, and festival winners were invited to perform the following day at the WVMEA conference. This arrangement continues today.

One of the many functions school administrators perform during summer months is developing a workable schedule of classes, sometimes a difficult task. There are many more classes to schedule today than in the past. Itinerant music teachers know from experience that each year they must confer with their school principals to include music in the school schedule. They must juggle classes not only in a single school, but in each school in which they teach. A slight change in one school's schedule will cause havoc with their schedules in every other school. Scheduling becomes more difficult as more subjects and requirements are added to the curriculum.

Scheduling events at the WVMEA conference each year is also a formidable task for conference chairs. WVMEA has many more affiliates than in past years, and each affiliate wants a time slot on the conference program. There are a limited number of time slots and rooms available during these three-day conferences. While WVMEA conferences used to be held entirely within hotels (with the exception of the Saturday all-state concerts), today's conferences require several locations to handle all the events.

In February 1960, the WVMEA conference was held over a four-day period at the School of Music at West Virginia University. The program began with the WVMEA Executive Board annual dinner, followed by a general music concert for the local audience and WVMEA members.

The 1960 conference chair had only twenty-one events to schedule. These included a college orchestra rehearsal; college student, band, and choral, luncheons; string; choral, and band clinics (A, M, AAA); a music education clinic; the conference banquet; a college orchestra and WVU American Arts Trio concert; and a music industry, MENC student chapter, and music education workshop. The conference chair did not have to schedule the All-State Orchestra or Choir, and there was no All-State Band.

By the mid-1960s, the conference had been reduced to three days. The only event scheduled on Wednesday was an executive board dinner meeting. By 1970 the conference program had grown considerably, with thirty-two events scheduled. Several meetings were held on Thursday morning, with the official opening of the conference at 1:00pm. The solo and ensemble honor finalists performed on Thursday afternoon. No meetings were held during concert times. The all-state concerts were held at 7:30pm on Saturday.

In the 1980s, more events were added to the conference program. Each affiliate wanted to schedule clinics which were of interest to its members. Elementary general music, show choir, computers, Orff techniques, Kodaly workshops, research sessions, and instrumental clinics were features of the growing program. Some affiliate organizations held business meetings. The WVMEA conference banquet (later dropped from the program) was held on Friday evening. All-state concerts were moved to 3:00pm on Saturday to give teachers, parents, and students more time to return home. Of course, this shortened the amount of time available for conference chairs to use and made it necessary to run concurrent sessions.

More and more events were added in the years that followed. The Children's Choir was added in 1989, and logistics became even more of a problem for conference chairs since few staging areas were available for performing groups. Space had to be arranged for the many exhibitors who displayed their products. Rehearsal rooms for all-state groups were another priority.

About sixty-five events were scheduled for the 2000 WVMEA Conference, roughly triple the number of the 1960 conference. We owe a debt of gratitude to WVMEA members who have served as conference chairs and the dozens of others who have served on committees to plan and run our conferences throughout WVMEA history.

An old European monastery is perched high on a 500 foot cliff. Visitors ride up in a big basket, pulled to the top with a ragged old rope. One day, about halfway up, a passenger nervously asked, "How often do you change the rope?" The monk in charge replied, "Whenever the old one breaks."

There have been many changes in the activities of WVMEA and its affiliate organizations. Some changes have been made to improve programs, while others were made when programs simply outlived their usefulness. As noted in the November 2001 issue of Notes A Tempo, conference chairpersons have had to adjust conference programs to accommodate needs of the association.

For a period of time, the All-State High School Chorus, Band, and Orchestra performed a single concert on Saturday night during the WVMEA conference. Since the concert was usually in a field house, the three performing groups could be accommodated on the floor without having to rearrange chairs between performances. The concert now is held in an auditorium on Saturday afternoon as the culminating event of WVMEA conferences. While the auditorium setting is superior to the field house, the stage must be set up for each group.

The West Virginia Bandmasters Association used to meet at Gorby's Music House on a Sunday afternoon to conduct business and review festival music. In the 1960s, the meeting was expanded to DNO days, convening on a Friday evening and Saturday in December at various locations in the state. Later, the date was changed to June or July, which allowed band directors more time to order festival music. The summer session was later eliminated when it was no longer necessary to select festival music during the meeting.

During the 1960s, the West Virginia Bandmasters Association began to hold its annual business meeting during the WVMEA spring conference. The meeting included a luncheon and instrumental entertainment and lasted two hours or more. Because of an expanded conference program, the meetings now are much shorter.

Many years ago, one state band festival was held in Huntington. Bands earning a "superior" rating at region festivals were invited to attend this festival. In 1957, four two-day festivals were held in different areas of the state. Many band directors had problems with the distances their bands had to travel and the necessity to house band students overnight. Now, ten one-day festivals are held throughout the year.

In 1978, the West Virginia Vocal Association added show choirs to their activities. The Bandmasters Association began to sponsor regional and state stage band festivals after Gorby's Music and Fred Ross' Bandland ran them for several years. The Orchestra Association organized a state orchestra festival, held annually during the Strawberry Festival in Buckhannon. At one time, only two regional solo and ensemble festivals were held in the state. Five students from each were selected to perform at the WVMEA conference. Piano students once performed as part of the state solo and ensemble festivals. The WVMEA Executive Board added an all-state ensemble to the conference program when it approved a proposal from the Society of General Music to form the WVMEA Children's Chorus.

The number of WVMEA affiliates has grown in recent years with the addition of the positions of Research and Grants Chair, Historian, Music In Our Schools Month Chair, Retired Membership Chair, Technology Chair, Coalition Chair, Tri-M Chair, and Public Relations Chair. However, one position was lost this past year when the County Music Directors Association was disbanded for lack of consistent membership.

The WVMEA Executive Board began a project of recognizing people for their contributions to music education. In 1985, WVMEA began to recognize the county superintendents who supported the arts in general and music in particular with the Superintendent of the Year award. In 1986, the Presidential Award was initiated to allow WVMEA presidents to recognize WVMEA members who promoted music education in the state. In 1994, the WVMEA Hall of Fame was established to recognize selected WVMEA members who developed outstanding school music programs.

It is not possible in this article to mention all the changes to improve the functions of WVMEA and its affiliates. Rest assured that music teachers in our state will continue to improve music education for their students whenever the need arises.

March is a month with a variety of weather. It is known to "come in like a lion and go out like a lamb," with varying degrees in between. Since the WVMEA conference is held in March, many types of weather have been encountered.

This year, a large moisture-laden low pressure system moved into the state early in the week of the conference. On Wednesday, schools in several counties were closed due to flooding, making it impossible for some students to attend the Piano Division festival that day. Temperatures began to drop on Thursday, and the Charleston region had light snowfall. The overnight low was 16 degrees. Friday was a chilly 36 degrees, and Saturday warmed up to around 55 degrees.

The topic of discussion at the Retired Music Educators session was the weather. We recalled occasions when weather caused havoc at WVMEA conferences. While it was difficult to remember exact years, we could recall the locations.

In the early 1970s, I was taking all-state band students to a Charleston conference. It had snowed about three or four inches overnight, and the roads had not been plowed. Driving up a hill past the French Creek Game Farm, we came upon a car. A teacher was on her way to Rock Cave Elementary School and could not make it up the hill. The boys in my car jumped out and pushed the car up the hill, and then we continued our journey.

One year, the conference was held at Wilson Lodge at Oglebay Park in Wheeling. The weather early in the week was pleasant, but turned cold the opening day. Women had packed short sleeve dresses, and most people wore light spring clothing. Since WVMEA president Ron Wood was not prepared for the drastic change in temperature, he had to borrow an overcoat to go downtown to visit an all-state chorus rehearsal.

A couple of ladies walked out of their chalet at Oglebay and fell on black ice in the parking lot. They tried several times to get up, but kept falling. They were afraid that witnesses would think they had been drinking.

In the early 1990s, it snowed on the last day of a conference in Morgantown. People traveling on Saturday had to drive through a snowstorm. By evening, six inches of snow had fallen. Because the snow continued into late afternoon, several clinicians who lived on the East Coast had to stay in Morgantown an extra night.

When weather interrupts school schedules, it is difficult for a director to get a musical organization ready for a performance. When these interruptions occur a few days prior to a conference, it must give the directors of honor groups and other performing ensembles headaches.

When WVMEA conferences were held at one site (a hotel), inclement weather did not interfere with the program. As the conferences grew in size, going from one location to another became more difficult. While weather has caused problems at a few conferences, it has been nice most of the time. One retired educator recalled a Morgantown conference that had 80 degree temperatures each day.

Margaret Pantelone attended an MENC conference in Chicago one year. The "Windy City" was hit with a snowstorm, forcing Margaret to stay three extra days. Jeanne Moore also attended that conference. She remembers flying into Charleston and seeing pink dogwood in bloom.

A high school band from a southern state performed at a Southern Division MENC conference that was held in Charleston, WV in 1962. It snowed one evening, and guests at the Ruffner Hotel were awakened late at night by the sound of many band members running downstairs to see the snow. It was a strange sight to those who had never seen snow.

The last "Notes da Capo" article reported incidences of weather affecting WVMEA conferences. The article contained stories that were recounted by members who attended the Retired Music Educators meeting last March. Retired members also recalled when weather caused problems for their own ensembles.

One retiree recalled an incidence in Parkersburg when heavy fog drifted off the Ohio River and covered the Big Red football field. When the Parkersburg High School Band performed its halftime show, the music sounded great, but the spectators could not see the band.

During the late 1970s, the West Virginia University Band made an appearance at the Black Walnut Festival in Spencer. It had rained a couple of days prior, leaving the high school football field slightly wet. At the end of the band's performance, band members knelt on the ground for the finale. This was great showmanship, but when band members stood up, the right knees of their pants were covered with mud. What price glory!

Singing outside in the evening can be hazardous. One time at the West Virginia State Fair, Jim Nabors told a story about singing a lyrical song at another state fair. At the end of the song, he was to have sung a long note. But as he took a deep breath, he sucked in a bug, which stuck in his throat. The pit orchestra played the ending, but Nabors could not sing the note, much to his embarrassment.

Many choirs perform outside at spring festivals and concerts. Spring weather, however, brings allergies too some students and teachers. Mary Ellen O'Dell recalled a time when she tried to demonstrate a vocal passage to her students in Clarksburg. She started to sing, but no sound came out. Her allergies had "frozen" her vocal chords.

Traditionally, the Fairmont State College Marching Band performed a halftime show at its annual homecoming football game. One year, the field was muddy by the time halftime arrived. During the band's performance, several members lost black loafers due to the suction of the mud. When the show was over, band members had to make a second appearance to retrieve their shoes.

