The band world possesses an inherent, welcoming culture. In my experience, the vibe has always been: “Can you play? Great. Rehearsals tomorrow, see you then.” It’s not about who you are; it’s about whether you can contribute positively to the group.
Yet, we observe that the visual representation of the American band remains heavily influenced by a white-European male tradition. Why this contradiction? Historically, the foundation of American bands lies in two structures—the military and capitalism—whose established leadership and focus have traditionally been white and male.
This lineage was brought into sharp focus for me during a graduate school lecture by Loras John Schissel, a Musicologist at the Library of Congress. In his infamous “The Schissel 20 Minute Version of Music in the United States in Band from 1776 to Today,” he traced the development of American band music from its military origins in the Revolutionary and Civil Wars, through the massive popularity achieved under John Philip Sousa. The most critical part of his lecture to me was the conclusion, which explains how our school band programs truly began:
After the abrupt halt following World War I, instrument manufacturers like the C.G. Conn Company faced a crisis. They went from churning out thousands of instruments a week to equip military bands, making millions of dollars—to a vanished market overnight.
In a desperate effort to turn a profit, they launched a historical Hail Mary:
They sent out music salespeople to convince towns to invest in and build school music programs.
They sold instruments and music directly to the schools.
They located a band director in town to run the program.
And thus, bands in public schools!
The school band, as we know it, was fundamentally a post-war business strategy. And the artistic form I care so much about is just another victim of capitalism.
But in so many ways, it all makes sense. When I wonder why there is so much industry surrounding band directing—the conferences, the publications, the products—it’s because we are all profiting from this foundational, historical sales pitch. Is that me being cynical? Perhaps.
Regardless of how the band came to be in American culture, I am profoundly glad it’s here. It’s changed my life, and I’m so grateful to build a life where I get to make music for a living!
But it is important to acknowledge our roots. If the genesis of the school band system was a profit-driven move rooted in military history, we can better understand why the culture we see today often feels exclusive, despite the welcoming ethos we preach. Only by reflecting on and learning from this history can we build a better industry that truly aligns with the band’s inherent culture of diversity and inclusion.