Patrick M. Jones, Ph.D.

Dr. Patrick M. Jones is Associate Professor, Assistant Director of the School of Music, and Head of the Music Education Division at The University of the Arts in Philadelphia, Pennsylvania.   His instructional duties include teaching conducting, rehearsal techniques, curriculum & assessment, and history, sociology & philosophy of music education.   In addition to his academic career, he is a Lieutenant Colonel and Chief of Air National Guard Bands where he is responsible for policy development, budgeting, and oversight of over 400 personnel in 11 Air National Guard bands stationed throughout the United States.   His professional activities in the music education profession include serving on the Board of Directors of Philadelphia Academies Inc., the International Society for the Promotion and Investigation of Wind Music (IGEB) and the Pennsylvania Music Educators Association .   He maintains an active international guest-conducting schedule and is in his ninth season as regular guest conductor of the Eifel-Ardennes Symphonic Wind Orchestra in Europe.  

Prior to his appointment at The University of the Arts , Dr. Jones was on faculty at The State University of New York at Fredonia where he developed an innovative conducting and rehearsal techniques program and conducted the brass choir and the symphonic, concert, and all-college bands.   He has taught elementary and secondary music in both public and parochial schools, re-founded the band program at The George Washington University, and served as adjunct and visiting professor at colleges and universities in Maryland, Montana, Nebraska, Pennsylvania and Virginia.   He has performed extensively throughout the United States, the British Isles, Canada, the Caribbean, Continental Europe, and Scandinavia and is active internationally as a guest conductor, clinician, and adjudicator.  

Dr. Jones' conducting credits include many school, university, and honor bands; and a decade long tenure as Commander/Conductor of the Air National Guard Band of the Mid-Atlantic .   He has conducted and produced soundtracks and compact disk recordings for personalities such as actress Kelly McGillis and in places such as Chicago's Orchestra Hall.   He has read research papers and presented sessions on historical topics of bands, music education, conducting, rehearsal techniques, curriculum, and assessment for conferences and teacher in-service sessions throughout the Northeastern and Midwestern United States, at MENC divisional conferences, at the Mid-Europe International Conference for Symphonic Bands and Wind Ensembles in Schladming, Austria, MayDay Group international colloquia , the World Association for Symphonic Bands and Ensembles , the College Music Society, the International Society for the Promotion and Investigation of Wind Music (IGEB) , the International Society for Music Education   and at the US Navy History Center.   He is both a genealogist and historian, having conducted extensive genealogical research and having authored the only comprehensive history of the U.S. Navy School of Music .   His publication credits include being a contributing author to a historical volume on the Pennsylvania Air National Guard, translation of Blasmusikforschung Seit 1966: Eine Bibliographie, and articles and reviews on conducting, rehearsal techniques, assessment, history, and music education that have been published in Clarino , PMEA News , and M-Musik Zum Lesen magazines, Journal of Historical Research in Music Education, ISME Proceedings , the Journal of Band Research, and Arts Education Policy Review.   He is an invited presenter for the MENC/CMS jointly sponsored 2005 Symposium on Music Teacher Education and is a co-author in the MENC book Urban Perspectives in Music Education, which will be released at the MENC national conference in 2006.

Critics in Europe and the United States have praised his work on the podium.   Annika Grün of Germany's Trierischer Volksfreund called it "a musical treat of a special type", Annette Palm of Belgium's Grenz-Echo praised his musical rapport with the ensemble and his "impressive control of dynamics and use of acoustics", and Michael Caruso of Philadelphia's Chestnut Hill Local described his performance as leading the ensemble with a "deft, sensitive hand that offered an extraordinary amount of soft, lyrical playing wisely balanced with playing characterized by power and energy."