The look of Marching Band and Color Guard uniforms has changed since their early days. Heavy materials such as Dak Wool are no longer the standard. Even the “lighter” polyester jacket is declining in popularity as budgets, availability, heat concerns, and creative freedom become more in focus.

Today, modern marching band and color guard uniforms incorporate spandex, Lycra, or other form-fitting materials to allow for full-range motion and a sleek appearance. However, one crucial detail that often gets overlooked is the correct undergarments, which can make or break your uniform’s overall look and comfort. 

Why the Right Undergarments Matter 

1. Seamless Look for a Polished Appearance

Spandex and other tight-fitting materials show every line, seam, or texture beneath them. Choosing seamless and smooth-fitting undergarments ensures that no distracting lines or bunching interfere with your uniform’s clean, professional look.  

2. Snug Fit for Maximum Support  

High-energy performances require secure and supportive undergarments that stay in place. A well-fitted sports bra, compression shorts, or dance-specific undergarments like a dance belt will help you move confidently without worrying about shifting fabric.  

3. Comfort for Long Performances 

Comfort is key, whether it’s a long parade, a football halftime show, or a full-day competition. Undergarments that are too tight, loose, or made of the wrong material can lead to discomfort, chafing, or constant readjustments. Look for breathable, moisture-wicking fabrics that keep you cool and dry.  

4. Color Matters!

One of the most common mistakes performers make is wearing the wrong color undergarments. Always choose nude, skin-tone, or color-matching options to avoid anything showing through under bright stadium lights. White is often too noticeable, and dark colors can be visible under lighter uniforms.  

5. Confidence in Motion  

Knowing you’re fully supported and polished under your uniform allows you to focus on your performance, not your outfit. The right undergarments eliminate distractions so you can confidently spin, toss, and dance.  

Choosing the proper undergarments ensures your uniform looks sleek, professional, and performance-ready. It’s a small but essential detail that makes a big difference!  

Not sure where to start? Band Shoppe offers a complete line of size-inclusive undergarments for all body types, suitable for any uniform style. Check out these products, or call our Sales Team, and one of our reps can walk you through the best options for you and your group!

The post The Importance of Proper Undergarments for Stretch Uniforms appeared first on Band Shoppe.

Marching season throws a lot at your students-from long rehearsals to high-stakes performances-and the last thing they need is foot pain slowing them down. Choosing the right shoe isn’t just about comfort; it’s a critical decision that can impact how your entire band looks, moves, and performs. The right pair keeps your band looking sharp, stepping in sync, and focused on the music—not foot discomfort. As a director, you’re not just picking footwear, you’re making a decision that affects performance, posture, and precision across the entire field.

So What Makes a Great Marching Shoe?

Strong materials and solid construction ensure the footwear lasts from day one of band camp to the final competition. But long-lasting shoes shouldn’t mean aching feet, comfort matters just as much. Reinforced arches, cushioned insoles, and heel support help reduce fatigue keeping students’ knees and ankles safe, especially during long rehearsals. Grip is just as critical. Marching bands perform on a range of surfaces from indoor gyms to grass and artificial turf, a reliable outsole keeps feet steady.

And while function leads the way, don’t overlook the visual impact. A clean, consistent look matters on the field, so look for shoes with sleek lines and colors relevant to your band and drum majors.

Key Considerations When Choosing

• Where You Perform:
  The surface your band marches on, whether it’s turf, natural grass, blacktop, or pavement, directly affects the traction you need. Some shoes offer specially designed outsoles for added grip on artificial turf, while others perform better on slick pavement or uneven grass. If your group performs in multiple settings, look for a versatile sole design that adapts across surfaces without sacrificing safety.
• Weather: Humid southern summers? Rainy autumns? Consider breathable materials like mesh panels or moisture-wicking linings to help reduce sweat. Quick-dry uppers and water-resistant coatings keep your shoes comfortable even in unexpected conditions.
• Performance Style: Competitive marching bands, like World-class DCI groups, often need lighter options with dance shoe-like flexibility and responsive support while parade-focused groups might lean toward a more traditional look or patent leather options. Match your footwear to your movement demands.
• Budget: Cost can play a big role, especially when ordering for an entire band. Fortunately, there are high-performing options at a variety of price points. Look for shoes that balance cost and quality, with easy reorder availability in case of new members.
• Fit Options: Wide or narrow feet, half sizes—it all matters. Brands that offer an extended range make it easier to get it right the first time and avoid uneven visuals from poorly fitted shoes.

Comparison of Popular Marching Shoe Styles

With so many options on the market, finding the right marching shoe can feel overwhelming. Each brand offers something unique—advanced support features, standout visual design, or all-weather performance. To help you make an informed decision, we’ve broken down key features from five of the most trusted names in marching footwear: Drillmasters, DSI, Dinkles, StylePlus, and DeMoulin.

The chart below compares each of the shoes we offer including size range, wide width availability, key features, and more.

