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Wind band performance repertoire at the university level: A survey of collegiate wind band curricula and current repertoire selection processes
Woike, David Otto, Ph.D.
The Ohio State University, 1990
Copyright ©1990 by Woike, David Otto. All rights reserved.
UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106
WIND BAND PQÎFORMANCE REPERTOIRE AT THE UNIVERSITY LEVEL; A SURVEY OF COLLEGIATE WIND BAND CURRICULA AND CURRENT REPERTOIRE SELECTION PROCESSES
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By
David Otto Woike, B.M.E., M.A.
The Ohio State University 1990
Dissertation Committee: Approved By A. Peter Costaoza Craig Kirchhoff Adviser Jon R. Woods School of Music Copyright by David Otto Voike 1990 DEDICATION To my wife, Teresa M. Woike
11 ACKNOWLEDGMENTS
The author of this v o rt vouid like to acknowledge ail those individuals who participated directly or indirectly with this research project. A special note of gratitude is extended to the members of the reading committee. Dr. Jon R. Woods. Professor Craig Kirchhoff, and my adviser Dr. A. Peter Costanza. Their encouragement, advice, and unending moral support throughout the course of this project are deeply appreciated. Special thanks are extended as well to David Scott for his editorial assistance, and to Randy Luikart for his expertise and friendly advice. Finally, a special dept of gratitude is owed to my family: my wife Teresa, for her continued patience, understanding, encouragement, love and support throughout our years of learning and growth: my children Maria and David, for understanding and still smiling: my parents Otto and Elaine Woike, for instilling the desire to learn: and Teresa's parents Sam and Omega Murrell, for being there.
I l l VITA
July 7.1936 ...... Born -H&ffliltoû, Ohio 1979 ...... B.Mf .. The Ohio Slate University, Cc!umbus, Ohio 1979 - 1988 ...... Associate Director, Instrumental Music, Fairfield City Schools, Fairfield, Ohio 1986 ...... M.A. in Music Education, The Ohio State University, Columbus, Ohio 1988 - 1990 ...... Graduate Assistant, School of Music, The Ohio State University, Columbus, Ohio
FIELDS OF STUDY Major Field: Music Education Studies in Music Education. Dr. A. Peter Costanza Studies in Instrumental Conducting. Professor Craig Kirchhoff Studies in Instrumental Music Education. Dr. Jon R. Woods
IV TABLE OFœNTENTS
DEDICATION...... ü ACKNOWLEDGMENTS...... iü VITA...... iv LISTOFTABLES...... vü Chapter I. INTRODUCTION...... 1 Need for the Study ...... 2 Statement of the Problem ...... 3 Purpose of the Study ...... 4 Definition of Terms ...... 6 Limitations...... 7
II. REVIEW OF LITERATURE...... 9 The Collegiate Concert Band and its Literature...... 10 Literature for Public School Instrumental Music Education ...... 16 Summary of Related Literature ...... 22
III. PROCEDURE...... 23 Population and Sample ...... 23 Survey Questionnaire ...... 23 Development of the Survey Questionnaire ...... 27 Procedures ...... 29 Treatment of the Data ...... 29
IV. PRESENTATION OFTHE DATA...... 31 Results from the Survey Questionnaire...... 32 Basic Information from the Collegiate Wind Band Survey ...... 33 Results from the Repertoire Listing Compilation ...... 72 Table of Contents (continued).
V. SUMMARY, CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS...... 75 Summary of the Study ...... 75 Summary of Results ...... 80 Results Pertaining to the Repertoire Oimpilation ...... 88 Conclusions ...... 89 Implications ...... 92 Recommendations ...... 95 Suggestions for the Development of a Collegiate Wind Band Curriculum ...... %
BIBLIOGRAPHY...... 100 APPENDICES...... 103 A. Survey Questionnaire ...... 103 B. Repertoire Listing Suggested Format ...... 117 C Collegiate Survey Cover Letter ...... 119 D. Pilot Survey Evaluation Form ...... 122 E. First Follow-Up Letter ...... 124 F Second Follow-Up Letter ...... 126 G. List of Individuals Included in the Random Sample ...... 128 H. Repertoire Compilation- Alphabetical by Composer's Last Name ...... 131 I. Repertoire Compilation - Alphabetical by Composition Title...... 168 J. Repertoire Compilation - Sorted by Frequency Of Performance and Composer's Last Name ...... 205 E. Addendum to the Repertoire Compilation; Listing of Multiple Editions of Compositions ...... 242
VI LISTOFTABLES
Table 1. Survey Questionnaire Validation Results ...... 28 2. Survey Questionnaire Response Data ...... 32 3. Summary of Enrollment ...... 33 4. Range of Concert Band Enrollments ...... 34 3. Strength of Instructional Program ...... 34 6. Number of Performing Groups ...... 33 7. Number of Ability Levels ...... 36 8. Percentage of Enrollment Placed By Audition ...... 37 9. Frequency of Auditions ...... 37 10. Names of Performing Ensembles ...... 38 11. Time in Rehearsal and Frequency of Performances ...... 39 12. Type of Student Participation ...... 40 13 Music Major Participation ...... 40 14. Program Staffing ...... 41 13. Operating Budget ...... 42 16. Primary Sources of Funding ...... 42 17. Concert Band Program Follows University Curriculum ...... 43 18. Concert Band Program Adherence to Departmental Philosophy ...... 44 19. Concert Band Program Based Upon Instructional Goals and Objectives ...... 43 20. Program Allows for Student Development Of Musical Sensitivity ...... 43
vu List of Tables (continued).
21. Program Allows for Student Development Of Skills to Become Literate Musician ...... 46 22. Students Translate Traditional and Non-Traditional Symbols With Accuracy ...... 47 23 Students Are Exposed to a Wide Variety of Music ...... 47 24. Students Given Opportunity to Explore American Musical Heritage ...... 48 23. Students Develop Understanding of Relationships Between Music and Other Disciplines...... 49 26. Students Develop Awareness of Other Peoples And (hiltures...... 50 27. Students Develop Awareness of Career Opportunities in Music ...... 50 28. Students Develop Sensitivity to Aesthetic Content in Music ...... 51 29. Chosen Music Reflects Current Practices Of Music Composition ...... 52 30. Music Challenging Technically, Interpretatively, And Artistically ...... 53 31. Music Chosen Within Capabilities and Schedule Limitations of Ensembles ...... 53 32. Chosen Literature Balances Interpretative And Technical Demands...... 54 33 Literature Chosen to Raise Consciousness Of Performer and Audience ...... 55 34. Literature Chosen as Growth Experience For Conductor and Student ...... 55 35 Chosen Literature Represents a Wide Range Of Stylistic Periods ...... 56 36. Program Provides for the Study of (k>ntemporary Literature (1950 - Present) ...... 57
viu List of Tables ( continued),
37. Band Music Chosen as Part of Larger Cycle of Literature in a Multi-Year Curriculum...... 37 3S. Prinmry Instructional Objectives Addressed Within the Concert Band Program...... 59 39. Major Factors Contributing to the Selection of Music For Study in the Concert Band Program ...... 60 40. Lack of Concert Band Literature That Is Innovative and New...... 61 41. Polarization Evident in Repertoire Selected for Concert Band Performance ...... 61 42. Standardized Curriculum of Repertoire Accepted and Followed Within the Profession ...... 62 43 Significant Body of Literature Largely Ignored by the Profession ...... 63 44. Concert Band Profession Generally Addresses The Needs of Participating Students ...... 63 45 General Classifications of Wind Band Literature ...... 64 46. Acceptance of Four-Tiered Model for Classification Of Literature at Collegiate Level ...... 65 47. Compositions Chosen to Coincide With Level 1 (University Band) of Proposed Curricular Model ...... 66 48. Compositions Chosen to (ktincide With Level II (Concert Band) of Proposed Curricular Model ...... 67 49. Compositions Chosen to Coincide With Level III (Symphony Band) of Proposed Curricular Model ...... 68 50. Compositions Chosen to Coincide With Level IV (Wind Ensemble) of Proposed Curricular Model ...... 69 51. Most Significant Wind Band Compositions, As Identified by the Respondents ...... 70 52. Twenty MostFrequently Studied/Performed Compositions Between 1985-1989 ...... 74
IX List of Tables (continued).
33 ■ Synopsis of General Classifications of Wind Band Literature...... 87 CHAPTERI INTRODUCTION
One of the fundamental issues which must be continually addressed by conductors and directors of collegiate concert wind band programs is the selection of repertoire for study and performance. Consider the following statements:
"The college or university needs good concert organizations to assist in the genej^ cultural development of its students. The band must provide its share of "appreciation" opportunities for nonmusic students as well as for the music students both in and out of the band. I was not trained as a band leader: consequently. 1 think I am being objective when I describe the band as sometimes the first step in music education and appreciation for many people." (Revelli, 1946) "The [wind band conductor], who for years concentrated his efforts on building bigger and better performance groups and feeder systems to sustain them, has discovered in recent years that he is being held accountable in e d u c a tiv e terms. Consequently, music educators have had to reassess the role of bands, orchestras, and choruses. Without abandoning their quest for quality performance, they are now pursuing the equally important dimension of nurturing aesthetic growth through the development of music knowledge and undersmnding. in addition to skill, as a regular part of the performance class.” (Bessom.Forcucci.&Tatarunis, 1980)
The determination of music for study and performance by the collegiate concert wind band is becoming increasingly complex, and is dependent, in large part, upon the conductor's ability to weigh many and varied contributing factors that might affect a chosen composition's successful inclusion into the program of instruction. Moreover, wind band conductors in particular seem to place some measure of importAace on a balanced comprehensive performance curriculum, as the following quote suggests:
"When a performance program succeeds in being an aesthetic education program; that is. when good music of appropriate complexity is used, when music experience is the major focus of effort, when the clarification of musical content is a natural and necessary part of the learning process, when musical mastery and musical understanding are both being pursued and are so balanced that each strengthens the other, performance can finally be considered to have fulfilled the conditions of excellent education." (Reimer. 1970)
Need for the Study
While there is a substantial body of literature that essentially lists and categorizes concert band works in the form of compilations, very little literature deals specifically with a pre-existing "core repertoire" of standard wind band compositions. Further, there is little evidence to support the idea that the selection of literature for performance is guided by instructional factors such as establishment of minimum student performance competencies, study of compositional devices employed, instrumentation requirements, level of difficulty, appropriateness to the instructional setting, philosophical considerations, and so forth. To this point, there does not appear to exist a consistent and standardized repertoire of wind band works that has gained general acceptance among members of the collegiate wind band conducting profession. It would seem that the repertoire selection process is often governed by the personality, beliefs, knowledge, and skills of the individual conductor. As interest in a general undergraduate liberal arts curriculum increases, wind band conductors are faced with the re-evaluation and updating of the concert band program to fit within the general educational needs of students of instrumental music. It would seem eppropriate that such a re-evaluation include both an analysis of the current p«"actices in repertoire selection, and those curricular considerations that may be employed in the selection process. A study is needed to survey university wind band conductors to determine present practices in the area of the selection of repertoire for study. To determine whether a core repertoire” of generally accepted compositions exists within the collegiate wind band genre, it would be useful to generate a listing of works studied and performed over a period of at least four years. An examination and comparison of the present practices of repertoire selection and the actual compositions studied across the survey sample would seem valuable as well. Research data is needed to formulate a commonly endorsed undergraduate wind band curriculum designed to address the educational needs of the undergraduate student of music.