A retired band director recalled a year when bands at a regional festival in Morgantown held warm-up sessions in Morgantown High School classrooms. Directors spent many minutes with the strobe tuner fine-tuning brass and woodwind instruments. After warm-up sessions, bands went outside and walked a short distance to the band to finish, causing the instruments to get cold and ruining warm-up efforts.

I have had firsthand experience "with cold weather. The Buckhannon-Upshur High School Band has a tradition of superior intonation. One year, the high school played Clarksburg Victory High School in an important football game. Winning the game might have meant a position in state playoffs. At halftime, the BUHS band marched on the field looking sharp. But when the band began to play, the sound was all but sharp! It was the worst sound I had ever heard the band produce! When the band marched off the field at the end of the show, several brass players exclaimed, "Look at the valves - they're stuck!" Later, I learned that the temperature that evening had dropped to about 28 degrees. No wonder the band sounded so bad!

The following year in December, I attended the Midwest Band Clinic in Chicago. Several band directors from West Virginia left the hotel to go downtown to Berghoff's Restaurant for dinner. While walking in IS-degree weather, we passed a Salvation Army brass group playing Christmas carols. I asked the bandsmen how they kept the valves working, and they said they had purchased a solution at a pharmacy that contained alcohol. I believe it was 91 % isopropyl alcohol- a rubbing alcohol.

The BUHS band was invited to the second inauguration of governor Arch Moore. Since the celebration was in January, I bought isopropyl alcohol and used it on our brass instruments. I was happy when we passed the reviewing stand playing "Hail, West Virginia" in tune. Thanks to the Salvation Army for providing a solution for stuck valves.

Today, twenty-four hour weather forecasting makes it easier to plan for outdoor events. However, even the most sophisticated equipment and the best-laid plans can be upstaged by Mother Nature.

In 1925, Marie Botte served as secretary of the music section of the State Education Association, one of several state positions she held during her career in music education. She was instrumental in the creation of the West Virginia All-State Chorus and Orchestra. In 1940, she began visiting the homes of people in central West Virginia to collect ballads and folk tunes. She published a book titled Singa Hipsy Doodle and Other Folk Songs of West Virginia.

Sometimes we are so involved with the activities of today's world that we fail to realize the importance of preserving history. Since 1985, WVMEA has been collecting documents, including pictures and recordings, from its affiliates. The material is placed on file in the West Virginia Archives in Colson Hall at WVU. The story below demonstrates how history enlightens future generations.

One Sunday after church during the summer of 2001, my wife and I were having lunch at C.J. Maggie’s in Buckhannon. A friend, Kathy Chandler St. Clarir, came to our table and told us that she had been searching the internet for information about Marie Botte when she discovered a Notes da Capo article I had written in September 1993. Kathy said that her great-great grandfather, Granville D. Sayre, was one of the people Miss Botte interviewed and recorded. She said that her aunt, Mabel Martin, remembers hearing her grandfather sing and would love to hear him sing again, so she wondered if tape recordings of interviews were still available. I told her that I did not know, but since Miss Botte was on the music faculty at West Virginia Wesleyan College, the college library might have the information she needed.

Kathy's interest in finding these recordings was aroused when her aunt received a copy of Dr. Roy McCuskey's book, All Things Work Together for Good To Them That Love God. Dr. McCuskey, who later served as president of West Virginia Wesleyan College, stayed in the Sayre home when he was a student pastor and made reference to Mrs. Martin's grandfather, Granville Sayre, in his book. Dr. McCuskey later introduced Marie Botte to Mr. Sayre when she began collecting songs for her book.

Mrs. Martin then received a copy of Miss Botte's book, which includes three songs composed by Granville Sayre: "Oh, Brothers Now Our Meeting's Broke," "While Wandering To And Fro," and "Give Me Jesus."

The search for recordings at West Virginia Wesleyan College was unfruitful. It seemed as though the search had hit a brick wall until the summer of when Mrs.

Martin’s nephew, Calvin Strader, came for a visit. Mrs. Martin showed him Dr. McCuskey’s book and Marie Botte’s Singa Hipsy Doodle. She told him about her search for recordings.

In a few days, Mr. Strader called his Aunt Mabel to tell her that the tapes had been found. His twin daughters, Dr. Rockelle Strader and Dr. Nicole Strader, both music faculty members at Ohio State University, had located the tapes in the West Virginia Archives in Colson Hall at WVU.

After learning the location of the tapes, Kathy St. Clair and her sister Judy Hall traveled to Morgantown. They found that Miss Botte's collection was contained on two reel-to-reel tapes, which included dialog, singing, and guitar and dulcimer performances.

The women spent several hours listening to tapes. The second tape, however, contained only eight minutes of music; the remainder was blank. As luck would have it, the eight-minute section contained the songs and voice of their great -grandfather Granville Sayre. They were elated. The staff at Colson Hall transferred the eight minutes to CD. Imagine the excitement as Kathy shared this with her aunt.

On a recent afternoon, my wife and I had a delightful visit with Mrs. Martin and Kathy. They played the CD, which was the culmination of their search. They shared additional information about their family. Mrs. Martin, now 90 years old, remembers when she and Kathy's mother, Cozbi, were in high school during the late 1920s. They used to spend Sunday afternoons singing with their grandfather.

A musician learns early in his career that he must be willing to adapt to all types of changes. For instance, when playing a selection, he must notice key changes, tempo variations, dynamic changes, and articulation differences.

When playing in a concert, a musician must be sure to change his music. A high school band finished a vigorous but not overly harmonious selection. As the musicians sank into their seats after the applause, a trombonist asked, "What's the next number?" The player next to him replied, "The Washington Post March." "Oh, no!" gasped the trombonist. "I just got through playing that!"

Many changes have been made in the types of meetings WVMEA has held. During the early 1940s, WVMEA met in conjunction with the State Education Association (SEA) during luncheons lasting up to three hours. In 1946, music educators from all over West Virginia gathered in Clarksburg for the first annual WVMEA conference, held at the Waldo Hotel on Pike Street on Friday and Saturday, November 22 and 23.

At one session, WVMEA president Claren Peoples proposed that the association follow MENC's plan and appoint "special projects committees." Several members suggested that additional committees be established to help students prepare for college music courses. After much discussion, the delegates established the following committees: Basic Music Training Through Piano Instruction, Film Music in Education, Records and Recording Equipment, Radio in Music Education, Creative Music Projects, Opera in Music Education, Instrumental Music Classes, Student Membership and Student Activities, Musicology and Music Education, School and Community Relations and Activities, Statewide Music Education Program, and Folk Music. Although these committees no longer exist, several evolved into the affiliates that are now part of WVMEA.

Choosing the right time for a meeting has always been difficult. Factors such as school schedules and other planned events had to be considered. After much discussion, Dr. J. Henry Francis made a motion that WVMEA hold annual meetings in the fall. The motion passed.

Finding a location with proper facilities is a second consideration. The association decided that the second conference would be held in the ballroom of the Prichard Hotel in Huntington, November 21 and 22,1947. They also decided that the size of the All-State Chorus would be 200 members from schools outside the host county, and that an additional number from the host county would be determined by the size of the auditorium at the discretion of the chorus chairman.

The All-State Chorus and All-State Orchestra met at a different time than the WVMEA conference. Both ensembles met in Huntington April 15-17, 1948. Mr. Diercks from Ohio State University directed the chorus, and David Malten from the University of Michigan directed the orchestra.

At its June 1948 meeting, the Executive Board voted to hold the next conference on November 19 and 20, 1948. Esther Cunningham, All-State Chorus chairperson, reported that 265 students participated in the 1948 chorus. On November 19, 1948, Esther Cunningham announced that the chorus would assemble in Charleston on April 20-22, 1949, with forty-two participating schools and Dr. Diercks as conductor for a second year.

The following year (1950), the Executive Board changed the dates of the third WVMEA conference to January 30 and 31 and identified the Marshall College Auditorium in Huntington as the location. The West Virginia Bandmasters Association and the College Music Educators Association, both of whom were not affiliated with WVMEA at the time, also held meetings on those dates.

Members heard a report by Clifford Brown, chairman of the Constitution Committee, which proposed three changes to the WVMEA Constitution: 1) Any member of an MENC student chapter is automatically a member of WVMEA. 2) Representatives-at-Large shall be elected for a term of three years. 3) The secretary-treasurer shall be responsible for WVMEA correspondence. The changes were adopted unanimously. WVMEA conferences are now held in March. Each year, the WVMEA Executive Board examines the conference schedule and makes necessary changes to meet the needs of West Virginia music educators and students.

On Wednesday, February 26, 2003, West Virginia's music educators and thousands of former band students lost a great friend and supporter when Fred Ross died in the Clarksburg United Hospital Center. He was born in Pennsboro, WV, November 28, 1917. He graduated from Pennsboro High School, attended West Virginia University, and earned a music degree from the Ernest Williams School of Music in New York.

Fred was a member of Our Lady of Perpetual Help Catholic Church in Stonewood, WV. He was a United States Air Corps World War II veteran and a member of he American Federation of Musicians and the Clarksburg Lodge No. 482, BPO Elks.

He was former owner of Fred Ross' BANDLAND on East Pike Street in Clarksburg. Fred was an outstanding musician himself, having been a member of the "Les Brown Band of Renown" and the U.S. Army Air Corps Orchestra, now known as Airman of Note." Surviving Fred are his wife of 63 years, Geraldine "Gerri" Tierney Ross; a daughter, Mary Ann Niedziejko; three grandchildren; and five great-grandchildren.

Although I knew that Fred was in failing health, I was shocked when I heard of his death. I felt a huge loss, because he was more than a music dealer; he was a close friend. As news of his passing spread, many folks around the state reflected on his contributions to WVMEA and to music education in general. WVMEA secretary Al Frey said, "He was a music dealer in WV who sincerely cared about the students and was interested in advancing their opportunities in music education. He leaves an outstanding legacy."

Fred opened BANDLAND in Clarksburg in 1964 and adopted the motto: "Bands are our business, our only business." His store became a gathering place for band directors, who loved to trade suggestions with Fred about the performance of selections they were playing on concerts. Prior to concerts and festivals, band directors often invited him to adjudicate their bands. His suggestions for improvement were of great value and helped the students play their best.

Fred enjoyed traveling to area schools each fall to help band directors start young students on instruments. He believed that students' musical aptitude should be tested and that they needed advice when selecting a band instrument. He believed in providing the best available product for the students, and he understood the importance of getting children instruments at an early age before they became involved in other school activities. He realized that a good start was necessary to develop outstanding musicianship.

