Photo Credit: Rollins Studio

Grant Knox (he/him) is an Arizona-based music educator, conductor, and musicologist. As an advocate for healthy practices of inclusion, representation, and diversity in the music classroom/ensemble, Grant enjoys the interdisciplinary studies of musicology, critical theory, and popular music within the larger scope of the wind band idiom. With over five years of experience teaching K-12 music in Kentucky and Arizona, Grant most recently served as the Director of Instrumental Music at Cienega High School in Vail, AZ, instructing all aspects of the string orchestra, concert, jazz, and athletic bands. Grant is currently pursuing a Doctor of Musical Arts (DMA ’25) in wind band conducting from Arizona State University, where he studies with Dr. Jason Caslor, Dr. Jamal Duncan, and James G. Hudson. He also serves as a Graduate Teaching Assistant with the wind bands and athletic bands.

During his graduate studies, Grant has entertained a diverse array of scholarly topics. Participating in multiple academic conferences and substantial research projects, Grant has presented research on Chicago hip-hop in addition to exploring all facets of identity in the music of Ulysses Kay and William Grant Still. Along with his musicology studies, Grant has been an avid performer and educator in the marching arts. Grant performed with the Blue Stars Drum & Bugle Corps in 2014 and served as a drum major for the 250-member Murray State University Racer Band that same year. He also served on the instructional staff of the Racer Band in 2016 specializing in visual performance in addition to working with multiple high school bands across the state of Kentucky. In Arizona, Grant has been an instructor at Mountain View HS (Tucson), Boulder Creek HS (Anthem), and Deer Valley HS (Glendale). As a graduate assistant, Grant has served in administrative and instructional leadership roles with the University of Arizona’s “Pride of Arizona” Marching Band and Arizona State University’s “Sun Devil Marching Band.”

In addition to his marching arts experience, Grant has performed on euphonium with the Murray State University Wind Ensemble, Tuba-Euphonium Ensemble, and Trumpet Ensemble playing bass trumpet. During these years, he enjoyed performances at the International Tuba-Euphonium Conference in Knoxville, TN (2016), Kentucky Music Educators Association Conference in Louisville, KY (2017), and the National Trumpet Competition in Denver, CO (2017). While at the University of Arizona, Grant was a member of the Collegium Musicum—the university’s renowned early music vocal ensemble, in addition to performing on the sackbut with Arizona Baroque.

Originally from Lexington, KY, Grant holds degrees in music education and musicology from Murray State University (BM ’18) and the University of Arizona (MM ’20). During his education, Grant has studied euphonium with Ray Conklin and Geoff Durbin, conducting with Chad Nicholson, Chad Shoopman, and Robert Ambrose, and additional musical studies (arranging/musicology) with John Fannin and Matthew Mugmon. Grant is an alumni brother of Phi Mu Alpha Sinfonia Fraternity, and an honorary member of Tau Beta Sigma National Honorary Band Sorority. He also holds active memberships in the National Association for Music Education (NAfME), College Band Director’s National Association (CBDNA), Arizona Music Educator’s Association (AMEA), Society for American Music (SAM), and the International Society for the Research and Promotion of Wind Music (IGEB).

Education

Curriculum Vitae

Research and Areas of Specialization

  • Music of 20th-century African-American composers

  • Interdisciplinary Collaboration in Wind Band Performance

  • Popular Music and Hip-Hop Studies

  • Identity and Cultural Belonging in Musical Composition

  • Ethical Practices of Creative Placemaking

Philosophy of Music Education

At the core of my teaching philosophy is a classroom environment which values diversity and inclusion, promotes creativity and free expression, and instills musical competency through scaffolded practice and Socratic questioning.

Each of these pillars are enacted through learning objectives which prioritize student autonomy and the acquisition of practical skills and experiences. My instructional pedigree maintains a record of valuing Western canonical works, as well as musical traditions outside of the canon such as American hip-hop, Indian Konnakol, and Javanese/Balinese Gamelan. Aside from the curriculum and repertoire, my students have collaborated with other art forms in performance, centering ideals of intersectionality and interdisciplinary learning. This has included disciplines such as world history, critical theory, visual art, and creative writing. As a result, my students conclude their music education equipped with the skills and knowledge needed to excel beyond the institution they are departing.

Within every community, there is an opportunity to connect place with identity. Moving beyond the classroom and concert hall, I regularly seek opportunities for my students to collaborate with the local and global community. Previous experiences have included turning local public libraries, community centers, and vineyards/wineries into performance spaces for my students. In doing this, my students were able to contextualize their learning in ways that promote introspective awareness and career readiness. Moving forward, I will continue to maximize the opportunities available for my students, by utilizing both standard and innovative musical resources within the university community.