Statement of the Problem
An underlying assumption of this study is that the college band conducting profession represents a rich and diversified assemblage of beliefs and philosophies about music-making and music education. This diversity manifests itself in the selection of repertoire for wind band performance. The specific educational mission of schools, the competencies of students, personal beliefs about choosing repertoire for performance, and numerous other factors determine the performance curriculum that undergraduate students experience through participation in instrumental ensembles. The problem thus becomes one of reconciling current practices of repertoire selection with those practices that would be articulated by a carefully planned cyclical and curricular model. Results from a survey of university wind band conductors and their beliefs regarding repertoire selection need to be compared with a compilation of actual vorks performed over a given period of time. Data gathered from these two phases of the study could reveal strengths and weaknesses in the current repertoire selection process, while helping to establish guidelines for a more formalized and professionally accepted curricular model.
Purpose of the Studv
The purpose of the research was to: (1) survey university wind band conductors to determine present practices in the area of the selection of repertoire for study, (2) to generate a listing of works studied and performed over a period of at least four years at the participating institutions, (3) examine and compare the present practices of repertoire selection and the actual compositions studied across the survey sample, and (4) based on data gathered both through the survey questionnaire and the repertoire listing, to suggest a commonly endorsed undergraduate wind band curriculum designed to address the educational needs of the undergraduate student of music. One portion of this study, then, represents a compilation of wind band works performed at the selected colleges and universities during a four-year time qian. The resultant list will be arranged both by composer and title for ease of later analysis and cross-referencing. It is worth considering that this listing may not of itself necessarily constitute a "core curriculum;" frequency of performance may not be indicative of a work's appropriateness for study as much as it reflects the personality of the person or persons programming it. To be sure, it is important to know v h â is t being played, but it is equally important to know w h y it is being played. To accomplish this, the other portion of this study was a survey instrument targeting collegiate wind band conductors and designed to address pertinent issues including the following: 1. Factors considered in the selection of repertoire for performance, such as: a. Composer. b. Level of difficulty, c. Instrumentation. d. Compositional devices employed, and e. Appropriateness to the chosen curriculum; 2. Methotk of compositional analysis; 3 Philosophical considerations; 4. Establishing minimum student performance competencies; 3. Establishing a suggested repertoire for performance; 6. Correlation between the suggested repertoire list and actual performed repertoire as generated in the first portion of the study. While the questionnaire deals with many issues, the study was specifically designed to answer the following research questions: 1. What are the primary factors that contribute to the selection of repertoire for study in collegiate wind band programs? 2 What are the major instructional objectives addressed within the collegiate wind band programs of instruction? 3 Is there a standardized curriculum of repertoire that is generally accepted and followed among the members of the wind band conducting profession? 4. Is the collegiate wind band program generally addressing the needs of the undergraduate student of instrumental music? 3. What demographics are associated with the collegiate wind band program, such as: how many students are currently participating in the band program; how many different group ability levels are represented; how are participating students placed within the program; what is the total undergraduate and graduate enrollment within the university; how many hours does each group within the program spend in rehearsal; what is the percentage of both undergraduate and graduate-level participation within the program; how many performances are given by each group within the program during the course of a single academic year; what are the primary sources of funding for the program; how many faculty and staff members are employed within the program; how many students participating are music majors; and how many students participating are non-music majors? 6. Does the collegiate wind band program of instruction follow a university- or school-approved curriculum or course of study? 7. Does the collegiate wind band program reflect a clearly defined departmental instructional philosophy?
Definition nfTerms
The following terms are defined to reflect their use and relevance in this study:
Core (or Standardized) Repertoire. A body of band performance literature generally accepted among members of the band conducting profession to be the basis for ensemble study.
Concert Wind Band (Concert Band or Wind Band). An instrumental music ensemble comprised of brass, woodwind, and percussion instruments, in which specific instrumentation is often determined by the repertoire elected for performance. Reoertûife Selection. The process through which wind band conductors choose
music for inclusion in the concert wind band program of instruction. Factors may include level of difficulty, compositional devices employed, appropriateness to the program, philosophical considerations, and so forth.
Programs Surveved. A proportional sample randomly selected from the College Band Directors National Association membership-at-large within the United States.
Curriculum. An instructional program comprising a series of required courses addressing the educational needs of the defined student population.
Limitations
The current study concerns the selection of repertoire for study and performance within the college or university wind band program of instruction. The following limitations are acknowledged as part of the conceptual framework which guide the study: 1 The study sample of college wind band programs was limited to those programs which have as their principal conductors (or directors of bands) members of the College Band Directors National Association. 2 The survey instrument does not consider such factors as age of the director, years of experience of the director, or his prior education. 8
3- It is assumed that all responses are honest, and that the descriptions and responses given regarding specific programs are a meaningful representation of individual views. CHAPTER II REVIEW OF LITERATURE
A review of literature pertaining to the selection of repertoire on the basis of curricular considerations such as instructional objectives, study of compositional techniques, establishing minimum student performance competencies, and so forth at the collegiate level produced few useful sources. Literature reporting analyses of famous concert band works, listings of the same, and conductors' preparatory guides is somewhat more abundant and does provide some useful insight as to some of the repertoire that is being performed at the level under investigation. There does not appear, however, to be a standardized "core curriculum" of literature having gained wide acceptance purely for its contribution to the general education of the undergraduate student of music. There does exist, however, substantial information regarding the selection of music for study in the secondary public schools, particularly at the high school level. It is interesting to note that most of this literature revealed a genuine concern for a standardized curriculum within the profession, often producing curricular models and literature lists that have as their central goal the aesthetic education of the high school student. It is surprising to note that virtually no references specifically addressing the concert band literature at the collegiate level reveal the same type of carefhl planning on the basis of pure curricular considerations, other than the selection of repertoire for performance on the basis of "uniqueness," and global acceptance as "standard" compositions. 10
This revi«vof iiteraUire is organized, therefore, into tvo broad categories. <1) literature focusing specifically on the collegiate concert band and its literature, and (2) the current methods of repertoire selection for study in the public schools.
The Collegiate Concert Band and Its literature
The concern for "quality" repertoire has been in existence for some time vithin the college band profession. As early as 1930, the College Band Directors National Association (CBDNA) shifted its focus from the pure quantitative listing of compositions in print to the conductor's responsibility of becoming more selective as well as reaching for higher musical standards of performance. The proceedings of the 1930 CBDNA conference included a "Bibliography of Recorded Band Music," which listed 603 items and is summarized as follows:
Quickstep marches 61 percent Serious music (a general category that includes all works designated as overture, suite, tone poem, etc.) 16 percent Patriotic music 6 percent Concert marches 3 percent Folk music (straightforward treatment of folk melodies without any developmental treatment) 4 percent Novelties 3 percent Waltzes (other than ^mphonic works, ensembles and solos wiUt band accompaniment, de scriptive works, opera selections, fan fares) 3 percent (Whitwell&Qstling. 1977)
College band directors began to concern themselves more with the quality of their literature, causing a tendency to focus upon the publishers as the primary agents responsible for an overabundance of literature of "doubtAtl value." Conversely, the publishers argued that music educators did not have sufficient 11 experience with iiteiuture of high quality to take the lead in insisting upon its use in schools. (Whitwell &Ostling, 1977) Revelli (1946) states that the university or college concert band exists primarily for its students, and next as a concert organization representing the entire institution in the concert field, performing "artistically" for the student body and patrons of the university. The author further expresses the importance of the relationship of the concert performing organization to the school or department of music, stating that the band has an especially significant role to play in assisting the undergraduate music major by offering opportunities for concert ensemble experience. Revelli continues, however, to state that in order for the collegiate concert band to meet its goal in the training of undergraduate students, band leaders in colleges and universities must devise means of motivating composers to produce masterpieces of original music. Fennell (1947) echoes this sentiment to some extent, offering that the musical betterment of college bands rests upon the shoulders of the men who conduct them. It is up to the college band director himself to bring about more widespread acceptance of the band as a medium of serious musical expression, accomplishing same by thorough preparation, presenting literature of the highest available caliber, and by being a better musical leader to those who play in the college bands. Fitzgerald (1949) postures that college and university bands must assume responsibility for developing the concert band repertory, stating that professional bands are virtually non-existent, and that high school bands usually lack either the resources or musical maturity to accomplish the task. The author laments the observed lack of explosive development of quality literature for performance, stating that the band has been handicapped to some extent by inadequate original repertory. 12
As above, he echoes the seatimenl that the band director must adopt a more aggressive stance and willingness to experiment with scoring, new color effects, and so on, that the music may receive the most favorable performance possible. Fitzgerald goes on to state, however, that the ultimate goal in the study of repertoire is a careful blending of both old and new music, as opposed to the complete abandonment of one in favor of the other. Though this might suggest the laborious sifting of much musical material, the process is absolutely necessary if the concert band is to be regarded as a respected medium of expression rather than a miscellaneous group of wind instrumentalists attempting to perform the repertoire. Fennell (1932) again points to the leadership of the college concert band medium, offering that "conducting is the greatest responsibility to be held by a single person in the whole field of musical art Conducting is rehearsing, for it is in the rehearsal that we must endeavor to achieve the complete artistic experience that is the honest performance of good music." Further, "rehearsals should be the laboratory in which a student's lectures and exercises in the theory and structure of music are confirmed in living performances." It is with this reference that a genuine concern for the educational development of the participating student finally appears to emerge. Bryan (1967) questions whether a body of literature, developed over the previous twenty-five years, is beginning to emerge that is worthy of inclusion within the repertoire of the college concert band. Again, the focus shifts to the responsibility of the band conductor, as he endeavors to balance the many mitigating pressures in the construction of a repertory for band performance. Interestingly, the concern for providing "worthy" literature on the basis of the musical development of the collegiate band students again emerges, but remains largely 13 undeveloped, as the author continues to focus primarily upon the need for increased emphasis for new and innovative compositions written specifically for the band medium. Vagner (1967) concurs, stating that band conductors have already helped create a healthy environment for the acceptance of the new in music, offering that there must be a continued willingness for experimentation within the medium. The author points as well to a need to remove the constraints of instrumentation to offer the composer freedom from the "static imitation of the nineteenth-century symphony orchestra." Whitwell (1967) maintains that there exists a large body of literature of the eighteenth- and nineteenth-centuries for large wind ensemble or wind band that has remained largely untouched to the present. The author offers that the wind band has little to gain from a largely "borrowed" repertoire; instead, further growth in the repertory of the wind band should be primarily grounded within the framework of a two-century-old tradition. Giving old works new performances is offered as a means to describing new works according to how they reflect or break old traditions. Schaefer (1967) believes that the modem band's literature is drawn from original compositions of the twentieth century, both published and unpublished: from original music of the past, much of it yet to be uncovered and made available; and from transcriptions from other media. The author continues by offering the following "self-evident truths":
1. All music performed in concerts should be musically worthwhile; 2. It should fit the group performing it; 3 Music should not be repeated during a student's continuing participation in a school organization; 4. Commercial music does not belong in the context of a serious concert; 14 3- Though the audience is important, those the conductor faces vhile conducting are much more so.