He was genuinely interested in the lives of his customers. James Spencer remembers, "Fresh out of college my first teaching job was at Webster Springs. I had been there only a few weeks when Fred Ross showed up and introduced himself. There were only seventeen students in the band program. Fred said that if I ever needed anything, he would always see that I got it within a week via the Greyhound bus. He was true to his word. As a result, the band program at Webster Springs prospered. He wanted to promote the best available opportunities for all children."

Evan Jones, who bought BANDLAND in 1990 after working for Fred for twelve years, remembered him as a "very generous, caring person. There is no doubt that he is responsible for developing many successful band programs in the area. He enjoyed testing students on band instruments and promoting stage bands in high schools."

Earl McConnell, Jr., Fairmont East High School band director, said, "It was not unusual for Fred to leave after work on Saturday and drive to the Selmer plant in Elkhart, Indiana, to pick up some instruments that area band directors desperately needed. He loved to go to high school band camps. He would take a small repair kit with him, and while the students were on a break, he would make small repairs so the students would not miss out on any rehearsals. He also conducted woodwind clinics to help improve the music for the show the band was working on."

Blaine Corder, former Philippi Junior High School band director, remembered, "Fred always supported state music organizations. I think that he had a display every year at the West Virginia Music Educator's Conference and also at West Virginia Bandmaster's Association meetings. He and Charles Gorby organized 'stage band' clinics which grew into the statewide festivals of today."

Fred’s interest extended beyond music. He loved automobiles, airplanes, and photography. For several years, he attended the Indianapolis 500, where he had a seat in the grandstand. He followed the career of Charles Lindberg and was delighted when, by chance, he had an opportunity to sit beside Mrs. Lindberg on a train ride in New York State. He enjoyed taking pictures of bands and friends.

Fred was devoted to his wife, Gerri. He was playing in a dance band in Parkersburg when he first saw her. He told fellow musicians, "She is the girl I am going to marry!" Gerri became a partner in BANDLAND, worked as a bookkeeper in the business, and traveled with Fred to music dealer meetings throughout the United States.

Those of us who had the pleasure of knowing him will remember him as a gentleman, a mentor, and friend, not simply a businessman, salesman, and dealer. We shall all miss him. (Note: For additional information about Fred Ross and his career, see the November 1991 and January 1992 " Notes da Capo" articles on the WVMEA web page.)

The Clarksburg Exponent, in its "Look Back in Time" feature, recently printed a picture of the East View Grade School Toy Orchestra. The photo was taken around 1942 or 1943, showing students dressed in white pants, dark capes, and sailor's caps. The grade level was not noted, but it looked as though they were second or third graders. No instruments, however, were shown in the picture.

Toy orchestras, sometimes called rhythm bands, were very popular in the 1940s and 1950s. Many schools introduced toy orchestras in the first grade. The instrumentation usually included wood sticks, cymbals, tambourines, and claves, and students were selected to conduct. The classroom teacher played songs on the piano to accompany the group. In several counties, music supervisors were invited to accompany the students, while record players were used in other schools.

In addition to the toy orchestra, many schools held spring music festivals. Parents always looked forward to these annual festivals, for which each classroom prepared selections for the program. Recordings were used for accompaniment, or perhaps a teacher would play the piano for each class.

Many teachers used tonettes or song flutes to help teach the fundamentals of music. These instruments were fun to play, and students learned to count and to read music while playing them. In some locations, band directors visited classrooms to teach tonettes the semester before students started band class. They could observe which students had the interest, desire, and musical aptitude to play a band instrument.

During the 1940s and 1950s, music supervisors existed in practically every county in West Virginia. The supervisors traveled to all county schools during the year to assist classroom teachers with music instruction. They sometimes observed the teacher and made suggestions, while other times they taught the class. While many classroom teachers enjoyed teaching music, others felt inadequate. Several times a year, teachers attended after-school training sessions taught by music supervisors.

Another popular event was the county chorus. Music supervisors organized a chorus comprised of students from each school in the county. Conductors were usually college professors from outside the county. The chorus rehearsed during the day and presented a concert to the public that evening. The concerts were always well attended and demonstrated what the students had accomplished during the year.

Many counties began downsizing their workforce in the early 1970s, and over the next two decades, the position of county music supervisor slowly disappeared. There arose a need for the itinerant teacher - the traveling music teacher. These teachers were music specialists, and they lightened the load of the classroom teacher.

Today, itinerant teachers travel many miles each week to spread the joy of music. They have a large workload, many of them with five or more schools to visit each week and eight or more classes per day. Students are recruited to help carry supplies to and from the classrooms, as well as to and from the teacher's car. Classrooms for itinerant teachers come in many sizes and types. Most teachers do not have a room they can call their own, as classes are held in auditoriums, cafeterias, hallways, and unoccupied rooms.

Keeping track of schedules and plans is a challenge for traveling music teachers. Since they are always in a rush, many stick Post-It Notes on the dashboard to remind them of schedule changes, lesson plans, or items to take from one school to another.

Several years ago, K.B. Kyle, who was band director in Shinnston, finished his class. He picked up the music and papers he needed for his next school and walked briskly to his car. He placed the materials on top of the car and opened the door. He realized that he had forgotten something, so he went back into the school to retrieve the item. He returned to the car, jumped in, and [rove quickly down the hill, as all the music and papers flew all over the street. Such is the life of the traveling music teacher.

A master organist whose fingers grew too old to play was made custodian of the organ in a famous cathedral. One day, a visitor came to the cathedral and asked to play the organ, but the custodian refused. The visitor persisted until he was finally given permission to play a few notes.

The stranger filled the cathedral with such beautiful music that the old organist was entranced. He asked the visitor his name, who replied, "My name is Felix Mendelssohn." Until the end of his life, the old organist told this story to everyone he met. "To think," he exclaimed, "that I almost missed hearing Mendelssohn play!"

Several years ago, members of the Elementary/General Association - now the Society for General Music (SGM) were concerned that music teachers attending WVMEA conferences were not hearing an important group in our public school system - elementary children. Several members were interested in establishing an annual children's chorus to perform at WVMEA conferences.

A committee of SGM members began to formulate plans for a proposal that would be presented to the WVMEA Executive Board for approval. These members included Jane Weimer-Godwin, Upshur County; Patricia Moffett, Pleasants County; Penny Saeler, Monongalia County; Elinor Copenhaver, Cabell County; and Timothy H. Waugh, Mercer County.

The committee believed that a children's chorus would encourage high standards for excellence in our schools. Good vocal habits would be stressed, and young singers would develop a solid foundation in choral singing. Gifted students would be given challenges that they may not have received otherwise and would be exposed to fine choral literature. SGM members thought that a children's chorus would give young people the experience of singing under the direction of a choral conductor who was outstanding in the field of children's choral music. The performance would expose school music teachers to new conducting and rehearsal techniques, literature, and philosophy. Musicians and parents attending the conference would have an opportunity to hear a fine children's vocal ensemble. Perhaps SGM's most intriguing goal was to highlight the unique sound of a large group of children's voices.

In addition to other benefits discussed, an all-state children's chorus would increase WVMEA/MENC membership, encourage greater participation in WVMEA/MENC by elementary/general music educators, and improve the quality of future high school and college choruses.

The committee finalized the proposal for an annual all-state children's chorus and presented it to the WVMEA Executive Board in March 1988. The proposal was discussed and tabled for action at a later date. The proposal was approved at the June 4, 1988 Executive Board meeting. The board suggested that a constitution and by-laws be written for SGM.

Following the approval of the proposal, the committee outlined the logistics of organizing the chorus. The guidelines suggested that fifth and sixth grade students would be eligible to participate and that there would be a limit of four singers from each county. (The latter rule was later amended.) Letters were sent to county superintendents, music supervisors, and music representatives. Teachers sponsoring students for the chorus were required to be MENC members.

Excitement grew as teachers from Gilmer, Greenbrier, Hampshire, Harrison, Jackson, Logan, Mason, Mercer, Monroe, Ohio, Pendleton, Pleasants, Pocahontas, Putnam, Randolph, and Roane counties began selecting students for the chorus. Music was ordered and rehearsals were held, sometimes after school, to prepare for the concert. For several weeks, students practiced Johann Sebastian Bach's Alleluia, Johannes Brahms' Ladybug, an Australian folk song Kookaburra, and a Brazilian folk song A Zing-Aza.

The WV All-State Children's Chorus held its first performance on April 7, 1989 at 7:00pm in the Civic Center Little Theatre in Charleston. Dr. Mary Goetze, a faculty member at the Indiana University School of Music and director of the University Children's Chorus, was the conductor, and Patricia Moffett was the accompanist.

The performance surpassed all expectations. It was a delight to see 150 students from 68 schools on the theatre stage. The members of the audience were captivated from the opening tones of Lowell Mason's 0, Music to the closing notes of To the Ploughboy, by Ralph Vaughan Williams. SGM members started with a dream and were pleased to see the dream become a reality.

The Europeans who migrated to West Virginia brought with them a rich musical background. Some families had an organ or piano, banjo, guitar, fiddle, auto-harp, or harmonica. These pioneers left a rich musical heritage for future generations to build upon. During the late 18005, town bands began to spring up throughout the state. For example, the first Berkeley County band formed after West Virginia became a state was organized in Martinsburg on December 18, 1883.

Following the First World War, school bands were organized in many public schools. According to Stan B. Cohan and Richard A. Andre, authors of Roar lions, Roar - a Pictorial History, the first Charleston High School Band was organized in 1916 with 15 members and J. Henry Francis as director. After the war, the band continued under the directorship of Francis, aiding the school in many ways, but primarily playing for athletic events and school assemblies. The first uniforms were given to the band by the U.S. Naval Academy, Annapolis, Maryland.

By 1931, the band had increased to 73 members and was an Integral part of school activities. It was not a marching band as we know it today. The steps were not lively, and most of the music tended toward the classics rather than rousing marches. Francis brought America's most famous band director, John Philip Sousa, to Charleston High School to direct the CHS band as well as his own 65-piece Marine Corps Band.

Ned Guthrie, a well known Charleston musician and member of the CHS band in 1925, remembered Sousa coming to the school. "John Philip Sousa was to people then like Louis Armstrong was to my generation," he said. "When John Philip Sousa walked out on that stage, he was a diminutive person; I didn't realize he was that small. He got on the podium and the only thing he said was, 'Good afternoon, gentlemen,' and he raised that stick up and he came down. I was sitting there just in awe, and I missed that downbeat. It took us about eight bars for everybody to get assembled, but with Sousa you didn't stop. And I have never missed another downbeat since then."

