ATP 1-19

Army Music

February 2015

DISTRIBUTION RESTRICTION. Approved for public release: distribution is unlimited.

Headquarters Department of the Army
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*ATP 1-19 (ATTP 1-19)

Army Techniques Publication

No. 1-19

Headquarters

Department of the Army

Washington, DC, 13 February 2015

Army Music

Contents

Page 

PREFACE..............................................................................................................iii

INTRODUCTION...................................................................................................iv

Chapter 1 FOUNDATIONS OF ARMY MUSIC................................................................... 1-1

Mission of Army Music........................................................................................ 1-1

Historical Perspective of Army Music ................................................................. 1-4

Chapter 2 THE MUSIC PERFORMANCE UNIT ................................................................. 2-1

The Music Performance Unit (MPU) Concept.................................................... 2-1

MPU Assessment ............................................................................................... 2-2

Chapter 3 MUSIC SUPPORT PLANNING AND OPERATIONS........................................ 3-1

Planning Methodologies ..................................................................................... 3-1

The Music Support Plan ..................................................................................... 3-2

Music Support Operations ................................................................................ 3-10

Army Music Marketing Techniques .................................................................. 3-11

Chapter 4 THE ROLE OF ARMY MUSIC ........................................................................... 4-1

Music Support in Unified Land Operations......................................................... 4-1

Army Music and Soft Power ............................................................................... 4-2

Appendix A MISSION SHEET INFORMATION.....................................................................A-1

Appendix B RELIEF IN PLACE AND TRANSFER OF AUTHORITY PROCESS.................B-1

Appendix C RULES OF ALLOCATION AND STATIONING GUIDANCE ............................C-1

GLOSSARY ..........................................................................................Glossary-1

REFERENCES..................................................................................References-1

INDEX..........................................................................................................Index-1

Figures

Figure 3-1. Frame an operational environment......................................................................3-3

Distribution Restriction: Approved for public release: distribution is unlimited.

*This publication supersedes ATTP 1-19 dated 7 July 2010.

i 
Contents

Tables 

Introductory table-1. New Army terms ...................................................................................... iv

Table 2-1. Sample training and evaluation outline................................................................. 2-3

Table 3-1. Operational variables............................................................................................ 3-3

Table 3-2. Mission variables .................................................................................................. 3-5

ii ATP 1-19 13 February 2015
Preface 

ATP 1-19, Army Music, is the doctrinal publication for Army Music. It provides key guidance pertaining to the 

mission, organization, and operation of music performance units (MPUs), music headquarters (MHQs), music 

performance teams (MPTs), and music performance detachments (MPDs). This manual should serve as a guide 

for training and operations based on the tenets of music supporting unified land operations. 

The principle audience for ATP 1-19 is all members of the profession of arms. Commanders and staffs of Army 

headquarters serving as joint task force or multinational headquarters should also refer to applicable joint or 

multinational doctrine concerning the range of military operations and joint or multinational forces. Trainers 

and educators throughout the Army will also use this publication. 

Commanders, staffs, and subordinates ensure that their decisions and actions comply with applicable United 

States, international, and in some cases host-nation laws and regulations. Commanders at all levels ensure that 

their Soldiers operate in accordance with the law of war and the rules of engagement. (See FM 27-10). 

ATP 1-19 uses joint terms where applicable. Selected joint and Army terms and definitions appear in both the 

glossary and the text. Terms for which ATP 1-19 is the proponent publication (the authority) are italicized in the 

text and are marked with an asterisk (*) in the glossary. Terms and definitions for which ATP 1-19 is the 

proponent publication are boldfaced in the text. For other definitions shown in the text, the term is italicized and 

the number of the proponent publication follows the definitions. 

ATP 1-19 applies to the Active Army, Army National Guard/Army National Guard of the United States and 

United States Army Reserve unless otherwise stated.

The proponent of ATP 1-19 is the United States Army School of Music. The preparing agency is the Directorate 

of Training and Doctrine, United States Army School of Music. Send comments and recommendations on a DA 

Form 2028 (Recommended Changes to Publications and Blank Forms) to Commandant, United States Army 

School of Music, ATTN: ATSG-SMZ, 1420 Gator Boulevard, Virginia Beach, VA 23459-2617.

13 February 2015 ATP 1-19 iii
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Introduction

ATP 1-19, Army Music, is the key doctrinal publication of Army Music and replaces ATTP 1-19, U.S. 

Army Bands. This manual provides an overview of the role, function, organization, and guidance for Army 

Music. It outlines the fundamental core competencies, capabilities, and principles of Army Music used in 

the employment of MPUs, MPTs, and MPDs.

ATP 1-19 makes numerous changes from ATTP 1-19. The most significant change is the restructuring of 

the MPU. In addition, this publication discusses key operational concepts associated with the employment 

of MPUs supporting unified land operations. ATP 1-19 also expands on foundational concepts and the 

overall role of Army Music in relation to unified land operations, unified action, morale, welfare, and 

recreation (MWR), and public and cultural diplomacy initiatives. Another major change is the inclusion of 

detailed appendices on the following topics:

 Army Music operations checklist information.

 Relief in place and transfer of authority process.

 Rules of allocation and stationing guidance.

ATP 1-19 remains generally consistent with ATTP 1-19 on key topics while adopting updated terminology 

and concepts as necessary. These topics include the integration and discussion of foundational concepts 

such as roles, core competencies, functions, characteristics, and principles of Army Music.

ATP 1-19 contains four chapters and three appendices:

Chapter 1 provides an overview of foundational Army Music concepts.

Chapter 2 discusses the modular concept of the MPU and provides evaluation methods to ensure unit 

capabilities match the requirements needed to support its sustainment warfighting missions.

Chapter 3 discusses key operational concepts and processes guiding the planning and operations of Army 

Music in support of unified land operations.

Chapter 4 focuses on the role Army Music plays in supporting unified land operations, unified action, 

MWR, as well as public and cultural diplomacy initiatives.

Appendix A contains non-prescriptive information Army Music officers and their staffs can use to 

organize tasks, space, and purpose to publish unit level mission sheets to accomplish music operations.

Appendix B. discusses the relief in place and transfer of authority process to assist command teams in 

planning for and assessing the effectiveness of their transition.

Appendix C outlines rules of allocation and stationing guidance for standard requirements code 02 Army 

Music.

Based on current doctrinal changes, certain terms for which ATP 1-19 is the proponent have been added, 

rescinded, or modified for purposes of this publication. The glossary contains acronyms and defined terms.

See introductory table-1 for specific term changes.

Introductory table-1. New Army terms

Term Remarks

music headquarters New definition.

music performance detachment New definition.

music performance unit Replaces Army Band.

13 February 2015 ATP 1-19 iv
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Chapter 1

Foundations of Army Music

Army Music stands ready to provide flexible, relevant, and targeted music support 

where civilian entertainers cannot go. This chapter will discuss Army Music’s 

mission, role, core competencies, functions, characteristics, and guiding principles. 

MISSION OF ARMY MUSIC 

1-1. The officers, warrant officer bandmasters, noncommissioned officers, and Soldiers of Army Music 

are members of the Profession of Arms and experts in the delivery of music in support of operations. The 

mission of Army Music is to provide music supporting unified land operations and instill in our forces the 

will to fight and win, foster the support of our citizens, and promote America’s interests at home and 

abroad. Army Music serves as a combat multiplier and plays an integral part in the sustainment of forces 

engaged in unified land operations. 

THE ROLE OF ARMY MUSIC

1-2. Each organization is designed to fulfill a specific role that uniquely contributes to the conduct of 

operations. A role is defined as the broad enduring purpose for which an organization or branch is 

established (ADP 1-01). Army Music’s role is to provide music supporting the resilience, morale, and 

esprit de corps of Soldiers, Department of Defense civilians, and other personnel authorized to accompany 

the force during unified land operations. 

CORE COMPETENCIES OF ARMY MUSIC

1-3. A core competency is an essential and enduring capability that a branch or an organization provides 

to Army operations (ADP 1-01). They provide clear statements of what an organization does in general 

terms. An emphasis on these roles, functions, and activities support the accomplishment of a unit’s mission.

1-4. Army Music’s four core competencies lie at the heart of its ability to provide flexible, relevant, and 

ready music to support unified land operations. They are a general gauge by which to measure the 

competency and effectiveness of music support operations. These core competencies are:

 Render honors. Army Music performances honor our fallen comrades and lend dignity and

formality to military ceremonies, memorials, and civic events in domestic and tactical 

environments.

 Strengthen unit morale and esprit de corps. Army Music provides tailored music support that

will build, maintain, and strengthen unit resilience, morale, and esprit de corps.

 Enhance host nation (HN) relations. Music performances are a low-threat opportunity to shape

opinions and attitudes of local civilian populations. Through international and intercultural 

exchanges, Army Music exerts distinct psychological influence that supports unified action 

partners and influences perceptions among target audiences.

 Communicate national values and beliefs. American music is recognized around the world

and offers a means of broadcasting positive cultural values and ethics. Army Music 

performances are opportunities to tell America’s story and that of the American Soldier.

1-5. These core competencies provide fundamental focus and direction for Army Music and drive the 

organization, training, and equipping of music performance teams (MPTs). The ability to combine these 

competencies into a fluid mix of capabilities supporting sustainment is critical in articulating the success 

and relevancy of Army Music to civilian and military leaders.

13 February 2015 ATP 1-19 1-1 
Chapter 1

MUSIC SUPPORT FUNCTION

1-6. Music support is one of five personnel services functions contributing to the sustainment warfighting 

function. A function is a practical grouping of tasks and systems (people, organizations, information, and 

processes) united by common purpose (ADP 1-01). The music support function consists of the following 

tasks:

 Conduct Band Operations.

 Conduct Music Performance Team Operations.

 Conduct Marching Band Operations.

 Deploy/Redeploy the Band.

 Protect the Band.

 Conduct Band Rear Detachment Operations.

1-7. The following list delineates the scope of executable support capabilities that Army Music employs 

to accomplish its role:

 Memorial services. A memorial service is a command program with a religious orientation.

(AR 600-20). If available, MPU commanders will provide a bugler for the sounding of Taps at 

memorial services. Additional requests for music support (i.e. prelude music or the national 

anthem) will be at the discretion of MPU commander. The MPU commander will ensure any 

additional selections performed during memorial services are sensitive to the fallen Soldier’s 

faith group and meets the needs of the Soldiers in attendance. 

