A total of 10 music teachers have been announced as finalists for the 2023 Music Educator Award, presented by the Recording Academy and GRAMMY Museum. The finalists, who come from 10 cities across eight states, were selected from more than 1,205 initial nominations, which were submitted from 47 states. Semifinalists were announced in October and quarterfinalists were announced in June.

The annual Music Educator Award recognizes current educators who have made a significant and lasting contribution to the music education field and demonstrate a commitment to the broader cause of maintaining music education in the schools. The recipient will be recognized during GRAMMY Week 2023, which takes place ahead of the 2023 GRAMMYs, officially known as the 65th GRAMMY Awards.

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Each year, one recipient is selected from 10 finalists and recognized for their remarkable impact on students' lives. The final honoree will receive a $10,000 honorarium and matching grant for their school's music program. The nine additional finalists will receive a $1,000 honorarium and matching grants. The remaining 15 semifinalists will receive a $500 honorarium with matching school grants.

The Music Educator Award is open to current U.S. music teachers, and anyone can nominate a teacher — students, parents, friends, colleagues, community members, school deans, and administrators; teachers are also able to nominate themselves. Nominated teachers are notified and invited to fill out an application.

The matching grants provided to the schools are made possible by the generosity and support of the GRAMMY Museum's Education Champion Ford Motor Company Fund. In addition, the American Choral Directors Association, National Association for Music Education, NAMM Foundation, and National Education Association support this program through outreach to their constituencies.

Nominations for the 2024 Music Educator Award are now open.

Learn more about the Music Educator Award. 

See the full list of the 2023 Music Educator Award finalists below:

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The inaugural GRAMMY Hall Of Fame Gala is just ahead — and now, we know which musicians will grace the stage. Andra Day, Ravyn Lenae, Shinedown, and the War and Treaty will perform at the Recording Academy and GRAMMY Museum's gala, with more performers to be announced at a later date.

The Gala will take place on May 21, 2024, at the Novo Theater in Downtown Los Angeles and will be hosted by veteran CBS broadcast journalist Anthony Mason. The annual Gala will also honor a label, with the first being Atlantic Records.

Tickets go on sale to the general public on Saturday, April 27, 2024 at 12 p.m. PT at this link. More information about the GRAMMY Hall Of Fame Gala is available here.

The inaugural Hall Of Fame Gala will honor the 2024 GRAMMY Hall Of Fame inducted recordings on its 50th Anniversary, including De La Soul's 3 Feet High And Rising, Guns N' Roses' Appetite For Destruction, Buena Vista Social Club's Buena Vista Social Club, and Lauryn Hill's The Miseducation Of Lauryn Hill, as well as recordings by Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell.

The Gala will also pay tribute to iconic record label Atlantic Records, which is celebrating its 75th anniversary, and has over 38 recordings already inducted into the GRAMMY Hall Of Fame. 

"We're honored that the Recording Academy and GRAMMY Museum have chosen Atlantic to be the first label celebrated at what promises to be an exciting annual event," said Atlantic Music Group Chairman & CEO Julie Greenwald and Atlantic Records Chairman & CEO Craig Kallman. "The GRAMMY Hall Of Fame includes many of the most groundbreaking recordings in our company's 75-year history, and it will be great to hear some of our outstanding current artists bring their unique voices to these timeless songs."

"We are thrilled to be able to recognize Atlantic Records' incomparable contribution to recorded music, including numerous Hall Of Fame inducted recordings, as our first Hall Of Fame Gala label honoree. We're looking forward to celebrating them along with this year's inducted recordings during an unforgettable evening of performances by some of today's most talented artists," says Michael Sticka, President/CEO of the GRAMMY Museum.

The evening will include a red carpet and VIP reception on the Ray Charles Terrace at the GRAMMY Museum followed by a one-of-a-kind concert at the Novo Theater. This year's show will be produced by longtime Executive Producer of the GRAMMY Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile. Musical Direction by globally renowned producer and keyboardist Greg Phillinganes. The Gala is presented by City National Bank.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final 

ratification by the Recording Academy's National Board of Trustees.

With 10 new titles, the Hall currently totals 1,152 inducted recordings in the GRAMMY Hall Of Fame. Recipients will receive an official certificate from the Recording Academy and GRAMMY Museum.

The full list of past inducted recordings can be viewed here. For sponsorship opportunities, reach out to halloffame@grammymuseum.org. And keep checking GRAMMY.com for more info about the GRAMMY Hall of Fame gala, and beyond!

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The Recording Academy has partnered with leading online learning platform Coursera on GRAMMY GO, a new online initiative to offer classes tailored for music creators and industry professionals.