In the 19205 and 305, the high school music groups performed many concerts and light opera productions, such as Gilbert and Sullivan, for the school and general public, In 1940, Robert "Bob" Williams became the director of the 40:-piece CHS band. His Mountain Lion Band would become acknowledged as the best in the state and one of the finest in the nation. His stepped-up cadence, from 120 to 180 steps per minute, made the halftime show at football games as exciting as the game itself. New, colorful uniforms were purchased, intense practice sessions were augmented, and a program for developing music students in grade and junior high schools guaranteed a steady flow of new talent for CHS. Williams and his band were responsible for a number of innovations that established his band as a model in the state. He formed a majorette corps, used extensive "black light" exhibitions on the football field, and introduced white gloves and spats to accentuate hand and foot movements, among other accomplishments.

The marching band was an all male organization for many years. An all girl marching unit was formed in the 1940’s, but it was not until the 1960’s that the two bands were combined. When Charleston High was divided, creating the new Stonewall Jackson High School, only a momentary setback occurred for the Mountain Lion Band. Williams spent time at Stonewall Jackson High to help the music program get started. When he returned full-time to CHS, his band went on to even higher achievements.

Jim Beane. a member of the CHS band during World War n, recalled, "I remember during the war we were full of patriotic spirit, and Bob Williams came up with many complicated march routines, spelling out NAVY and such as that on the field. We even had little red, white, and blue lights in our hats that made quite an impression in a darkened stadium. You might wonder how we saw our music in the dark - well, the answer is: we didn't. Mr. Williams made us learn all the music by heart.

"We wanted the CHS band to be the best no less than the football players wanted to win. In the old days, band practice didn't count as school time, and we would spend our lunch hour practicing after wolfing down a sandwich, then after school at Laidley Field until 6:00pm. You had to be dedicated, and we were."

(Part 2 of this article will be published in the Fall 2004 issue. Material from Roar lions, Roar was used by permission of author Richard A. Andre.)

Editor's Note: Part 1 of this article appeared in the Spring 2004 issue of Notes A Tempo.

Instrumental music has been a part of West Virginia public schools since the early 1900s. Most band programs were organized during the 1920s. By the end of World War II, band programs were more numerous than string orchestras, and several band directors had begun to develop outstanding groups. Examples include Bob Hill of Morgantown High School, Frank Schroeder of Parkersburg High School, Pete Raspillaire of South Charleston High School, AI Frey of Stonewall Jackson High School, and Loren Mercer of Warwood High School.

According to authors Stan B. Cohen and Richard A. Andre (Roar Lions, Roar - A Pictorial History), the 1940s, 50s, and 60s were the heydays for Robert "Bob" Williams and the Mountain Lion band. Its accomplishments could fill many pages in a book. For example, the band was cited by the U.S. Treasury and the Music War Council of America in 1944 for its performances for bond drives; chosen best high school band and majorette corps at the Winchester, Virginia, Apple Blossom Festival as well as at the Charlottesville, Virginia, Apple Harvest Festival, 1952 and 1953; the only band to represent West Virginia in President Eisenhower's Inaugural Parade in Washington, D.C., 1952; West Virginia's representative at the Lions Club Convention Parade, Atlantic City, 1959 and 1961; chosen to lead the Miss America Pageant Parade, Atlantic City, 1955 through 1957; the lead band at the Macy's Thanksgiving Day Parade in New York City, 1960; and chosen to perform at the 1964 New York World's Fair.

The band also made countless appearances at college homecoming games, state fairs, professional and all-star games, and other civic, patriotic, philanthropic, religious, and charitable events. The band consistently received "superior" ratings in regional and state band festivals in both concert and marching performances.

For many years, Bob Williams took his band back to his alma mater, Ohio State University, Columbus, for a weekend sojourn to witness a football game and to see the nationally known Ohio State "Buckeye Band" maneuvers.

Until 1940, the only Kanawha County school that had majorettes was the all-black Garnet High School, where they had proven to be a great success. The administration of Morris Harvey College called upon Bob in 1940 to assist their band, which gave him an opportunity to experiment with the then new concept of a majorette corps. During the fall 1940 football season, the Morris Harvey Corps made its appearance. The girls were such crowd pleasers that Williams was determined to introduce majorettes into the CHS band routine in1941.

In William's own words, "I went out and stood in the halls - a good looking girl would come by, and I'd ask her if she wanted to be a majorette? She'd say, 'a what?' I finally recruited six girls and sent them to one of the women teachers who taught them how to dance. We outfitted them in short-skirted, gold satin costumes, and we used the hats from the 1937 era band uniforms. On the night of the Weirton game, they were kept under wraps behind the band. They had on football capes, and when the band played A Pretty Girl Is Like A Melody, they slipped out on the field and went into their routine. The crowd tore the walls down!"

From that moment on, the CHS majorette corps became a permanent fixture in band performances. Williams helped the Charleston Daily Mail originate the Majorette Festival in 1946, which became nationally prominent.

Dozens of former band members went on to local or national band directorships, including AI Frey at Stonewall Jackson High School, Robert Brown at Dunbar Junior High School; Karen Haas at Lincoln Junior High School, and Bob Leurant at CHS. Leurant took over the Mountain Lion band when Bob Williams became director of the countywide music program in 1965. Leurant, only the third music director at CHS since 1903, carried on Francis' and Williams' traditions. During his 22-year tenure, he took band students to the New York Macy's Day Parade, the New Orleans Mardi Gras Parade, the Rose Bowl Parade, and to music festivals in Florida, Hawaii, and the Bahamas. He did this in spite of a great reduction in student population, which began in the mid-1960s.

Capital High School opened in 1989 and is now carrying on the traditions of both Charleston and Stonewall Jackson High Schools.

(Material from Roar Lions, Roar was used by permission from author Richard A. Andre.)

One summer evening during the late 1960’s the Clarksburg Community Band, under the baton of Joseph Henry, was performing at Clarksburg River Bend Park. Shortly after the concert began dark clouds began to form. Some in the audience left their lawn chairs and gathered around the pavilion where the band was seated. The wind began to blow music off the stands. Saul Fisher was seated next to me, and as we continued to play, one spectator stabbed Saul’s music with his umbrella, and held it on the stand. Such is the life of musicians when performing outside.

Weather at inaugural parades has caused bands much anguish in past years. According to Charleston Gazette reporter Tom Searts, inaugural parades for West Virginia Governors began on March 4, 1897 when an open carriage pulled up to the large porch of the Ruffner Hotel in Charleston. George W. Atkinson emerged from the hotel and got into the carriage. A drum and bugle corps marched in front of the carriage and proceeded to Capitol Square. Inaugural parades continued pretty much every four years afterward (Hulett Smith’s was canceled in 1965 because of snow) until after Arch A. Moore’s second term in 1973. For some reason, no one has hosted a parade in the thirty-two years since.

Jim Spencer’s Webster Springs High School band marched in the 1969 inaugural parade. He had his students spray Glycerin solution on the valves to keep them from freezing. Governor Moore sent each band member a gold coin with his likeness and a fancy letter. Jim recalled that the band stopped at a "Rocket Burger" restaurant near Montgomery where they had 15-cent hamburgers and 10-cent French Fries.

I took the Buckhannon-Upshur High School band to the inaugural parade in 1973. I was concerned that the cold weather might affect the valves of brass instruments, so I purchased some 91% isopropyl alcohol – a rubbing alcohol – from a local drug store. However the temperature was above freezing, so we did not have to use it.

Bob Dunkerley marched in the ’73 parade as a member of the WVU Mountaineer Band. The band formed a couple of blocks from the Capitol, then marched past the reviewing stand. The Inaugural Committee provided box lunches to all marching units. The longest part of the parade route was marching past the Capitol to the awaiting buses.

This year Governor-elect Joe Manchin revived the inaugural parade after an absence of thirty-two years. As Tara Tuckwiller observed in the Charleston Gazette, the day dawned with a temperature of eleven degrees. Thirty-five bands were scheduled to participate, but several canceled due to the cold weather. The parade was shortened by several blocks so band members could stay on the buses longer. Buses followed each band down the parade route.

A Ripley High rifle twirler tried to practice a few tosses, but she groaned in agony as the icy rifle hit her cold-numbed hand. Trumpeters in the Braxton County High band, situated toward the tail end of the parade, blew on their fingers to keep them workable. Majorettes in thin spandex mini-dresses huddled into a knot, marching in place to the beat of the percussion section, which was drumming to keep warm.

Most of the players wore gloves to protect their fingers from the cold. Some woodwind players cut the tips off in order to finger the keys of their clarinets and flutes. Several bands had capes that were worn over their uniforms. Many majorette corps and flag units wore long slacks.

Joe Manchin’s son sang the Star Spangled Banner. If the cold weather affected his vocal chords, it was not noticeable. He has a fine voice, and sang with great style. The Fairmont Senior High School Madrigals sat for several minutes on the steps of the Capitol before they sang My Home Among The Hills.

The 155 member Clarksburg Liberty High School band marched in the inaugural parade that was held for President George W. Bush in Washington, D. C. this year. The band passed the reviewing stand around 5:30 p.m., playing "America the Beautiful". The band members played with great enthusiasm in spite of the cold weather. Band director Eric Stoneking commented that, "It was an amazing experience to look at the band from my position and see the Capitol behind the band."

(Note: Notes da Capo articles are posted on the WVMEA Web-site. Presently all eighteen of Dr. Clifford Brown’s articles from 1983 to 1988 are listed. Seventy-three of John Puffenbarger’s articles from 1989 to 2005 will be listed by this summer.)

While sorting through the WVMEA historical files, I recently came across a copy of the second issue of Notes A Tempo, which had been printed in December 1946. Editor J. Henry Francis printed a five page mimeographed issue. A highlight was a report of the first WVMEA Conference. It is interesting to compare the 1946 Conference program with the 2005 Conference program. The WVMEA has made much progress in the past 59 years. The unedited article follows:

The Clarksburg Meeting

"It was a group of earnest and enthusiastic teachers, representing the work in Music Education in the State, that me, at the call of their President, Claren N. Peoples, at Clarksburg, Friday and Saturday, November 22 and 23.

"Assembling late Friday afternoon, Headquarters were established at the Waldo Hotel, and a program of clinical demonstrations and discussions occupied their attention throughout that evening and an all-day session, Saturday.