Hunsberger (1983). m offering an outline for programming music for performance, follows the above reasoning to some degree, vhile further offering that program decisions are a direct, personal reflection of each conductor's response to æveral questions, concerning:
1. The ensemble's literature. Does the quality and artistic level of the music programmed reflect the ever-changing current practices of music composition? 2. The ensemble's personnel. Does the programming challenge the performers' technique, interpretative capabilities, and capacity for artistic involvement? Is the music in the capability of the ensemble, vithin the limits of a practical rehearsal schedule? Does it balance interpretive and technical demands? 3 The audience. Will the programming raise the musical consciousness of the listeners or merely reflect the most accessible common denominator of popular art? Is most of the program intellectually vithin reach of most of the audience? 4. The conductor's ovn abilities and potential. Does the program include some element of composition or performance practice not yet attempted in previous programs? Is each program a growth experience for the conductor's musical comprehension as well as conducting skills? (Hunsberger, 1983)
That the desire may exist vithin the profession for a stan^rdized curriculum of band literature is perhaps best illustrated in this author's ovn 1987 study of college and university concert wind band programs vithin the Big Ten Conference, vhich revealed that a relatively small number of vorks vere performed vith cyclical regularity. In addition, the study reported that:
1 A total of 1.390 different vorks vere listed as having been performed in the Big Ten conference schools between the 1983-84 and 1986-87 academic years. 2. All pieces listed represented 2,749 individual performances. 3 The ten most performed vorks in the conference schools, listed by frequency of performance, vere as follows: 13 15 - Flrsi sulie in E-Fiai (nolsi) 16 - Second Suite in F (Holst) 13 - Festive Overture, Op. % (Shostakovich/Hunsberger) 13 - Irish Tune from County Derry (Grainger) 14 - English Folk Song Suite (Vaughan Williams) 14 - Incantation and Dance (Chance) 13 - His Honor March (Fillmore/Fennell) 13 - Suite of Old American Dances (Bennett) 12 - Four Scottish Dances. Op. 39 (Arnold/Paynter) 4. Only one composition vas performed at all schools in the conference during the four-year period under investigation: Incantation and Dance (John Barnes Chance). (Woike, 1987)
A similar study completed at the University of Colorado in 1988. and highlighting eight collegiate vind band programs during the same period of time as the study listed above, farther categorized submitted vorks in one of tvo categories: Symphonic Band/Wind Ensemble Repertoire and Marches. The study reported that:
1. 1.990 entries vere entered in the symphonic band/vind ensemble category, reflecting 422 composers and 90S individual vorks. 2. The ten most performed vorks in the participating schools, listed by frequency of performance, vere as foHovs: 21 - First Suite in E-Flat (Holst) 18 - Second Suite in F (Holst) 14 - English Folk Song Suite (Vaughan Williams) 14 - Irish Tune from County Derry (Grainger) 14 - Lincolnshire Posy (Grainger) 13 - Serenade in E-Flat. ()p. 7 (Strauss) 13 - Serenade. ()p. 44 (Dvorak) 13 - Suite Française (Milhaud) 12 - Sinfonietta (Dahl) 12 - Suite in B-Flat. Op. 4 (Strauss) 3 Tvo vorks vere performed during the period of the study at all participating schools: Sinfonietta (Ingolf Dahl) George Washington Bridge (William Schuman) 4. In the "Marches" category, 261 entries vere performed, comprising 113 different marches by 49 composers. The ten most performed marches, in order of frequency of performance, vere: 16
12 - His Honor (Fillmore) 11 - Americans We (Fillmore) 9 - March from Symphonic Meiamorphosis (Hindemith) g - Commando March (Barber) 7 - Manhattan Beach (Sousa) 7 - Florentiner March (Fucik) 7 - Marches des Parachutistes Beiges (Leemans) 6 - (Children s March (Grainger) 6 - Country Band March (Ives) 6 - Stars and Stripes Forever (Sousa) 5. Tvo pieces of "long respected notoriety" did not figure prominently in the compilation: Theme and Variations. Op. 43a (Arnold Schoenberg) Hill Song No. 2 (Percy Grainger)
Clearly the literature focusing upon the collegiate concert vind band repertoire is largely performance-oriented: compilations of vorks performed (as listed above), hovever. point to a groving concern on the part of the leaders vithin the profession to better understand the selection process of repertoire for study and performance. In general, then, it could be stated that the idea of a curricular-based method of selection remains largely undeveloped at the present time.
Literature for Public School Instrumental Music Education
In contrast to the above, current trends in the field of public school instrumental music education have clearly been influenced by recent parallel developments in general education. Discussion of topical issues such as instructional objectives, teaching/learning strategies, flexibility of scheduling, and so forth are found in numerous trade journals and books. As a vhole. music educators have also created unique methods of instruction, including comprehensive musicianship, aesthetic education, spiral curriculum, and so on in reaction to the relative proliferation of research and experimentation in the field. Projects such as the Contemporary Music Project. Havaii Music Curriculum Project, and Manhattanville 17
Mueic Curriculum Program have developed as a result of government, university, and foundation-sponsored research. (Mark, 197S) The effects of research and experimentation in music education are evident in a number of progressive school music programs throughout the country. Many secondary schools located in the larger metropolitan areas are likely to offer courses in music theory, history, and the humanities as a regular part of the curriculum in addition to band, orchestra, and chorus. In addition, some secondary schools offer instruction in class piano, guitar, conducting, and private lessons in regularly scheduled and credited courses. There appears to be a general trend tovard offering a vider variety of music courses to a broader group of students. (Mercer, 1970) Kohut (1973) argues, hovever, that music as an art continues to receive minimal attention, particularly in schools vhere it exists largely for its entertainment and public relations values. The author further points to programs vhere top quality performance as an objective seems to supersede the nobler objective of aesthetic appreciation, stating that, "Performing a piece of music veil does not in itself insure aesthetic appreciation or understanding." (Kohut, 1973) Clearly defined goals and objectives are important for the success of the instrumental music program: Kohut suggests that instrumental music educators exercise care in recognizing the unique strengths and limitations of the performance medium in meeting the objectives of aesthetic education. Formulation of objectives, establishing minimum standards, curriculum design, testing and evaluation - all of these and other related topics are important to a successful program of instruction (Kohut, 1973) Garner, Haines, and Middleton (19S6) closely parallel the above, stating that although every band program has its ovn identity, set of goals, and objectives (vhich IS may uniquely reflect particular circumstances), most exemplary programs vill include a basic set of objectives that are common to any effective music curriculum. These are:
Performance SÈi/Js-Svaûetiis should develop the skills of performance to their maximum vithin the level of existing talent, maturity, and musical understanding-in solo and in small and large ensemble participation. Concepts - Students should recognize musical symbols and knov the meaning of meter, rhythm, melody, harmony, tonality, structure, style, timbre, phrasing, balance, blend, intonation, dynamics, and related interpretive factors as veil as the various conducting patterns and proper ensemble reaction to music direction by the conductor. Rhytbmic Vocâàu/sjy-Svaûeats should learn and be able to verbalize all simple- and compound-meter rhythm patterns vith a systematic oral rhythmic vocabulary. SeJf-Actus/ization -Students should enjoy and gain personal satisfaction from instrumental music experiences. Repetioire — A groving body of music materials should be provided for increasing requirements of psychomotor skills, cognitive elements, and affective avareness compatible vith individual maturity, capacities, and experiences. Basic Musicianship Students - should have opportunities, and teacher encouragement, for at least a modest exploration of music history as veil as personal application of music theory in performance and creativity. (GÛ*tter. et al.. 1986)
It is evident that a great deal of the literature proposes that the primary objective of the study of any instrument is the development of musical sensitivity; the comprehension and application of musical concepts in performance vill lead tovard genuine musical aesthetic experiences. Bessom. Forcucci. and Tatarunis (1980) echo this sentiment, stating that the primary goal of [instrumental] music education is th e tteveiopment o f the sensitivity o f each person to the aesthetic content o f music. (Bessom. et al.. 1980) The authors continue by defining aesthetic sensitivity as "the ability to perceive and understand the components of an artvork. the handling of 19 those compottents by the artist (composer), and the interrelationships among them. It does not matter whether the person's response is positive or negative, whether he finds them enjoyable or displeasing, appreciates them highly or little, values them or not; nor does it matter whether the response is primarily emotional, intellectual, or physical. Possessing aesthetic sensitivity is being fully aware of the expression inherent in an aesthetic product (through processes of recognizing, identifying, distinguishing, and relating); and while it is the basis for personal reaction, judgment, and value, it is clearly distinct from these factors. Buggert and Fowler (1973) write that appreciation is a by-product of understanding. Conceivably, disliking a piece of music might be as natural a result of understanding as learning to enjoy it. Once the student understands the music he listens to, he will acquire his own set of appreciations. The musical art should be accessible in all its forms, although the choices people make within that selection are personal choices. Any effort at the development of musical sensitivity will be wasted unless students have intimate contact with good musicians (educators) and music (literature) of high quality, (jood musicianship can hardly foe developed through rehearsing and performing poor quality, synthetic music. Nor can it foe developed by performing in groups which fail to achieve a high level of musical expressiveness in performance. (Kohut. 1973) The instrumental music educator has the responsibility not only of being an accomplished musician himself, but also of possessing an in-depth knowledge of the broad spectrum of musical repertoire available to his chosen performance idiom. The importance of this knowledge cannot foe minimized. Copland (1959) holds that "Reverence for the classics in our time has been turned into a form of discrimination against all other music." Such discrimination often manifests itself 20 through the use of music in schools that has been identified as good" by a single group of experts, or music that has withstood the leveling of time. That Beethoven. Monteverdi. Bach, and others wrote for their respective contemporary audiences cannot be denied; the artists were not necessarily motivated to compose their music for some future audience. This holds as well for today's composers, who are seeking recognition for their music within their lifetimes, not at some uncertain point in the future. R eali^on by the teacher that music exists in many different styles, idioms, and so forth will aid in the contribution of that music to the fulfillment of the varied needs of the people in a complex and changing society. The serious music educator must recognize the full scope of music and prepare himself for a broad involvement in it. (Bessom, e tal.. 1980) Participants in the Tanglewood Symposium on music in today's society, organized by the Music Educators National Conference in 1967. recognized the necessity of freeing music education from its traditionally narrow approach, wherein young people have been presented with only those aesthetic values that were related to nineteenth-century tastes. The Tanglewood Declaration recommended that the program of music education include:
Music of ail periods, styles, forms, and cultures. . . The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teenage music and avant-garde music. American folk music, and the music of other cultures. (Britton. Broido. U Gary. 1968)
The music teacher should accept the reality and values of current popular music; it should be recognized as a strong influence upon the development of the music tastes of young people. Additionally, he must accept the existence and values of other types of music - values that do not necessarily exist only for exclusive groups of 21 music consumers. With proper understanding, a person can enjoy the best of Jazz along vith Bach, the best of theatre music along vith string quartets, and so forth. Cosmopolitan taste is a desirable goal of music education if students (and music teachers) are to participate in the totality of music expression for the fullness of aesthetic enjoyment. (Bessom, etal., 19S0) This does not suppose the abandonment of traditional values; it suggests only that the diverse musical heritage - both past and present - be placed in proper perspective as it relates to man. For man to fully participate in the music of his time, the music teacher must face the problem of providing the folloving experiences:
1. familiarity vith contemporary music techniques involved in atonal music, electronic music, and aleatoric music; 2. experiences vith music of other cultures and civilizations, such as the musics of Africa, Asia, the Orient, and the American Indian; 3. avareness of the full stream of popular music from rock to Broadvay; 4. understanding of the vide range of styles in the fields of blues and jazz; and 5 acquaintance vith the vast repertoire of American folk music. (Bessom, etal.. 1980)
It becomes increasingly evident that ongoing curricular development in general public education has dictated to some degree «imil
Summary of Belated literature
A reviev of the related literature points to an interesting issue in existence today; there appears to be a groving concern among members of the collegiate concert band profession that there is a need for the development of a standardized body of literature that is based upon an appropriate curricular model. Such a model, as the best of the public secondary school curricula often reflect, highlight the unique artistic and technical developmental needs of the individual student first, rather than promoting a situation vhere the repertoire selected dictates the curriculum foUoved. There is increasing interest on the part of many vithin the profession for the development of a standardized core vind band curriculum that vould have as its central tenets those objectives best suited to the undergraduate education of the student of music. CHAPTER III PROCEDURE
Population and Saunnle
The population chosen for this study vas composed of a stratified proportional sample, by geographic region, of 30 directors and conductors of college and university vind band programs vho vere affiliate members of the College &tnd Directors National Association. These participants, identified as "directors of bands," vere randomly selected from each of the six regions represented in the 712 CBDNÂ members-at-large. The number of participants chosen from any of the six regions vas proportional to each region's individual representation vithin the total national membership.
