ADDRESS:
Drum and Bugle Corps Involvement with Local Music Education Programs
Mr. Vic Colaianni
[Some material contained in this writing is the expressed sole opinion of the author and
not of any organization that may be mentioned].
Part I.
Introduction:
The evolving trend of both high school and college marching band programs as well as
the creation of several societies and organizations for the propagation of music education has
created both a wealth of talent for the drum and bugle corps activity to draw from an aspect of
potential marching members; show designers; and even organizational and support staff
personnel (fund raising, transportation, etc.). There is consistently a "pro" and "con" side of
things with everything. It is the pros and cons that will be examined here. It is the hope that
those who may read this text will come away with a better understanding of not only the pros
and cons, but also with the understanding that there are resources out there which many drum
and bugle corps organizations may not have tapped into yet. These untapped resources may
create an overwhelming pipeline of items that will not only assist the local corps, but also the
activity as a whole as we enter the 21st Century.
High School Marching Band Programs:
The trend over the past fifteen years of many high school marching band programs has
been to emulate what has been done within the drum and bugle corps activity. Repertoires have
been chosen, uniforms and flag designs decided upon, and percussion equipment purchased
solely on what some high school band design teams (directors mostly) have seen performed on
the competition field by certain drum corps the previous season. This has led to some unfair
comparisons in some arenas, but it has also developed into teaching the fundamentals needed for
marching members in the corps activity.
Most high school marching programs today use the "corps style" form of marching, have
color guard choreography that parallels what is done in drum corps, and except for having
woodwind instrumentation on the field, have arrangements that sound very familiar to what the
corps arrangements have sounded like if they have been done by a corps.
The area where high school programs may have the biggest edge over a drum and bugle
corps is in the area of a booster organization and fund raising. Most high school music booster
programs are masters at fund raising, and let's face it, have a built in membership since most
kids' parents are involved. In the corps scene, local involvement is scarce, and fund raising
seems harder and harder as the years pass by for corps booster organizations. While audition
fees, corps membership dues, and tour charges may defray some of the cost of running a corps,
school programs have a lot to offer corps in the savvy that's needed to raise money. While the
traditional selling of fruit may not be a big hit in the corps scene, there are a ton of great ideas
that are tried and true at the high school level that would also work well in the corps arena.
In the area of show designers and more recently, adjudicators, the high school (and even
college) arenas have already offered the corps activity great talent. Some of the more prominent
judges on the DCI roster are well known high school band directors (Richard Saucedo, Carmel
High School as well as others). Some of these prominent high school directors are also
extremely talented arrangers and show designers. One would venture to say that some of the on
the field product from the high school arena in the past 3 years may be better designed than
some corps products.
Pros and Cons in Regard with Involvement with High School Music Programs:
PROS:
+ Well trained talent in the youth involved in most programs.
+ Good knowledge of the marching and playing styles used in the corps activity.
+ Involvement in the activity that may span more than just a few years (brothers and
sisters not yet in high school will more than likely become involved).
+ Broad resources in knowledge of fund-raising and running a successful booster
organization (some child's parent may be CEO of a multi-million dollar corporation
looking for a tax deductible donation).
CONS:
+ Some high school programs begin rehearsing before the corps season is over.
+ Some corps may have to change the format or methodology in how they audition
potential membership.
+More time and effort needs to be allocated to communicating EFFECTIVELY with
local school programs.
+Some flexibility in scheduling may need to occur to accommodate school activities.
In reviewing the "con" list above, the items listed could also be considered opportunities
for a corps to take advantage of. For example, why not ask if the corps percussion line could
perform during half time at a basketball game in late January? Not all potential members may
be in the school's marching band! What comes to mind here is that the entire "pit" percussion
section of a very successful competitive high school marching band in Ohio was comprised of
string players who normally would not have been in marching band in other schools. There are
numerous other opportunities out there that were not mentioned here. The idea is to "spark"
interest and generate discussion. It is also to challenge the corps out there to never stop looking
for new ways of generating interest in the corps activity.
Part II of this presentation will examine the pros and cons of involvement at the college level.
Part II.
College Marching Band Programs / Music Departments:
Has anyone noticed how much more musical most college bands have become over the
past five years? Some college marching bands have also entered the competitive realm in some
geographic areas of the country. As was mentioned in Part I, many college marching programs
have also emulated what has been going on in the drum and bugle corps activity over the past
decade or longer. In fact, many Midwestern college marching bands boast members who are
currently marching or have marched with many of the top 21 Division I DCI corps.