	Modern Hybrid		Elite				Traditional			Economy
Shoe Style	DrillMax	DSI Crossover	Super Drillmasters	DSI MTX	DSI Viper	Dinkles Vanguard	Drillmasters	StylePlus RPM	Dinkles Edge	Speedsters	DSI Velocity	Dinkles Glide
Price	$68.95	$62.95	$46.95	$53.95	$53.95	$53.95	$42.95	$48.95	$41.95	$33.95	$46.95	$34.95
Colors	Black	Black	Black	Black, White	Black, White	Black, White, White/Black Sole	Black, White	Black	Black, White	Black, White	Black, White	Black, White
Size Range	Unisex Adult Sizes 4 – 16 half sizes up to 15½	Unisex Adult Sizes 2½ – 13, half sizes up to 12½	Unisex Adult Sizes 2 – 16 half sizes up to 10½	Unisex Adult Sizes 2½ – 13 half sizes up to 12½	Unisex Adult Sizes 2½ – 13 half sizes up to 12½	Unisex Adult Sizes 3½ – 16 half sizes up to 11½	Unisex Adult Sizes 2 – 16 half sizes up to 10½	Unisex Adult Sizes 5 – 19 half sizes up to 14½	Unisex Adult Sizes 3½ – 15 half sizes up to 10½	Unisex Adult Sizes 2 – 18 half sizes up to 10½	Unisex Adult Sizes 1, 2, 2½ – 13 half sizes up to 12½	Unisex Adult Sizes 3½ – 16 half sizes up to 11½
Wides
Materials	Mesh Upper, Rubber Sole	Mesh Upper, Rubber Sole	All Man-Made Materials	All Man-Made Materials	All Man-Made Materials	Natural Leather Upper, TPR Rubber Sole	All Man-Made Materials	Vegan Leather, TPR Rubber Sole	Man-Made Upper, Rubber Sole	All Man-Made Materials	All Man-Made Materials	Man-Made Upper, TPR rubber sole
Key Features	Rolled-Heel XM1 carbon fiber arch plate Ortholite® Anti-microbial Foam Cushioned Midsole TPU Stabil-guard counter Low-profile tread Moisture resistant Heel-lock lace eye Pivot Circle	Xtreme Tendon Fit® Midfoot support Breathable mesh upper  Heel cup Stabilizer One-piece sole Canvas toe box Heel-lock lace eye Articulated Non-slip Tread	Rolled-Heel High Grip Twin-Sole Design Forefoot Hinge Heel-lock Lace Eye Wider Heel for Stability Padded Tongue & Ankle Collar Padded Arch & Heel Counter Spat Notch	Padded Tongue & Ankle Collar X-TremeTrak Sole Power Blok heel Reinforced Toe Box Lined, Moisture-wicking Upper Cushioned Insole & Heel Cup	Twin-Sole Design Non-Marking Sole Moisture-Wicking Lining Pivot Circle Non-marking Sole  Padded Ankle Collar	Cotton Vamp Lining Runner’s Ortho Cup Triad Heel Designed Spat Compatible Forefoot Hinge	Rolled-Heel Extra-wide heel & forefoot outsole for stability Pivot circle Super grip sole Spat notch Water-resistant Full Absorbent Lining  Heel-lock Lace Eye	TPR Rubber Sole Reflex toe and heel Reinforced arch Reduced tongue Absorptive cushioning	Triad heel design Terry/tricot lining Padded insole Forepart Pad Flex Zone Padded Tongue with Lace Tab	High Traction Outsole Padded Tongue & Ankle Collar Reinforced Stress Points High-flex Construction Absorbent Comfort Lining Non-marking Sole Heel-lock Lace Eye Reinforced Stress Points	Low Profile Design Slimmer Fit Articulated Flexible Tread Padded Toe Box Curved heel for Achilles Support Lightweight Design	Triad Heel Stability Forepart flex zone Runner’s ortho cup High-density foam insole Lightweight design

Download the Comparison Chart

Tips for Directors: Fitting, Sizing & Ordering

Planning ahead is important when it comes to marching uniforms and marching shoes are no exception. Schedule a group fitting early in the season, ideally before or during band camp, to allow students to try on shoes and get comfortable before their first performance. This is especially important for incoming members unfamiliar with marching footwear and how it should feel. Be sure to check for half sizes, orthotics, or special fit needs, and refer to sizing charts or vendor notes to account for any variations in brand sizing.

It’s also wise to build in a short break-in period, allowing students to wear their shoes during rehearsals or around the house to avoid stiffness or blisters. We recommend ordering a few extra pairs in the most common sizes, particularly those worn by freshmen or sophomore members. Backups make last-minute size swaps or late registrations easy without scrambling. It’s a small investment that can save you time, stress, and frustration as the season begins.

Director Notes & Reminders:

• Schedule fitting before band camp.
• Bring multiple sizes to test.
• Encourage students to wear marching socks or socks with athletic support.
• Check fit with any orthotics or inserts if needed.
• Note any students needing wide or narrow options.
• Order extra pairs in common sizes for swaps.
• Plan for a break-in period before the first performance.