Survey Ouestioanaire
The data-gathering process required a tvo-part survey questionnaire; the first part vas an instrument entitled the Collegiate Wind Band Curriculum and Repertoire Survey (see Appendix A). This instrument consisted of fifty-tvo questions, some of vhich contained multiple-response options. The first tventy questions, in short ansver form, dealt vith program demographics, in an effort to establish the circumstances and conditions having a potential effect on the repertoire selection process. These questions ascertained total undergraduate and graduate enrollment at
23 24 the college or university, total student enrollment vithin the school, college, or department of music, the number of students involved in the band program, the number of performing vind bands (in their various settings), and the number of different group ability levels that vere represented by the department of music. Further questions in this section focused specifically upon other factors such as: the percentage of students placed by audition, the frequency of auditions, the number of hours of rehearsal per veek available to each ensemble, the total number of performances per group per year, the percentage of graduate student participation in the program, and the recognized strength of the institution (e.g.. music education, performance, and so forth). The remaining questions dealing vith program demographics ascertained the percentage enrollment of music and non-music majors, percentage of music education and performance majors, the number of full-time faculty, part-time faculty, and graduate assistants that are employed vithin the program, the estimated total operating budget of the program, the percentage of the budget on nev music and maintenance of the existing band music library, and the primary sources of landing for the instrumental music program vithin the institution. Curricular considerations vere addressed in questions 21 through 32. and a five- point Likert scale (SA-Strongly Agree. A-Agree. U-Undecided. D-Disagree. and SD-Strongly Disagree), vas employed to assess the degree to vhich the respondent felt the statements applied to his ovn vind band program. Topics covered included: adherence to a university approved curriculum, adherence to departmental philosophy, employment of instructional goals and objectives, the development of student sensitivity to music, enhancement of student performance skills, development of student abilities to translate traditional and non-traditional symbols into musical sounds, exposure to a variety of music, opportunities to explore the 25
American musical heritage and inter-cultural relationships and disciplines, exploration of career opportunities in music, and the development of aesthetic sensitivity *n music. Questions 33 through 41, again employing a Likert scale (SA-Strongly Agree. A-Agree, U-Undecided, D-Disagree, and SD-Strongly Disagree), addressed those issues associated vith the selection of musical repertoire for study and performance by the collegiate vind band. These items determined if literature chosen vas reflective of evolving practices of music composition, vhether literature challenged performers' technique, interpretative capabilities, and capacity for artistic involvement, and vhether the music chosen lay vithin the capabilities of the ensembles for vhich it vas indeed chosen. Additionally, this section assessed vhether the chosen literature balanced interpretative and technical demands, attempted to raise the musical consciousness of both performer and listener, and represented a vide range of stylistic periods of composition. Final questions regarding repertoire selection determined the degree to vhich music chosen for study reflected literature that vas a "grovth experience" for both the conductor and the student, if the yearly concert program provided for the study of contemporary literature, and vhether the music chosen for study represented a larger cycle of literature. The remaining questions on the Collegiate Wind Band Curriculum and Repertoire Survey addressed more general considerations including the primary instructional objectives of the vind band program, the five major contributing factors in the selection of music for study, the respondent's perception of the development of nev and innovative vind band literature, the perceived divergence of beliefs in the selection of repertoire, the acceptance of a standardized vind band curriculum, the existence or non-existence of a significant body of literature vithin the profession, the success of the vind band program in addressing the needs of the 26 undergraduate students, and the general classifications assigned to vind band literature. Question 50 presented a vind band curricular model that is delineated at the collegiate level by degree of difficulty, vhile determining the overall level of agreement vith the proposed model. Question 51 identified a number of specific vind band vorks categorized by the levels preferred in question 50. vhile the respondent vas alloved the freedom to identify his choices for the ten most significant vind band compositions, regardless of level, in question 52. The second and concluding portion of the survey involved the compilation on the part of the participants a listing of the vind band literature studied at their respective institutions during the course of the past four academic years. A suggested format vas provided (see Appendix B). vith instructions stating that the compilation of performed vorks could be submitted either in the suggested format, or in a form most convenient to the respondent. For the purposes of data comparison, such information as composer and title of composition, publisher, year of publication, year of performance, and the performing ensemble vas requested in order to aid data analysis. Though the sample format for this listing vas provided to the respondents, many college band programs maintain records of such information that vas accepted in any format. It vas felt that this approach also helped to insure greater response by the sample population. A cover letter (Appendix C) accompanying the survey questionnaire provided an explanation of the purpose and use of the data to be gathered. The questionnaire vas designed to be easily read and completed, requiring a minimal amount of vriting by the respondents. Many of the questions required only a short vritten ansver. or circling an appropriate response from a set of choices. The survey-questionnaire vas designed to be completed in approximately 45 minutes. The 27
rationale for the design of the questionnaire in this fashion was to make completion of both portions of the instrument as easy and efficient as possible, thus helping to insure a greater reply by the sample population.
Development of the Survey Questionnaire
A draft of the survey questionnaire was examined by three faculty members with wind band experience in the School of Music at The Ohio State University. The professors were asked to read and evaluate the questionnaires. Suggestions for improvement were given, resulting in subsequent adjustments within the primary instrument of measurement. The effectiveness of the questionnaire was also tested by obtaining evaluations and comments from eight college band directors selected on the basis of their reputations as outstanding ensemble conductors, musicians, and educators (see Appendix D). These professionals were asked to evaluate the instrument of measurement on the following factors: (1) length of time needed to complete the questionnaire, (2) content clarity - do the questions seem clear and unambiguous? (3) response clarity - do the choices given as possible answers to the questions seem clear and logical? (4) form and design - are the questions and responses arranged in an easy to follow sequence? (5) overall rating - the respondents were asked to give a rating of one to five based on their reaction to the entire survey instrument, with one being the lowest possible rating and five being the highest. Finally, the respondents were asked to comment on any portion of the questionnaire which was felt to be in need of revision. Comments from the evaluators were used to revise the questionnaire for the main study. 28
As can be seen in table 1, the questionnaire was given a mean overall rating of 4.123 on the one to five Likert scale, with "1" equaling a low overall rating, and "3" indicating a high rating. The mean time of completion of the questionnaire was 47:30. On the issue of ambiguity and clarity, 100% felt positive, while two respondents expressed minor reservations with the wording of several questions. Concerning the issue of clear and logical answer choices 100% felt positive; in this case, one respondent indicated reservations by writing the word "mostly" next to that question on the evaluation sheet. The sequencing of questions rated 100% positive by all evaluators.
Table 1 Survey Questionnaire Validation Results
Validation X Question 1 (time) 47ÜÔ 2 (clarity) 100.0% Yes 3 (sequence) 100.0% Yes 4 (design) 100.0% Yes 5 (overall) 4.125
Based on the results of the validation procedure, the questionnaire was determined to be an acceptable instrument for the collection of data for this study. Comments provided by the evaluators were used to clarify the meanings of several questions. The revised questionnaire was then finalized and prepared for the main study. 29
Procedures
The Collegiate Wind Band Curriculum and Repertoire Survey was mailed to the director of each college band program included in the sample. As a matter of courtesy, and at their own request, the evaluators of the original survey questionnaire were added to the survey mailing, bringing the total mailing to packets. Â cover letter explaining the purpose of the study and intended use of the data, as well as completion and return dates, accompanied the questionnaire A self- addressed stamped return envelope was provided with each survey packet. All packets were mailed via the United States Postal Service to each director of bands in the sample population. Each respondent was asked to return the completed questionnaire within three weeks of the date received; a reminder letter (see Appendix £) was mailed to all participants two weeks later. A second survey packet and updated cover letter (see Appendix F) was mailed to each of the non-respondents one and one-half weeks after the original deadline, with a request to return the completed questionnaire within two weeks of receipt. A reminder letter was mailed to the original non-respondents one week later. Also in the one week prior to the final survey deadline, all non-respondents were contacted by phone directly, or through an associate, and encouraged to continue participation in the project.
Treatment of the Data
As completed questionnaires were received, each was assigned a code number. Data from each of the questionnaires was tabulated and recorded, while the data from the repertoire listing was recorded into a master compilation. 30
Responses from the questionnaires vere treated individually generating means, frequencies, and percentages, vhile responses from the repertoire listing vere tabulated to determine frequency of performance for each composition listed. CHAPTER IV PRESENTATION OFTHE DATA
The purpose of the research vas to: (1) survey university wind band conductors to determine present practices in the area of the selection of repertoire for study, (2) to generate a listing of works studied and performed over a period of at least four years at the participating institutions, (3) examine and compare the present practices of repertoire selection and the actual compositions studied across the survey sample, and (4) based on data gathered both through the survey questionnaire and the repertoire listing, to suggest a commonly endorsed undergraduate wind band curriculum designed to address the educational needs of the undergraduate student of music.
31 32
This chapter is organized into tvo sections representing data from the folloving sources: (1) the information gathered from the Collegiate Wind Band Curriculum and Repertoire Survey, and (2) the Composite Listing of Repertoire, based upon the responses of the participating collegiate vind band conductors. It is vorth noting that in the presentation of data, all percentages vill be carried to one place beyond the decimal; as a result of this rounding, total percentages may exceed 100%.
Results from the Survey Questionnaire
The data in this section vere obtained from administration of a survey questionnaire to a random sample of 30 members of the College Band Directors National Association; the eight evaluators of the original survey questionnaire vere also invited to participate in the final study, as a matter of courtesy and at their ovn request. Sixty-eight percent (N-26) of the total sample responded by completing and returning the survey before the final deadline (see Table 2).
Table 2 Survey Questionnaire Response Data
Sample Response (10 Response (%) Conductors 38 26 68.4%
A list of the colleges and universitites represented in the random sample is presented in Appendix G, vith vind band conductors' names indicated alphabetically. 33
Basic Information from the Collegiate Wifld Band Survey
Table 3 presents a summary of the mean and range of the enrollment figures for the participating Institutions, vhich vere addressed in items 1 through 3 of the survey questionnaire.