 Memorial ceremonies. A memorial ceremony is a command program with a ceremonial

orientation (AR 600-20). Selections of a patriotic nature provide an effective backdrop to 

memorial ceremonies, but care should be given to ensure the music meets the needs of the 

Soldiers and unit morale. Ultimately, the music should provide dignity and meaning for all those 

in attendance.

 Dignified transfer ceremonies. A dignified transfer ceremony, also known as a ramp or fallen

comrade ceremony, is a solemn event marking the journey home of a fallen United States (U.S.) 

service-member from an airfield in an area of operations (AO). It is not a funeral and does not 

replace the requirements to support a memorial event for the service-member. Army Music 

participation in this ceremony is based on higher headquarters standard operating procedures 

(SOP), Air Force policy, or the commander’s guidance. MPT leaders should be prepared to 

conduct the ceremony under a variety of conditions. Planning considerations will be based on 

the current tactical and operational environment (OE). 

 Deployment and redeployment ceremonies. Deployment and redeployment ceremonies are an

important component of the mobilization and demobilization process. These ceremonies provide 

families a brief, but meaningful, event marking the departure or arrival of their Soldiers. 

Command teams will make every effort to provide music support to all welcome and departure 

ceremony requests.

 Commander’s outreach events. Army Music supports engagement strategies and public

diplomacy initiatives targeting key audiences to create, strengthen, or preserve conditions 

favorable for the advancement of U.S. interests, policies, and objectives. Through participation 

in public concerts, outreach programs, festivals, or media, Army Music can develop and produce 

music performances that can communicate specific themes, messages, or activities to educate 

audiences in a low-threat operation. MPU commanders should work closely with the assistant 

chief of staff for operations and the assistant chief of staff for plans to develop music support 

plans that align with the commander’s outreach plan.

 Transfer of authority ceremonies. Transfers of authority ceremonies signify the start of one

unit’s mission and the end of another in an AO. The participation of a ceremonial MPT is often 

requested. MPU commanders will ensure the tasked MPT is prepared to provide ceremonial 

music support in accordance with Army regulations and local policy.

 Change of command and change of responsibility ceremonies. Change of command and

change of responsibility ceremonies represent the formal transfer of command or responsibility 

from one officer or senior noncommissioned to another. Great symbolism is attached to these 

1-2 ATP 1-19 13 February 2015
Foundations of Army Music

ceremonies and demonstrates the unit’s commitment to the traditions, values, and Soldiers 

within the organization. The participation of a ceremonial MPT is often requested. MPU 

commanders will ensure the tasked MPT is prepared to provide ceremonial music support in 

accordance with Army regulations and local policy.

 Public diplomacy initiatives. Army Music capabilities allow for its use as an instrument of 

public diplomacy when directed by the senior commander. Music support at public diplomacy 

events can be a tool that demonstrates a desire for a stable and reliable relationship between two 

countries. The presence of music helps shape the environment by providing a way for diverse 

political bodies to engage, establish channels of communication, and facilitate exchanges of 

cultural and political philosophies.

 Troop MWR events. MWR support is an essential component of Army Music’s contribution to 

sustainment operations. Army Music is an important tool available to joint force commanders to 

entertain personnel engaged in operations. MPTs should be used to entertain personnel in remote 

or less secure operational areas where civilian entertainers cannot be used. MPU leaders and 

operations staff will coordinate music support plans with MWR, the local assistant chief of staff 

for personnel, and the manpower and personnel directorate of a joint staff to ensure the 

synchronization of music support operations with MWR entertainment programs.

 International and intercultural exchange programs. Goodwill exchanges allow for the 

development of ongoing relationship-building initiatives with host nations and our allies. Army 

Music participation in international or intercultural exchange programs, focusing on friendship 

and cooperation through music, can be an integral component of the commander’s outreach plan. 

Army Music’s support and participation in these programs fosters a positive image of the Army 

and the Nation around the world. Such exchanges build trust, improve understanding and 

communication, and pave the way for increased cooperation between nations.

 Music mentorship initiatives. Command teams must be prepared to provide music mentorship 

operations when requested. MPU commanders will assist in identifying potential mentees and 

conduct a skills gap analysis to tailor the mentorship program to meet the needs of participants. 

In a music mentorship role, Army musicians may provide live or virtual training on basic 

instrumental music performance, equipment maintenance, rehearsal or conducting techniques as 

determined by the MPU commander. Applicable engagement methods can include: large group, 

small group, or private instruction. Music mentorship initiatives can be developed to support 

Wounded Warrior programs, HN schools, and warrior recovery centers and hospitals. Prior 

contact with Army Wounded Warrior program coordinators, appropriate U.S. Department of 

State personnel, local military chaplains, combat stress control unit personnel, and local military 

public affairs officers will greatly enhance a MPUs ability to actively engage music mentorship 

initiatives.

CHARACTERISTICS OF ARMY MUSIC

1-8. A characteristic is a feature or quality that marks an organization or function as distinctive or is 

representative of that organization or function (ADP 1-01). The characteristics of Army Music are 

inherently unique and play a large part in the design, mind-set, and equipment needed for MPUs to 

accomplish their role. These characteristics include:

 Provide professional live and recorded music. Army Musicians are experts in the field of 

music, uniquely organized, trained, and equipped to represent the U.S. Army through worldclass performances and recorded music products.

 Enhance Soldier and Family resilience. Army Music provides leaders with an effective means 

of building, maintaining, and strengthening Soldier and Family resilience through inspirational 

music performances.

 Support commander’s outreach. Through formal public concerts, outreach programs, festivals, 

and media, Army Music supports engagement strategies and public diplomacy initiatives to 

build partnerships, open communications, and provide targeted audiences with an understanding 

and appreciation of the U.S. Army and the American people.

 Provide music to support operations. Army Music provides music support to U.S. forces and 

unified action partners.

13 February 2015 ATP 1-19 1-3
Chapter 1

PRINCIPLES OF ARMY MUSIC

1-9. A principle is a comprehensive and fundamental rule or assumption of central importance that guides 

how an organization or function approaches and thinks about the conduct of operations (ADP 1-01). Three 

interdependent principles of music support capture the broad and enduring guidelines for the employment 

of Army Music. These principles are:

 Heritage, history, and dignity. The principles of heritage, history, and dignity are symbolic of

over 240 years of service to our Army and Nation. Through every performance, Army Music

contributes to the heritage, history, and dignity of those who have come before and those

currently serving. Army Music leaders are tasked to ensure each performance reflects the

professionalism, dignity, and honor of our great Army.

 Professionalism. Army Musicians are masters of their profession. Professional musicianship

and tactical competence engender an uncompromising approach to training that is necessary to

provide music support throughout unified land operations.

 Adaptability and agility. Adaptability and agility embraces the need to learn quickly, adjust to

dynamic situations, and plan for suitable outcomes. Army Music leaders must emphasize the

collection of observations, insights, and lessons from an operational and training perspective to

extract valuable knowledge required to remain agile, adaptable and capable of providing robust

music support.

HISTORICAL PERSPECTIVE OF ARMY MUSIC

1-10. Music instruments in the form of horns, trumpets or drums were a part of military strategy dating to 

ancient times. Archeology gives us stone reliefs from 3,000 years before Christ depicting Assyrians and 

Babylonians parading brass instruments in military victory. Bands of musical instruments were included in 

formations throughout the centuries.

1-11. The Continental Army of 1776 depended upon quality musicians for regimental drill. The inspiration 

of the marching band was a significant contribution in the victory at the Battle of Bennington in 1777 as the 

band led the troops to the battle. By 1832, almost all regiments had a band, and by mid-19th century, 

regiments had additional field musicians of drummers and buglers to sound calls for specific times and to 

transmit commands in battle.

1-12. From the first formations of the Continental Army, bands were included in the ranks to provide 

music for two main purposes: ceremonial functions and bolstering troop morale. Drummers and buglers 

were primarily engaged in a signaling capacity; larger ensembles generally provided inspirational music in 

support of troop morale.

1-13. Army MPUs, in association with color guards and honor guards, have borne the customs and 

traditions of the Army service, incorporating the heritage and practices of the past, and representing them in 

the present. They combine to carry the lineage and tradition of their units into the public view as they 

march as the vanguard of a wide variety of traditional ceremonies. The flags, streamers, and armed Soldiers 

of the color guard marched to the music of bands and carried the Army’s story and that of the Nation before

new generations of spectators.

1-14. The mace, the baldric, and the drums of a ceremonial group display the battle honors and lineage of 

the unit. Bands consciously select music to stir martial and patriotic emotion and to recall the musician’s 

original signaling function on the battlefield. In ways that written or spoken language cannot convey, 

patriotic music encourages an element of bonded spirit among all Soldiers. Assembled as a team, Army 

Music, color guards, and honor guards complete a living testament of Army tradition.

1-15. For most of the 20th century, military bands modeled themselves on a standard of a large symphonic 

ensemble that was capable of reaching large audiences without the aid of electronic sound reinforcement. 

With the advent of quality portable public address systems and electronic instruments, the bands of 

American popular music after World War II became smaller, emphasized solo singing, and became more 

dependent on sound reinforcement. The post-Vietnam drawdown forced bands to do more with fewer 

musicians. Soldiers’ musical interests reflected changing trends in popular music, by then largely 

performed by smaller groups primarily using electronic and amplified instrumentation.

1-4 ATP 1-19 13 February 2015
Foundations of Army Music

1-16. Commanders learned that smaller, modular ensembles better served to enhance morale and were 

much easier to transport within the land and air transportation limitations. Primarily trained and led by 

noncommissioned officers who had become accustomed to maneuvering within the AO, these smaller 

teams furnished larger numbers of U.S. troops with the opportunity to hear live music. They were capable 

of getting to remote forward operating bases where civilian entertainers could not go.

1-17. The type of music required in building Soldier morale in the early 21st century continued to rely 

heavily upon an electronic medium and emphasize solo singing. Popular idioms of rock, country, rhythm & 

blues, and succeeding genres of music are frequently smaller groups playing electronic instruments and 

doubling as vocalists. Bands deployed in support of the Global War on Terror employed smaller ensembles, 

placing a premium on the capabilities of these musicians to play multiple instruments, sing, and generally 

increasing the responsibilities of the leaders of these smaller groups.