Over the past decade, more than a dozen colleges and universities have started offering
college credit to music students who march in a drum and bugle corps. Charles Webb, dean of
the School of Music at Indiana University was the biggest supporter of colleges doing this in the
mid and late 1980's. He had the courage to recognize that what brass players and percussionists
were doing in a drum and bugle corps was just as challenging, if not more so than what currently
takes place in many of the finest schools of music on college campuses today. The comments of
two members of the world renowned Cleveland Orchestra (Cleveland, OH) come to mind. Their
comments after witnessing Star of Indiana's (Bloomington, IN) field performance of Samuel
Barber's Medea's Dance of Vengeance in Canton, OH in July of 1993 were ones of amazement
that the brass section could play the music so true to the original while marching at very fast
speeds. One member, the principal trombonist of the orchestra, remarked that Barber's music
was hard enough to play sitting in a concert hall let alone running around on a football field.
There has also been a number of drum and bugle corps members who have chosen to
pursue music degrees in college as a result of being involved in the corps activity. The exposure
to many different styles of music that a corps member encounters is vastly expanded, and some
forms of music that a corps member is exposed to may appeal to him or her more so in the corps
realm than in the concert realm. It is highly doubtful many fans or even corps members who saw
Phantom Regiment's 1981 and 1982 performances of the ballet "Spartacus" had even heard that
music before. It is also highly suspect that many fans and corps members ever considered
buying a recording of that music as well.
As was mentioned in Part I under the high school section, there are numerous talented
individuals teaching at the college level who are great show designers and experts in their
respective fields. Names like Thom Hannum (Univ. of Massachusetts, Star of Indiana, YEA!);
Jeff Moore (Univ. of Central Florida; Madison Scouts); Robert W. Smith (Magic of Orlando,
numerous colleges); Tim Salzman (Boise State Univ., ID, formerly of Cavaliers). The list could
go on and on.
So what can being involved with the local or regional college or university offer? As has
been mentioned already, music credit is the no-brainer here. But what about physical education
credit? No one can dispute that being in a corps doesn't involve physical activity! What about
dance or other fine arts credit for being a member of a color guard? Most color guards these
days do better and more difficult choreography than some dance classes offered at colleges. The
aforementioned items are the obvious. Now let's look at the not so obvious.
Has any corps director ever approached the athletic department at a college about doing a
clinic on motivation and self discipline? Showing the video of Indiana University basketball
coach Bobby Knight speaking about the benefits of being involved in a corps would be a great
selling tool! There are also many show designers and instructors out there who are great
motivational speakers and clinicians. On the opposite end, there are many people teaching at
colleges and universities who have a lot to offer corps from not only a motivational standpoint,
but also from a business realm. We all know how important the business side of running a drum
and bugle corps has become over the past decade. And let's not forget some of the fine facilities
that colleges and universities could offer (and some currently do) as rehearsal and/or housing
facilities.
Involvement with the local and regional colleges and universities offer more pros than
cons. Let's examine them:
PROS:
+ A wealth of talented potential marching members.
+ A good sized talent pool of show designers, instructors, composers and arrangers.
+ College fine arts and/or music credit for corps members.
+ Physical Education credit for corps members.
+ Potential partnerships with faculty members.
+ A strong talent pool of faculty members who may offer valuable expertise in the
business realm for corps directors and corps boards of directors.
+ Year round performance and/or clinic opportunities.
CONS:
+ Some college semesters may end in mid-June after some corps competitive seasons
may begin.
+ Some members may have scheduling conflicts during final exam periods prohibiting
them from attending some corps rehearsals.
+ Getting the deans at some colleges to sign on to the credit for marching idea.
+ Convincing some colleges or universities the value of possibly using their facilities for
rehearsal and/or housing purposes.
In reviewing the above pro and con lists, there may be other opportunities to explore, but
as stated in Part I, the idea of these writings is to generate discussion and feedback for the
benefit
of the drum and bugle corps activity.
We will examine some miscellaneous thoughts and ideas in the third and final part of this topic.
Part III
Involvement with Organizations not Directly Affiliated with Schools or Colleges:
We have examined how involvement with high schools and colleges can assist the corps
activity as well as some challenges that the involvement may present. But what about
involvement with organizations not directly affiliated with public (or private) school systems?