Choosing the right marching shoe might not seem like a big deal, but it can play a significant role in the success and comfort of your band. The right pair supports posture, enhances performance, and ensures every step looks sharp from the stands. By planning ahead, considering the unique needs of your group, and selecting shoes that balance function with fit, you’ll set your program up for a smooth, confident season. If you have questions or need help finding the right style, Band Shoppe’s team is here to help every step of the way.

The post Marching Shoes That Hit Every Step appeared first on Band Shoppe.

With band camps right around the corner, now is the perfect time to start thinking about how to prepare for summer band camp. Here at Band Shoppe, many employees have gone through their fair share of summer camps, so we have compiled a list of information, advice, and items they wish they had thought about the first time around.

What items should you bring with you?

1. Water, water, water! Did we mention water? Hot summer days and the demanding physical activities required for band camps make staying hydrated one of the most essential things a student should focus on. Dehydration is the leading contributor to heat exhaustion. You may be dehydrated before you even realize it! The CDC recommends drinking 8oz of water every 15-20 minutes when working in the heat.
2. Comfortable Athletic Shoes. No matter what section you are in, your feet will get a workout every day during band camp. Poor shoe choice is one of the leading causes of injury during marching season, so choosing the best athletic shoe for you is important. And NO FLIP FLOPS!
3. Sunscreen. Use it. Use it well. Use it often. You may also want a hat to protect your face against the sun.
4. Your Instrument. This may seem obvious, but you would be surprised.
5. Pencils. Students are typically asked to mark their music and drill books. It is important to keep a writing utensil ready, preferably one with an eraser.
6. Instrument “Extras”. This will depend on your instrument, but extra reeds, valve oil, and even a small instrument repair kit are all essential for long performance days. Remember, marching band means extra wear and tear on your instrument.
7. Snacks. Snacks that provide carbohydrates and electrolytes are the way to go for those long band camp days. You must stay energized on the field and in indoor rehearsal spaces. Remember to rinse your mouth before playing your instrument again!

How to prepare before camp?

1. Get Acclimated to Outdoor Weather. If you are not used to being outside during high temperatures, a 4–8-hour day outside could lead to health issues. We recommend a heat acclimatization process over 1-2 weeks. During this time, you will increase the amount of time and work you do outside day by day. This could include walking, running, or any other cardiovascular workout in the heat. Now is also an excellent time to get accustomed to holding your instrument in a play position for extended periods of time.
2. Eat Before, During, and After Camp. Marching Band is physically demanding, especially during long band camps. You want to keep it healthy and nutrient-rich, high in protein, and light on the stomach. Stay away from overly sugary snacks and fried foods. Fruits, veggies, nuts, and granola are all excellent choices.
3. Get the Right Clothes. Make sure the clothes you have for camp will work. You want to be comfortable and not restricted. Clothing that is breathable, lightweight, and designed for working out is essential to a successful band camp.
4. Learn How to Stretch! Most camps have a daily warm-up routine that includes stretching, but you could get injured if you are not used to that type of workout or routine. Take a few days before the start of camp to learn a daily stretching routine to gain proper form so you can negate injury.
5. Early is on Time, On Time is Late. This is the mantra for all band camp students. Get to camp at least 5-10 minutes early. You must be on your dot or in your section the moment camp starts. Gather your items, organize anything you need to get started, apply sunscreen, and drink water BEFORE your scheduled time to begin.

In Conclusion

The most important thing to remember is to listen to your director. The advice above is a great starting point for knowing what to expect, but remember that each camp is different, and your directors and assistant directors will have their own expectations. Showing up with a good attitude is half the battle, and the other half is the work you put in. Good luck to all the students and staff heading off to their camps, whether it is your first, fourth, or twentieth!

Check out these items from Band Shoppe, perfect for band camp!

• New

  
  DrillMax Marching Band Shoes
  $68.95
  Add to wishlist
• 
  Augusta Pulse Team Shorts
  $18.95
  Add to wishlist
• 
  Badger B-Core Tank
  $9.95
  Add to wishlist
• 
  Krylon LINE-UP Athletic Striping Paint
  $42.95
  Add to wishlist
• 
  DSI Yardline Field Markers
  $84.95
  Add to wishlist
• 
  Field Marking Flags
  $19.95
  Add to wishlist
• 
  DSI 2ft Drum Major Podium
  $521.95 – $565.95
  Add to wishlist
• 
  Igloo Water Cooler
  $99.95 – $149.95
  Add to wishlist

The post 7 Tips for Surviving Band Camp appeared first on Band Shoppe.

If you’ve ever unwrapped a brand-new color guard flag and wondered what those little tabs at the top and bottom of the sleeve are for, you’re not alone! We recently got a five-star review from a happy customer who loved her flag but wasn’t quite sure how to secure it using the attached tabs. So let’s break it down.

First, What Fasteners Are Available?

You’ll find two types of fasteners on Band Shop flags: loop-side Velcro tabs and nylon tab fasteners. Each has its own benefits.