1-18. Traditional brass and woodwind groups still performed regularly and were vital to overall support, 

but were regarded as supplemental to the popular idiom of music targeted at troop audiences. Small wind 

ensembles expertly provided dinner music and other entertainment by using arrangements of popular music 

and often including a rhythm section. Latin and country music bands also reached large populations of 

Soldiers through music. Many other types of ensembles were employed according to the talent at hand with 

great success.

13 February 2015 ATP 1-19 1-5
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Chapter 2

The Music Performance Unit

Every organization is designed to fulfill a specific role. The modular structure of the 

MPU allows it to accomplish its role by enhancing its ability to adapt quickly and 

tailor music support packages to meet specific mission requirements. This chapter 

will discuss the modular structure of the MPU and provides evaluation methods to 

ensure unit capabilities match the requirements needed to support its sustainment 

warfighting missions.

THE MUSIC PERFORMANCE UNIT (MPU) CONCEPT

2-1. The music performance unit is a modular music unit in Army force structure. The MPU concept 

evolved to meet requirements to support operations in multiple operating environments. It has become the 

centerpiece of Army Music and the medium through which all music support operations originate. Built on 

the concept of modularity, MPUs exist to provide flexible, relevant, and ready music to support operations. 

To meet these requirements, MPUs must be able to:

 Deliver agile and scalable music support operations.

 Conduct concurrent missions.

 Maintain robust popular and ceremonial music capabilities.

 Manage a pool of deployable music support modules and headquarters (HQ).

 Provide consistency, command, and the personnel and equipment to conduct music support 

operations.

2-2. MPUs are designed to grow or shrink based on troop populations and are tailored to better support 

those populations. MPUs are composed of three module types:

 Music headquarters (MHQ).

 MPT.

 Music performance detachment (MPD).

THE MHQ

2-3. The music headquarters is the command element of an MPU. This module provides mission 

command to subordinate MPTs and MPDs, coordinates music support operations with higher headquarters, 

and ensures mission readiness. At a minimum, it will consist of one Army Music Officer or Warrant 

Officer Bandmaster, one senior sergeant, and a music support staff.

2-4. MHQ size and type will vary to support operations. Their exact composition will reflect current rules 

of allocation and stationing guidance (see appendix C). The MHQ will be large enough to deliver mission 

command to their assigned pool of MPTs and MPDs.

Note. Only one MHQ is authorized per MPU.

THE MPT

2-5. The music performance team is a compact, modular unit designed to serve as the building block 

of the MPU. This module provides highly agile music support capabilities and is able to deploy separately 

from the MHQ to support operations. MPTs vary in size and specialty. They can be combined to form 

larger teams depending on mission requirements. This flexibility allows MPUs to support concurrent music 

13 February 2015 ATP 1-19 2-1
Chapter 2

support operations in multiple locations and tailor music support packages to meet specific mission 

requirements or audience demographic preferences as needed.

2-6. There are four types of MPTs:

 MPT B. A 24-Soldier ceremonial team that serves as the core building block for all MPUs; 

provides marching, non-marching, and solo bugler support.

 MPT C. A four-Soldier popular music team capable of performing as a stand-alone ensemble or 

combining with personnel from other MPTs to enhance performance capabilities. 

 MPT D. A five-Soldier brass team capable of supporting small scale concert or ceremonial 

music support requirements; can combine with other MPTs to increase its music support 

capabilities; may provide solo bugler capabilities if needed.

 MPT E. A five-Soldier woodwind team capable of supporting small scale concert or ceremonial 

music support requirements and combining with other MPTs to increase its music support 

capabilities.

THE MPD

2-7. The music performance detachment is an organic musical unit of a parent MPU at a noncollocated installation. MPDs are composed of two MPTs with a small detachment headquarters element. 

The organizational structure of these detachments and the potential for vast distances separating MPDs

from the MPU may provide unique challenges. Within the constraints of their low-density organizational 

structure, Army musicians serving in these detachments are tasked with providing music support to local 

communities and troop populations.

2-8. The MPU will maintain responsibility of providing equipment and mission command to ensure a 

high state of readiness and effectiveness. If MPD’s experience severe personnel shortages or missioninhibiting technical deficiencies, detachment leaders should notify the MPU commander.

Note. Only select MPUs will be allocated MPDs based on rules of allocation. 

MPU ASSESSMENT

2-9. Assessment is the determination of the progress toward accomplishing a task, creating an effect, or 

achieving an objective (JP 3-0). MPU commanders must continually assess their units to ensure they are 

able to execute music support operations in any environment. Commanders have a variety of tools at their 

disposal to achieve a general consensus of overall proficiency and ultimately determine if the MPU is able 

to accomplish its missions. The most prominent tools include:

 Mission essential task lists.

 MPU training evaluations.

 Training and evaluation outlines.

MPU MISSION ESSENTIAL TASK LISTS

2-10. The mission essential task list represent the doctrinal framework of fundamental tasks for which the 

unit was designed (ADP 7-0). It should reflect the unique characteristics of each MPU and be developed in 

collaboration with higher HQ. It is typically drawn from the Army Music mission statement, however, 

characteristics such as location, unique equipment, or target audiences can be incorporated. 

2-11. When used as a metric of assessment, the mission essential task list provides a frame of reference 

commanders can use to determine MPU proficiencies. These tasks provide valuable insight supporting the 

development of music support plans. An example of an Army Music mission essential task list may 

include, but is not limited to the following:

 Conduct band operations.

 Conduct MPT operations.

 Conduct MPU rear detachment operations.

2-2 ATP 1-19 13 February 2015
The Music Performance Unit

 Deploy/Redeploy the band.

 Conduct ceremonial marching operations.

 Protect the band.

MPU EVALUATIONS

2-12. Unit evaluations provide bottom-up feedback to leaders from subordinates and external evaluators to 

gauge levels of proficiency. They are a major feedback mechanism to provide information to the 

commander regarding the unit’s ability to accomplish its mission. These evaluations can be formal or 

informal and internal or external. Informal evaluations can be conducted by leaders within the MPU chain 

of command. This technique provides immediate feedback on its ability to execute music support missions.

2-13. The commander will rely heavily on personal experiences and knowledge to make determinations on 

whether the MPU can accomplish its tasks and missions. However, commanders should avoid overly 

detailed evaluations at the unit level. Formal training evaluations, staff assistance visits, technical 

assistance visits, observations, insights, and lessons visits, and mobile training teams can provide valuable 

insight into a MPUs readiness. Areas of interest may include:

 MPU Army force generation cycles for division and reserve bands.

 Evaluation cycles.

 MPU receipt of orders for deployment, reserve component MPU receipt of orders for overseas 

deployment training or Army National Guard state partnership program overseas missions.

 After-action reports from observations, insights, and lessons, technical assistance visits, and staff 

assistance visits.

 Surveys of Army Musicians.

 Surveys of military and civilian customers.

 Observations and insights of leaders of the MPU.

 Reported workload data.

 Requests for mobile training teams.

TRAINING & EVALUATION OUTLINES

2-14. Training and evaluation outlines are a summary document that provides information on collective 

training, objectives, related individual training objectives, resource requirements, and applicable evaluation 

procedures for a type of organization (ADRP 7-0). All Army Music individual and collective tasks have a 

corresponding training and evaluation outlines for individual and collective tasks that can be accessed 

through:

 Army Training Network homepage. 

 Combined Arms Training Strategy website. 

 Digital Training Management System.

2-15. MPU commanders and leaders can utilize training and evaluation outlines to ensure their MPUs are 

training to standard. Table 2-1 provides a sample training and evaluation outline that can be used to assess 

MPT operations.

Table 2-1. Sample training and evaluation outline

PERFORMANCE MEASURES GO NO-GO N/A

1. Unit communicated with band headquarters, among band staff 

support functions, and with supported agencies.

X

2. MPT leader and operations sergeant coordinate mission 

requirements using locally established band operations checklist.

X

3. MPT leader prepared MPT to provide music support for strategic 

outreach, troop support, religious activities, or recruiting. 

X

13 February 2015 ATP 1-19 2-3
Chapter 2

Table 2-1. Sample training and evaluation outline (continued)

4. MPT provided music support to the highest professional 

performance and appearance standards.

X

5. MPT conducted post-mission activities. X

6. Band commander and senior sergeant supervised and refined 

MPT mission performance.

X

TASK PERFORMANCE AND EVALUATION SUMMARY BLOCK

ITERATION 1 2 3 4 5 6 M TOTAL

Total Performance 

Measures Evaluated

6 6

Total Performance 

Measures GO 

6 6

Training Status (GO 

or NO-GO)

GO

ITERATION: 1 2 3 4 5 M 

COMMANDER OR LEADER ASSESSMENT: T P U

Legend:

M = Mission Oriented Protective Posture

MPT = Music Performance Team

P = Needs Practice

T = Trained

U = Untrained

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Chapter 3

Music Support Planning and Operations

People are the basis of all military operations, and military operations occur as 

human interactions (ADP 6-0). The execution of music support operations is also 

dependent on many human interactions at all levels of command. This chapter will 

discuss Army Music’s approach to operations, planning for music operations, and 

marketing techniques.

PLANNING METHODOLOGIES

3-1. Commanders can employ three methodologies for planning, determining the appropriate mix based 

on the scope of the problem, their familiarity with it, the time available, and the availability of staff (ADRP 

5-0). The integration of these methodologies is applicable to all music support planning activities. It is 

through these processes that improved situational understanding occurs and can be used in decision

making. These methodologies are:

 Army design methodology.

 The military decision making process.

 Troop leading procedures.

ARMY DESIGN METHODOLOGY

3-2. Army design methodology is a methodology for applying critical and creative thinking to understand, 

visualize, and describe problems and approaches to solve them (ADP 5-0). This methodology can aid MPU 

command teams with the conceptual and detailed planning necessary to develop effective music support 

plans. For more information on the Army design methodology see ADP 5-0 and ADRP 5-0.