Table 3 SyjnffiapLPl Enrollmeat X Range Student Enrollment Undergraduate 11.75328 from 417 to 50.000 Graduate 2.101.00 from 25 to 10.000 Departmental 189.75 from 10 to 650 Concert Band Program 110.65 from 25 to 400
From this table it can be seen that the mean undergraduate enrollment across the survey sample vas 11.75328. vhile the mean graduate enrollment vas 2.101.00. Departmental enrollment shoved a mean of 189.75. vhile concert band program enrollment revealed a mean of 110.65. As can also be observed from the above table, the range of the actutd undergraduate enrollment figures vas 49.583. the graduate 9.975. departmental 640, and concert band program 375. Table 4 liste the number of institutions that fell into specific ranges of concert band enrollment, ss identified in question 3 34
Table 4
Range of Concert Band Enroilmenis Institutions (jN) Institutions Concert Band Enrollment Ranges 0-99 17 65.4% 100-199 5 192% 200-299 2 7.7% 300-399 0 0.0% 400+ 2 7.7%
It can be seen from the above table that 65 4% of the responding institutions reflected concert band enrollment figures in a range of 0 to 99. vhile 192% fell in the 100 to 199 range. Further. 7.7% of the institutions actually appeared in tvo separate ranges, at 200 to 299. and 400 and above. No institutions vere found to have enrollment vithin the 300 to 399 range. Table 5 identifies the respondents' replies to question 4 from the survey:
"In your estimation, vhat is the strongest aspect of your school, college, or department of music? (Performance. Music Education. Liberal Arts. Other)"
Tables Str^agth.of ÏBstryçUpnal Program Institutions (N) Institutions Program Music Performance 3.33 13.9% Music Education 12.03 53.5% Liberal Arts 7.33 30.5% Other 0.50 2 .1% 35
Table 5 indicates that music performance was regarded as the strongest program of instruction at 13.9% of the responding institutions, while music education was regarded as strongest at 53 5% The liberal arts program of instruction was considered strongest at 30.5% of responding colleges, while 2.1% revealed other program strengths. It is interesting to note that a total of six responding institutions claimed two or more program strengths, while the single respondent that listed other as one of the program strengths at his institution identified that program as “music industry.“ A total of S.3% of ths ref^gondents failed to provide this information. Table 6 supplies information regarding the number of performing wind bands in operation across the survey sample.
Table 6
Number of Perform ing Groups
Institutions (N) Institutions Number of Performing Groups 1 9 34.6% 2 6 23.1% 3 2 7.7% 4 3 11.5% 5* 6 23.1%
Table 6 reveals that 34.6% of the responding institutions have one performing group, while 23.1% have two. A total of 7.7% reported 3 performing groups, while 11.5% reported four. Finally. 23.1% IMed five or more performing groups currently in operation at their institutions. Question 6 of the survey questionnaire Kked the respondents to identify the number of different group ability levels represented within their program of 36 instruction by circling a response within a range of 1 through 3- Table 7 provides this data;
Table? Number of Ability Levels
Institutions (N) Institutions Ability Levels 1 9 34.6% 2 8 30.7% 3 5 192% 4 2 7.7% 3 0 0.0% Not applicable 1 3 .9%
34.62% of the respondents claimed only one ability level. 30.7% claimed two, 19.2% identified three, while 7.7% claimed four levels of ability within their program of instruction. None of the respondents identified more than four ability levels, while one of the respondents (3.9% of the total sample) claimed the question was "not applicable" to his situation. Table 8 identifies the percentage of student enrollment in the total concert band program that is placed by audition, as revealed by question 7 in the survey questionnaire. 37
Tables Percentage of Enrollment Placed bv Audition Institutions (H) Institutions Percentage Placed by Audition 0% 5 192% 1-24% I 3.9% 25-49% 2 7.7% 30-74% 5 192% 75-100% 13 50.0%
As can be seen from Table 8 above, 192% of the responding institutions do not place any of the student enrollment vithin the band program by audition. A total of 3.9% (one respondent) place 1-24% of their enrollment, vhile 7.7% place 25-49% of enrollment. 192% of the institutions place 50-74% of enrollment by audition, while 50.0% place 75-100% of the total student enrollment within the band program through an audition process. Question 8 of the survey questionnaire addressed the frequency of auditions at each institution, as revealed in Table 9:
Table 9 Frequency of Auditions
Institutions (N) Institutions Frequency of Auditions No auditions required 5 19.2% Each academic year 5 19.2% Each grading period 11 42.3% Each scheduled performance 1 3.9% Frequency determined by director 4 15 4% 38
Of the responding institutions, 19.2% do not require auditions for placement within the program, while 19 2% require auditions at the beginning of each academic year. 42.3% of the institutions complete auditions each grading period, while 3.9% (one institution) complete them after each scheduled performance. 13.4% of the insitutiens complete the auditions at a frequency determined by the director of bands. (hiestion 9 of the survey revealed a variety of ensemble names employed at the insitutions represented in the survey sample, and are listed by frequency in Table 10 below:
Table 10 Names of Performing Ensembles Institutions (N) Institutions Ensemble Names Employed Wind Ensemble 13 30.0% Concert Band 12 462% Symphonic Band 12 462% College Band 4 15.4% Chamber Winds 3 11.5% University Band 2 7.7% Wind Symphony 2 7.7% Chamber Ensemble 1 3.9% Community Band 1 3.9% Symphonic Wind Ensemble 1 3.9% Varsity Band 1 3.9%
As can be observed in Table 10 above, the term “wind ensemble" is employed at 30.0% of the participating insitutions, while "concert band" and “symphonic band" is in use at 462%. An ensemble titled "chamber winds" is identified at 11.3% of the survey sample, while “university band" and "wind symphony" is at 7.7%. The terms "chamber 39 eosefflble." “community band." “symphonic wind ensemble," and “varsity band" are employed at 39% of the institutions. The number of hours spent in rehearsal was addressed in question 10 of the survey, the mean of which appears in Table 11 below. Also appearing in this table is the mean of the number of performances annually at the institutions in the survey sample, which was addressed in question 11 of the survey questionnaire.
Table 11 Time in Rehearsal Sc Frequency of Performances
X Range
Hours of Rehearsal/Week 3.44 from 1 to 5.5 No. of Performances Annually 3.63 from 1 to 23
Table 11 above reveals that average number of hours spent in rehearsal per week by any one ensemble in the survey sample was 344. while the average number of performances presented annually by any one group in the sample was 3.63. The range of hours spent in rehearsal each week was 3. while the range for the number of performances annually was 24. In the survey questionnaire, question 12 attempted to identify the percentage of graduate-level participation in the band program. Further. Question 13 identified the percentage of participation of non-music majors. Table 12 below provides the mean in each of the listed categories. 40
Table 12 Type of Student Particioatioa
X Range Participation Type Graduate-level enrollment 1.7% from 0 to 10% Non-music majors 60.8% from 10 to 100%
Table 12 above reveals that the mean percentage of graduate-level participation in the surveyed programs is 1.7%. vhile the mean percentage of non-music majors is 60.8%. Respondents that had music major participation vere asked to complete questions 14 and 15 of the survey questionnaire, which highlighted the percentage of music majors that were music performance majors, and that were music education majors, respectively. Table 13 lists the mean percentage in both categories.
Table 13 Music Major Participation
X Range Type of Music Major
Music performance 17.6% from 0 to 75% Music education 68.5% from 10 to 100%
Institutions that included music majors in their programs listed a mean participation of music performance majors at 17.6%. while music education majors accounted for 68.5% of music major enrollment 41
In the survey questionnnire, questions 16 and 17 were designed to determine the number of full-time faculty and part-time faculty or graduate teaching associates employed by the concert band program at the participating institutions. Table 14 represents the mean in both categories of staff employment.
Table 14 Program Staffing
X Range Type of Staff Full-time faculty 1.73 from 0 to 3 Part-time faculty or G.TA.’s 0.73 from 0 to 3
As can be seen from table 14, the mean of the fbll-time faculty employed across the survey sample vas 1.73. while the mean for part-time faculty or graduate teaching associates vasO.73. In questions IS and 19 of the survey, the primary focus vas upon the operating budget available to the concert band program. Question 18 j^ecifically asked;
"What is the estimated total operating budget of the concert program this academic year? (Include maintenance and repair, nev equipment, purchase of music, etc.: do not include staff salaries.)” In addition, question 19 requested:
“What percentage of the total budget vould you estimate is spent in the purchase of nev music and the maintenance of your existing music library?" 42
Table 15 below reveals the mean response in each of the above categories:
Table 13 Ooeraiing Budget
X Range Budget Total operating budget $9,622.73 from 300 to $47,000 % of budget spent on music/library 302% from 3 to 70%
As can be seen from the above table, the average total operating budget across the survey sample vas $9,62273. vhile the average percentage of the total budget spent upon the purchase of nev music and the maintenance of the existing band library vas 30.2%. Question 20 of the questionnaire attempted to identify the primary sources of finding for the participating schools. Table 16 highlights these sources, along vith the percentage of responding institutions that listed each.
Table 16 P.fimafr.So.uffesjttImi(ling Institutions (H.) Institutions Funding Sources
College or School budget 23 92.0% Student activities 6 24.0% Alumni association 3 123% Athletics 4.0% College foundation 4.0% Fund raising 4.0% Student fees 4.0% Trust 4.0% 43
A full 92.0% of the responding institutions listed college or school budget as the primary source of funding, 24.0% listed student activities, and 12.3% listed alumni association funding. Athletics, college foundation, fund raising, student fees, and trust funds appeared in 4.0% of the respondents as contributing to the total operating budget. Interestingly, 40.0% of those responding listed multiple sources of funding as contributing to the program. Items 21 through 32 of the survey questionnaire focused specifically upon curricular considerations, asking the participants to respond on a five-point Likert scale (SA being strongly agree, A for agree. U for undecided. D for disagree, and SD for strongly disagree) to a series of statements focusing particularly upon the individual program. Item 21 attempted to determine the degree to which the concert band program followed a university- or school-approved curriculum or course of study. Table 17 indicates the results:
Table 17 Concert Band Program Follows University Curriculum
Frequency Percent Agreement Level Strongly agree 7 28.0% Agree 9 36.0% Undecided 4 16.0% Disagree 3 12.5% Strongly disagree 2 8.0% 44
Table 17 indicates that views concerning adherence to a university- or school- approved curriculum varied considerably . though the responses tended to reflect agreement. Question 22 dealt with the adherence of the concert band curriculum to a "clearly defined deparmental philosophy.” Table 18 indicates the percentage agreement.
Table 18 Concert Band Program Adherence to Departmental Philosoohv
Frequency Percent Agreement Level Strongly agree 9 36.0% Agree 9 36.0% Undecided 4 16.0% Disagree 2 8.0% Strongly disagree 1 4.0%
Again, the percentage of agreement with the statement that the concert band curriculum follows a departmental philosophy appears high, vith 72.0% of the respondents agreeing with the statement in some fashion. Item 23 on the questionnaire states:
The concert band curriculum is based upon clearly defined instructional goals and objectives, which uniquely reflect demographic circumstances." 43
Table 19 reveals the responses;
Table 19 Concert Band Program Based Upon Instructional Goals and Objectives
Frequency Percent Agreement level Strongly agree 10 40.0% Agree 10 40.0% Undecided 4 16.0% Disagree 1 4.0% Strongly disagree 0 0.0%
The percentage aggreement identiiled in table 19 is quite high, vith 80.0% of the respondents agreeing vith the statement in survey item 23 Item 24 addressed the ability of the program to allow for student development of sensitivity to music, "through interaction vith its basic elemental components." Table 20 identifies percentage agreement.