"The local committee, headed by our Treasurer, Charles C. Taylor, had arranged for a Dinner, Friday evening, and the Luncheon, Saturday, and for several delightful choral and orchestral numbers as a background accompaniment; and deserved to be, and were roundly complimented for it.

"As we are one of the constitutionally organized affiliates of the Music Educators National Conference, it was eminently fitting that we should have National representation at this our first State Conference; but it was indeed a wonderful surprise to find that we were honored by the presence of our National President, Dr. Luther A. Richman, of Richmond, Virginia. Dr. Richman, who is also State Supervisor of Music In Virginia, spoke of plans for the National body, (and of the Southern Conference, our parent organization, in particular;) of the many problems confronting the teachers in this State; and acted as consultant in the various discussions of the assembly.

"Space, time or facilities available will not permit a detailed account of the items considered, nor as full a report as we would wish for; but among the many special subjects taken up and worked over at some length was that of the need of more and better County Supervision; the possibility of a State Supervisor; better training of both teachers and supervisors; and a more educationally standardized effort, generally, throughout the State; all of which might very naturally emanate from the establishment of the second proposition, if, and when attained.

"Plans for the Band Clinic, and the State Band Festival were discussed; together with the assembling of the State High School Chorus and Orchestra, in Morgantown at the meeting of the Association of Secondary Principals next April, the Chairmen of these groups being present and primed with news of all preliminary arrangements."

An outline of the Conference program follows:

Friday, November 22, 1946

4:00 P.M. Registration

6:45 P.M. Dinner. Music: WV Wesleyan Singers, Miss Marie D. Boette, Director.

Address: Dr. Luther A. Richman, Music Educators National Conference.

10:30 P.M. Lobby Sing. Mr. C. C. Arms, Harrisville

Saturday, November 23, 1946

9:30 A.M. Instrumental Music: Roosevelt-Wilson High School. Harold B. Wright and Evert Whitener, Directors

9:45 A.M. General Session

10:45 A.M. Address: "Real Philosophies of Music Education". Miss Margaret Leckie, Assistant Supervisor of Elementary Schools, State Department of Education

11:15 A.M. Music: Alta Vista Elementary Chorus, Mrs. Mary H. Brown, Director

11:30 A.M. "Birmingham 1947". Miss Gem Huffman

12:15 P.M. Luncheon. Music: Washington Irving High School

1:30 P.M. Committee and Sectional Meetings. County-wide Directors "Arm Chair

Meeting", Miss Huffman, Chairman

Junior High School Music Problems – Miss Faye Lowry, Leader

3:00 P.M. Adjournment

A high school teacher once told our class, "If you want to be successful, you must be organized." Even opera isn’t free from mistakes due to lack of proper planning. A celebrated episode happened during a performance of Tosca. According to the version

I heard, a rather inept stage crew was confused as to the props they were to set up. At the end of the opera, the soprano playing the title role was required to throw herself off the battlements of a fortress, because her lover had been shot.

On this occasion, the stage-crew had put a trampoline in place instead of a pile of mattresses that was to be used. After ‘committing suicide’ in the low point of her despair, Tosca threw herself off the fortress and bounced back into view above the battlements a dozen times. She had more lives than a cat. The performance was a disaster due to the lack of organization by the stage crew.

Educators have long recognized the need to be organized to promote common interests. One of the first national organizations was the National Education Association, which began in 1857. The first national assemblage of teachers organized exclusively in the interest of music was the National Music Congress, which met in Boston in 1869.

After the formation of the NEA, similar types of organizations were developed in several states. About 1920, in West Virginia, the Music Section was formed as part of the Secondary Education Association. Topics for discussion at Music Section meetings included the song-method, the scale method, the child voice, the teaching of rhythm and the growing importance of high school music. Music supervisors and college music faculty worked together to get music included in the school curriculum.

In the spring of 1936, several music teachers realized they could improve the quality of music education in West Virginia schools if they had an organization of their own. They made plans to affiliate with the Music Educators National Conference. We do not have a record of the meetings that were held that spring and summer.

The newly named West Virginia Music Educators Association met in Huntington on November 13, 1936 at the Hotel Frederick. After a luncheon, Dr. Joseph Maddy, president of the Music Educators National Conference, extended greetings on behalf of the MENC. The following officers were elected by acclamation: Frank Cuthbert, president; Pauline Mattingly, secretary; and Marie Boette, Treasurer.

The West Virginia Music Educators Association was born. The membership included mostly choral teachers, county music supervisors, and elementary specialists. Plans to unite all music groups would not be finalized until July 1, 1963, when the West Virginia Bandmasters Association became affiliated with WVMEA. In the meantime, West Virginia Band Directors were urged to join both the Bandmasters Association and the WVMEA. Today the WVMEA Executive Board is comprised of nineteen affiliate organizations.

Edwin M. Stickel, Director of Music at Oglebay Institute in Wheeling, spoke about "The Relation of Music and the Community." J Henry Francis made an address to the group entitled, Band Versus Orchestra". Mr. Cuthbert announced that there were three scholarships in the Department of Music at West Virginia University. Each scholarship was in the amount of $60.00 per year for four years.

Mr. Lichty reported that the West Virginia Bandmasters Association was studying State certification. The committee recommends that a bachelor degree should be a minimum requirement. It was also recommended that band directors should have a twelve-month contract, and that state colleges should sponsor annual band clinics.

Mr. Cuthbert announced that three scholarships were available from the department of music at West Virginia University. Each scholarship offered $60.00 per year for four years. The scholarships would become available in the fall term of 1937. Marie Botte suggested that a general meeting be held in January 1937 to make plans for the state chorus and orchestra. As the meeting drew to a close, the WVMEA began its journey to promote music education in the schools of West Virginia. It would be a journey filled with excitement and many success stories.

In observance of the 70^th anniversary of WVMEA, a compilation of all 95 Notes da Capo articles from 1983 to the Winter 2006 issue is being published in booklet form during the spring of 2006. An order form can be found in this issue of NOTES A TEMPO. Don’t miss the opportunity to add this one-time publication of rich history to your library. If you wish to order a copy, please mail the form today. The cost is $10.00. The deadline is March 2006.

An envelope of newspaper clippings that I received recently from Kathryne Williams led me to delve further into the history of the State Band Festival in Huntington. I was also able to talk with AI Frey, Phyllis Osenton, Margaret Pantelone, and Kathryne at the March WVMEA conference in Charleston and learned much about their participation in the festival. Records from this period are sketchy, so I was pleased to be able to learn more about these early years.

In an effort to promote the growth of high school bands in the 1930s, Henry Shadwell, Carl McElfresh, J. Henry Francis, and Charles Gorby developed the idea of holding band festivals in West Virginia. Their dream was to elevate the performance of high school bands, to provide opportunities for young band students to hear performances by others, and to create an atmosphere of good public relations. Huntington was chosen as the location for the WVBA State Band Festival.

The West Virginia Bandmasters Association divided the state into eight regions (which later grew to ten). Festivals were held in each region prior to the state festival. Classifications of bands were established in accordance with the size of the student body. Bands were classified A, B, or C. (This was changed in the late 1960s to AAA, AA, and A.)

The WVBA organized a bandmaster's band each summer to play selections that were being considered for use in festivals. One piece was selected as a "required" piece that all bands attending the festival would perform in their classification. Band directors were given the option of selecting a warm-up number, usually a march, and they were to choose a "selected" number of their choice. (Note: Sight-reading was included at a few regional festivals, but not at the state festival.)

Bands that wanted to go to the state festival were eligible to do so, provided they had earned a "superior" rating in the regional festival. The first Huntington State Band Festival was held in 1936. In 1939, twenty-seven bands attended the festival. Students were housed in private homes, although some bands made arrangements to stay in hotels.

All-Festival Bands were organized in each classification. The method of selecting personnel was interesting. Prior to the event, band directors held a meeting to make selections. While sitting around a table, the festival chairman would announce, "We need several good flute players. Who has one?" A director would reply, "I have an outstanding player." The student's name would be added to the list. One director remarked that each year a particularly forceful and loud director was always able to get more students chosen than anyone else. The All­ Festival Band Concert was usually held on Friday night of the two-day event.

The All-Festival parade was held on Saturday. The evening prior to the parade, a dinner was held, during which parade positions were determined by a drawing. Among the clippings mailed to me by Kathryne Williams were newspaper articles about parades held during the 1940s. One picture shows the starting point of the 1946 parade. The Hinton and WeIch High School Bands were pictured on Fourth Avenue near Bailey's Cafeteria. These two bands were selected to lead the forty-four bands that day.

Thousands of spectators lined both sides of the two-mile parade route, standing six to eight deep. Third grade student Sandra Shaffer of Mercer Elementary School was unofficially selected as "Miss 1946 Band Festival Sweetheart." She was the youngest drum majorette in the parade. (Note: In the 1960s, the WVBA ruled that only a bona fide member of a high school could participate with the band.)

The newspaper picture showed the style of uniforms bands wore in 1946. All band directors wore uniforms, some choosing all white uniforms, while others wore a conservative black style. Some students wore white buck shoes and a military style belt around the waist with a smaller belt over the shoulder. Other students wore black shoes with white spats.

It was a grueling march from the downtown area to Fairfield Stadium, where several bands demonstrated marching maneuvers. Thousands of spectators went to Fairfield Stadium to watch the bands show their expertise in field maneuvering. Several hundred people swarmed on the cinder track and borders of the turf to have a better view of the spectacular display of color and talent.

The dream the founders of the festival had many years ago was realized. The festival was a huge success. By the mid-1950s, the festival had grown to seventy-five bands. After the number of bands exceeded fifty, the logistics and housing created an insurmountable problem, making it extremely difficult for Huntington to host the thousands of students who attended. In 1957, the state festival was divided into four area festivals.

For more information about the Huntington State Band Festival, please read the March 1990, September 1992, February 1997, and April/May 1997 Notes da Capo articles, which are posted on the WVMEA Website.)

Born on a farm near Milton, Pennsylvania, Dietz had six brothers, two sisters, and parents who were not musicians. At the age of eight, he blew his first tone on a comet furnished by an older brother and two years later began serious study under Charles S. Shields, one of the best teachers and directors in the East. His ability as a musician was soon noticed, and at the age of sixteen, he was appointed director of the Milton Concert Band.

After graduation from high school, he felt the urge to travel. He joined the John G. Robinson Circus Band as a cornetist, giving him the opportunity to meet many fine musicians. In the fall of 1909, he became the director of the J.A. Coburn Minstrels Band. Between 1911 and 1915, he played with the James Stock Company, the Tate Springs Orchestra (featuring members of the Cincinnati Symphony), the James Eversull Concert Band, Ringling Brothers Circus, Roselle's Vaudeville Minstrels, and the Isham Jones Orchestra.