• Nylon tab fasteners: Secure the flag to the pole using electrical or vinyl tape. Best for silks that will stay on your pole for the whole season.
  
• Velcro tabs: Also keep your flag snug, but attach using hook-side Velcro tabs on your pole. Great when you’re swapping silks throughout the season.

(By the way, we’re using white tape for this tutorial, but feel free to coordinate your tape with your pole color for a more seamless look.)

How to Attach Your Flag Using Nylon Tabs

You’ll need:

• A marker
• Your flag silk
• Electrical or vinyl pole tape
• One 1-inch diameter flag pole

Steps:

1. Mark the bottom of your pole tip with a marker, then remove it.
2. Slide the flag sleeve onto your pole with the arc curve pointing down.
3. Align the top of the flag with your mark
4. Secure the top tab with several wraps of tape, tucking the excess tab into the pole.
5. Pull the flag tight (make sure it’s not twisted)
6. Fold the bottom tab in half and secure the same way.
   *If using Cheater Tape, this typically aligns with your 36″ mark.
7. If you’re using pole weights, now’s the time to add those too, then replace your top cap and tape the cap securely (highly recommended—no flying crutch tips, please!)

How to Attach Your Flag Using Velcro Tabs

You’ll need:

• A marker
• Your flag silk
• Electrical or vinyl pole tape (optional)
• Two hook-side Velcro tabs (3½ inches long)
• One 1-inch diameter flag pole

Steps:

1. Mark the bottom of your pole tip with your marker, then remove it.
2. Slide the flag sleeve onto your pole with the arc curve pointing down.
3. Stick the top Velcro tab just below your mark, going side-to-side around the pole
4. Pull the flag sleeve tight (make sure it’s not twisted).
5. Stick the bottom Velcro tab to the pole, aligned with the bottom of the flag.
   *If using Cheater Tape, this typically aligns with your 36″ mark.
6. If you’re using pole weights, now’s the time to add those too, then replace your top cap and tape the cap securely (highly recommended—again, no flying crutch tips!)

Why This Matters

Every team tapes poles a little differently so always follow the method your instructor teaches.  Properly fastening your flag gives you better control, cleaner spins, and fewer distractions during routines, plus, it extends the life of your silks by preventing snags.

Need new silks?

Check out just a few of our favorites or browse Band Shoppe’s color guard flags and find the right look for your next performance.

The post 2 Ways to Secure A Flag To a Color Guard Flag Pole appeared first on Band Shoppe.

When sending artwork to Band Shoppe for custom flags, banners, or uniforms, choosing the right file type makes all the difference. You may have heard terms like vector art and raster images, but what do they mean?

What if I don’t have a Vector file or High-Res photo?

Don’t worry—we can do it for you. If you’re unable to send high-quality images, Band Shoppe will make every attempt to recreate your logo or artwork. Complex logos and intricate artwork may be subject to an additional design fee. Or you can visit shutterstock.com, let our Sales Team know the image ID # when ordering, and we’ll take care of the rest!

The post Vector vs. Raster: Which Artwork Works Best for Printing? appeared first on Band Shoppe.

We are so thankful for our ongoing partnership with WBDI because of the way they inspire, educate, and provide support to women in the music community.

Dr. Julia Baumanis serves as Assistant Professor and Associate Director of Bands at Rutgers University, where she holds the distinction of being the first female instrumental conductor in the university’s 259-year history. In this role, she conducts the Rutgers Symphony Band, teaches all undergraduate and graduate instrumental conducting courses, serves as Associate Director of the Marching Scarlet Knights, directs the Pep Bands, and instructs courses in instrumental music education.

Prior to her appointment at Rutgers, Dr. Baumanis was the Assistant Director of Bands and Director of Athletic Bands at the University of Central Missouri. Her contributions to the field extend beyond the university setting, as she has been actively involved in various music education organizations. She has served on the repertoire committee for the World Association for Symphonic Bands and Ensembles (WASBE), contributed to Music For All’s Educational Advisory Team in 2023, and co-chaired the Mentorship Committee of Women Band Directors International (WBDI). Additionally, she is the co-author of GO ON, Tell Your Story! Voices of Women Band Directors, a book published by GIA Publications in 2023 that features the experiences of over 100 women band directors. Further expanding her artistic leadership, in January 2023, she was appointed Artistic Director and Conductor of the New Brunswick Chamber Orchestra, a professional ensemble that has served the New Brunswick, NJ area for over 65 years.

Dr. Baumanis is a graduate of The Florida State University College of Music, where she earned a bachelor’s degree in Instrumental Music Education, a master’s degree in Instrumental Conducting, and a PhD in Music Education and Instrumental Conducting. Before pursuing graduate studies, she was a dedicated public school educator in South Florida, serving as Associate Director of Bands and Orchestras at J.P. Taravella High School and Director of Orchestras at Ramblewood Middle School.