This partnership empowers the next generation of the music community with practical, up-to-the moment digital content that provides wisdom for both emerging and established members of the industry. Continuing the Academy’s ongoing mission to serve all music people, courses cover a variety of specializations tailored to creative and professional growth. 

GRAMMY GO on Coursera includes courses taught by Recording Academy members, featuring GRAMMY winners and nominees and offers real-life lessons learners can put to work right away.

Starting today, enrollment is open for GRAMMY GO’s first Coursera specialization, "Building Your Audience for Music Professionals," taught by Joey Harris, international music/marketing executive and CEO of Joey Harris Inc. The course features Rock & Roll Hall of Fame inductee and five-time GRAMMY winner Jimmy Jam, 10-time GRAMMY nominee Janelle Monáe and three-time GRAMMY winner and the 2024 GRAMMYs Best New Artist Victoria Monét. This foundational specialization will help participants gain the skills, knowledge and confidence to build a strong brand presence and cultivate a devoted audience within the ever-changing music industry. 

The partnership’s second course, launching later this summer, aims to strengthen the technological and audio skills of a music producer. "Music Production: Crafting An Award-Worthy Song" will be taught by Carolyn Malachi, Howard University professor and GRAMMY nominee, and will include appearances by GRAMMY winner CIRKUT, three-time GRAMMY winner Hit-Boy, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman. Pre-enrollment for "Music Production: Crafting An Award-Worthy Song" opens today.

"Whether it be through a GRAMMY Museum program, GRAMMY Camp or GRAMMY U, the GRAMMY organization is committed to helping music creators flourish, and the Recording Academy is proud to introduce our newest learning platform, GRAMMY GO, in partnership with Coursera," said Panos A. Panay, President of the Recording Academy. "A creator’s growth path is ongoing and these courses have been crafted to provide learners with the essential tools to grow in their professional and creative journeys."

"We are honored to welcome GRAMMY GO, our first entertainment partner, to the Coursera community," said Marni Baker Stein, Chief Content Officer at Coursera. "With these self-paced online specializations, aspiring music professionals all over the world have an incredible opportunity to learn directly from iconic artists and industry experts. Together with GRAMMY GO, we can empower tomorrow's pioneers of the music industry to explore their passion today."

GRAMMY GO also serves as the music community’s newest digital hub for career pathways and editorial content that provides industry insights for members of the industry; visit go.grammy.com for more. For information and enrollment, please visit the landing pages for "Building Your Audience for Music Professionals" and "Music Production: Crafting An Award-Worthy Song."

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As a founding member of the National Recording Preservation Board, the Recording Academy was instrumental in lobbying and getting the board created by Congress. Now, the Library of Congress has added new treasures to the National Recording Registry, preserving masterpieces that have shaped American culture.

The 2024 class not only celebrates modern icons like Green Day’s punk classic Dookie and Biggie Smalls' seminal Ready to Die, but also honors vintage gems like Gene Autry’s "Rudolph, the Red-Nosed Reindeer" and Perry Como’s hits from 1957. These recordings join over 650 titles that constitute the registry — a curated collection housed within the Library’s vast archive of nearly 4 million sound recordings. 

Librarian of Congress Carla Hayden announced these additions as essential pieces of our nation’s audio legacy, each selected for their cultural, historical, or aesthetic importance. This selection process is influenced by public nominations, which hit a record number this year, emphasizing the public's role in preserving audio history.

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"The Library of Congress is proud to preserve the sounds of American history and our diverse culture through the National Recording Registry," Hayden said. "We have selected audio treasures worthy of preservation with our partners this year, including a wide range of music from the past 100 years, as well as comedy. We were thrilled to receive a record number of public nominations, and we welcome the public’s input on what we should preserve next."

The latest selections named to the registry span from 1919 to 1998 and range from the recordings of the all-Black 369th U.S. Infantry Band led by James Reese Europe after World War I, to defining sounds of jazz and bluegrass, and iconic recordings from pop, dance, country, rock, rap, Latin and classical music.

"For the past 21 years the National Recording Preservation Board has provided musical expertise, historical perspective and deep knowledge of recorded sound to assist the Librarian in choosing landmark recordings to be inducted into the Library’s National Recording Registry," said Robbin Ahrold, Chair of the National Recording Preservation Board. "The board again this year is pleased to join the Librarian in highlighting influential works in our diverse sound heritage, as well as helping to spread the word on the National Recording Registry through their own social media and streaming media Campaigns."