Table 20 Program Allovs for Student Development of Musical SensiUvitv Frequency Percent Agreement Level Strongly agree 13 60.0% Agree 7 28.0% Undecided 3 12.0% Disagree 0 0.0% Strongly disagree 0 0.0% 46
As can be seen from table 20, a full 88.0% of the respondents feel their concert band program allovs for the student development of musical sensitivity, vhile 12.0% vere undecided in this area. There vas no level of disagreement among the respondents for this item. In the survey questionnaire, item 23 sought to determine vhether there vas sufficient opportunity vithin the program for the student development of skills "to become a literate musician. " Table 21 belov reveals the response;:
Table 21 Program Allovs for Student Development of Skills to Become Literate Musician Frequency Percent Agreement Level Strongly agree 13 52.0% Agree 9 36.0% Undecided 2 8.0% Disagree 0 0.0% Strongly disagree 1 4.0%
Table 21 highlights 88.0% agreement vith the statement, vhile 8.0% vere undecided, and 4.0% (one respondent) strongly disagreed vith the statement. The intent of survey item 26 vas to determine the level of agreement vith the statement:
""Students can develop abilities to translate traditional and non-traditional symbols into musical sounds vith accuracy and expression."" 47
Table 22 reilects the percentage agreement vith the above statement:
Table 22 Students Translate Traditional and Non-Traditioaal Symbols vith Accuracy
Frequency Percent Agreement Level Strongly agree 6 24.0% Agree 16 64.0% Undecided 1 4.0% Disagree 2 8.0% Strongly disagree 0 0.0%
Responses to item 26 of the survey reveal that 88.0% of the sample believe there is sufficient opportunity for the student development of abilities to translate traditional and non-traditional symbols vith accuracy and expression Item 27 vas designed to determine the extent to vhich students are exposed to a variety of music; table 23 indicates those responses.
Table 23 Students Are Exposed to a Wide Variety of Music Frequency Percent Agreement Level Strongly agree 14 56 0% Agree 11 44.0% Undecided 0 0.0% Disagree 0 0.0% Strongly disagree 0 0.0% 48
As can be seen from table 23. the respondents vere in almost complete agreement with the statement regarding the exposure to a variety of music vith the concert band curriculum. In item 28 of the survey questionnaire, the respondents vere asked to respond to the following statement;
Through ensemble participation, students are given the opportunity to develop an appreciation for the American musical heritage."
Table 24 reflects the degree of agreement to this statement:
Table 24 Students Given Oooortunitv to Explore American Musical Heritage
Frequency Percent Agreement Level Strongly agree 6 24.0% Agree 13 60.0% Undecided 4 16.0% Disagree 0 0.0% Strongly disagree 0 0.0%
As can be seen in table 24. 24.0% of the respondents strongly agreed vith the statement regarding the "American musical heritage," vhile 60.0% agreed. Further. 16.0% vere undecided, vhile none of the respondents disagreed vith the statement. 49
Item 29 of the questionnaire addressed the issue of student understanding of the relationships between music and the other arts and disciplines. Table 23 highlights the nature of the responses.
Table 23 Students Develoo Understanding of Relationshios Between Music and Other DiscipimM Frequency Percent Agreement Level Strongly agree 2 8.0% Agree 11 44.0% Undecided 7 28.0% Disagree 4 16.0% Strongly disagree 1 4.0%
As can be seen from table 23, there was a wider range of responses to the statement; 8.0% strongly agreed, while 44.0% agreed that the opportunity to develop the understanding of the relationships between music and other disciplines was prevalent within the concert band program. Conversely, 28.0% were undecided regarding the issue, while 16.0% disagreed, and 4.0% (one respondent) strongly di%greed that this was evident within their respective programs. A similar statement was posed in item 30, which was designed to determine the degree to which students could develop an understanding of the role which music plays in the understanding of other peoples and cultures. Table 26 demonstrates the responses, again in terms of percentage agreement. 30
Table 26 Students Develoo Avareness of Other Peooles and Cultures Frequency Percent Agreement Level
Strongly agree 0 0.0% Agree 12 48.0% Undecided 8 32 .0% Disagree 4 16.0% Strongly disagree 1 4.0%
The responses as highlighted in table 26 indicate less certainty regarding the ability of the concert band program to develop avareness of other cultures: though 0.0% strongly agreed vith the statement, 48.0% agreed, yet there vas greater disagreement (20.0% total) and uncertainty (undecided - 32.0%) then has been evidenced in the responses to this point. Table 27 indicates responses to item 31 of the questionnaire, vhich attempted to address the extent to vhich participating students could develop an avareness of career opportunities in music through the concert band program.
Table 27 Students Develop Avareness of (Career Onoortunities in Music
Frequency Percent Agreement Level Strongly agree 4 16.0% Agree 8 32 .0% Undecided 5 20 .0 % Disagree 6 24.0% Strongly disagree 2 8.0% 31
Responses to question 31. as evidenced in table 27, indicate even more stratification than has been seen to this point, vith dS.0% in agreement vith the statement and 32.0% in disagreement. 20.0% of the respondents vere undecided regarding the effectiveness of the concert band program in developing an avareness of career opportunities. The last of the questions in the survey to address curricular considerations (item 32) dealt vith the degree to vhich the concert band program develops the sensitivity of the participating students to the aesthetic content of music. Table 28 shovs the percentage of agreement to this issue.
Table 28 Students Develop Senstivitv to Aesthetic Content in Music
Frequency Percent Agreement Level Strongly agree 16 64.0% Agree 7 28.0% Undecided 2 8.0% Disagree 0 0.0% Strongly disagree 0 0.0%
Table 28 reveals that 92.0% of the respondents agreed that the primary goal of their individual concert band programs vas the development of student sensitivity to the aesthetic content of music. While none of the respondents disagreed that this vas the case, 8.0% vere undecided in this area. Questions 33 through 41 of the survey addressed specifically the repertoire selection process, and asked the participants to respond again on a five-point Likert scale (SA being strongly agree, A for agree. U for undecided, D for disagree, and SD 32 for strongly disagree) to a series of statements regarding the music chosen for study and performance at the individual institutions. Item 33 attempted to determine to vhat degree the literature chosen for study reflected current practices of music composition Table 29 shovs the results.
Table 29 Chosen Music Reflects Current Practices of Music Composition
Frequency Percent Agreement Level Strongly agree 3 20.0% Agree 13 60.0% Undecided 3 12.0% Disagree 2 8.0% Strongly disagree 0 0.0%
Responses to item 33. as reflected in table 29. highlight 80.0% of respondents in agreement that music chosen for study at the individual institutions is indicative of current practices of music composition. While 12.0% of the respondents vere undecided in this area, only 8.0% disagreed vith the statement. Table 30 reflects the degree to vhich music chosen for study at the participating institutions is challenging technically, interpretatively. and artistically to the performer, as addressed in item 34 of the questionnaire. 33
Table 30 Music Challenging Technlcallv. Interofetaiivelv. and Aftisticailv
Frequency Percent Agreement Level Strongly agree 13 60.0% Agree 9 36.0% Undecided 1 4.0% Disagree 0 0.0% Strongly disagree 0 0.0%
A full 96.0% of the respondents agreed that the music chosen for performance at their respective institutions vas of challenging nature, vhile one respondent vas undecided in this area. There vas no diaigreement among the respondents. Similarly, item 33 of the survey addressed the selection of repertoire that lay vithin the capabilities and schedule limitations of the ensembles; table 31 signifies the responses.
Table 31
Music Chosen Within Capabilities and Schedule 1 imitations of Ensembles
Frequency Percent Agreement Level Strongly agree 13 60.0% Agree 7 28.0% Undecided 2 8.0% Disagree 1 4.0% Strongly disagree 0 0.0% 54
While 8S.0% of the respondents agree that music chosen is appropriate to the capabilities of the chosen ensembles, (as seen above in table 31). 8 0% vere undecided, and 4.0% disagreed that this vas indeed the case. Item 36 of the survey closely paralleled the above statement, attempting to determine to vhat degree the chosen literature balances interpretative and technical demands. Note table 32 belov:
Table 32 (hosen Literature Balances Interpretative and Technical Demands
Frequency Percent Agreement Level Strongly agree 14 56.0% Agree 9 36.0% Undecided 2 8.0% Disagree 0 0.0% Strongly disagree 0 0.0%
Table 32 reveals a significant level of agreement (92.0% ) that literature is chosen to balance interpretative and technical demands, vhile 8.0% vere undecided in this regard. In addition, there vas no level of disagreement vith the statement. Item 37 of the questionnaire read as foUovs:
"The literature chosen for performance reflects a desire to raise the musical consciousness of both the performers and the listening audience." 33
Table 33 shows the percentage agreement among the respondents to this statement.
Table 33 Literature Chosen to Raise Consciousness of Performer and Audience Frequency Percent Agreement Level Strongly agree 12 48.0% Agree 12 48.0% Undecided 1 4.0% Disagree 0 0.0% Strongly disagree 0 0.0%
As can be seen from table 33, only one of the respondents (4.0% ) was undecided upon this issue, with %.0% in agreement with the concept of choice of literature to raise the musical consciousness of performer and listener. Item 38 closely paralleled earlier curricular considerations in addressing the music chosen for performance as a "growth experience" for both the conductor and students participating. Table 34 highlights these results.
Table 34 Uterature Chosen as Growth Experience for Conductor and Student Frequency Percent Agreement Level Strongly agree 13 60.0% Agree 8 32.0% Undecided 2 8.0% Disagree 0 0.0% Strongly disagree 0 0.0% 36
As has been evident vith other questions regarding the selection of repertoire, table 34 reflects a high percentage of agreement (92.0%), only S.0% uncertainty, and virtually no disagreement among the respondents regarding the literature as a "gfovth experience" for both conductor and performer. Table 33 represents the findings of item 39 of the survey questionnaire, vhich attempted to identify the degree to vhich literature chosen for study represented a vide range of stylistic (or historical) periods.
Table 35 Chosen Literature Recresents a Wide Ranee of Stylistic Periods
Frequency Percent Agreement Level Strongly agree 12 48.0% Agree 6 24.0% Undecided 2 8.0% Disagree 5 20.0% Strongly disagree 0 0.0%
The responses to the question regarding the employment of literature representing a wide range of stylistic periods shoved a greater degree of disagreement (20.0%). as evidenced in table 33 above. As has frequently been the case. 8.0% vere again undecided upon this issue, vhile a full 72.0% seem to indicate that this vas a major factor in the selection process. In the survey questionnaire, item 40 attempted to discover vhat degree to vhich the concert band program provides for the study of contemporary literature composed for the medium from "1930 to the present." These results are listed in table 36 belov. 57
Table 36 Program Provides for the Study of Contemoofary Literature ( 1950 - Present)
Frequency Percent Agreement Level Strongly agree 13 52.0% Agree 10 40.0% Undecided 1 4.0% Disagree 1 4.0% Strongly disagree 0 0.0%
As seen in table 36.92.0% of the respondents believe that their programs provide for the study of contemporary literature composed for the medium from 1950 to the present, while one respondent (4.0% ) disagreed, or was undecided upon the issue. The final question of the section entitled "Repertoire Selection," and the last utilizing the Likert scale for responses, was item 41, which addressed the issue of choosing band music on a yearly basis as part of a larger cycle of literature. Table 37 indicates to what degree this is in place across the survey sample.