THE MILITARY DECISION MAKING PROCESS

3-3. The military decision making process is an iterative planning methodology to understand the 

situation and mission, develop a course of action (COA), and produce an operation plan or order (ADP 5-

0). MPU commanders and their staff may participate in this process in order to facilitate collaborative 

planning, integrate music support information and requirements into the higher headquarters plan, and 

develop a concept of music support operations that sustains Soldiers executing decisive action. If used, the 

military decision making process will greatly enhance Army Music leader’s ability to think critically and 

creatively during the planning of music support operations. For more information on the military decision 

making process see ADP 5-0 and ADRP 5-0.

TROOP LEADING PROCEDURES

3-4. Troop leading procedures are a dynamic process used by small-unit leaders to analyze a mission, 

develop a plan, and prepare for an operation (ADP 5-0). While the military decision making process is 

often the primary planning process, smaller units such as MPTs can use troop leading procedures to aid in 

the planning and rehearsal of music support missions. In this situation, the responsibility for planning a 

music support mission may fall on the MPT leader. Troop leading procedures are a practical planning 

process that can maximize available planning time while developing effective plans and preparing the MPT 

for a music support mission. For more information on troop leading procedures see ADP 5-0 and ADRP 5-

0.

13 February 2015 ATP 1-19 3-1
Chapter 3

THE MUSIC SUPPORT PLAN

3-5. Planning is the art and science of understanding a situation, envisioning a desired future, and laying 

out effective ways of bringing that future about (ADP 5-0). All military activities benefit from some form 

of planning that allows decision-makers to understand and develop solutions to potential problems, 

anticipate events and adapt to changing circumstances, task-organize personnel, and prioritize efforts. A 

consistent and logical process is needed to ensure an effective music support plan is developed. Attention to 

key planning considerations will help communicate a common vision and direct actions needed to 

successfully synchronize music operations. These considerations may include:

 Frame the OE.

 Conduct analysis of operational variables.

 Conduct analysis of mission variables.

 Conduct audience analysis.

 Identify movement requirements.

 Identify cultural considerations.

 Determine mission rehearsal requirements.

 Identify mission priority level.

 Develop, validate, and implement COAs.

FRAME THE OE

3-6. An OE is a composite of conditions, circumstances, and influences that affect the employment of 

capabilities and bear on the decision of the commander (JP 3-0). Framing the OE enables MPU 

commanders to establish a context for describing a situation and then developing an operational approach 

to respond. The type of music operations conducted will be matched to the OE. 

3-7. Framing involves selecting, organizing, interpreting, and making sense of an OE and a problem by 

establishing a context (ADRP 5-0). For example, a commander who frames a performance as an indoor 

military ceremony will approach preparation differently than when it is framed as an outdoor morale event. 

Once the OE is framed, MPU commanders are better able to direct, lead, and assess the appropriate type of 

music support operations (see ADRP 5-0 for additional information). Figure 3-1 provides a graphic 

representation of the process for framing an operational environment.

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Music Support Planning and Operations

Figure 3-1. Frame an operational environment 

Operational Variables

3-8. Understanding operational variables helps commanders build a situational understanding of an OE

and is fundamental to the development of a comprehensive understanding of its impact for planning and 

decision-making purposes. Operational variables help analyze and describe an OE in terms of eight 

interrelated operational variables: political, military, economic, social, information, infrastructure, physical 

environment, and time (PMESII-PT). Command teams will ensure information is filtered using these 

variables throughout the planning process. Table 3-1 provides a brief description of each variable.

Table 3-1. Operational variables

Variable Description

Political Describes the distribution of responsibility and power at all levels of 

governance – formally constituted authorities, as well and informal or covert 

political powers.

Military Explores the military and paramilitary capabilities of all relevant actors 

(enemy, friendly, and neutral) in a given OE.

Economic Encompasses individual and group behaviors related to producing, 

distributing, and consuming resources.

Social Describes the cultural, religious, and ethnic makeup within an OE and the 

beliefs, values, customs, and behaviors of society members.

Information Describes the nature, scope, characteristics, and effects of individuals, 

organizations, and systems that collect, process, disseminate, or act on 

information.

Infrastructure Is composed of the basic facilities, services, and installations needed for the 

functioning of a community or society.

13 February 2015 ATP 1-19 3-3
Chapter 3

Table 3-1. Operational variables (continued)

Variable Description

Physical 

environment

Includes the geography and manmade structures, as well as the climate 

and weather in the AO.

Time Describes the timing and duration of activities, events, or conditions within 

an OE, as well as how the timing and duration are perceived by various 

actors in the OE.

LEGEND:

AO Area of operations

OE Operational Environment

3-9. While not all inclusive, the following questions can guide leaders during the planning process and 

help analyze an OE using the operational variables from a music support perspective.

 Political:

 Does HN or U.S. forces maintain formal control at the mission site?

 What is the attitude towards U.S. personnel at the mission site?

 Will political dignitaries be in attendance?

 What is the motivation behind the performance request?

 Is the general atmosphere resistant or supportive of the Arts?

 Military:

 Is the U.S. military a sponsor for the performance?

 Are there any specific foreign military forces that will be in attendance?

 Will military dignitaries be in attendance?

 Will personnel associated with the military (e.g. government civilians) be in attendance?

 Economic:

 Are there any costs associated with the mission?

 Who is funding the mission (i.e. Department of Defense, State Department, other civilian 

agency)?

 Social:

 What are popular forms of entertainment within general society?

 What are local expectations of hospitality?

 What is considered offensive?

 What is considered polite?

 Is there a common language among the general society?

 What are the basic cultural norms and values of the audience?

 Information:

 Have the most up-to-date intelligence reports associated with the mission site been 

reviewed?

 Have rally points been identified and are MPT personnel aware of them?

 Who is the safety and security point of contact for the host organization?

 What are the associated safety and security procedures for entry and exit to the mission site?

 Have MPT personnel been briefed on all safety and security procedures? 

 Infrastructure:

 Will the performance take place in an urban or rural environment?

 Can the physical infrastructure support an MPT performance (i.e. roads, utilities, facilities)?

 Is construction taking place near the site? If so, how can noise interruptions be mitigated?

 Is adequate power available to support MPT equipment?

 Physical environment:

 Is the mission site easily accessible?

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Music Support Planning and Operations

 What are the entry and exit points at the mission site?

 Will mobility of personnel and equipment be limited upon arrival at the mission site?

 What is the anticipated weather forecast?

 How can the impact of weather be mitigated in order to create a comfortable environment 

for the audience?

 Time:

 What is the audience’s cultural perception of time and how should it be accounted for in the 

planning process?

 How much time is available for planning and rehearing for the mission?

 What is considered and appropriate amount of time for a music performance?

 Are there any key time periods that MPTs should arrive, start the performance, or depart?

Mission Variables

3-10. The use of mission variables, in combination with operational variables, allows commanders to 

refine their understanding of the situation and visualize, describe, and direct operations. Using the 

operational variables as a source of relevant information for the mission variables allows commanders to 

refine their situational understanding of their OE and to visualize, describe, direct, lead, and assess 

operations. Mission variables consist of mission, enemy, terrain and weather, troops and support available, 

time available, and civil considerations (METT-TC). Table 3-2 provides a brief description of the mission 

variables.

Table 3-2. Mission variables

Variable Description

Mission Commanders and staffs view all of the mission variables in terms of their 

impact on mission accomplishment. The mission is the task, together with 

the purpose, that clearly indicates the action to be taken and the reason. 

It is always the first variable commanders consider during decision

making. A mission statement contains the “who, what, when, where, and 

why” of the operation.

Enemy The second variable to consider is the enemy – dispositions (including 

organization, strength, location, and tactical mobility), doctrine, 

equipment, capabilities, vulnerabilities, and probable courses of action.

Terrain and 

weather

Terrain and weather analysis are inseparable and directly influence each 

other’s impact on military operations. Terrain includes natural features 

(such as rivers and mountains) and manmade features (such as cities, 

airfields, and bridges). Commanders analyze terrain using the five military 

aspects of terrain expressed in the memory aid OAKOC: observation and 

fields of fire, avenues of approach, key and decisive terrain, obstacles, 

cover and concealment. The military aspects of weather include visibility, 

wind, precipitation, cloud cover, temperature, and humidity.

Troops and 

support 

available

This variable includes the number, type, capabilities, and condition of 

available friendly troops and support. These include supplies, services, 

and support available from joint, host nation, and unified action partners. 

They also include support from civilians and contractors employed by 

military organizations.

Time available Commanders assess the time available for planning, preparing, and 

executing tasks and operations. This includes the time required to 

assemble, deploy, and maneuver units in relationship to the enemy and 

conditions. 

13 February 2015 ATP 1-19 3-5
Chapter 3

Table 3-2. Mission variables (continued)

Civil 

considerations

Civil considerations are the influence of manmade infrastructure, civilian 

institutions, and activities of civilian leaders, populations, and 

organizations within an AO on the conduct of military operations. Civil 

considerations compromise six characteristics, expressed in the memory 

aid ASCOPE: areas, structures, capabilities, organizations, people, and 

events.

LEGEND:

AO Area of operations

OE Operational Environment

3-11. While not all inclusive, the following questions can guide leaders during the planning process and 

help analyze the mission variables from a music support perspective.

 Mission:

 What is the mission?

 What is the current situation?

 Which MPT will be tasked to support the mission?

 What is the overall risk assessment?

 What is the anticipated level of support from higher HQ?

 Is it a multi-day mission?

 Are there any constraints that may impact mission execution?

 What are the specified, implied, and essential tasks required to accomplish this mission?

 Enemy:

 Has enemy activity been reported near the mission site?

 Have intelligence reports been reviewed to determine enemy positions and weapons 

capabilities?

 Terrain and weather:

 How will terrain impact this mission?

 Will precipitation affect the mobility of MPT personnel and equipment?

 How will temperature and humidity affect MPT equipment?

 Troops and support available:

 What are the strengths and weaknesses of the MPT leader tasked with the mission?

 What is the present physical condition of the MPT members (i.e. rested, motivated)?

 Is all MPT equipment serviceable?

 Has the tasked MPT received adequate training time to effectively support the mission?

 Are there any additional assets that will be required to accomplish the mission (i.e. aviation, 

ground transportation, billeting)? 

 Time available:

 What are the critical times for this mission (i.e. arrival, start time, departure)?

 How much training time will be allotted to the MPT?

 Will mission preparation take priority over currently scheduled training?

 How much time will it take to accomplish the mission?