Tune in to NPR's "1A" for "The Sounds of America" series, featuring interviews with Hayden and selected artists, to hear stories behind this year’s picks. Stay connected to the conversation about the registry via social media and listen to many of the recordings on your favorite streaming service.

For more details on the National Recording Registry and to explore more about the selections, visit The Library of Congress's official National Recording Registry page.

National Recording Registry, 2024 Selections (chronological order)

1. "Clarinet Marmalade" – Lt. James Reese Europe’s 369th U.S. Infantry Band (1919)

2. "Kauhavan Polkka" – Viola Turpeinen and John Rosendahl (1928)

3. Wisconsin Folksong Collection (1937-1946)

4. "Rose Room" – Benny Goodman Sextet with Charlie Christian (1939)

5. "Rudolph, the Red-Nosed Reindeer" – Gene Autry (1949)

6. "Tennessee Waltz" – Patti Page (1950)

7. "Rocket ‘88’" – Jackie Brenston and His Delta Cats (1951)

8. "Catch a Falling Star" / "Magic Moments" – Perry Como (1957)

9. "Chances Are" – Johnny Mathis (1957)

10. "The Sidewinder" – Lee Morgan (1964)

11. "Surrealistic Pillow" – Jefferson Airplane (1967)

12. "Ain’t No Sunshine" – Bill Withers (1971)

13. "This is a Recording" – Lily Tomlin (1971)

14. "J.D. Crowe & the New South" – J.D. Crowe & the New South (1975)

15. "Arrival" – ABBA (1976)

16. "El Cantante" – Héctor Lavoe (1978)

17. "The Cars" – The Cars (1978)

18. "Parallel Lines" – Blondie (1978)

19. "La-Di-Da-Di" – Doug E. Fresh and Slick Rick (MC Ricky D) (1985)

20. "Don’t Worry, Be Happy" – Bobby McFerrin (1988)

21. "Amor Eterno" – Juan Gabriel (1990)

22. "Pieces of Africa" – Kronos Quartet (1992)

23. Dookie – Green Day (1994)

24. Ready to Die – The Notorious B.I.G. (1994)

25. "Wide Open Spaces" – The Chicks (1998)

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Henry Mancini had a gift for melodies of an ethereal, almost supernatural beauty.  

His prolific discography — albums of jazzy orchestral pop, dozens of film and television soundtracks — established him as a cultural icon and transformed the role that melody and song played in the art of movie narrative. Once you encounter a Henry Mancini tune, it’s almost impossible not to start humming it.

A composer, arranger, conductor and pianist of tireless discipline, Mancini won a staggering 20 GRAMMY Awards and was nominated 72 times. All of his wins — including the first-ever golden gramophone for Album Of The Year at the inaugural 1959 GRAMMYs — will be on display at the GRAMMY Museum to honor his centennial birthday, April 16. 

To mark what would be his centennial birthday, Mancini's children will travel to Abruzzo, Italy — where Mancini’s parents migrated from. And on June 23, the Hollywood Bowl Orchestra will present a program of his music with a gallery of guest stars including singer Monica Mancini, the maestro’s daughter. Out June 21, The Henry Mancini 100th Sessions – Henry Has Company will feature a new recording of "Peter Gunn" conducted by Quincy Jones and featuring John Williams, Herbie Hancock and Arturo Sandoval.

Although Mancini died in 1994 at age 70, his compositions remain timeless and ever-relevant. Read on for 10 essential Henry Mancini compositions to cherish and rediscover.  

"Peter Gunn" (1958)

In 1958, Mancini was looking for work and used his old Universal studio pass to enter the lot and visit the barber shop. It was outside the store that he met writer/director Blake Edwards and got the chance to write the music for a new television show about private detective Peter Gunn. 

Seeped in West Coast Jazz, Mancini’s main theme sounds brash and exciting to this day – its propulsive beat and wailing brass section evoking an aura of cool suspense. The "Peter Gunn" assignment cemented his reputation as a cutting-edge composer, and the accompanying album (The Music From Peter Gunn) won GRAMMYs in the Album Of The Year and Best Arrangement categories.

"Mr. Lucky" (1959)

Half of the "Peter Gunn" fan mail was addressed to Mancini. As a result, CBS offered Blake Edwards a second television show, as long as the composer was part of the package. Edwards created "Mr. Lucky," a stylish series about the owner of a floating casino off the California coast. 

1959 was an exhausting year for Mancini, as he was scoring two shows at the same time on a weekly basis. Still, his music flowed with elegance and ease. The "Mr. Lucky" ambiance allowed him to explore Latin rhythms, and the strings on his wonderful main theme shimmer with a hint of yearning. It won GRAMMY Awards in 1960 for Best Arrangement and Best Performance by an Orchestra.