Table 37 Band Music Chosen as Part of I ««"ser Cvcle of Literature in a Multi-Year Curriculum
Frequency Percent Agreement Level Strongly agree 9 36.0% Agree 10 40.0% Undecided 3 12.0% Disagree 3 12.0% Strongly disagree 0 0.0% 58
It is evident in the data presented in table 37 that though there is a high percentage of agreement vith the statement (76.0%), there is still disagreement (12.0%) and uncertainty (12.0%) vith the concept presented. The remainder of the items on the survey questionnaire (items 42 through 52) vere in the form of short ansver, asking for brief elaboration on the port of the respondent; vhile seeking essentially positive or negative responses, participants often included insightful explanations as to the ansvers provided. The first of these questions, item 42, read as follovs:
"Vhat are the primary instructional objectives addressed vithin your concert band program? (For example, development of performance skills, appreciation for aesthetic content, etc.)"
Table 38 provides a listing of these objectives; vhile some responses vere similar in content, all responses that vere essentially different are provided belov. It is also vorth noting that the listing here is constructed in order of occurrence, not importance. 59
Table 3S
PrimaryInstructional Objectives Addressed Within the Concert Band Progfajn
Instructional Objectives Provide a positive re-creative atmosphere Foster an ^preciation of music Appreciation for aesthetic content; provide aesthetic opportunities Study and performance of music of artistic merit Development of performance skills, technical mastery, and musical sensitivity Exposure to a variety of vorks and composers Study of music via cultural and historical perspective Development of musically literate individuals and discerning learners Develop musical consumers and an appreciation for the arts Enovledge of literature for music education majors Improve reading skills at an advanced level Develop an understanding of compositional techniques and formal structures Acquaint music education majors vith rehearsal and ensemble teaching techniques Positive social interaction Audience enrichment and fulfillment Develop ability to listen, hear, and produce contrast in musical sounds Realization of the composer's musical intent Serve the university and community through public performances Development of group avareness and pride Provide examples of good instructional situations for music education majors Development of student creativity
It is obvious from the listing provided in table 38 that there are varying beliefs regarding that vhich the concert band program should provide vithin the instructional setting. Interestingly, the objective that appeared the least
Table 39 Maiof Factors Contfibuting to the Selection of Music for Study in the Concert Band Pfoeram
Selection Factors Educational and artistic needs of students, audience, and conductor Integrity and artistic validity of the composition vithin the medium Variety and range of interest for performer and audience Difficulty (feasibility and appropriateness for group; provides challenges to improve student abilities) Instrumentation Compositional devices employed Composer (exposure to genius; proven success) Quality - music has substance and emotional impact; intrinsic musical vorth and challenge Cultural/historical or musical significance Program balance Stylistic diversity Expressive content Performed vithin last five years Musical structure Instructional potential - difficulty of interpretation; appropriateness of teaching goals
Table 39 reveals less variety in repertoire selection factors than vas evident in the instructional objectives; this implies a greater degree of agreement among the respondents in this area of concern. In the survey, question 44 asked:
"Regarding the profession as a vhole. do you perceive a significant lack of concert band literature that is innovative and nev?" 61
Table 40 identifies the general nature of the responses;
Table 40 Lack of Concert Band Literature That Is Innovative and New
Frequency Percent Agreement Level Yes n 44.0% Uncertain 1 4.0% No 13 52.0%
As can be seen in table 40. 44.0% felt that there is a significant lack of nev concert band literature, vhile 52.0% indicated that a lack does not exist. Only one respondent (4.0% ) vas uncertain. Question 45 of the survey attempted to find whether a "polarization" vas evident vithin the repertoire selected for performance across the concert band medium. Table 41 reflects the level of agreement among the respondents.
Table 41 PolarizaUon Evident in Repertoire Selected for Concert Band Performance Frequency Percent Agreement Level Yes 17 68.0% Uncertain 1 4.0% No 7 28.0% 62
In table 41, it is evident that 68.0% of the respondents felt that there is a polarization in repertoire selected for performance, vhile 2&.0% felt no polarization was evident. Again, only one respondent (4.0%) vas uncertain. It is important to note that "polarization" in this context vas intended to mean old versus nev literature, transcriptions versus none, and so forth. Question 46 asked:
"Do you believe that there is a standardized curriculum of repertoire that is generally accepted and folloved among the members of the profession?"
Table 42 reveals the results of the respondents' replies:
Table 42
Frequency Percent Agreement Level Yes 17 68.0% Uncertain 0 0.0% No 8 32.0%
It can be seen from the data in table 42 that 68.0% of the respondents feel that the profession is foUoving a standardized curriculum of repertoire that is generally accepted among its members, vhile 32.0% feel that this is not the case. Interestingly, no respondents vere uncertain in this category of information. Item 47 of the survey clo%ly paralleled item 46, in that an attempt vas made to discover vhether members of the profession feel that there exists a body of literature 63 that is significant to the medium, but that remains largely ignored among its constituents. Table 4$ below provides the level of agreement.
Table 43 Significant Body of Literature Largely Ignored bv the Profession
Frequency Percent Agreement Level
Yes 15 60.0% Uncertain 2 8.0% No 8 32.0%
60.0% of the respondents felt that a significant body of literature is largely ignored among members of the profession, while 32.0% felt that this was not the case. 8.0% were uncertain in this area. In the survey, question 48 was designed to determine whether the respondents believed that the concert band profession was “generally addressing the needs of the participating students." Table 44 shows the results;
Table 44 Concert Band Profession Generally Addresses the Needs of Parücioaüng Students Frequency Percent _Agreement Level _ __ Uncertain 4 16.0% No 10 40.0% 64
The respondents vere almost evenly divided upon this issue; 44.0% felt the profession generally addresses the needs of the participating students, vhile 40.0% did not. 16.0% of the respondents vere uncertain. In question 49, respondents vere asked to identify vhat general classifications they vould assign to vind band literature. Examples of this include: standard, contemporary, historical, and so forth. The common response models are listed in table 45 belov, and are presented in order of occurrence.
Table 45 General Classifications of Wind Band Literature
Classifications Worthy, unworthy 20th century, standard, vind ensemble/chamber ensemble, transcriptions. aleatoric/avant garde Original vind music, transcriptions Historical, transitional, contemporary, vind ensemble Full band instrumentation, chamber instrumentation Standard, historical, contemporary Original, transcriptions and arrangements, vind ensemble (flexible instrumentation) Good, other Transcriptions, standard, contemporary, avant garde, marches, program music Standard, historical, contemporary, light or "pop" Symphony, concerto, march (1/2 size), concert march (full size), avant garde Transcription, historical, military band, traditional or standard, post-modern, neo classic Core repertoire, transcriptions, contemporary Literature Concert marches, contemporary, dance forms, instrumental solos vith band, light concert, national, overtures, opera, popular, sacred, symphonies, suites Transcriptions, var horses, marches Historical, standard, modern transcriptions, innovative Historical classic, standard classic, contemporary educational, contemporary classic, modern March, standard, transcriptions, historical, avant garde, popular, folk 65
Table 45 reveals that a vide diversity of opinion is evident when it comes to general classifications for the categorization of wind band literature; it appears there is no significant common definition. Question 50 asked respondent the appropriateness of classifying band literature at the college level by difficulty, offering a four-tiered model as its basis. Table 46 indicates the level of acceptance of this model.
Table 46 Acceptance of Four-Tiered Model for Classification of Literature at Collegiate Level
Frequency Percent Agreement Level Yes 16 64.0% Uncertain 1 4.0% No 8 32.0%
As seen in table 46 above. 64.0% of the respondents agreed with the proposed model for the classification of literature at the collegiate level, while 32.0% did not. One respondent (4.0%) was undecided. Comments offered to support responses were largely reflective of the initial response, while no insights were offered to improve upon the proposed model. Item 51 of the survey utilized the four-tiered model as its basis, asking the respondents to supply their choice of two compositions and their composers for each level of the model. Table 47 lists those compositions offered by the participants to coincide to level I, identified as the "university band" level. 66
Table 47 Compositions Chosen to Coincide vith Level 1 (Univefsitv Band) of Prooosed Curricular Model
TiUe Composer Symphony No. 1 Bukvich Overture for Winds Carter Variations on a Korean Folk Song Chance Phoenix Overture Curnov Toccata for Band Erickson American Folk Rhapsody (1 - IV) Grundman First Suite in £b Hoist Second Suite in F Holst Third Suite Jager Sinfonia Nobilissima Jager Three Chorale Preludes Latham Liturgical Music Mailman Psalm for Band Persichetti Alleluia! LaudamusTe Reed Momentations Spears Declaration Overture Smith Emperala Overture Smith Three Ayres from Gloucester Stuart English Folk Song Suite Vaughan Williams Symphonic Suite Williams Mannin Veen Wood Chorale and Shaker Dance Zdechlik 67
Table 48 lists those pieces chosen by the respondents to coincide vith level II of the proposed model, identified as the "concert band" level of difficulty.
Table 48 Compositions Chosen to Coincide vith Level II (Concert Band) of Prooosed Curricular Mffitel
TiUe Composer English Dances Arnold Four Scottish Dances Arnold Suite of Old American Dances Bennett Incantation and Dance Chance Mutanza Curnov Music for Winds and Percussion Del Borgo Lincolnshire Posy Grainger Ye Banks and Braes O' Bonnie Boon Grainger Irish Tune from County Derry Grainger Chorale and Alleluia Hanson March from Symphonic Metamorphosis Hindemith First Suite in Eh Holst Second Suite in F Holst William Byrd Suite Jacob Third Suite Jager Canzona Mennin Pageant Persichetti Symphony No. 6 Persichetti Hounds of Spring Reed Chester Schuman Nev England Triptych Schuman Festive Overture Shostakovich English Folk Song Suite Vaughan Williams Toccata Marziaie Vaughan Williams Capriol Suite Warlock Elsa's Procession to the Cathedral Wagner Overture to Rienzi Wagner Trauersinfonie Wagner Sinfonians Williams 68
Table 49 lists those pieces chosen by the respondents to coincide vith level III of the proposed model, identified as the "symphony band" level of difficulty.
Table 49 Compositions Chosen to Coincide vith Level III (Svmohonv Rand) of Prooosed ÇtiffjÇWiMLMçdgl
TiUe Composer Funeral and Triumphal Symphony Berlioz Variations on a Korean Folk Song Chance Windsor Nagual Colgrass Gazebo Dances Corigliano Sinfonietta Dahl Fantasies on theme by Haydn Deiio Joio Lincolnshire Posy Grainger Ye Banks and Braes O' Bonnie Boon Grainger Water Music Handel Symphony in Bb Hindemith liturgical Dances Holsinger Music for Prague Husa Original Suite Jacob Suite Française Milhaud Symphony for Band Persichetti ^m enian Dances Reed La Fiesta Mezicana Reed Three Japanese Dances Rogers Theme and Variations. Op. 43a Schoenberg 69
Table 50 lists those pieces chosen by the respondents to coincide with level IV of the proposed model, identified as the "wind ensemble" level of difficulty.