 What is the approximate time it will take to move personnel and equipment to and from the 

mission site?

 What is the contingency plan in case unforeseen circumstances cause the mission to exceed 

the allocated timeframe?

 Civil considerations:

 Will the local civilian population be part of the audience?

 What is the local perception of the U.S. military?

3-6 ATP 1-19 13 February 2015
Music Support Planning and Operations

 Can music mentorship opportunities with civilian music institutions be incorporated into 

this event?

 What can we do to ensure this performance builds goodwill within our AO?

Audience Analysis

3-12. The analysis of potential target audiences is a key factor in the MPU commander’s ability to craft a 

well-structured music support plan. The following provides leaders with key questions that can be used to 

conduct an audience analysis:

 Analysis:

 Who is the audience (i.e. Soldiers, military families, civilians)?

 What is the anticipated audience size?

 Will special populations be in attendance (i.e. children, special dignitaries, veterans)?

 What is the significance of this event?

 What is the background behind this event? 

 Understanding:

 What is the audience’s knowledge of this event (i.e. subject, theme, purpose)?

 Where is the performance taking place (i.e. local community, military installation)?

 Is a specific type of music or performance expected?

 Demographics:

 What is the age range of the potential audience?

 Are there any targeted populations?

 Are there any other pertinent demographics?

 Interest:

 Why is the audience at the event?

 Why is the MPT performing (i.e. morale event, troop support, family support)?

 What can be done to pique the interest of the audience?

 Environment:

 Is it an indoor or outdoor performance?

 How will the performance area be situated (i.e. proximity to audience, size, acoustics)?

 Is any additional support required from external agencies? 

 Needs:

 Are there any special music requirements (i.e. National Anthem, Army Song)?

 What specific information is needed from the host (i.e. script, timeline)?

 Has the host been provided with the necessary information to help facilitate the 

performance?

 Customization:

 Are there any special requirements or requests?

 If dignitaries are in attendance, what is their favorite type of music?

 Can special music requests be accommodated and rehearsed in enough time? 

 Expectations:

 Does the audience have any specific expectation of the MPT?

 What is the host’s expectations?

 Did the performance meet the host’s expectations?

 Can these expectations be planned, rehearsed, and met in the allotted time? 

13 February 2015 ATP 1-19 3-7
Chapter 3

Movement Requirements

3-13. Every movement is unique. Army Music leaders must ensure all movement requirements are 

identified early in the planning process and matched with the appropriate mode of transportation. 

Coordination with higher HQ may be required based on local SOP. At a minimum, leaders will:

 Supervise the preparation and submission of movement requests.

 Ensure all equipment is cased and properly labeled.

 Develop packing lists based on mission requirements.

 Coordinate the acquisition and use of pallets or containers for the movement of equipment as 

needed. 

 Identify and train load teams. 

 Assist in the preparation of passenger and cargo manifests.

 Determine personnel and equipment departure and arrival times.

 Plan and perform route reconnaissance (if applicable). 

Cultural Considerations

3-14. Culture can be referred to as shared beliefs, values, norms, customs, behaviors, and artifacts 

members of a society use to cope with the world and each other (ADRP 5-0). Recognizing and 

understanding the impact of an audience’s culture allows Command teams to effectively identify strengths 

and vulnerabilities of a potential performance. It also ensures that proper assets and resources are allocated 

based on these identified considerations.

3-15. Army Music performances provide a low-threat climate in which cultural, artistic, social, and civic 

activities can occur in a spirit of goodwill. However, command teams must first understand the culture of 

an audience prior to designing and producing a performance with wide appeal. The development of a basic 

cultural awareness model is highly desirable.

3-16. This model will generate information that can be used to give structure and shape to a performance 

and provide a framework for the development of a music support plan. Command teams can develop a 

basic cultural awareness model by understanding two general concepts that help define culture:

 Cultural influences. Cultural influence often includes heritage, religion, traditions, arts, and 

language. Close attention should be paid to an audience’s collective memory and interpretation 

of their cultural history. This information is typically passed from one generation to the next and 

can provide a foundation which can be used to design and produce powerful programs tailored to 

a specific audience.

 Cultural variations. Cultural variations will include styles of behavior, values, and thought 

processes that may be common throughout a given audience. For example, social rules or 

customs may dictate a reserved response throughout a performance, or they may encourage a 

high level of audience participation. Cultural variations may also dictate the level of formality an 

audience may expect during a performance. 

3-17. Audience expectations should be anticipated throughout the planning process. Specific cultural 

considerations that may aid in the process can include:

 Language barriers.

 Is an interpreter available?

 Is the music selected universal in nature (widely recognizable across multiple cultures)? 

 Aesthetic differences.

 What are the cultural perspectives of music?

 Does the culture perceive music coming from silence (eastern perspective)?

 Does the culture perceive silence merely as silence (western perspective)?

 What music can be programmed to bridge aesthetic barriers?

 Cultural stereotypes.

 How are Americans viewed by the target audience?

3-8 ATP 1-19 13 February 2015
Music Support Planning and Operations

 What types of music can be programmed to overcome negative stereotypes of Americans?

 What perceptions exist regarding traditional and contemporary music among audience 

members?

 Geographic locale.

 Does the target audience in one locale favor folk music, or more contemporary music?

 Is the performance in a rural or urban environment?

 What are the prevailing music styles of the geographic locale?

 Gender considerations.

 Are there any gender considerations associated with the target audience that MPU personnel 

should be aware of prior to the performance?

 How can gender issues impact the performance?

 What can be done to ensure gender perceptions do not negatively impact the performance? 

 Generational issues.

 Are there major differences in age among audience members?

 Is deference/respect to older generations a major cultural/societal factor?

 What types of music can be used to bridge generational differences of the audience?

 What types of music can be used to bridge generational differences of the audience?

Music Support Mission Rehearsal Requirements

3-18. The level of mission accomplishment directly correlates to MPT mission rehearsals. Army Music 

leaders must take into consideration the total man-hours required to accomplish the mission and effectively 

manage the use of allotted rehearsal time. The following questions will help leaders manage rehearsal 

requirements:

 Is the requested music support outside the normal repertoire of the MPT?

 Are there facilities dedicated to conduct mission rehearsals?

 How long have MPT personnel performed together as a group?

 How many rehearsal hours will the MPT require to accomplish this mission?

 How many other MPT’s require rehearsal time?

 What timeframe will the mission occur?

Mission Priority Determination

3-19. Predetermined mission priority guidance provides MPU commanders and their staffs a clear and 

concise method to rank music support requests as they are received. The following are suggested priority 

levels:

 Priority I: memorial services, funerals, dignified transfer ceremonies.

 Priority II: military or memorial ceremonies.

 Priority III: troop support missions.

 Priority IV: local civic or government agency support.

 Priority V: civilian music support.

 Priority VI: HN music support

Note. Consult higher HQ prior to implementing priority determination levels. 

COA Development, Validation, and Implementation

3-20. One of the most difficult tasks is developing COAs that are suitable, feasible, and acceptable within 

the constraints of the operational environment and overall music support operations. A good COA allows 

for flexibility and positions the unit to meet unforeseen events during mission execution. MPU 

commanders and their staffs should evaluate new COAs to consider potential reactions or implications. The 

following should be considered throughout the evaluation process:

13 February 2015 ATP 1-19 3-9
Chapter 3

 Is the COA feasible in terms of music support operations?

 How will this action affect other music support missions?

 Does this action require addition expertise the MPU does not have?

 Will this COA change music support objectives or plans?

 What are the potential reactions from HNs, joint, or U.S. forces?

3-21. When a COA is acceptable to the commander, a warning order is issued by the staff to alert MPT 

personnel. Leaders should verify that subordinates fully understand all specified and implied tasks 

associated with a particular COA. Additional synchronization with higher HQ may be necessary.

MUSIC SUPPORT OPERATIONS

3-22. Music support operations have been shaped through the adoption of a modular organizational 

structure. Modularity allows command teams to exercise a comprehensive and flexible approach to 

operations that enables them to employ single or multiple MPTs to maximum effect. Army Music conducts 

music support operations through decentralized execution based on mission orders. The following tasks 

assist MPU commanders in the execution of operations:

 Review all requests for music support.

 Coordinate resource allocation of equipment and personnel.

 Create a music support operation plan to support the commander’s guidance.

 Implement a synchronization plan for music support and MWR entertainment throughout the 

AO.

 Assess the status of MPU and MPT assets.

 Determine the most appropriate MPT to support the mission.

 Provide direction and guidance to subordinate leaders.

3-23. Successful operations result from subordinate leaders exercising disciplined initiative within the 

commander’s intent to accomplish missions. MPU commanders cannot exercise mission command alone. 

The executive officer, senior sergeant, and MPD leaders assist in the implementation of the commander’s 

intent and supervise MPU staff support functions by:

 Communicating the commander’s intent to subordinate leaders.

 Supervising coordination of commitment approvals and mission requests.

 Assisting the commander with training the unit on all technical and tactical tasks.

 Selecting personnel to perform staff support functions in the MHQ and MPTs.

 Supervising unit support staff function activities.

 Maintaining discipline, morale, and accountability of assigned personnel.

 Advising the commander on all matters pertaining to enlisted personnel.

3-24. Music operations supports the commander’s guidance through public performances, outreach 

programs, festivals, and broadcast media in order to build partnerships, open communications, and provide 

targeted audiences with an understanding and appreciation of the U.S. Army and the American people. 

Commanders will have a variety of channels through which their guidance is communicated throughout 

their commands. MPU commanders must understand how to acquire this information and develop a 

strategy linking MPU capabilities to the commander’s guidance.

3-25. MPU commanders can integrate the commander’s guidance through the following techniques:

 Publishing a unit policy letter to communicate command information.

 Provide standardized talking points to all Soldiers for interacting with the news media and 

general public.

 Outline the commander’s priorities and information specific to each demographic within the 

AO.

3-10 ATP 1-19 13 February 2015
Music Support Planning and Operations

Note. Ensure commander’s talking points are incorporated into scripts, music, video, and/or 

graphic elements. This may include, but is not limited to, event programs, advertising, or 

marketing materials.

 Providing vision and guidance for each MPT to create music products that support the 

commander’s priorities. This may include:

 Style of music.

 Targeted demographic.

