Welcome to the APME Memphis 2025 conference. Here, you’ll be able to register for the conference and update your Sched profile. The conference schedule will be available in late spring 2025. At that time, you can view the schedule and select the presentations you’d like to attend. If you have any questions, please visit our conference website or contact us at conference@popularmusiceducation.org We look forward to coming together as a community June 4–7, 2025.
Recent critics of the culture of competition in music education argue that it promotes a capitalistic, neo-liberal approach, prioritizing products over educational processes (Powell, 2024). One example of competition is all-state ensembles, where students audition for elite groups at state music conferences. Although participation in these ensembles can boost self-efficacy (Hendricks, 2016), foster ambition (Barnes et al., 2002), and provide social benefits (Burland et al., 2021; Hewitt, 2013), they also raise concerns about favoritism toward larger schools and barriers related to distance and instrument (Lien & Humphrey, 2001). There has been limited research on students' perspectives, with most researchers investigating adult perceptions of all-state groups (e.g., teachers, administrators, parents). Further, most studies focus on traditional bands, choirs, and orchestras rather than modern band. The Kentucky All-State Elementary Modern Band (KASEMB) offers a novel approach, diverging from traditional competitive structures (Music Will, 2024). Unlike conventional all-state ensembles, which follow a conservatory or competition-based model (Allsup, 2006; Powell, 2024), KASEMB auditions are equity-based, removing barriers like traveling for auditions and obscure repertoire; students submit video auditions with music of their choice. The selection of students is also equity-based, with round one adjudicated and then round two ensuring the final selection includes students from a diverse range of schools and backgrounds. Additionally, KASEMB rehearsals are organized and run democratically (Cremata, 2017; Dewey, 1916), with students selecting repertoire, establishing norms, and shaping the rehearsal process. This study explores how KASEMB functions as an all-state ensemble from the students' perspective. Data collection is ongoing and will be ready for presentation in Summer 2025.