Many metropolitan areas are homes to non profit organizations looking for a cause to be
affiliated with or to have a partnership with involving the youth of today, and the betterment of
today's youth. In the 40's, 50's, 60's, and 70's; the corps activity enjoyed a strong affiliation with
the veterans service organizations such as the Veterans of Foreign Wars (VFW), and the
American Legion. Since most corps were born out these organizations, it was only natural that
their affiliation remain with them. Up until the mid 1980's, many corps still had strong ties to
these organizations. Until the birth of Drum Corps International (DCI) in 1972, national
championships were solely sponsored by either the VFW, American Legion, and even religious
organizations such as the Catholic Youth Organization (CYO).
To remain affiliated with the veterans organizations, and even a religious organization
today would be difficult due to certain roadblocks that might possibly pop up either through the
ACLU, or some members parents having difficulty with their child being a part of an
organization that is affiliated with a "politically incorrect" organization. While each drum and
bugle corps is its own separate entity, the difficulties in having a partnership with a fraternal
organization and pleasing all of its members personal beliefs is a challenge. Illustrations that
come to mind are the possibilities of Evangelical Christians allowing their children to belong to
a
corps who raises funds through bingo when bingo is considered gambling and this family is
opposed to gambling. Another illustration that comes to mind is the members of the Mandarins
Drum and Bugle Corps used to be comprised of youth who's ancestry was of certain descent.
The Mandarins no longer adhere to this, and are enjoying success year after year.
So what organizations can a corps be affiliated with to please everyone? While you will
never please everyone, there are possibilities out there. Let's take the local symphony orchestra.
While it may not have been proper to have a partnership with a symphony orchestra in the
1970's, why not today? Some corps have even performed with symphony orchestras. An
affiliation with an orchestra could reap a good harvest. Brass line members could take lessons
or master classes from some very professional and renowned talent. This would be a welcome
item to a brass marcher majoring in music. A partnership with an orchestra could also mean
performance opportunities. Having any part of a corps perform with a symphony orchestra
would expose the activity to potential new fans, and possibly some corporate sponsorship since
many corporations have their "upper brass" attend symphony performances.
A not so obvious organization that a corps could become involved with is a travel
agency. Although most Division I corps have their own tour coordinators, who better to
coordinate a tour than a travel agent? Trading some "free" advertising with a travel agency in
exchange for setting up some tour related items would be a great way to not only have a
professional help out with tour (or even coordinating airline or bus transportation for camp
weekends), but also potentially expose the activity to a very wide audience. A travel agent could
set up a 2 day package for a corps in the New York City area possibly arranging a standstill
performance. This could be set up at any major U.S. city. While a travel agency is not
considered a music education program, having their help can further music education through
exposure to the corps activity.
Affiliation with certain organizations of a religious nature or a fraternal nature pose some
challenges for corps today. But to rule them out entirely would be wrong. The Madison Scouts
started as a boy scout organization as did the Cavaliers. These two corps still have an affiliation
with the boy scouts, but not as direct as it once was. The Mighty St. Joe Alumni Corps of
Batavia, NY comes to mind as well. There are also members of the World Drum Corps Hall of
Fame who are Catholic priests. While churches, the Boy Scouts, and others want to be involved
with organizations that are beneficial for youth of today, corps these days cannot be as fully
involved with some of the organizations mentioned here for various reasons.
The idea of involvement with local, non-school related organizations is something which
most corps are only beginning to tap into. What corps need to do is have one or two point
people to really spearhead communication with potential partnerships. It should not be solely
the corps directors job to do this.
Summing it all up!
We have examined the "pros" and "cons" of affiliations with high school, college, and
non-school related organizations. In reviewing some of the "cons" that have been presented,
most, if not all of them could also be considered opportunities. If we are to grow the drum and
bugle corps activity, and see it flourish for generations to come, then all options within the local
music education realm need to be investigated. Each and every corps has a vested interest in its
local and regional community. To not be as involved as possible with all facets of local music
education programs is laying the nails out on the coffin lid and just waiting for someone to
pound
them in.
Some corps are doing a good job at being involved within their local communities.
Some corps can do better. In a "not so scientific" survey conducted by the author in 1995, out of
120 people surveyed in cities that are home to a major Division I drum corps, only 6 people had
either heard of the corps, or knew that they were still in existence. Becoming more involved in
local music programs would more than triple the knowledge of the corps activity as well as
garner potential membership, corporate sponsorship, and even create healthier booster
organizations.
As has been stated in the previous 2 parts of this offering, there are many more ideas
floating around out there. The idea in presenting this subject has been to be a catalyst not only
for discussion in this forum, but to get involved with your local corps and assist them in
drumming up support (no pun intended) for the corps activity.
Your opinions and feedback are welcomed.