 Specific entertainment concepts to facilitate delivery of intended message.

 Employing the MPT best suited for specific mission requirements. Typical considerations 

include:

 Personnel available.

 Instrumentation.

 Equipment requirements.

 Requested music selections.

ARMY MUSIC MARKETING TECHNIQUES

3-26. Marketing is an organizational function and set of processes for creating, communicating, and 

delivering value to customers and managing customer relationships in ways that benefit the organization 

and its stakeholders (AR 601-208). A targeted marketing strategy serves to raise awareness of Army Music 

capabilities within a specific area of responsibility (AOR). The following concepts provide command teams

and their staff with a foundation upon which to develop an effective marketing strategy. 

IDENTIFY TARGET AUDIENCE

3-27. Identifying a target audience allows the MPU or MPT to choose where best to allocate limited time 

and resources. An understanding of basic demographic information, such as age, gender, and location, also 

contributes to a leader’s ability to identify, communicate, and engage targeted audiences within their AOR.

DEVELOP A BRAND

3-28. A brand (branding) is a customer experience represented by a collection of images and ideas; often, it 

refers to a symbol such as a name, logo, slogan, and design scheme (AR 601-208). Branding not only helps 

audience members readily identify and remember a specific MPU, it also allows multiple MPTs within an 

MPU to distinguish themselves from one another. Refer to the Enterprise Army Brand Portal for key 

branding elements such as logos, templates, images, and brand guidelines that are available to ensure 

quality and consistency across Army branded communications.

ESTABLISH A MARKETING STRATEGY

3-29. MPU commanders will establish basic guidance for the establishment of MPU and MPT marketing 

strategies tailored to their respective AOR. The overall message of the marketing strategy should be unique 

and send a powerful message that clearly identifies Army Music as a mission enabler while aligning with 

and supporting the commander’s guidance. The following techniques serve as a basis upon which a 

marketing strategy can be developed:

 Frame the OE and align marketing priorities accordingly.

 Identify demographic and cultural considerations.

 Allocate appropriate resources in support of marketing and publicity.

 Identify periodic or recurring events to establish a marketing timeline for execution.

 Establish metrics to evaluate marketing effectiveness (i.e. audience count, social media 

engagement, blog and email subscribers, or website traffic).

13 February 2015 ATP 1-19 3-11
Chapter 3

COORDINATE WITH LOCAL MARKETING AGENCIES

3-30. Various agencies and staff such as Public Affairs, MWR, Civil Affairs, Protocol, the assistant chief 

of staff for personnel, and the manpower and personnel directorate of a joint staff can provide guidance on 

the development of marketing and publicity materials and information intended for release to the public or 

joint forces through video or print media. See AR 360-1 for further information.

IDENTIFY APPROPRIATE ADVERTISING MEDIA TO PROMOTE PERFORMANCES

3-31. Selection of a media outlet to promote a performance is critical to the overall success of the event. 

Available options may include television, radio, social media, or print. Determining an appropriate outlet 

can be a time consuming process. Installation Public Affairs personnel can provide some guidance in these 

matters.

CREATE CUSTOM MARKETING MATERIALS

3-32. Army Music marketing materials should emphasize our brand, who we are, and the benefits we offer 

to our audience. Army Music marketing materials should:

 Define the nature of the event.

 Be easy to understand.

 Pique the interest of the target audience.

 Position the event as a solution to a real or perceived problem.

 Prominently display U.S. Army brand logos and images.

 Unit specific images (e.g. unit patch graphics) should be approximately two-thirds the size of 

Army branded logos or images used in marketing materials.

Note. Local visual information centers, Defense Automated Printing Service facilities, and Army 

Enterprise Multimedia Centers should be leveraged to assist in the development and creation of 

custom marketing products if available.

REVIEW AND APPROVE MARKETING MATERIALS

3-33. Use common sense and good taste in the creation of marketing materials. MPU commanders will 

ensure all marketing materials appropriately convey the Army Values. Marketing materials should be 

vetted through a local Public Affairs office for final approval. See AR 360-1 for further guidance.

3-12 ATP 1-19 13 February 2015
Chapter 4

The Role of Army Music

Though music support operations do not resolve disputes or change foreign political 

opinion, they can help establish an interpersonal environment more conducive to 

dialogues, in which disputes may be resolved. The targeted musical effects provided 

by an MPU, MPT, or solo musician can contribute greatly to the social and political 

health of a commanders AOR. As the Army adapts to new challenges, Army Music 

will reflect the esprit de corps, attitude, and professionalism of our Soldiers at home 

and abroad. This chapter focuses on the role Army Music plays in supporting unified 

land operations, unified action, MWR, and public and cultural diplomacy initiatives.

MUSIC SUPPORT IN UNIFIED LAND OPERATIONS

4-1. Unified land operations describes how the Army seizes, retains, and exploits the initiative to gain 

and maintain a position of relative advantage in sustained land operations through simultaneous offensive, 

defensive, and stability operations to prevent or deter conflict, prevail in war, and create the conditions for 

favorable conflict resolution (ADP 3-0). MPUs contribute to unified land operations through the execution 

of Army Music’s core competencies. These core competencies provide a means for balancing the 

application of its sustainment warfighting functions in the tactical actions and tasks associated with 

providing music to support unified land operations.

4-2. Observations, insight, and lessons, together with after action reviews of deployed MPUs, have 

confirmed that needs do exist for music support throughout all phases of unified land operations (offensive, 

defensive, stability, and defense support of civil authorities). However, the majority will typically fall 

within the stability phase of operations. Stability operations are military missions, tasks, and activities 

conducted outside the U.S. to maintain or reestablish a safe and secure environment and provide essential 

government services, emergency infrastructure reconstruction, and humanitarian relief (ADP 3-0). During 

this phase of operations, MPUs, MPTs, and solo musicians can be actively engaged in ceremonial, 

diplomatic, HN outreach, Soldier morale, or memorial support. Army Music helps to enhance combat 

power through the execution of music support operations. Through the provision of tailored music 

performances, Army Music also enhances Soldier resilience, morale, and esprit de corps.

UNIFIED ACTION AND ARMY MUSIC

4-3. Unified action is the synchronization, coordination, and/or integration of the activities of 

governmental and nongovernmental entities with military operations to achieve unity of effort (JP 1-0). 

However, to accomplish these actions, Army leaders must first understand and be able to cooperate with 

unified action partners. Throughout operations, the use of music support plays a key role in laying the 

foundation for the cultural and inter-organizational exchanges necessary for effective unified action.

4-4. Coordinated music support activities with our joint partners and government agencies outside the 

Department of Defense serve as a viable means of optimizing cooperation. These activities, developed in 

coordination with morale and welfare activities sections, food services, and other support elements, can 

create opportunities to enhance relations with our joint, interagency, multinational, and unified action 

partners. 

4-5. Army Service component command G-1 or adjutant general may establish an Army Music Liaison 

officer (42C) to synchronize and integrate music support for joint, interagency, diplomatic, or multinational 

events that can support unified action partners. These events may include ceremonial, protocol, outreach, 

music mentorship, or entertainment activities throughout an AO. By capitalizing on the near-term benefits 

associated with low-threat music engagement, music support operations can help build interpersonal trust, 

13 February 2015 ATP 1-19 4-1
Chapter 4

improve understanding, and help pave the way for cooperation between U.S. forces, HN, and our unified 

action partners.

MWR SUPPORT

4-6. MWR programs are mission essential to combat readiness (JP 1-0). MPUs contribute to MWR 

operations by providing targeted music support to enhance morale and reduce mission-related stress of U.S 

and joint forces. Music support operations provide commanders with a means of enhancing the resilience of 

their Soldiers, civilian employees, contractors, and their families during active military operations.

4-7. Army Music leaders are encouraged coordinate with MWR personnel regularly to assist in the 

development of entertainment programs, especially for personnel in remote or less secure operational areas, 

where civilian entertainers cannot be used. See JP 1-0 for additional information on the coordination and 

synchronization of music support.

ARMY MUSIC AND SOFT POWER

4-8. Army Music is a soft power resource. Soft power has been defined as the ability to get what you 

want through attraction rather than coercion. The broad appeal of music has long served as a conduit for 

communication and cultural exchange. Through tailored music performances, the officers and musicians of 

Army Music can foster a spirit of cooperation in their audiences and exert a level of influence capable of 

influencing human behavior and perceptions. By tapping into shared values, Army Music can exert a lowthreat, influential effect when performing in support of the commander’s outreach plan, or public and 

cultural diplomatic initiatives.

PUBLIC AND CULTURAL DIPLOMACY

4-9. Public diplomacy are those overt international public information activities of the U.S. Government 

designed to promote the U.S. foreign policy objectives by seeking to understand and educate foreign 

audiences and opinion makers, and by broadening the dialogue between American citizens and institutions 

and their counterparts abroad (JP 3-07.3). Cultural diplomacy has been defined as the exchange of ideas, 

information, art, and other aspects of culture among nations and their peoples to foster mutual 

understanding.

4-10. The officers, warrant officer bandmasters, and musicians of Army Music represent the U.S. Army, 

the American public, and are a symbol of the strength and diversity of the United States. Through live 

music performances, tailored to express specific messages, Army Music can aid in building and enhancing

partnerships, open communications, and provide audiences with a positive understanding of the U.S. Army 

and the American people.

4-11. Army Music is capable of supporting public and cultural diplomatic initiatives by providing tailored 

music products under the canopy of several core competencies and capabilities. Through the following 

identified competencies and characteristics, Army Music can provide effects that support a wide range of 

diplomatic efforts:

 Support the commander’s outreach plan.

 Provide professional live and recorded music.

 Enhance HN relations.

 Communicate National values and beliefs.

MUSIC SUPPORT OF PUBLIC AND CULTURAL DIPLOMATIC INITIATIVES

4-12. Public and cultural diplomacy support missions may include, but are not limited to, the following:

 On-site music support at U.S. and foreign Embassy events. 

 Goodwill or Friendship performances.

 Music performances at HN civic events or parades.

 Joint performances and music mentorship training with foreign military bands.

 Performances on HN national television, radio, and media outlets.

