Annual Virtual Wind Band Workshop
The 2026 edition of the Annual Virtual Wind Band Workshop brought together an impressive community of 512 participants from 13 countries across Africa, including Cyprus and the United Arab Emirates, for three days of professional learning, practical engagement, and shared commitment to wind band development. The diverse participation reflected the growing regional and international relevance of the workshop as a platform for music educators, conductors, band directors, instrumental teachers, students, performers, choir directors, and arts practitioners.
The workshop was organised through a strong partnership between the Department of Music and Dance, University of Cape Coast, Ghana, the School of Music, Theatre, and Dance, University of Michigan, USA, and the Pan-African Society for Musical Arts Education (PASMAE). This collaboration reaffirmed the importance of accessible, high-quality professional development for musicians and educators across borders.
Held virtually from 27th to 29th April 2026, from 10:00 a.m. to 4:00 p.m., the workshop focused on three essential areas of wind band pedagogy and conducting: teaching individual instruments, conducting and gesture, and music notation software. Through these themes, participants explored both the artistic and practical dimensions of wind band education — from instrumental technique and rehearsal strategies to conducting patterns, notation tools, and classroom application.
A Growing International Community of Practice
One of the most significant features of the 2026 edition was the scale and diversity of participation. With 512 participants representing 13 countries across Africa, alongside participants from Cyprus and the United Arab Emirates, the workshop demonstrated the expanding reach of wind band education and the value of virtual professional development.
This broad participation created a rich learning environment in which educators, students, performers, choir directors, bandmasters, and music leaders could engage with shared challenges and opportunities. While participants came from varied musical and institutional contexts, many were united by a common goal: to strengthen their skills, improve their teaching, and contribute more meaningfully to the development of instrumental music and ensemble practice in their communities.
The partnership with PASMAE was especially significant in strengthening the workshop’s Pan-African outlook. It positioned the workshop not only as a skills-development programme, but also as a continental platform for musical arts education, collaboration, and knowledge exchange. The virtual format made this wide-reaching engagement possible. It removed geographical barriers and enabled participants from different countries and time zones to access expert-led sessions, ask questions, exchange ideas, and reflect on their own professional practice.
A Collaborative Platform for Wind Band Growth
The 2026 workshop was designed as more than an online training event. It served as a professional learning space where participants could revisit foundational skills, encounter new approaches, and reflect on their own teaching and conducting practices.
The workshop was convened by Dr. John Doe Dordzro, Senior Lecturer in Music Education and Director of Bands at the University of Cape Coast, Ghana, together with Dr Richard Frey, Associate Director of Michigan Marching and Athletic Bands and Lecturer; and Dr. John D. Pasquale, Donald R. Shepherd Professor of Conducting and Director of the University of Michigan Marching and Athletic Bands.
They were joined by a distinguished team of facilitators whose expertise enriched the workshop experience. These included Detrich Morrison-Jones, Assistant Director of Bands at Columbus North High School in Columbus, Indiana; Barry Houser, Professor of Music, Director of the Marching Illini, and Chair of the Conducting Area at the University of Illinois; David Clemmer, an experienced arts leader and organisational strategist; Mark Norman, Assistant Professor of Music and Director of Instrumental Ensembles at the University of North Carolina School of the Arts; Lauren Helmer, music educator and Associate Director of Bands at Eastwood Collegiate Institute’s Integrated Arts Magnet Program; Dave Kim, a University of Michigan student actively involved in prominent ensembles; and Tieran Holmes, a flutist and winner of the 2026 SMTD Undergraduate Concerto Competition.
Together, this team offered a rich blend of professional experience, pedagogical insight, and practical musicianship.
Learning That Participants Could Apply Immediately
One of the strongest takeaways from the workshop was that participants found the workshop useful, relevant, and immediately applicable to their work. Respondents included music teachers, choir directors, soloists, students, performers, bandmasters, and directors of music, reflecting the workshop’s wide professional reach.
Across the responses, participants consistently rated the workshop highly, with many describing it as “Excellent” and identifying the sessions as “Effective” or “Very Effective.” The most frequently valued areas included teaching individual instruments, conducting and gestures, and music notation software.
