Dr. Stephen Crawford is the Principal Timpanist of the Temple Symphony Orchestra. He is also a Professor of Music History and the Director of Percussion Studies at the University of Mary Hardin-Baylor in Belton, Texas. Dr. Crawford earned his Bachelor of Arts Degree in Music Education from Minot State University, a Master of Music Degree from the University of Northern Iowa, and a Doctor of Musical Arts Degree from the University of Missouri-Kansas City Conservatory of Music.
As a university scholar he lived in London, England in 2009 as the UMHB faculty member for the London Studies Program where he lectured courses on British Music History. Furthermore, Dr. 
Crawford received the UMHB Faculty Awards for Excellence in Teaching, and Excellence in Scholarship; and in 2011 was awarded a Faculty Research Grant to study in the Czech Republic. In addition to having conducted research in Russia, Belgium, and Peru, his biographical record has been included in “Who’s Who in America” where he was awarded the Albert Nelson Marquis Lifetime Achievement Award.
Currently serving as the President of the Texas Chapter of the Percussive Arts Society, Dr. Crawford is an artist and clinician for Majestic Percussion, Mapex Drums, and Innovative Percussion. He has appeared as a percussion artist, clinician, lecturer, and guest conductor, throughout the United States, Canada, Mexico, Ireland, Taiwan, Indonesia, Scotland, England, the Czech Republic, China, Russia, Belgium, Peru, Netherlands, Latvia, and Estonia. Moreover, Dr. Crawford is a nationally recognized conductor and scholar of wind and percussion music; and is an award-winning composer, whose works have been performed throughout the United States, Europe, and Asia.
When did you begin studying music?
I began studying percussion privately at the age of seven. We were living in Denver, CO at the time where my father was stationed at Lowry Air Force Base as a gunnery instructor. He was deployed to VietNam for his first combat rotation, and this was a way for my mother to keep me busy during his absence. My older brother was taking trumpet in the school band, and music seemed like a good thing. Plus, my mom thought that at the time, drum lessons, and equipment, would be much cheaper than a wind instrument. Just a pad and a pair of sticks. I am sure my parents thought my interest in drums was just a passing phase. Little did they know.
Did you always study percussion?
Yes. I also studied piano for a little while as a youngster, but percussion was always my main focus.
What made you choose percussion?
I remember seeing a “stage band” playing at my brother’s boy scout banquet and I was just mesmerized by the drummer. So, when my mom and dad asked me about music lessons when he was about to go overseas, I said drums. Little did I know at the time the complexity and depth of “percussion.” I just wanted to be like that jazz drummer.
Who were your primary teachers?
Although I had some private teachers throughout my school days, my primary teachers were my collegiate professors. In my undergrad days it was Dr. James Croonquist at Minot State University in North Dakota; Randy Hogancamp for my Master’s study at the University of Northern Iowa; and then Dr. Laurence Kaptain when I was doing my doctoral work at the University of Missouri-Kansas City Conservatory of Music. They were all perfect for me at those exact times during my development as a musician.
When did you decide to pursue a career in music?
It was in high school. I was very fortunate to have incredible high school band directors that really fostered and mentored those of us who wanted to go into music education. Mr. Joseph Alme, my high school band director was so very influential in my decision to go into music as a career.
Did you have a specific goal: teach, compose, etc.?
At first, I wanted to teach. As a junior in college, our wind ensemble toured the midwest with the Midwest Band and Orchestra Convention with Chicago as our destination. It was there that I first heard the Chicago Symphony Orchestra live in concert, and that’s where I fell in love with orchestral playing and conducting. It was only later in my career that I turned to composition for percussion.
Do you focus on a specific area of percussion, if so, did you always?
Like most percussionists, I am well-versed in most concert percussion and trap set. Having said that, I have over the years gravitated to solo marimba performance, trap set playing, and orchestral timpani. Out of those three areas, timpani is probably the most specific area I concentrate on since I have, and still do, perform more on timpani than any other instrument. I am in my 25th year as Principal Timpanist with the Temple Symphony Orchestra, and have played timpani with numerous other symphony and opera orchestras.
Who impacted your musical growth the most?
I would have to say my private teachers both in percussion, and in the area of conducting. My mother, although not musical herself, always had music on in the house, and that is what drew me to “classical” music at an early age.
What teaching positions have you held?
I taught one year of public school band in the small town of Edmore, North Dakota immediately after graduating with my undergrad degree. I went to grad school after that one year, and was fortunate to get a college job after that. Since then I have been teaching at the collegiate level ever since 1985 at: Ellsworth College (Iowa Falls, IA); Minot State University (ND); Temple College (Temple, TX); and University of Mary Hardin-Baylor (Belton, TX) where I’ve taught for 19 years. I hold the rank of a tenured, full professor.
What percussionists have inspired you the most and why?
I’ve always been inspired by percussionists that are multi-dimensional. I learn a lot from my friends and colleagues that may not have “famous” names, but are truly outstanding, total musicians. Of course, growing up I looked to drummers such as Buddy Rich, Art Blakey, Tony Williams, and Max Roach for my jazz fix. Orchestrally, people like Charles Owens, Arnie Lang, Al Payson, Alan Abel, and the like, were very influential during my developing years.
Is there a specific genre you enjoy performing the most?
I am really at home on the orchestral stage, as well in the opera/music theatre pit. I could easily spend the rest of my days doing just that.
What composers do you identify with and why?
The composer I identify with the most is Igor Stravinsky. His innovation and emancipation of rhythm, use of harmony in a tonal setting (except for his experimentation with 12-tone), his choice of orchestration, and his overall diversity is still amazing to me.
What motivated you to start composing?
