CLOSE AD

Two Perspectives, One Purpose: What Modern Band Means for Music Education

Michelle Leasor and Brian Stevens

Michelle Leasor,

Pickerington Local Schools

Brian Stevens,

OMEA President

When many of us first hear the term Modern Band, our reactions are honest—and sometimes skeptical. If you’ve spent years building a strong band, choir, or orchestra program, it’s natural to wonder: Why do we need this? Traditional ensembles are thriving in many schools, providing structure, rigor, and meaningful musical experiences for students. From that perspective, Modern Band can initially feel unnecessary—or worse, like it might compete with programs we’ve worked hard to grow.

That hesitation is completely understandable. Many of us come from the “sacred cow” ensemble world, where recruiting, retention, and program identity are constant priorities. When Modern Band first entered the conversation, some of us worried it would pull students away or dilute the value of traditional music education. But whether attending a Modern Band workshop for the very first time or returning as a veteran participant, many educators walk away realizing something important: Modern Band isn’t about replacing anything. It’s about adding another doorway into music.

For Brian Stevens, a first-time Modern Band workshop attendee, one of the most eye-opening moments at the Modern Band workshop held at Pickerington High School North was how quickly everyone was able to make music together. Almost immediately, attendees were playing together—on guitars, basses, keyboards, drum sets—even if they had never touched those instruments before. It was “do before explain”, which is similar to other music pedagogy methods like Orff. There was no long ramp-up, no intimidation factor. Suddenly, everyone was making real music and having a lot of fun doing it. That experience alone showed Brian how we can shift how we think about access, entry points, and what’s possible in our classrooms.

Veteran Modern Band educator Michelle Leasor recognized this moment well at the workshop. She has seen the same spark light up her students’ faces year after year while teaching Modern Band in her general music classrooms. Even though she had already experienced other Modern Band workshops and conferences, she said that there’s always something new to take away—a fresh strategy, a creative warm-up idea, or a reminder to lean into student voice. Sometimes it’s a small tweak, like letting students help shape a warm-up using slang or humor that resonates with them. Those small changes can make a big difference in student engagement and buy-in, allowing musicking to be a fun experience while maintaining rigor and standards.

One thing both Brian and Michelle agreed on is this: Modern Band reaches students who may not otherwise find their way into a music classroom. These are students who love music but don’t necessarily see themselves in traditional ensembles. Popular music, songwriting, improvisation, and contemporary instruments provide an entry point that feels relevant and inviting. At the same time, Modern Band doesn’t exclude students who are already involved in band, choir, or orchestra. In many schools, students participate in both, finding that the skills in both ensembles and classes complement each other rather than compete.

Many veteran Modern Band teachers will tell you that their journey toward this approach started out of necessity. As general music teachers or ensemble directors, they noticed students becoming disengaged—especially after testing season or during times when motivation tends to dip. Looking for a way to reignite excitement, they tried incorporating Modern Band strategies. What they found was powerful: students asking to come in during recess, staying after school to practice, and taking real ownership of their learning. Recording performances—even with minimal technology—became a way to celebrate student growth and creativity.

For educators new to Modern Band, workshops like the one at Pickerington North often serve as a turning point. What starts as curiosity or caution quickly becomes excitement about possibility. There’s a growing realization and grounded research that Modern Band doesn’t take away from traditional ensembles—it strengthens the overall music program by reaching more students. It offers a space where students’ musical identities, shaped by what they listen to outside of school, are welcomed and valued.

Both perspectives ultimately come together around a question many of us are asking right now: If students have changed, how are we changing to meet them? Modern Band offers one answer. Its pedagogy is flexible, student-centered, and grounded in creativity. It encourages teachers to rethink how skills are introduced and how students demonstrate understanding. Music learning doesn’t have to follow a single path to be meaningful or rigorous.

There are also very practical reasons why Modern Band continues to gain traction. The strategies work across grade levels and teaching settings—from elementary general music to secondary ensembles. All of the resources are free, including training and curriculum through Music Will, along with opportunities for instrument donations. And perhaps most importantly, it’s fun. A phrase often shared at workshops sums it up well: “If it feels like work, you’re doing it wrong.”

Inclusivity is another key strength of the Modern Band approach. It is culturally-relevant, responsive, and sustaining, allowing students to see themselves—and their music—represented in the classroom. It creates space for collaboration, creativity, and risk-taking. Supported by research and growing professional development opportunities, Modern Band is not a trend or a gimmick. It’s a valuable tool that belongs alongside traditional methods, not in opposition to them.

Whether you attend a Modern Band workshop for the first time or return as a seasoned participant, one feeling tends to linger afterward: optimism. There’s excitement about what music education can be when we honor tradition while remaining open to new approaches. At its core, Modern Band reminds us why we do this work—to give as many students as possible meaningful opportunities to make music. Sometimes, all it takes is a new perspective to see just how much more room there is at the music education table.

Brian Stevens is currently serving as president of the Ohio Music Education Association after his recent retirement from his role as Director of Bands at Dublin Jerome High School. He holds a Bachelor of Music Education Degree from The Ohio State University and a Master of Music Education with Instrumental Emphasis from Capital University. Mr. Stevens began his teaching career as band and choir director at West Jefferson High School in West Jefferson, Ohio. During his five years there, his bands and choirs received Superior Ratings at the district and state levels. Mr. Stevens spent 16 years as Director of Bands at Reynoldsburg High School and supervisor of the district band program. While at Reynoldsburg, he consistently posted Superior Ratings with the Freshman Band, Symphonic Band, Wind Symphony, and Marching Band. He continued this tradition of excellence at Dublin City Schools.
Mr. Stevens is a frequent adjudicator with the Ohio Music Education Association and served as the Ohio Adjudicated Events Committee’s Immediate Past Band Affairs Chair. Mr. Stevens spent over 6 years as Chair of State Marching Band Finals.
In 2014, Mr. Stevens was called upon to write the drill for a late replacement halftime show for The Ohio State University Marching Band. He has since returned to subsequently provide the drill for one show per season.

Mr. Stevens has also served as an Adjudicator for the 2008 London, England New Years Day Parade and Festival and Guest Conductor for several area honor bands. Mr. Stevens is a member of the Ohio Music Education Association, Phi Mu Alpha Sinfonia, The International Trumpet Guild, Phi Beta Mu International Bandmasters Honorary Fraternity and The American School Band Directors Association.

${prev-page}

${next-page}