An active performer, educator, and researcher, Dr. Baumanis has shared her research on international platforms, presenting at the NAfME Research Symposium, the CBDNA National Conference, and the Midwest Band and Orchestra Clinic. Her most recent research focuses on the development of a conductor’s baton equipped with technology to record data from a conductor’s expressive gestures. She aims to integrate this innovation into the conducting classroom as a tool to assist beginning conductors in refining their technique and developing their craft.

The post Celebrating Women’s History Month With WBDI: Dr. Julia Baumanis appeared first on Band Shoppe.

We are so thankful for our ongoing partnership with WBDI because of the way they inspire, educate, and provide support to women in the music community.

Lesley Moffat is a passionate and accomplished educator, best-selling author, podcast host, and sought-after keynote speaker, guest conductor, and retreat leader. With a career spanning over three decades, she has dedicated her life to inspiring young musicians and supporting fellow educators, leaving an indelible mark on the field of music education.

A veteran band director in the Pacific Northwest, Lesley has spent more than thirty years teaching middle and high school ensembles, shaping the musical journeys of countless students.

Lesley is currently the Director of Bands for Everett Public Schools. Her bands have performed across the United States and Canada and have even entertained audiences aboard cruise ships. Under her leadership, her ensembles have graced some of the most prestigious stages, including multiple appearances at Carnegie Hall, performances at Disney theme parks, and other high-profile venues that have showcased their talent and dedication.

Beyond the classroom, Lesley is a driving force in professional development for music educators. She currently serves as the President of the Washington Chapter of the Women Band Directors International (WBDI) and is the Chair of the WBDI Professional Development Committee. Her commitment to supporting educators extends to her work as the host of the Band Director Boot Camp podcast, where she shares insights, strategies, and interviews with industry leaders to help music teachers thrive in their careers.

Lesley’s contributions to the field of music education have not gone unnoticed. In recognition of her outstanding dedication and impact, she was named the 2024 Everett PTSA Teacher of the Year. Most recently, she was honored with induction into the Washington Music Educators Hall of Fame, solidifying her legacy as an influential leader in music education.

A celebrated author, Lesley has written extensively about the challenges and rewards of teaching, offering guidance and inspiration to educators navigating the demanding yet fulfilling world of music instruction. She is also a sought-after keynote speaker, guest conductor, and retreat leader, where she continues to inspire and empower educators and musicians alike.

A Family Passion for Music

Lesley’s love for music runs deep in her family. In a unique and heartwarming twist of fate, she, along with her husband, father, and all three of her children, has had the incredible opportunity to perform at Carnegie Hall—a testament to the powerful role music plays in her family’s life.

Whether she is leading an ensemble, mentoring fellow educators, writing, speaking, or conducting, Lesley Moffat remains dedicated to her mission: fostering excellence in music education while advocating for the well-being of teachers and students alike. Her passion, expertise, and unwavering commitment continue to inspire generations of musicians and educators across the country.

More from Lesley

 Listen to Band Direct Boot Camp at Spotify, Apple Podcasts, or listen online.

 Visit Lesley’s Website at mpowerededucator.com

The post Celebrating Women’s History Month With WBDI: Lesley Moffat appeared first on Band Shoppe.

We are so thankful for our ongoing partnership with WBDI because of the way they inspire, educate, and provide support to women in the music community.

Krystal Williams is a Music Educator, Band Director, and Lecturer. Ms. Williams is a dedicated and passionate music educator with 18 years of experience shaping the musical journeys of students and future educators. A Maryland native, she is a proud graduate of Morgan State University and the College of Notre Dame of Maryland.

Currently, Ms. Williams serves as a Music Education Adjunct Lecturer at the University of Maryland, Baltimore County (UMBC), where she mentors and prepares the next generation of music educators.

Additionally, she holds the role of Band Director at Suitland High School’s Creative, Performing, and Visual Arts Program, part of Prince George’s County Public Schools (PGCPS). Under her leadership, Suitland’s band program thrives as a hub of artistic excellence, inspiring students to develop their musical talents and leadership skills.

Ms. Williams has been a strong advocate for incorporating music technology into music education. She previously served as the Music Technology Chair for the Maryland Music Educators Association (MMEA), where she played a vital role in advancing technological integration in music programs across the state. Through her work, she has empowered educators and students alike to leverage digital tools for enhanced musical creativity and learning.

With nearly two decades of experience in instrumental music, ensemble direction, and curriculum development, Ms. Williams is known for her ability to cultivate talent and foster a deep appreciation for music among her students. Her dedication to education, leadership in music advocacy, and commitment to student success continue to leave a lasting impact on the Maryland music education community.

The post Celebrating Women’s History Month With WBDI: Krystal William appeared first on Band Shoppe.

We are so thankful for our ongoing partnership with WBDI because of the way they inspire, educate, and provide support to women in the music community.

Meijun Chen is the Director of Concert Winds at the University of British Columbia School of Music and is currently completing the final year of her Doctor of Music degree in Wind Band Conducting at the University of Alberta under the mentorship of Dr. Angela Schroeder.