For many participants, the sessions strengthened their confidence in teaching and directing ensembles. One music teacher noted that the workshop had improved their “approach to teaching individual instruments,” while another indicated that the learning would support them in “teaching students the brass music.” A choir director highlighted the practical benefit of learning “the easiest way of knowing how to play a clarinet,” while a student pointed to the value of learning “how to properly use the trumpet, handling, embouchure formation,” and related techniques.
The conducting sessions were equally impactful. Participants mentioned gaining a clearer understanding of conducting patterns, triangular conducting, conducting formats for different time signatures, and conducting and rehearsing techniques. One respondent said they would apply the knowledge directly in “conducting my school band,” while another described the conducting lecture as one of the most valuable parts of the workshop.
The music notation software sessions also proved timely, particularly for teachers preparing instructional materials and assessments. One participant said they would use music notation software in “setting tests for students,” while another noted its relevance to teaching learners who were encountering music notation for the first time.
Participant Voices and Key Impact
The impact assessment showed that participants appreciated not only the content but also the manner in which it was delivered. Several comments emphasised clarity, interaction, professionalism, and practical demonstration.
One participant praised “the way the lessons were being explained,” noting that they were made “simple to understand and easily practical.” Another highlighted “the interaction and responding to questions by the presenters,” while a music teacher commended “the prowess in the content delivery by our able facilitators.”
A director of music described the workshop as “a very important refresher” for daily professional practice, particularly in relation to teaching woodwind students. Another participant valued the fact that the workshop involved “many practices than theories,” pointing to the importance of hands-on, applicable learning in music education.
The workshop also generated thoughtful recommendations for future editions. Participants expressed interest in additional topics such as harmony, transposition, composition, counterpoint, transcription, ear training, musicianship, music history and appreciation, melody writing, African music notation, copyright issues, instrumentation, and ensemble management. Some respondents also suggested providing certificates of attendance, sharing materials in advance, improving technical sound support for demonstrations, considering time zones, and exploring future physical or hybrid workshops.
These suggestions are valuable because they show a community that is not only appreciative, but also deeply invested in the continued growth of the programme.
Why This Workshop Matters
The significance of the Annual Virtual Wind Band Workshop lies in its ability to connect expertise with need. In many educational contexts, especially where instrumental music programmes are still developing, teachers and conductors often require access to sustained professional development, updated pedagogical approaches, and practical resources.
This workshop responded directly to those needs. It supported participants who teach beginners, direct school bands, lead choirs, perform as soloists, train instrumentalists, or manage ensembles. It also reinforced a key principle of music education: strong bands are built not only through performance, but through thoughtful teaching, informed conducting, careful listening, and continuous learning.
The fact that the 2026 edition reached 512 participants across 13 countries, including Cyprus and the UAE, further confirms the urgent need for collaborative professional development opportunities in wind band education. The strong involvement of PASMAE also underscored the workshop’s broader contribution to musical arts education in Africa and beyond. It points to the power of strategic partnerships and virtual platforms to create international communities of practice where knowledge, experience, and inspiration can move across borders.
Appreciation and Looking Ahead
We extend our sincere appreciation to the Department of Music and Dance, University of Cape Coast, the School of Music, Theatre, and Dance, University of Michigan, the Pan-African Society for Musical Arts Education (PASMAE), the conveners, facilitators, organising teams, institutional partners, and all 512 participants who contributed to the success of the 2026 Annual Virtual Wind Band Workshop. The dedication of the facilitators, the enthusiasm of participants, and the support of partner institutions made this year’s edition a meaningful contribution to wind band pedagogy and conducting.
The 2026 workshop has reaffirmed that professional development in music thrives when knowledge is shared generously, when questions are welcomed, and when teachers and musicians are equipped to return to their classrooms, rehearsal spaces, churches, schools, bands, and communities with renewed confidence.
As we look towards future editions, the goal remains clear: to continue building a strong, connected, and skilled community of wind band educators and conductors. The sound of that future is already taking shape; one lesson, one gesture, one instrument, and one committed educator at a time.
John-Doe Yao Dordzro
PASMAE Vice President – Western Africa Region
Head,Â
(Senior Lecturer in Music Education)
Department of Music and Dance
University of Cape Coast
Cape Coast
Ghana