He went to Parkersburg to play in a theatre orchestra. In 1924, he settled into the job that would ultimately endear him and his Big Red Band to thousands - instructor of instrumental music and directqr of the band at Parkersburg High School. He started with 25 boys, and soon the band grew to 100. During the coming years, the high standard and full instrumentation of the Parkersburg Band remained consistent. Mr. Dietz handled all of the rehearsing and drilling, the care of the music, preparation for concerts, instruction in the elementary schools, and arrangements for trips. During the 1948 football season, the band appeared in snappy new red and white uniforms. He raised $12,000 through public donations in three days to purchase the uniforms.

Mr. Dietz was able to enlist the support of many civic organizations to help with band activities. On four occasions, the Lion's Club raised funds to send the band to their national conventions. The first trip was to a Lion's convention in Providence, Rhode Island, where Mr. Dietz and the band was awarded first prize in the nation, winning the highest honors in street parading, precision drilling, and musical performance. The band received similar honors at Chicago in 1937, Pittsburgh in 1939, and New Orleans in 1941. The keenest competition was at Chicago, where the Big Red Band earned 351 points. The runner-up was Hobart, Indiana, with 341 points.

Mr. Dietz was usually bombarded with questions when the band performed. At one performance, a West Point official asked, "How do you do it? That's the smartest drilling band I have ever seen. What marching manual do you use?" "None," Dietz replied, pointing to his head. "All my drills originate here."

Then a high school band director asked, "But how do you discipline so many band boys?" Dietz shrugged and said, "By using common, everyday horse-sense."

Famous for their precision and military formation on the football field, musicians and sports fans loved the band whenever it appeared. Mr. Dietz worked out the clocklike maneuvers with matches on a table before presenting them to the bandsmen. When a rank was to be divided, he would break the match in the middle. He used Herald Trumpets to announce the band on the field.

The Big Red Band concerts were received so well that it was necessary to give them on two evenings. The programs were planned psychologically. First, the band would warm up with a light march. While the audience was fresh and eager for music, Mr. Dietz presented a ponderous overture. The middle of the program was generally sprinkled with gay novelty selections, ending with II another heavy rendition. Mr. Dietz had a penchant for keeping his programs short. "I don't give them a chance to get bored. It's just like any kind of theatrical production. If the show runs too long, the people get tired and start squirming in their seats."

George Dietz received a Master's Degree in Music from the Capitol College of Oratory and Music. During his years in music education, he relied on a wealth of practical musical knowledge that he gained in his earlier years while playing alongside the finest musicians in the country. He retired in March 1949 after 25 years at Parkersburg High School.

The town band in America was an integral part of society, especially from 1890-1924. Many different types of town bands operated during this period, including town supported bands, business supported bands, boy bands, family bands, fraternal bands, church bands, and other variations of the same. Both trained and sometimes untrained leaders led these bands. Trained musicians were often brought in from outside the town citizenry.

Men and boys were the primary participants and were taught to play by various methods - self-taught, private instruction, and in the local town rehearsals. New and used instruments were obtained from various music businesses and from individuals. The average size of the bands around 1900 was ten to fifteen players, with an instrumentation of mostly brass instruments, two or three percussionists, and an occasional clarinetist and/or saxophonist.

Town bands were organized in most communities throughout the country. Rupert Hughes, eminent musicologist and writer on music, stated, "by 1897 Sousa marches had been sold to 18,000 bands." It appears to be impossible to prove that the statement is true; how­ever, the Carl Fisher Publishing Company grew so fast in 1900 that it had to expand its building.

Around 1942, the town band began to decline, and the young school band movement, which had begun during the 1920s, filled the void. It is believed that the town band declined because of the technological developments of the twentieth century and a changing so­ciety and lifestyle. The music industry saw this development as a new source of business and vigorously promoted school bands. Who were the music pioneers who began the school band movement in West Virginia? Here are a few examples.

The Ravenswood Band was organized in 1927 by D.M. Whetstone, a leading figure in the development of school bands. By 1929, there were 40 members in the group. Lawrence Cappilenti contributed much to the growth of the band in the 1950s. The 120 member band, under the direction of Jim Porter, attended the Y.F.W. National Convention in Detroit in August, 1968.

Harold Leighty organized the first Magnolia High School Band in New Martinsville in 1926. In 1935, he transferred to St. Albans and organized a beginning band there. (He started Charlie Gorby on trumpet that year.) He organized the Nitro High School Band during WWII.

Mr. Christianson (first name unknown) organized the first band program at Martinsburg High School. Roderick Linger directed the band from 1939 to 1955, when the band grew to be a highly acclaimed organization.

The Elkins High School Band was formed during the 1928-29 school year. Phillip "Prof' Davies served as the Randolph County music supervisor and music director at Elkins High School. The band did not have uniforms, but the following year sported orange and black capes, and "overseas" style caps were purchased by each of the 18 band students.

The first Buckhannon-Upshur High School Band was established in 1923 when II boys at the school developed an interest in having a band. Seward Reese became the director of the group, and Bartlett L. Lyons, who was also director at West Virginia Wesleyan Col­lege, was hired in 1925 as the second director of the band. The B-U band began to grow under his direction, and around 1930 had about 40 members.

School bands were not the only musical groups developed during the first half of the twentieth century as choirs and orchestras also began to flourish during this time. For instance, the first organized Shepherd College Choir sang before the college assembly on No­vember 4, 1936. Professor Carl 1. Farnsworth was instrumental in organizing the choir. Professor Asa Bush, who created the music program at the college, taught a class in vocal music without compensation to promote the new program.

What about the music program in your school? Who were the music pioneers who started the choir, orchestra, or band programs? If there is no history of these groups in your department, take time to do some research. Interview some parents in your community who may have participated in one or more of the organizations. After you have gathered some facts, take time to write an historical docu­ment about music education in your community, and send a copy to me so that I can place it in the WVMEA archives. Your efforts will enrich the musical heritage of your school.

(Note: The first four paragraphs of this article were taken from the Master's Thesis, The Rise and Decline of the Town Band, 1890­1942, by Mel Saunders, WVBA Secretary. Used by permission.)

In 1867 John Storer, a Maine philanthropist, became interested in Reverend Brackett's one-room school for freedmen at Harpers Ferry. He offered a $10,000 grant to the Freewill Baptists if the school would become a degree-granting college. 

For over 88 years, the place of education ultimately known as "Storer College" stood high above Harpers Ferry on Camp Hill. Storer grew into a full-fledged degree-granting college open to all races, creeds, and colors. Former slaves who were thrown into the world with no training, no skills, and no education found at Storer a place to learn to read and write, to teach others in their community, and to develop marketable skills. For many years it was the only institution in West Virginia offering instrumental music to African-Americans.

In 1938 Storer became a college. Although the school granted four-year degrees, it was never accredited, and the college was forced to turn away some students. A year after the U.S. Supreme Court Brown vs. Board of Education decision in 1954, Storer College closed its doors forever.

In 1869 ninety-five students were enrolled. The school catalog stated that “Instruction is given in Vocal and Instrumental music to those who desire it.” Tuition and room rent were $3.00 per term. (Terms lasted three months.)  In each room was a stove, double bedstead, chairs, and a table and washstand. An extra charge was made for Drawing, Painting and Instrumental Music classes. Washing, fuel and lights were also extra. Board provided in family homes was $3.00 per week.

Storer was a very important part of music education in Jefferson County.  Miss Martha J. Stowers was the first music teacher at the school. One of the early band directors, Colonel McKinney, organized three bands. Band students played on instruments that were furnished by the school.

The music faculty wanted to give each student an understanding and appreciation of outstanding music compositions, both contemporary and classical.  Miss Pearl Elise Tatten taught several courses in the early 1900’s.  She taught sight singing, voice, piano and pipe organ.  The training students at the school received enabled them to teach music as well as other academic subjects.  Miss Tatten was the conductor of the outstanding glee club and choir.

A graduate of the school, Dr. Randolph E. Spencer, recalled the enthusiasm of the students who participated in Miss Tatten’s groups. “Our glee club was to appear at a distant community in West Virginia and, at the time of our departure, we discovered that a baritone singer was absent.  Some of us went to his room in the dormitory, to find him unconscious as a result of an injury that he had sustained the day before.  Our biology instructor administered first aid, and he immediately regained consciousness. Notwithstanding his condition, none of us could dissuade him from going. He prepared himself for the trip and there was no recurrence of the condition.”

The school offered a five-year course to voice students.  The course included Solfeggio, Harmony, History and Music Appreciation.  The course in piano was designed to enable the students to play simple accompaniments without difficulty.  Each student was awarded a certificate after twenty books were completed.

Sight reading was an important part of the curriculum.  All students were required to take the course.  The songs books used contained unison, two part, three part and four part selections. Exercises from several classical, sacred and secular songs from operas and oratories from the Italian school were sung.

The campus was once the home to Donald Matthew Redman, one of the school’s most successful graduates. Of all the students of Storer College during it’s illustrious eighty-eight year history, no one had the impact on the world of music like Don Redman.

According to a Don Redman Website, he was born in Piedmont, West Virginia on July 29, 1900. He began playing trumpet at age three and by the age of sixteen he came to Harpers Ferry to study music at Storer College. Graduating in 1920 Don Redman’s talent for jazz music was instantly recognized. He became known as “The Little Giant of Jazz”, and the first great arranger in jazz history. Until his death in 1964, Don Redman continued to have a profound influence on the evolution, direction and development of this uniquely American art form.

Many Storer College graduates distinguished themselves in the field of music despite the barriers they faced. The students enjoyed many exacting and caring educators who were dedicated role models and taught children to do the best they could with what they had. Today the Harpers Ferry National Park Service continues the college's educational mission by using part of the old campus as a training facility.

In October 1958, members of the WVMEA Executive Board expressed the opinion that programs at WVMEA meetings should include help and suggestions for elementary music teachers. The board passed a motion to organize an elementary music division dur­ing the WVMEA convention to be held later that month.

During the WVMEA convention, held on October 30, 1958, elementary music teachers were invited to meet at Charleston High School following a music workshop. Richard Wellock was in charge of this meeting that focused on the possibility of forming an or­ganization. However, the elementary division did not develop at this time, and no record of further meetings exists.

In September 1963, the WVMEA Executive Board passed a motion to organize general music teachers from Kindergarten through 12^th grade in conjunction with the County Directors of Music Association. Robert Wright, president of the County Directors, welcomed this opportunity for all general music personnel to participate in the same organization, teachers as well as supervisors.