I have always been interested in composition, just not always confident with it. When I completed my doctoral studies and dissertation, I was looking at things to do next as a challenge; composition was the logical outlet.
What inspires you to compose, and do you usually have a specific grade level in mind when you do?
I really don’t compose for a specific grade level, but I do tend to write with pedagogical ideas in mind. So therefore, most of my works are for advanced high school and university performers. I think all composers want to have their music performed, and performed well, yet at the same time want it accessible to many performers. In the end, I want to make music that it is fun to perform, good and pleasant to listen to, while challenging to the performer.
How do you feel when someone performs your work differently than you intended?
That is a great question. I think that every composer knows that each performer is going to bring their own interpretation and individuality to a piece. I’ve heard some performers play my pieces in a different way than I would approach it, and have really enjoyed it. Obviously, it has to be within reason, but it makes each performance new and unique. It would be a boring musical world if every Beethoven symphony was performed exactly the same. I like hearing different interpretations. Again, within reason. If it is wrong, it is just wrong.
What would you like others to know about your compositions?
I think that composition is a way of expressing oneself; that composers are trying to say “something” in their music. A performer (myself included) must dig into the music, to go beyond just the notes. Asking, what is the composer trying to say? A composer creates the music, but the performer needs to “recreate” the composer’s intent.
Do you get nervous before you play – if so, how do you deal with it?
Of course. I think that every performer gets nervous before they perform. I get more nervous for solo performances than I do for an ensemble performance, because I am the only one out there, and the focus is entirely on me. I think the older I get has something to do with it as well. I am more cognizant of the music, and the responsibility of bringing the music to life now, then when I was younger. As I get older, I also realize that there are much better players out there with faster hands and incredible technique that I will never have again. “Old man hands” as they say. Being prepared and properly focused on the music goes a long way to settling nerves. Staying properly hydrated and getting appropriate rest before a performance helps as well. Nerves, to me, has been more about the excitement of getting to perform for an audience rather than the fear of performance. Knowing that the audience wants you to do well; that it’s there to support you, and what you are doing, goes a long way to calming me down.
Do you ever make a mistake while performing? If so, how do you go about resolving it?
Yes, mistakes are a part of making live music and being human. Again, being totally prepared and practiced helps, but somethings will not always go as planned. Fighter pilots have a saying: “train like you fight, fight like you trained.” My practice includes “practicing” mistakes. Therefore, I practice how I am going to recover if something happens in a live performance; this can be rehearsed if you allow it. Obviously, you never want to ignore mistakes during your practice sessions, but the closer you get to a performance, play through the mistakes in order to learn how to recover from them. Then go back to the “woodshed” and work diligently on improving those areas of concern.
Has your practice regimen changed from when you were a student? And how do you keep your technique fresh on all primary percussion instruments?
When I was a student, I actually had more time to practice then I do now. I also had assigned lessons to practice. Now I try to focus on what is actually needed. For instance, since I am an orchestral timpanist, I spend more focused practice on timpani technique and literature study then say, cymbal excerpts, or even snare drum. I do try to keep my hands in snare drum shape so I can teach and model good playing habits. My marimba study is playing all of the pieces that my students work on; again, so I can model and help with proper sticking, technique, memorization, etc. I don’t feel the need to get mallet pieces “performance ready” much anymore, unless I happen to be playing for a specific reason, such as a faculty showcase recital.
How do you define a good musician and a good teacher? And has your definition of both changed from when you were a student to the present?
My definition of each has definitely changed from my student days (especially undergraduate). I feel that a good musician and a good teacher are linked. It is hard to be a good teacher if you are not a performer of some sort or another. What I bring to each applied lesson, or music history lecture, is more times than not, tied to my performance experience. Students tend to respond better when you have something pertinent to say about a performance technique when they see, and hear you perform.
Do you think that performing and teaching are intrinsically intertwined? If so, how and why?
Yes, I do think teaching and performing are intrinsically linked. The reason being is that performing makes one more aware of everything that could affect a student: whether it be technique, anxiety, stamina, preparation, and the like.
Has teaching made you a better musician, if so how and why?
Yes, I believe it has. Again, when relaying information to students, be it in the classroom, or the studio, you can’t help but share your “real life” experiences to your students. They play off of one another. As a teacher, I prepare for performances better from an “academic” standpoint. And as a performer, when something happens on stage, positive or negative, this is something that you can give to your students to make them more aware of performance possibilities.
Knowing what you know today, would you change anything about how you prepared for your career? If so, what and why?
I think that everything I’ve done, positive and negative, has led to where I am today as a musician and human being. So no, I would not change anything, at least in the big picture. I love where I chose to study, who I studied with, and the friends and colleagues that I’ve met along the way. To change any of those things would mean missing out on those specific musical experiences and friendships. In the small picture, I wish I had better piano skills; to have put more serious time into studying that instrument.
What words of wisdom would you share with a student who aspires to make a career as a performer and as an educator?
Continue to learn, and learn from everyone. If you are an instrumentalist, listen to instruments that you don’t play; listen to vocal music, and opera. A percussionist can learn so much about expression, and lyricism, from listening to really great vocalists. It has helped me greatly with such things as shaping lines and phrasing. We don’t have to breathe to play our percussion instruments, but breathing is such a vital part of expression, phrasing, and continuity of line. Listening to the greats on your instrument; as well as to great conductors’ interpretation of the orchestral repertoire, is vital to being a good orchestral player. Listen to good music of all kinds. Learn to give back: the things that one learns over a period of time needs to be passed on to the next generation of musicians in order to move the art forward. And, be a good person, root for your colleagues, don’t live your life on a comparable level. You’ll just be miserable. There will always be someone better than you; learn from that, and enjoy their success and art.