4-2 ATP 1-19 13 February 2015
Appendix A

Mission Sheet Information

Operations consist of a series of collective tasks sequenced in time, space, and 

purpose to accomplish missions (ADRP 5-0). The ability to successfully track these 

items through a formal process is critical to the successful coordination and 

dissemination of mission related information. This appendix contains nonprescriptive information Army Music officers and their staffs can use to organize and

publish mission sheets to notify MPT leaders of upcoming music support missions.

A-1. A clear and concise mission sheet allows operations staff to organize and publish relevant missionrelated information in an orderly format. Mission sheets not only allow operations personnel to effectively 

plan a music support mission, but they also provide MPT leaders with the critical information needed to 

prepare and rehearse their teams to accomplish the mission. MPU commanders are encouraged to tailor 

mission sheets to meet their specific needs. The following information is not all inclusive and should only 

be used as a guide in the development of unit-level mission sheets.

 Date.

 Times:

 Mission Time.

 Formation Time.

 Load Time.

 Departure Time.

 Return Time.

 Approximate Travel Time.

 Event Title.

 Location:

 Event Venue.

 City.

 State.

 Point of Contact Information:

 Name.

 Work or Cell phone.

 Email.

 Fax.

 Uniform:

 Travel Uniform.

 Performance uniform.

 Tasked MPT.

 Performance Category (see paragraph A-5).

 Sequence of Events:

 Required Music.

 Mission personnel:

 Officer in charge or noncommissioned officer in charge.

 Drum Major (if applicable).

 Musicians. 

 Driver.

13 February 2015 ATP 1-19 A-1
Appendix A

 Cultural considerations (see chapter 3).

 Tactical rehearsals and protection measures.

 Attending dignitaries.

 Anticipated audience count.

 Inclement weather plan.

 Packing list and load plan.

 Equipment needed:

 Stands.

 Chairs.

 Wind Clips.

 Lights.

 Power source.

 Sound reinforcement requirements.

 Electrical outlets and surge protectors.

 Power requirements.

 Load crew:

 Noncommissioned officer in charge.

 Crew personnel.

 Transportation:

 Vehicles required (i.e. panel truck, panel van, passenger van, bus, or sedan).

 Vehicle request submission/approval dates. 

 Directions to venue.

 Legal review.

 Safety and security considerations.

 Lodging information (if applicable).

 Marketing plan.

 Certificate of appreciation for Sponsor.

 Publicity:

 Photo support requirements.

 Print requirements.

 Press releases.

 Photo packet.

A-2. The following performance group categories are used to complete the Army Music operations 

reports:

 Ceremonial MPT (Marching). Indicate all commitments where only pouch music is performed 

and the MPT moves while performing music. Do not include full MPT dry runs unless those 

rehearsals take place in front of the public. Do not report drum major or bass drum rehearsals as 

commitments. Missions by field music ensembles if they involve playing on the move will 

normally be in this category.

 Ceremonial MPT (Non-Marching). Indicate all commitments where only pouch music is 

performed, whether standing, or sitting but where there are no marching movements while 

playing. Static ceremonies where the MPT stick taps into place would be reported here. Indoor 

graduation ceremonies are normally reported here, rather than under concert band. Do not 

include full MPT dry runs unless those rehearsals take place in front of the public. Do not report 

drum major, bass drum, or bugler rehearsals as commitments (see expert team). Missions by 

field music ensembles and fanfare trumpet groups will normally be in this category if they do not 

march and play at the same time.

A-2 ATP 1-19 13 February 2015
Mission Sheet Information

 Concert Ensemble. Indicate all commitments using an instrumental group numbering 20 pieces

or more and performing at least some concert-sized music. Orchestras are reported under this 

category.

 Small Popular Music Ensemble. Ensembles performing any genre of popular music and 

including 8 or fewer performers. Include rock groups, Dixieland groups, country and western 

groups, etc. as well as duty combos. While not a hard and fast rule, groups that include a rhythm 

section will normally be in this category.

 Large Popular Ensemble. Ensembles performing any genre of popular music and including 9 

or more performers. Report standard “big band” as well as “show band” commitments. Also 

include rock groups, Dixieland groups, country and western groups, etc. as well as duty combos 

if they have 9 or more performers. While not a hard and fast rule, groups that include a rhythm 

section will normally be in this category.

 Instrumental Ensemble. Indicate all mixed chamber music groups from duos up to small 

chamber ensembles (less than 20 pieces). Also, brass or woodwind choirs of 8-19 pieces are 

reported here. A chamber recital including mixed groups and combinations would usually be 

reported here. All string ensembles will be reported here.

 Small Brass Music Ensemble. Indicate all chamber music groups from duos up to octets where 

only brass instruments are used. The use of a percussionist or a woodwind or vocal soloist to 

what is primarily a brass ensemble does not disqualify a brass group from being reported here.

 Small Woodwind Music Ensemble. Indicate all chamber music groups from duos up to octets 

where only woodwind instruments (including French horn) are used. The use of a percussionist 

or a brass or vocal soloist does not disqualify what is a woodwind group from being reported 

here.

 Concert or Vocal Ensemble. Indicate performances that include vocal ensembles performing 

on the same program with an instrumental ensemble of 20-pieces or more. Do not include vocal 

soloists with band here; the intent is to reflect MPT or chorus performances.

 Vocal Ensemble. Indicate performances by a vocal ensemble, accompanied or unaccompanied 

as long as the accompaniment is by an ensemble of less than 20-pieces. If the accompaniment is 

by 20 pieces or more, report under Concert or Vocal Ensemble.

 Soloist. Indicate all soloists (except for buglers). Do not include support by key personnel to dry 

runs.

 Expert Team. Indicate all missions by teams that are providing expert, music oriented support 

to other activities. Recruiting teams, music clinic teams, and key personnel supporting a dry run 

are reported here (including when that team may include a bass drum and/or bugler).

Note. Do not include in-process reviews or operations meeting of any kind in this category.

 Bugle (Non-Funeral). Indicate all bugle missions not in support of a funeral, memorial service, 

or memorial wreath lying. Bugler support to Reveille ceremonies or Dining-Ins would be 

included here. Solo trumpeters performing other than bugle calls are reported under Soloist.

 Bugle (Funeral). Indicate all missions in support of a funeral, memorial service, or wreath 

laying. If Taps is played, report it under this category.

A-3. The following support categories will be used for Army Music operations reporting purposes:

 Soldier and Family Support. Indicate all commitments where the primary target audience is 

military.

Note. Do not include bugle missions or military funerals in this category.

 Recruiting Support. Indicate all commitments where the primary purpose is to interest young 

Americans in the U.S. Army.

Note. Do not include bugle commitments in this category.

13 February 2015 ATP 1-19 A-3
Appendix A

 Public Outreach Support. Indicate all commitments where the primary target audience is the 

general public. Soldiers and their Families may comprise a significant part of the audience but 

the event is not geared specifically toward a military audience.

 Educational Outreach Support. Indicate all commitments where the primary purpose is to 

provide music instruction. In most cases a master class or clinic will have an underlying 

recruiting purpose and should include sharing information on Army careers with the audience, 

but these events are generally educational in nature.

A-4 ATP 1-19 13 February 2015
Appendix B

Relief in Place and Transfer of Authority Process

Development of an effective relief in place and transfer of authority plan allows an 

incoming unit to successfully take charge of the outgoing unit’s mission after the 

transition is completed. This appendix provides information on this process to assist 

MPU commanders and their staffs in planning for and assessing the effectiveness of 

their transition.

B-1. Command teams must take into consideration the relief in place and transfer of authority process 

associated with deployment to an AO. Incoming and outgoing leaders must proactively plan transition 

activities and their designated responsibilities well in advance. The finished plan should consist of a 

detailed timeline and list of tasks to be accomplish.

B-2. The development of a timeline assists the incoming MPU’s ability to take charge of the mission after 

the transfer of authority is completed. An effective relief in place will ease the transition between MPUs 

and allows MPTs to adapt to their AO and prepare to execute music operations as quickly as possible.

Note. Every deployment is different; therefore every relief in place and transfer of authority will 

be unique to a specific AOR.

B-3. MPU commanders should consider sending some key staff forward early with the advance echelon. 

The exact composition of this group will vary given MPU capabilities, available personnel, or higher HQ 

guidance. However, representatives from the following sections can begin the preliminary work prior to the 

arrival of the remaining personnel:

 Security and Intelligence.

 Operations.

 Supply.

Note. When circumstances allow, a small MPT (i.e. a brass quintet or woodwind quintet) should 

be sent with the advance echelon to observe the execution of relevant music support operations 

by the outgoing unit.

B-4. A ten-to fourteen-day transition period is typical; however, unforeseen circumstances may reduce the 

amount of time incoming and outgoing units will have to work side by side. Both groups must make the 

best use of time available to ensure a successful transition.

B-5. The relief in place and transfer of authority process follows the right-seat/left-seat ride concept. 

During this period, the incoming MPU shadows the outgoing MPU to observe specific techniques, 

procedures, and SOPs that have worked and adapt them to their organization. Changing existing 

techniques, procedures, and SOPs should be avoided until incoming personnel have acquired a firm 

understanding of day-to-day operational requirements. Incoming MPUs should assume responsibility for 

the daily operations as soon as feasibly possible. The end state of the transition is that the incoming MPU is 

oriented in all staff support functions and elements of sustainment (i.e. transportation and movement 

control procedures, local shower and laundry capabilities, water distribution, operational contract support) 

associated with Soldier support and the execution of music support operations within its AOR.

B-6. Core activities for outgoing staffs that should be integrated into the timeline include, but are not 

limited to:

 Conduct operational overview brief.

 Discuss the types of missions and roles performed during the deployment.

13 February 2015 ATP 1-19 B-1
Appendix B

 Identify recurring events based on historical Army Music operations reports submitted to Army 

Music Intranet.

 Highlight important locations, activities, and contact numbers of relevant agencies.

 Provide SOPs, continuity books, policies, routine reports and reporting requirements, and 

recurring events.

 Execute SOP orientation brief.

 Brief techniques and procedures used and refined throughout the deployment.

 Discuss the coordination of transportation.

 Provide a list of points of contact and phone numbers for key personnel.

 Brief current intelligence reports that may affect potential music operations.

 Brief staff on available intelligence systems to collect data for mission planning purposes.

 Brief higher and supporting headquarters SOPs, policies, and procedures for battalion or brigade 

manpower and personnel staff sections.