The purpose of the Elementary Division was to try to reach classroom teachers through WVMEA by increasing emphasis on work­shops and clinics to be held at regional and state conferences. WVMEA members who were classroom teachers could attend the WVMEA conference each spring as guests or upon payment of the conference registration fee only. It was suggested that pertinent Notes A Tempo articles could be reprinted in the West Virginia School Journal.

The Elementary-General Division (E/G) ofWVMEA in the 1960s and 1970s was active in the classroom and sponsored clinics at WVMEA conferences. At the 1978 conference, the WVMEA Executive Board designated Saturday as Elementary-General Day and held workshops on that day for the Division. The additional emphasis was a success, and plans were made to continue the workshops. Gail E. Looney, E/G president, recommended expanding the program for the next conference.

In April 1986, E/G president Priscilla Wonkka attended the national conference at Anaheim, California. Susan Kenny, national presi­dent of the Society of General Music (SGM) told her that there was some confusion in West Virginia concerning the roles of E/G and SGM. The E/G Division had been operating for several years prior to the formation of SGM. However, since SGM was designed to be a national organization for all general music teachers, several states combined the two organizations into the Society for General Music. This proposal was discussed at the 1987 meeting of the WVMEA Executive Board, and the name "Society for General Music" was adopted.

For several years, general music teachers had discussed the possibility of organizing a General Music All-State Chorus. In 1986, a resolution was written to be presented at a future WVMEA Executive Board meeting. The proposal was adopted at the June 4, 1988 Board meeting. (See the Winter 2004 "Notes da Capo" article titled "WVMEA Fortunate to Hear Children's Voices" on the WVMEA Web site for more information.)

In 1990, SGM began building a video library for use by music teachers throughout the state. The first installments were Helen Kemp's Guiding Young Singers and Developing the Young Singer. (Kemp was the director of the 1990 All-State Children's Chorus.) Addi­tional videos have been added over the years and are widely used. A current list of videos is available from Patty Moffett Austin.

SGM held a mini-conference at Johnson Elementary School in Bridgeport on April 27, 1996, which was funded through a grant from WVMEA. Dr. Dawn Baker of Ohio State University led the workshop titled "Movement in the Typical Classroom Setting." Following this successful workshop, SGM held workshops each spring. Since 2000, these workshops have been held in the fall.

The first SGM Teacher of the Year award was presented to Felicia Berger-Westfall at the 2003 WVMEA conference in Huntington. The award was presented to Abbie Woods in 2004, Carol Thorp in 2005, Heidi Dunkle in 2006, and Kathleen Fox in 2007.

Officers for 2007-09 are: Martina Norman, president; Lisa Reese, vice president; and Cathy Walker, secretary/treasurer. The Society for General Music continues to encourage the improvement of the quality of teaching in general music at all levels. SGM promotes active participation by general music teachers and students in activities and workshops that improve the teaching and learning of music.

Historian’s note: The author of this article, Jim Andrews, is a native of Elkins and a 1954 graduate of Marshall University. He was band director at Hurricane and Point Pleasant High Schools, the first chair of the WVBA Solo and Ensemble Committee, and presi­dent of WVBA. In 1965, he became state supervisor of music. In 1973, he joined the Arts and Humanities Division of the Department of Culture and History from which he retired as director in 1988. He currently lives at The Villages, FL, where he plays trombone in the New Horizons Concert Band. I asked him to write this article on the beginnings of the WVMEA Solo and Ensemble Festivals.)

Solo and ensemble training was not prevalent in school music programs of West Virginia in the early 1950s. In 1954 when I began teaching, the only organized solo and ensemble programs and festivals were in schools in the Wheeling area. By the early 1960s, solo and ensemble programs existed in most school music programs, and there were twelve regional solo and ensemble festivals in which hundreds of students performed.

Harold Gothard was band director at Poca High School for several years when I began teaching in Hurricane. We became friends and talked a lot about the teaching of music. On one occasion, we discussed how we worked with students on solo and ensemble litera­ture, which led to our bringing students together for a Putnam County Solo and Ensemble Festival in the spring of 1955. We had over 100 students from Poca, Hurricane, Buffalo, and Winfield schools playing and being critiqued by professors from Marshall. The festi­val was a success, and the students had a most positive experience. To the best of my knowledge, at that time, this was the only county solo and ensemble festival other than the ones held by counties in the Wheeling area.

When I returned from military service in 1958, the Putnam County festival had grown under the leadership of Harold Gothard, Frank Jones, Raymond Parkhurst, John Frost, and other teachers. The quality of performances was higher and the number of participating students had grown. Individual judges for woodwinds, brass, and percussion were engaged to grade performances by the students.

The WV Band Festival had also changed dramatically. No longer was there only one festival in Huntington. Instead, school bands were divided into several regional band festivals and also participated in one of four area state band festivals. Bands in Putnam County were in Region XII, along with bands in Mason and Jackson Counties, and the Milton Band in Cabell County.

The band directors in the counties met twice each year to develop plans for the festivals. In 1959, the directors developed a plan that included both junior high and high school bands and a regional solo and ensemble festival. Sight-reading became part of the band fes­tival in 1961 and, at the time, only Region XII and the Wheeling area bands had a sight-reading requirement. Band directors in Re­gion XII included Jim Porter (Ravenswood), Harold Gothard (Poca), Tom Reed (Wahama), Frank Jones (Hurricane), John Frost (Winfield), Ron Ross (Ripley), Pat Wisman (Milton), and I was then at Point Pleasant.

The Putnam County and Region XII solo and ensemble festivals got quite a bit of attention from other band directors. Around 1960, the board of the WV Bandmasters Association asked me to chair a committee to explore and develop a plan for organizing solo and ensemble festivals in each of the twelve regional festival locations. Committee members that I can recall were Loren Mercer, Bill Doer, Hank Meyer, Harold Gothard, Fred Meyer, Ron Wood, Bill Randall, Leland Arnold, Ken Gleason, Al Frey, and Bob Hill. A plan was developed, and each committee member was asked to present the proposal to band directors in his region.

I can only recall the reaction from band directors in the Huntington/Kanawha region, where I presented the plan. There were comments that a program like this would take too much time, and some even questioned if we were trying to turn the music program into a "conservatory." Eventually, the region approved the plan unanimously. Even those who questioned the idea voted for it, stating that they appreciated the fact that a plan was presented and that it was a good plan. The solo and ensemble committee reported approval by the directors in each region. The plan was later presented to and approved by the WVBA, and a regional solo and ensemble program for instrumental students was in place.

The plan asked for local schools to hold festivals and to send only students with high scores to regional festivals. Many directors were unfamiliar with graded solo and ensemble literature, so sources for obtaining lists were included in the plan. Application forms were part of the plan, along with guidelines that included information about the length of solos and ensembles, piano accompanists, and in­formation for selecting judges and ideas for administering each festival. One of the side benefits of these festivals was that they en­couraged schools to seek out pianists from the schools and communities to accompany the students.

The regional solo and ensemble programs flourished and, in two years, captured the attention of the Secondary Schools Activities Committee. I got a call from Gordon Eismon, who was head of the SSAC, asking questions about the festivals. Apparently, some principals did not know what was going on. Buses were being or­dered and teachers and students were traveling to solo and ensem­ble festivals that were not on the SSAC list of approved activities. A copy of the plan was sent to the SSAC. Gordon Eismon at­tended several of the regional solo and ensemble festivals and later called me to say that he was impressed by these programs and how they were administered. Soon afterward, the SSAC ap­proved the regional solo and ensemble festivals, and they became official.

One part of the solo and ensemble plan called for regions to sub­mit tapes of the outstanding soloists and ensembles for considera­tion as honor finalists to perform at the WVMEA annual conference. The solo and ensemble committee formed a group of jurors to hear the tapes. The 1964 WVMEA conference was the first to present honor finalists. These students performed for con­ference luncheons and prior to major clinics. The Williamson High School Stage Band, under the direction of Bill Barrette, was the stage band finalist and also appeared at the 1964 conference. The 1965 conference featured performances by honor finalists from vocal, orchestral, and piano organizations as well as stage bands.

My recollection of more than fifty years ago (1955-1965) and the beginnings of solo and ensemble programs and festivals probably omits the names of many individuals who contributed signifi­cantly to the development of this outstanding program. I apolo­gize. Those who followed and continued to develop this valuable educational program are to be commended. Solo and ensemble programs provide each student with the skills and knowledge of the literature needed to continue performing individually and to consume music intelligently for a lifetime.

In 1959, after talking with several college, high school, and junior high school band directors in West Virginia, Charles Gorby con­cluded that there was a need for stimulating interest in dance bands. He conceived the idea of sponsoring a festival for high school and junior high school dance or stage bands. Many directors and school administrators expressed the feeling that the tenn "Stage Band" might be better than "Dance Band," since they thought that the latter term might discourage participation.

Five area high school band directors had started stage bands in their schools and were interested in promoting a stage band festival. They also expressed need for a clinic since the concept of stage bands was new, and the directors were inexperienced with stage band repertoire.

William Caruth, chairman of the Music Department at Concord State College, had organized a group that was known as the "Com­manders." Mr. Caruth was an outstanding dance musician as well as an orchestra director. He said that he would bring his band as a clinic group and that faculty members from the music department would serve as clinicians.

After much discussion, the Stage Band Festival was scheduled for Saturday, January 10, 1959. January was selected because Christ­mas programs would be over, and the date would not interfere with spring festivals or concerts. A bulletin announcing the festival was mailed to band directors in West Virginia, Virginia, and Ohio, and an article announcing the festival appeared in "Gorby's Band News & Views," a publication printed by Gorbys Music Store. A second bulletin was mailed prior to the Christmas holidays that included an enrollment form, to be returned to Gorbys Music Store no later than Monday of the week of the festival.

Gorbys store had an auditorium, but it was not large enough to handle the bands plus the spectators. The Social Room of the South Charleston Recreation Center was rented for the day. The Recreation Center was located several blocks from the business district, so to avoid having the participants leave for lunch, and perhaps not be able to return on time, the staff of Gorbys prepared a snack lunch, consisting of sandwiches, potato chips, ice cream, and soft drinks, sold for twenty-five cents a serving.