An active guest conductor, Meijun has worked with collegiate bands, orchestras, and community choirs. She is also a sought-after clinician for both clarinet and conducting, collaborating with public schools across Canada and China.

Her adjudication experience includes the Surrey Public Schools’ Grade 9–12 Concert Band Music Revue and MusicFest Canada in 2024. She also served as the Emerging Artist – Assistant Conductor with Edmonton Opera for the 2023–24 season and as Conducting Intern with the Edmonton Youth Orchestra in 2022 and 2020.

Meijun has received numerous awards, including the 2024 Midwest Clinic Emerging Music Educator Scholarship and the 2024 CBDNA Mike Moss Diversity Conducting Study Grant, through which she studied with Dr. Travis Cross and Professor Jerry Junkin at UCLA. In 2023, she was awarded the Johann Strauss Foundation Music Award, allowing her to study with Professor Toby Purser in Vienna, Austria. That same year, she won the Absolute First Prize in Conducting (Professional Category) at the UK International Music Competition.

She has been selected as a Conducting Fellow for several masterclasses, including the 2024 Domaine Forget International Music Festival, where she studied with Yannick Nézet-Séguin and Kensho Watanabe while working with Orchestre Métropolitain and Orchestre symphonique de Québec. Other notable programs include the 2024 International Conductors Guild Conference in New York with David LaMarche, the 2023 United States “Pershing’s Own” Army Band Conductors Workshop with Dr. Emily Threinen and Colonel Bruce Pulver, and the 2023 University of Cincinnati College-CCM International Wind Festival, where she studied with Dr. Kelvin Holzman and Colonel Jason Fettig in collaboration with “The President’s Own” United States Marine Band.

In addition to her conducting career, Meijun is an accomplished clarinetist with 18 years of international performance experience across more than 13 countries in Europe, Asia, and North America. She frequently performs as a guest clarinetist with the Royal Canadian Artillery Band and won the Absolute First Prize in Clarinet Performance (Professional Category) at the 2023 Debussy International Music Competition.

She holds dual Master of Music degrees in Wind Band Conducting and Clarinet Performance, as well as a Bachelor of Arts in Music with a minor in Economics, all from the University of Alberta. She is actively involved in the music community, serving as a committee member for the Women Band Directors International Scholarships Committee and maintaining affiliations with the College Band Directors National Association, International Clarinet Association, Alberta Band Association, International Conductors Guild, and British Columbia Music Educators Association.

Meijun is passionate about music performance and education, dedicating herself to inspiring young musicians, fostering community engagement, and sharing the joy of music with others.

The post Celebrating Women’s History Month with WBDI : Meijun Chen appeared first on Band Shoppe.

By Dr. Susan D. Creasap, Professor Emeritus, Morehead State University

When considering the history of women who compose music for the concert band, one must first look at the historical development of the concert band.
Bands and the music they perform, traditionally have been linked to the masculine domain, probably because of their strong ties to the military. From the earliest uses of trumpets and trombones to signal events in the military and at court, to the beginnings of the military band tradition in the United States, performance on wind instruments tended to be a masculine endeavor. Indeed, for most of this country’s musical history, women were expected to perform on keyboard and string instruments, as these instruments were deemed more appropriate to the feminine temperament and physique. The association of bands, and wind and percussion instruments, with men influenced the early development of women as composers of band music.

The term “band” initially was used to indicate almost any instrumental combination. There were bands for the militia, town bands, and court bands. While the typical military band might include fifes, trumpets, and drums, the standard town band employed cornets and trombones in various combinations. By the seventeenth century the fundamental instrumentation of both types of ensembles was expanded, with the military band adding trombones, and the town bands including trumpets and drums. Because the bands aligned with the armies usually were called upon to perform music of a ceremonial nature, the brass and percussion combination was well-suited to the repertoire of fanfares and flourishes. Although the band was typically a military unit, it became fashionable during the reign of Louis XIV, the Sun King, for each royal household in Europe to have its own military ensemble. The bands at court were represented by yet another instrumentation, and indeed, the earliest extant examples of military marches were composed by Jean-Baptiste Lully for an ensemble of oboes¹. The musicians at court and in the military were male, and it is this association that has been the bane of the woman composer of band music.

Women traditionally have been led to believe that brass and percussion instruments are masculine in nature, while the voice, keyboards, and flutes are more attuned to the female disposition. In addition, performance on these “feminine” instruments was used “for domestic entertainment and required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate.”² The masculine-feminine association with the various instruments was so strong that it was not until the late nineteenth century that women are reported to have performed on “masculine” instruments. The general negative opinion toward female wind or brass players is reflected in an article written in 1904 after a series of interviews with New York conductors: “Women harpists are most desirable in an orchestra but as cornetists, clarinetists, flutists and the like, they are quite impossible, except in concert work. Women cannot possibly play brass instruments and look pretty, and why spoil their looks?”³ Because women were not encouraged to play wind, brass, or percussion instruments, it is not surprising that their creative efforts were turned toward compositions for the voice and keyboards, stifling their output in other areas.⁴ This historical lack of experience with band instruments may be the reason that so few women chose to compose for winds and percussion until more modern times.