 Brief local policies for supporting diplomatic, community engagement, music mentorship, or 

public affairs missions.

 Conduct a 100% inventory of all theater provided equipment.

 Have copies of hand receipts and shortage annexes available.

 Initiate financial liability actions based on any discrepancies found during the joint inventory.

 Provide owner’s manuals or product components listings for any equipment procured during the 

deployment.

B-7. Core activities for incoming staffs that should be integrated into timeline include, but are not limited 

to:

 Receive copies of all briefings, operation and fragmentary orders from the last 60 days.

 Understand location and boundaries of current AOR.

 Complete question and answer period with outgoing staff.

 Learn left-seat ride portion and implement SOP requirements during the right-seat ride portion 

of the relief in place.

 Adapt to outgoing staff’s battle rhythm during the left-seat ride and incorporate this into your 

battle rhythm during right-seat ride.

 Observe the execution of techniques and procedures by outgoing staff during left-seat ride.

 Understand current intelligence associated with executing missions in the AO.

 Understand all policies for official mail.

 Understand the process and requirements for personnel accountability and strength.

 Conduct a 100% inventory.

 Verify and sign organizational and installation hand receipts and take physical possession of all 

equipment.

 Submit hand receipt paperwork to property book team in accordance with local policy.

B-2 ATP 1-19 13 February 2015
Appendix C

Rules of Allocation and Stationing Guidance

This appendix provides rules of allocation and stationing guidance information for 

standard requirements code 02 Army Music. This information allows planners to 

determine required resources and personnel to execute music support operations and 

identify stationing and mission command relationships.

C-1. An allocation rule is a statement of a unit’s capability, mission and/or doctrinal employment that 

incorporates the appropriate planning factors (AR 71-11). Army Music rules of allocation allow planners to 

determine the number of MHQs and MPTs required to provide intended music support. These rules of 

allocation are also used to model operational requirements and may be altered based on geographic or 

environmental considerations.

C-2. The following are the rules of allocation for operating force MPUs:

 (1) MPT B, (2) MPT C, and (1) MPT D per Division HQ, or per Corps HQ, or per echelon 

above corps.

 (1) MPT D per Corps HQ.

 (1) MPT C and (1) MPT D per seven or more supported Regular Army brigades (i.e. Brigade 

Combat Teams, Fires Brigades, Combat Aviation Brigades, or Sustainment Brigades).

 (1) MPT D and (2) MPT E per echelon above Corps.

 (1) MHQ, (1) MPT C, and (1) MPT D per MPU supporting a non-collocated command.

Note. MPT variations at echelons above Corps support different mission requirements specific to 

those commands. Echelons above Corps include: United States Army, European Command; 

United States Army, Pacific Command; United States Army Forces, North; Eighth United States 

Army; United States Army Forces Command; United States Army Training and Doctrine 

Command; Army Materiel Command.

C-3. The following is the stationing guidance for generating force MPUs:

 (1) MPT B, (1) MPT C, and (1) MPT D per training center not supported by another MPU, per 

echelon above Corps, per standing joint force headquarters without a division HQ.

 (1) MPT D per training center with a brigade combat team.

 (3) MPT B, (3) MPT C, (3) MPT D, and (3) MPT E per United States Army Reserve Regional 

Support Command.

 (1) MPT B, (2) MPT C, (2) MPT D, and (2) MPT E per U.S. Army Reserve Command.

 (1) MPT C and (1) MPT E per echelon above Corps.

 (1) MPT C, (1) MPT D, and (1) music detachment headquarters per MPU supporting two 

installations.

 (1) MPT E per echelon above Corps supporting two installations.

Note. The United States Army Reserve may geographically station MPUs wherever needed as 

determined by supported units, availability of training facilities, and existing MPUs.

13 February 2015 ATP 1-19 C-1
This page intentionally left blank. 
Glossary 

The glossary lists acronyms and terms with Army or Joint definitions. Where Army 

and joint definitions differ, (Army) precedes the definition. Terms for which ATP 1-

19 is the proponent are marked with an asterisk (*). The proponent publication for 

other terms is listed in parentheses after definition

SECTION I – ACRONYMS AND ABBREVIATIONS

ADP Army doctrine publication

ADRP Army doctrine reference publication

AO area of operations

AOR area of responsibility

AR Army regulation

ATP Army techniques publication

ATTP Army tactics, techniques, and procedures

COA course of action

DA Department of the Army

FM field manual

HN host nation

HQ headquarters

JP joint publication

METT-TC mission, enemy, terrain and weather, troops and support available, time available, civil 

considerations

MHQ music headquarters

MPD music performance detachment

MPT music performance team

MPU music performance unit

MWR morale, welfare, and recreation

OAKOC observation and fields of fire, avenues of approach, key terrain, obstacles, and cover and 

concealment

OE operational environment

PMESII-PT political, military, economic, social, information, infrastructure, physical environment, 

and time

SOP standard operating procedures

U.S. United States

SECTION II – TERMS

*music headquarters

The mission command element of a music performance unit. Also called MHQ.

*music performance detachment

An organic musical unit of a parent music performance unit at a non-collocated installation. Also 

called MPD.

13 February 2015 ATP 1-19 Glossary-1
Glossary

*music performance team

A compact, modular unit designed to serve as the building block of the music performance unit. Also 

called MPT

*music performance unit

A modular music unit in Army force structure. Also called MPU.

Glossary-2 ATP 1-19 13 February 2015
References

REQUIRED PUBLICATIONS

These documents must be available to intended users of this publication.

ADRP 1-02. Terms and Military Symbols. 24 September 2013.

JP 1-02. Department of Defense Dictionary of Military and Associated Terms. 08 November 2010.

RELATED PUBLICATIONS

These documents contain relevant supplemental information.

DEPARTMENT OF DEFENSE PUBLICATIONS

Most Department of Defense Directives are available online: http://www.dtic.mil/whs/directives.

Department of Defense Directives 5500.7. Standards of Conduct. 29 November 2007. 

JOINT PUBLICATIONS

Most joint publications are available online: http://www.dtic.mil/doctrine/new_pubs/jointpub.htm.

JP 1-0. Joint Personnel Support. 24 October 2011.

JP 3-0. Joint Operations. 11 August 2011.

JP 3-07.3. Peace Operations. 1 August 2012.

ARMY PUBLICATIONS

Most Army doctrinal publications are available online: http://www.apd.army/mil.

ADP 1-01, Doctrine Primer. 2 September 2014.

ADP 3-0. Unified Land Operations. 10 October 2011.

ADP 5-0. The Operations Process. 17 May 2012.

ADP 6-0. Mission Command. 17 May 2012.

ADP 7-0. Training Units and Developing Leaders. 23 August 2012.

ADRP 5-0. The Operations Process. 17 May 2012.

AR 71-11. Total Army Analysis (TAA). 29 December 1995.

AR 360-1. The Army Public Affairs Program. 25 May 2011.

AR 600-20. Army Command Policy. 6 November 2014.

AR 601-208. The Army Brand and Marketing Program. 16 July 2013.

FM 27-10, The Law of Land Warfare. 18 July 1956

WEBSITIES

Army Music Intranet: https://ami.army.mil

Army Training Network: https://atn.army.mil

Combined Arms Training Strategy: https://dtms-cats.army.mil

Digital Training Management System: https://dtms.army.mil

Enterprise Army Brand Portal: https://www.usarmybrandportal.com

PRESCRIBED FORMS

None.

13 February 2015 ATP 1-19 References-1
References

REFERENCED FORMS

Unless otherwise indicated, DA Forms are available on the Army Publishing Directorate (APD) web 

site: http://www.apd.army.mil. 

DA Form 2028. Recommended Changes to Publications and Blank Forms.

References-2 ATP 1-19 13 February 2015
Index 

A

advance echelon, B-1

Army design methodology, 3-1

Army Music mission, 1-1

audience analysis, 3-7

B

branding, 3-11

C

characteristics, 1-3

coordinate with local Public 

Affairs office

marketing concept, 3-12

core competencies, 1-1

create custom marketing 

materials

marketing concept, 3-12

cultural considerations, 3-8

cultural influences, 3-8

cultural variations, 3-8

culture, 3-8

D

develop a brand

marketing concept, 3-11

E

educational outreach support

category, A-4

establish a marketing strategy

marketing concept, 3-11

H

historical perspective, 1-4

host nation relations, 1-1

I

identify appropriate advertising 

media, 3-12

identify target audience

marketing concept, 3-11

M

marketing, 3-11

METT-TC. See mission 

variables

MHQ. See music headquarters

military decision making 

process, 3-1

mission essential task lists, 2-2

mission priority, 3-9

mission rehearsal 

requirements, 3-9

mission variables, 3-5

Morale, Welfare, and 

Recreation (MWR) support, 

4-2

movement requirements, 3-8

MPD. See music performance 

detachment

MPT. See music performance 

team

MPU assessment, 2-2

music performance 

detachment, 2-2

music performance team, 2-1

music performance unit, 2-1

music support functions, 1-2

music support plan, 3-2

O

observations, insights, and 

lessons, 1-4

operational environment, 3-2

operational variables, 3-3

P

performance group categories, 

A-2

planning, 3-2

PMESII-PT. See operational 

variables

principles, 1-4

public and cultural diplomacy 

support missions, 4-2

public diplomacy, 4-2

public outreach support, A-4

R

recruiting support

category, A-3

relief in place, B-1

role of Army Music, 1-1

rules of allocation, C-1

S

soft power, 4-2

soldier and family support

support category, A-3

stability operations, 4-1

stationing guidance, C-1

support categories, A-3

T

training and evaluation outline, 

2-3

transfer of authority, B-1

troop leading procedures, 3-1

U

unified action, 4-1

unified land operations, 4-1

unit evaluations, 2-3

13 February 2015 ATP 1-19 Index-1
This page intentionally left blank. 
By Order of the Secretary of the Army

RAYMOND T. ODIERNO

General, United States Army 

Chief of Staff 

Official:

GERALD B. O’KEEFE

Administrative Assistant to the 

Secretary of the Army 

 1504202

DISTRIBUTION:

Active Army, Army National Guard, and United States Army Reserve: Distributed in electronic media 

only (EMO).

ATP 1-19 (ATTP 1-19) 

13 February 2015
PIN: 105033-000