"Lujon" (1961)

As part of his contract with RCA Victor, Mancini was committed to recording a number of albums featuring original compositions in the same velvety jazz-pop idiom from his television work. "Lujon" is the standout track from Mr. Lucky Goes Latin, a collection of Latin-themed miniatures that luxuriate in a mood of plush languor.

 Inspired by the complex harmonics of French composer Maurice Ravel, "Lujon" steers safely away from lounge exotica thanks to the refined qualities of the melody and arrangement.

"Moon River" (1961)

Performed on a harmonica, the main melody of "Moon River" is nostalgic to the bone, but also life affirming. A majestic string section makes the music swoon, like gliding on air. And the harmonies in the vocal chorus add gravitas — a touch of humanity. 

It took Mancini half an hour to write "Moon River," but the Breakfast at Tiffany’s anthem made him a global superstar. Among the many artists who covered the song, pop crooner Andy Williams turned it into his personal anthem. Mancini won an Academy Award for Best Original Song, and GRAMMY Awards for Record Of The Year, Song Record Of The Year and Best Arrangement. The album soundtrack earned two additional gramophones.

Theme from Hatari! (1962)

After two failed attempts with different composers, legendary director Howard Hawks invited Mancini to write the score for Hatari! — the wildly episodic but oddly endearing safari film he had shot in Tanganyika with John Wayne. Mancini jumped at the opportunity, and Hawks gave him a few boxes from the trip that contained African percussive instruments, a thumb piano and a tape of Masai tribal chants. Two chords from that chant, together with a slightly detuned upright piano formed the basis for the movie’s main theme. 

Mancini’s sparse arrangement and melancholy melody conspired to create one of the most gorgeous themes in the history of film.

"Days of Wine and Roses" (1962)

Throughout the decades, Mancini provided musical accompaniment to Blake Edwards’ filmography, which switched from slapstick comedy to stark melodrama. There is a perverse beauty to the theme of Days of Wine and Roses — a movie about a couple of lifelong alcoholics — as the lush choral arrangement seems to glorify the innocence of better times. 

It won an Academy Award for Best Original Song — Mancini’s second Oscar in a row — and three GRAMMYs: Record Of The Year, Song Of The Year and Best Background Arrangement.

"The Pink Panther Theme" (1963)

Directed by Edwards and starring Peter Sellers as part of an ensemble cast, the original Pink Panther was a frothy caper comedy that had none of the manic touches of comedic genius that Sellers would exhibit in subsequent entries of the franchise. It was Mancini’s ineffable main theme that carried the movie through.

Jazzy and mischievous, Mancini wrote the melody with the light-as-a-feather playing of tenor saxophonist Plas Johnson in mind. It won GRAMMYs in three categories: Best Instrumental Arrangement, Best Instrumental Compositions (Other Than Jazz), and Best Instrumental Performance – Non-Jazz.

Charade (1963)

Mancini’s gift for cosmopolitan tunes and jazzy arrangements found the perfect vehicle in the score for Stanley Donen’s Charade — a droll Hitchcockian thriller shot in Paris and starring Cary Grant and Audrey Hepburn. 

The main theme is a waltz in A minor, and opens with pulsating percussion. When the central melody appears, it evokes a melancholy reflection and a certain thirst for the kind of globetrotting adventure that the film delivers in spades. It was Johnny Mercer’s favorite Mancini melody, and he wrote exquisite lyrics for it. 

The best version probably belongs to jazz singer Johnny Hartman, who released it as the opening track of his 1964 album I Just Dropped By To Say Hello.

Two For The Road (1967)

Friends and family remember Mancini as a humble craftsman who ignored the trappings of fame and focused on the discipline of work. In 1967, after Audrey Hepburn cabled to ask him about writing the music for the Stanley Donen film Two For The Road, Mancini agreed, but was taken aback when the director rejected his initial theme. Leaving his ego aside, he returned to the drawing board and delivered a lovely new melody – and a spiraling piano pattern seeped in old fashioned tenderness.

"Theme from The Molly Maguires" (1970)

Even though Mancini enjoyed most accolades during the ‘60s, his protean level of inspiration never wavered. In 1970, he was brought in to rescue the soundtrack of Martin Ritt’s gritty secret societies drama The Molly Maguires, about Irish-American miners rebelling against their mistreatment in 19th century Pennsylvania. 

The main theme makes time stand still: a sparse arrangement that begins with a solitary harp, until a recorder ushers in a haunting, Irish-inspired melody. The score reflected a more restrained Mancini, but was still intensely emotional.

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