Because women were not encouraged to play wind, brass, or percussion instruments, it is not surprising that their creative efforts were turned toward compositions for the voice and keyboards, stifling their output in other areas.

By the later years of the nineteenth century, Patrick S. Gilmore and John Philip Sousa had established the professional military band. These ensembles functioned independently of their regimental origins and essentially performed the popular music of the day. The performers in these bands were men, and although women appeared regularly as soloists, they generally were not full-time members of the ensemble. The John Philip Sousa Band performed with a woman harpist, but she did not wear the traditional Sousa uniform nor was she considered a member of the band. Her status was similar to that of a guest soloist.⁵ However, the ladies chose to create performing opportunities by organizing their own all-female ensembles.⁶ Dr. Patricia Backhaus (Past-President of WBDI) has identified no less than nine such ensembles that were active in the United States during the first quarter of the twentieth century, including the Barnum and Bailey’s Ladies Circus Band. These early female bands were modeled in instrumentation after theGilmore and Sousa bands and even performed the same repertoire.⁷

The typical band concert program of Sousa’s day included popular songs, marches, instrumental solos, and transcriptions of orchestral works, and it was common practice for the leaders and some members of the bands to compose works for their respective groups. No Sousa Band concert program would be complete without selections composed by its famous leader; likewise, existing concert programs of the “Helen May Butler and American Ladies Military Band” list works composed by Miss Butler and other women. With the evidence clearly indicating that women have been involved in the concert band scene since at least the early 1900s, it is amazing that even at the close of the twentieth century only a small percentage of the vast number of compositions written expressly for the concert band have been produced by women, and furthermore, many remained in manuscript, rendering them unavailable to the performing public. The problem of availability of works for band by women composers was evidenced by the fact that one publishing company specializing in promoting music composed by females, Hildegard Publishing, did not in 1996 (and still does not) include a “band” category in its catalogue. However, the greater problem was a matter of awareness of the existence of these women composers and their works. In 1996 no individual source of information concerning women composers who had written for band was extant. (The author’s dissertation was the first study to remedy this.)

William H. Rehrig’s excellent source book, The Heritage Encyclopedia of Band Music Composers and Their Music, contains information concerning a number of women composers. Paul E. Bierley, the editor, indicated that, although more women composers would be added to the upcoming supplement to the initial volumes, a reference devoted entirely to women band composers was both practical and timely. However, as the researcher began to compile such a list in pre-internet days, it became apparent that not only was there difficulty in locating those women who had written for band, it was even more problematic to determine when and where the person lived, or even if the person was male or female.

Many women used male pseudonyms in order to be published, and others chose to use initials as a means of hiding their gender. Some of the early American female composers were identified by a first name⁸ and sometimes only as “a lady from South Carolina.”⁹ Even in 1990, composer Nancy Seward continued to publish under the name “N.H. Seward” because she felt that her band music would not receive adequate consideration should she identify herself as female. It was only through the persistent efforts of her publisher, Joyce Pinnell at Wingert-Jones Music, Inc., that Seward was convinced it was now safe to use her given name.¹⁰ The pioneer women composers of the early to mid-twentieth century were infinitely more aware of gender-related obstacles than the newer generation of female composers.

One woman composer of the mid-twentieth century indicated that her husband convinced her to use a male pseudonym since he feared that her music would not sell under her own name. The identity of the composer was a carefully guarded secret for more than forty years. In fact, so well-protected was this information that for a long time, the pseudonym was attributed to another composer who happened to be male.¹¹ Although at the time of the writing of the 1996 dissertation, she had recently identified her pen name, the composer remained sensitive to the issue and asked not to be directly quoted or identified in the study. However, in 2007 when Elizabeth Wahr Ludwig Fennell passed away, her obituary includes her male pseudonym — “Eric Hanson.”¹² As Otto Ebel wrote more than a century ago, “That prejudice against women’s work must have tended to depress and discourage, is certain, and is best shown by the fact of many women composers concealing their identity under male noms-de-plume on the title page of their compositions.”¹³

Although Ebel’s words were intended to comment on the status of women who composed in all genres, how much more relevant these words are to the women who have chosen to compose for bands. Far too frequently the gender of a composer who has used initials or a male pseudonym remains a mystery. It is challenging to determine just how many such names have been used by females, and therefore, because the gender cannot be ascertained, these unidentified women may still lack the recognition they are due.