The festival began at 9:30 with doughnuts and coffee available. At 10:00, the "Commanders" played three standard numbers for the visiting bands and spectators. Mr. Caruth then discussed phrasing, interpretation, seating, and use of stage band selections. Kenneth Gleason of Concord College gave an interesting and informative presentation on the use of brass instruments, using the brass section of the "Commanders" for demonstration. David Lewis, woodwind instructor at the college, discussed mouthpieces, embouchure, se­lection of reeds, doubling on clarinet, and saxophone. The "Commanders" reed section demonstrated various phrasing of musical style. Charles Davis, band director at Clifton Forge (Virginia) High School talked about the value of the drummer in the modern day dance band. Using a tape recorder for background, he demonstrated various American instruments, cymbals, and tom-tom.

After lunch, the afternoon was devoted to auditions. The bands appeared in the order in which their registration forms were received. There was no cost or charge to any of the bands. Each band played three selections. Adjudicators were Dr. Earl Houts, head of the Music Department at West Virginia Institute of Technology and Mr. Lewis and Mr. Gleason. Bands were rated as Superior, Excellent, Fair, or Good. The ratings were not published, but were handed to the directors by the adjudicators. The adjudicators were seated in different locations in the auditorium and did not collaborate while rating the bands.

The bands and their directors, in the order that they auditioned, were George Wythe "Maroons," Wytheville, Virginia, Jack White, di­rector; "Pearisburg Hi-Hatters," Pearisburg, Virginia, Richard Beasley, director; South Charleston Junior High Stage Band, John Jarvis, director; "The Jestures," St. Albans, WV, Alan Farley, director; Lincoln Junior High Stage Band, Charleston, WV, Nelson Gael, director; "The Swingsters," Gauley Bridge, WV, James Warren, director: Kyger Creek Stage Band, Cheshire, Ohio, William Everson, director; "The Starlighters," Belle, WV, Lawrence S. Carson, director; "Night Lighters," South Charleston, WV, Richard Katholi and Bill Dale, co-directors; "Tiger Tones," Princeton, WV, John W. Lilly, director; "Mello-Bridge Swingsters," Meadow Bridge, WV, Robert Hamer, director.

Approximately 300 persons attended in addition to the band members. The overall cost to Gorbys for providing lunch, advertising, hall rental, transportation of the piano, and miscellaneous expense was $150.00. Charlie Gorby commented later that it was worth the time and effort, saying, "I feel that the stage band program has a definite place in the public school curriculum. It gives additional training for the outstanding musician who wants to be a better performer. It provides dance band experience for those students want­ing to pursue this effort in college and later life."

(For further information about the development of stage band festivals in West Virginia, see the February 1998 "Notes da Capo" arti­cle, "Gorbys Holds First Stage Band Festival" on the WVMEA Web page.)

The invention of the phonograph was a great source of home entertainment, and by the late 1920s, the invention of radio gave people an opportunity to listen to performances by outstanding orchestras of the day. In 1930, a radio program titled "The School of the Air" pointed out that "The School of Music is 'on the air'." Radio station WMMN in Fairmont, WV, played various types of music includ­ing symphonies by classical composers. These types of broadcasts did much to promote interest in school music programs.

In 1917, the WV Federation of Music Clubs was organized in Clarksburg, with the purpose of promoting and stimulating an interest in good music an encouraging music education and creative talent. In 1929, there were eighty-eight local clubs in the state. A scholar­ship loan fund was established to help students further their music education. Interest in music was growing in many communities.

In 1926, several music teachers in the state became interested in promoting music in their schools by giving students an opportunity to perform in an all-state group. They believed such exposure would help create interest in instrumental and vocal music. Karl Brown of Terra Alta, Glenn O. Sallack of Beckley, and 1. Henry Francis of Charleston began to discuss the possibility of organizing an all-state concert.

The first WV State High School Orchestra concert was held on October 31, 1927, at the State Education Association meeting in Charleston. A symphonic band under the direction of Glenn O. Sallack also performed. Records do now show performances by either group in 1928. The second WV High School Orchestra performed in Parkersburg on February 8 and 9, 1929. The first WV State High School Chorus was also on the program. 1. Henry Francis, director of music education, Charleston, directed the orchestra, and Clarence C. Arms, supervisor of music, Clarksburg, directed the chorus.

Interest in music programs in state schools was growing, indicated by the fact that 143 students performed in the fifth performance of the orchestra and 198 students sang in the fourth performance of the chorus in concerts held on Thursday and Friday, October 29 and 30, 1931, in Charleston. These concerts appeared on the Friday and Saturday programs of the WV State Education Association's an­nual meeting. Representing the best in secondary school music from a wide range of high schools, programs of unusual merit were presented to capacity audiences at Charleston Senior High School, where general sessions were held.

In 1930, Karl V. Brown ("Doc" as he was respectfully called by his students) moved from TerraAlta to Spencer. He served as general chairman of the 1931 chorus. The conductor of the chorus was Marie D. Boette, supervisor of music, Parkersburg. Mr. Francis was the accompanist. Mr. Francis and Mr. Shadwell conducted the orchestra.

Schools represented in the chorus were Beckley, Charleston, Dunbar, Elkhorn District at Switchback, Elkview, East Fairmont, Fayet­teville, Huntington, Martinsburg, Montgomery, Moundsville, Pennsboro, Point Pleasant, St. Albans, St. Marys, South Charleston, Spencer, Triadelphia district at Oak Park, Wheeling, and West Union. (See the November 1987 Notes da Capo article titled "Focus On School Orchestras," by Clifford Brown, on the WVMEA website for a listing of orchestra schools.)

The orchestra performed four selections: Overture to Der Freischutz, by Weber; Minuet from Symphony No 1 (strings only), by Glo­rges Valansen; L 'Arlesienne (Concert Suite No.1, Prelude, Minuetto, Le Carillon), by Georges Bizet; and Grand American Fantasie (America Forever), by Tobani.

The chorus program consisted of six selections: La, How a Rose E'er Blooming, by M. Praetorius, A.D. 1609; The Sea Widower, by 1. Henry Francis (performed by the girls); Summer is A Coming In, edited by W.S. Rockstro; Were You There, arranged by H.T. Burleigh; Solders of the Captain, by L. Spohr; Stars of the Summer Night, by LB. Woodbury (performed by the boys); and A Song of Victory, by Percy E. Fletcher.

The West Virginia School Journal reported, "The organization of the voice parts in the chorus was beautifully balanced and from many sources was regarded as the best concert that has been heard in this series of assembling the young folds from the high schools in West Virginia. The instrumentation of the orchestra left some things to be desired in the way of some of the woodwinds and some of the lower string parts and was also a little overbalanced in the brass and clarinet section." The concert given by this organization, how­ever, was accounted as "the finest work yet heard in West Virginia."

(Editor's note: For further information about the beginning of the WV All-State High School Orchestra and Chorus, see the Novem­ber 1989 Notes da Capo article, "All-State Groups: Part of Our Heritage" by John L Puffenbarger on the WVMEA webpage.)

One day this past summer, I was sorting through some music in our piano bench. On the bottom was a folder I had forgotten about that contained an eighteen page souvenir program entitled "Sousa and his Band, Lieut. Commander John Philip Sousa Conductor." The band presented a matinee concert at the Fairmont Theatre on November 8, 1923. My mother was a student at Fairmont Normal College that year and attended the concert. She saved the program and gave it to me many years later.

The program is interesting because it lists the selections the band played and the soloists who performed. It also has articles about the Sousa band, advertisements from various companies, and pictures of Sousa and his band. Meredith Wilson, who later wrote “The Music Man”, was one of the soloists. The program cost ten cents.

This incident demonstrates the importance of preserving history. I had no idea that John Philip Sousa performed in West Virginia, let alone at the Fairmont Theatre, until I saw the souvenir program. If my mother had not saved the program, I would not have known about the event.

West Virginia held its Centennial celebration in 1963. Phil Bowers was band director at Clarksburg Victory High School, Dick John­son was band director at Roosevelt-Wilson High School in Nutter Fort, and I was band director at Clarksburg Washington-Irving High School. We decided to celebrate the Centennial by combining our three bands in the United Way Parade that fall.

We alternated the members of the bands as well as the majorette corps. The drum major of the W-I band led the group. The band played Hail West Virginia as it marched down the parade route. I don't remember the exact number, but there must have been at least 300 students in the band. The windows in the stores along Main Street must have rattled as the band broke into its musical rendition. The next week, R-W played W-I in a September football game. Dick and I worked out a combined band half-time show. It was a huge success, and the experience promoted a good relationship between the two schools.

One year, when I was band director at Buckhannon-Upshur High School, our band went to Morgantown for the Morgantown/Buck­hannon Upshur football game. Since we were the visiting band, we went on the field first at half-time. It started to rain while we were playing our last selection. As we ran to the buses, it began to pour. The MHS band marched onto the field and performed their show. I remember seeing that there was a large slit down the skin head on one of their bass drums. Water had loosened the head, and when the bass drummer hit the head, it broke. MHS band director Mike Roberts told me later that he felt his band had to go on the field since we performed our show.

Every music teacher has many stories to tell about past happenings. Those stories are part of our rich musical heritage. Take time to write stories about past activities and performances by groups in your school. Talk to former directors at the school, and include their stories in a printed document. Save programs, pictures, and recordings. Remember: the activities we are engaged in today will be to­morrow's history.

Last year, Craig Lee began a project to document the history of the bands and band directors in Jefferson County Schools. It will be an important historical paper that future musicians in the county will value. As is the case with projects of a creative nature, the method of organizing and writing historical papers is up to the individual.

Saving documents is important for another reason. We can learn from past activities and can make better decisions for the future if we take time to study past actions. If you have taught for a few years, I'm sure you have attended a WVMEA affiliate meeting when someone has brought up a "new" issue, and you probably thought, "We discussed that a few years ago."

The music teachers who have developed music programs in our schools in the past deserve to be recognized for their dedication to the children of our state. I am grateful to the music teachers who helped me during my career (Harold Glasgow, Richard Wellock, Henry A. Mayer, Richard Lawson, and Saul Fisher, to name a few). Music store owner Fred Ross was of tremendous help in the development of an outstanding instrumental program in Upshur County. I am especially grateful to the many college and university professors who took time to as­sist us in advancing music education in the public schools.

WVMEA has a rich heritage of music history, and much of it is recorded in past issues of Notes A Tempo, and in the "Notes da Capo" articles on the WVMEA website. We also have documents from WVMEA and its affiliate organizations on file in the WVU Down­town Library. The records are stored in the West Virginia & Regional History Collection.

(Editor's note: Dr. Clifford Brown served as WVMEA Historian from 1983 to 1988 and wrote eighteen "Notes da Capo" articles about music education in West Virginia before his tragic death in an automobile accident. John Puffenbarger served as Historian from 1989 to 2008 and wrote eighty-five articles.)