Of the two hundred plus composers who were represented in the 1996 study, more than three-quarters had not published their works or were represented by small publishing companies with a limited sales range. In fairness to the larger music publishing companies, the early lack of women composers in the music catalogues may have been due to the hesitancy of women to bring their compositions to the attention of a publisher. Indeed, the interviews conducted with contemporary women composers supported the theory that women have faced and continue to face discrimination in the professional world of music composition. Some of the women who were composing during the mid-twentieth century indicated that publishers actually told them that music composed by women was not marketable. Although most of these women asked not to be identified, Judy Mathis, who had published at least twenty-four works for band since 1955, reported that only her first composition, “Impressionata,” has appeared under her given name; all other selections are credited to her male pseudonyms: John O’Brien, J.M. Post, J.M. DeWeeze, and John J. Haney. Julie Giroux has stated that although she did not use male pseudonyms, she often used her initials when negotiating a contract with a first-time client to avoid any possible gender-bias even though her status as a successful film-writer was secure.¹⁴

Several of the publishing companies contacted during the 1996 study expressed regret that no women composers were included in their catalogues, and they indicated that this was an area that was worthy of improvement. These companies have been true to their word and more women composers are being published each year.
More than a century ago Rupert Hughes wrote

This is not the place to take up cudgels for a contest on the problem of women’s right to respect in the creative arts. There are some, it is true, who deny fervently that the feminine half of mankind ever has or can or ever will do original and important work there. If you press them too hard they will take refuge up this tree, that all women who ever have had success have been actually mannish of mind, — a dodge in question – begging that is one of the most ingenious ever devised; a piece of masculine logic that puts to shame all historic examples of woman fallacy and sophistry. It seems to me that the question is easily settled on this wise: it is impossible for a rational mind to deny that the best work done in the arts by women is of better quality than the average work done by men. This lets the cat’s head out of the bag and her whole body follows pell-mell… All over the world the woman-mind is taking up music. The ban that led Fanny Mendelssohn to publish her music under her brother’s name, has gone where the puritanic theory of the disgracefulness of the musical profession now turneth its choking coils. A publisher informs me that where compositions by women were only one-tenth of his manuscripts a few years ago, they now form more than two-thirds. From such activity, that is worth while is bound to spring. Art knows no sex, and even what the women write in man-tone is often surprisingly strong, though wrongly aimed. But this effort is like the bombast of young people or a juvenile literature; the directness and repose of fidelity to nature come later. The American woman is in the habit of getting what she sets her heart on. She has determined to write music.¹⁴

Hughes was correct — the American woman has chosen to compose. Despite the challenges faced by women composers of band music, as of 1996 more than two hundred women had contributed over five hundred compositions to the band repertoire. During the subsequent twenty-eight years the number of women composers represented by the major publishing companies has significantly increased with new names appearing every year. A simple Google search of “women composers of band music” brings up a plethora of information and all major music publishing companies include works for band composed by women. She has overcome the obstacles presented to her by the history of bands, by the prejudices against women, and by her own fears. She has established herself as a worthy composer and is making significant contributions to the repertoire for wind bands. Times have changed.

1. Richard Franko Goldman, The Concert Band, 2 vols. (New York: Rinehart and Co., Inc., 1946), 1:21-26. ↩︎
2. Judith Tick, “Passed Away is the Piano Girl: Changes in American Musical Life, 1870-1900,” in Women Making Music, eds. Jane Bowers and Judith Tick (Chicago: University of Illinois Press, 1987), 327-328. ↩︎
3. Tick, 332-333. ↩︎
4. See Tick, 327-333. ↩︎
5. Patricia D. Backhaus, interview by author, 15 January 1996. ↩︎
6. Separate-sex organizations also were found at this time in other aspects of American life. See Beth Macleod, “Whence Comes the Lady Tympanist? Woman and Musical Instruments in America,” The Maud Powell Signature 1, no. 3 (Winter 1996): 5-8, 26-28. ↩︎
7. Patricia D. Backhaus, interview by author, 29 June 1995. ↩︎
8. Judith Tick, American Women Composers before 1870 (Ann Arbor: UMI Research Press, 1983), 75. ↩︎
9. Tick, 139. ↩︎
10. Nancy Seward, letter to the author, 17 November 1995. ↩︎
11. William Rehrig, telephone interview with the author, 7 February 1996. ↩︎
12. https://obits.cleveland.com/us/obituaries/clevela nd/name/elizabeth-fennell-obituary?id=16652711, accessed 4 September 2024. ↩︎
13. Otto Ebel, Women Composers: A Biographical Handbook of Women’s Work in Music (Brooklyn: F.H. Chandler, 1902), iv. ↩︎
14. Julie Giroux, telephone interview by author, 11 March 1996. ↩︎
15. Rupert Hughes, American Composers: A Study of the Music of This Country and its Future, with Biographies of the Leading Composers of the Present Time, new revised ed. (Boston: The Page Company, 1914), 423-425. ↩︎

Contributing Expert

Dr. Susan D. Creasap Professor Emeritus of Bands and Music Education at Morehead State University. She earned her D.A. in Wind Band Conducting/Horn Performance from Ball State University, M.A. in Music Education/Music History from the University of Minnesota, and B.S. in Music Education from Indiana University of Pennsylvania. Dr. Creasap’s varied career includes 18 years of experience as a band director in the public schools of Pennsylvania and Tennessee; and more than 20 years as a university marching and concert band director (Clarion University of Pennsylvania, Ball State University, Morehead State University).

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