Table 50
TiUe Composer Transitions findings Solitary Dancer Benson Chamber Otncerto Berg Winds of Nagual Colgrass Sinfonietta Dahl Symphony for Winds and Percussion Downing Serenade in DMinor, Op. 44 Dvorak Lincolnshire Posy Grainger Water Music Handel Concerto for Percussion and Wind Ensemble Husa Aegean Festival Overture Makris Serenade No. 10 in B-flat Major, KV 361 Mozart Divertimento for Band Persichetti La Fiesta Mezicana Reed Dionysiaques Schmitt and the mountains rising nowhere Schwantner History of a Soldier Stravinksy Octet for Winds Stravinsky Symphonies of Wind Instruments Stravinsky Theme and Variations, Op. 43a Schoenberg Intégrales Varese
As can be seen from tables 47 through 50. there is some difference of opinion among the respondents regarding appropriate leveling of wind band literature, as evidenced by the duplication of titles across the various levels The final question (item 52) in the survey questionnaire asked the respondents to list, in their opinion, the ten most significant wind band compositions to the 70 profession. The listing of nil the different titles generated is compiled in table 51 belov.
Table 51 Most Significant Wind Band Compositions. As Identified bv the Respondents
TiUe Composer Four Scottish Dances Arnold Designs, Images, and Textures Bassett Sounds, Shapes and Symbols Bassett Octet for Winds, Op. 103 Beethoven Suite of Old American Dances Bennett Leaves are Falling Benson Passing Bell Benson Funeral and Triumphal Symphony Berlioz IncantaUon and Dance Chance Symphony for Band Chance Variations on a Korean Folk Song Chance Emblems Copland Sinfonietta Dahl Scenes from the Louvre Deilo Joio Variants on a Medieval Tune Dello Joio Air for Band Erickson Symphony No. 3 Giannini Hill Song No. 2 Grainger Lincolnshire Posy Grainger Music for the Royal Fireworks Handel Water Music Handel Chorale and Alleluia Hanson Symphony in Bb Hindemith First Suite in£b Holst Hammersmith Holst Second Suite in F Holst Apotheosis of This Earth Husa Music for Prague Husa Apparitions lannacone Flag of Stars Jacob Stevball Variations Kubik canzona Mennin Suite Française Milhaud Serenade in Bb Major, KV 361 Mozart Medieval Suite Nelson Carmina Burana Orff/Krance Divertimento PersichetU 71
Table 31 (coaünued).
So Pure the Star Persichetti Symphony for Band Persichetti Symphony No. 6 Persichetti Armenian Dances, Part I Reed, A. Russian Christmas Music Reed, A. Symphony No. 3 Reed, A. In. Fiesta Mexicana Reed, HO. Dionysiaques Schmitt Theme and Variations, Op. 43a Schoenberg Chester Schuman George Washington Bridge Schuman Nev England Triptych Schuman When Jesus Wept Schuman and the mountains rising novhere Schvantner Festive Overture, Op. 96 Shostakovich Stars and Stripes Forever Sousa Serenade in Eh for 13 Winds, Op. 7 Strauss Sonatine - "From an Invalid s Workshop Strauss Octet for Wind Instruments Stravinsky Symphonies of Wind Instruments Stravinsky Toccata Tull English Folk Song Suite Vaughan Williams Toccata Marziaie Vaughan Williams Elsa's Procession to the Cathedral Wagner Trauersinfonie Wagner America the Beautiful Ward/Dragon Fanfare and Allegro Williams
As can be seen from table 31. a total of 64 different vind band compositions vere offered by the respondents as being “most significant" to the vind band medium. It is important to note that the participants vere asked to submit their compositions regardless of estimated level of difficulty, as vas required in question 31 of the survey questionnaire. 72
Results from the Reoertoire Listing Cùmoilaüon
The second and concluding portion of the sui*vey involved the compilation on the part of the participants a listing of the vind band literature studied at their respective institutions during the course of the past four academic years. A suggested format vas provided (see Appendix B), vith instructions stating that the compilation of performed vorks could be submitted either in the suggested format, or in a form most convenient to the respondent. For the purposes of data comparison, such information as composer and title of composition, publisher, year of publication, year of performance, and the performing ensemble vas requested in order to aid data analysis. Though the sample format for this listing vas provided to the respondents, many college band programs maintain records of such information that vas accepted in any format. For the purposes of cross-referencing, the compilation of the vind band compositions generated from this portion of the survey is presented in three different formats. Appendix H presents the listing in alphabetical order by composer, vhile Appendix I offers the listing in alphabetical order by title of composition. Finally, Appendix J represents the listing sorted by frequency of performance across the survey sample. It is interesting to note in advance of reviev of this data that 1,131 different compositions vere generated from this portion of the survey: duplicate titles vere omitted. Appendix K provides an addendum that lists the different editions or arrangements of the same title that appeared vithin the master compilation Note that these titles are indicated by the vord “Multiple" that appears in the column for arranger/transcriber/editor in the full composite listings. As this became more prevalent as the data vere compiled, it vas felt that this procedure vould alleviate duplication of titles in the computation of performance frequency, vhile still 73 providing valuable information regarding important different editions of the same work. Of the total 1.131 compositions performed. 36 3% (N-410) of those were studied or performed more than once during the four-year period; in addition. 9.6% (N-108) compositions within the total listing were performed 5 or more times during the same period. The majority of listed compositions (63.8%. N-721) were performed only once during the four-year period in question. Only 5.0% (N-57) of the compositions were studied or performed at least once during each academic year represented in the study. A review of the repertoire compilation by frequency, contained in appendix J. also reveals the twenty most frequently performed wind band composition across the survey sample during the four-year period of this study. These works are listed below in table 52. again in order of frequency of performance. 74
Table 52 Twenty Most Frequently Studied/Performed Compositions Beiveen 1985-1989
TiUe Composer Frequency First Suite in E-flat Holst 18 Irish Tune front County Derry Grainger 17 Variations on a Korean Folk Song Chance 16 Second Suite in F Holst 16 English Folk Song Suite Vaughan Williams 13 Lincolnshire Posy Grainger 14 Scenes front "The Louvre" Delio Joio 13 Festive Overture. Op. % Shostakovich 13 William Byrd Suite Jacob 12 Chester Overture Schuman 12 Shepherd's Hey Grainger 11 An Original Suite Jacob 11 Folk Dances Shostakovich 11 Stars and Stripes Forever Sousa 11 Suite of Old American Dances Bennett 10 Symphony for Band. Op. 69 Persichetti 10 Russian Christmas Music Reed 10 Commando March Barber 9 British Eighth Elliott 9 Third Suite Jager 9 CHAPIIRV SUMMARY. CONCLUSIONS. IMPLICATIONS. AND RECOMMENDATIONS
Summary of the Study
The purpose of the research vas to: (1) survey university vind band conductors to determine present practices in the area of the selection of repertoire for study. (2) to generate a listing of vorks studied and performed over a period of at least four years at the participating institutions. (3) examine and compare the present practices of repertoire selection and the actual compositions studied across the survey sample, and (4) based on data gathered both through the survey questionnaire and the repertoire listing, to suggest a commonly endorsed undergraduate vind band curriculum designed to address the educational needs of the undergraduate student of music. The need for the study vas evidenced by the lack of literature dealing specifically vith a pre-existing "core repertoire" of standard vind band compositions. Further, there is virtually no literature to support the idea that the selection of literature for performance is guided by instructional factors such as establishment of minimum student performance competencies, study of compositional devices employed, instrumentation requirements, level of difficulty, appropriateness to the instructional setting, philosophical considerations, and so forth. It appeared that the repertoire selection process vas often governed by the personality, beliefs, knovledge. and skills of the individual conductor.
75 76
The unique and specialized factors involved in the education of the undergraduate student of instrumental music, particularly as interest in a general liberal arts curriculum increases, demand specialized consideration in the formulation of a concert band curriculum. A study to determine present practices in repertoire selection, and the factors that affect that process for the collegiate vind band conductor vas judged to be valuable. Moreover, an understanding of current practices actually in use could be revealed as veil in the repertoire being programmed at the collegiate level. As a result, a compilation of actual programmed vorks, as a supplement to the initial study, vas also deemed useful. An extensive tvo-part survey questionnaire vas developed for the purpose of evaluating current practices in repertoire selection among collegiate vind band conductors. The first part of the survey consisted of 52 questions, some of vhich contained multiple response options. The first tventy questions, in short ansver form, dealt vith items of program demographics, including: total undergraduate and graduate student enrollment vithin the college or university, total student enrollment vithin the college, school, or department of music, the number of students involved in the band program, the number of performing vind bands, and the number of different group ability levels represented by the department of music. Additional questions in this section focused upon factors such as: the percentage of students placed by audition, the frequency of auditions, the number of hours of veekly rehearsal available to each ensemble, the total number of performances per group per year, the percentage of graduate student participation in the program, and the recognized strength of the institution. The remaining questions in this section of program demographics ascertained the percentage enrollment of music and non music majors, percentage of music education and performance majors, the number of 77 full &ad part-time faculty employed vithin the program, the estimated total operating budget of the program, the percentage of the budget spent on nev music and library maintenance, and the primary sources of funding available to the program. Again, these questions vere deemed to be appropriate to establish the circumstances and conditions having a potential effect on the repertoire selection process. Curricular issues vere addressed in the next twelve items of the survey, vhich employed a five-point Likert scale to assess the degree to vhich respondents felt the statements applied to their individual vind band programs. Topics in this section included: adherence to a university approved curriculum, adherence to departmental philosophy, employment of instructional goals and objectives, development of student sensitivity to music, enhancement of student performance skills, the development of student abilities to translate traditional and non-traditional musical symbols, exposure to a variety of music, opportunities to explore the American musical heritage and inter-cultural relationships and disciplines, exploration of career opportunities, and the development of aesthetic sensitivity to music. Items 33 through 41 also employed a five-point Likert scale, and addressed those issues associated vith the selection of musical repertoire for study and performance by the collegiate vind band. These items sought to determine if literature chosen vas reflective of evolving practices of music composition, vhether literature challenged performers technique, interpretative capabilities, and capacity for artistic involvement, and vhether the music chosen lay vithin the capabilities of the ensembles for vhich it vas selected. Additionally, this section assessed vhether the chosen literature balanced interpretative and technical demands, attempted to raise the musical consciousness of both performer and listener, and represented a wide range of stylistic periods of compositon. Final questions regarding repertoire selection determined the degree to vhich music selected for study reflected literature 78 that vas a “grovth experience” for both the conductor and student, if the yearly concert program provided for the study of contemporary literature, and vhether the music chosen for study represented a larger cycle of literature. The concluding questions vithin the survey addressed more general considerations including the primary instructional objectives of the vind band program, the five major contributing factors in the selection of music for study, the respondent's perception of the development of nev and innovative literature, the perceived divergence of beliefs in the selection of repertoire, the acceptance of a standardized vind band curriculum, the existence or non-existence of a significant body of literature vithin the medium, the success of the vind band program in addressing the needs of the undergraduate students, and the general classifications assigned to vind band literature. Question 50 presented a vind band curricular model that vas delineated at the collegiate level by degree of difficulty, vhile determining the respondents' overall level of agreement vith the proposed model. Question 51 ascertained a number of specific vind band vorks categorized by the levels offered in the previous question. Item 52 alloved the respondents freedom to identify personal choices for the ten most significant wind band compositions, regardless of level. The second major part of the survey involved the compilation on the part of the respondents a listing of the vind band literature studied at their respective institutions during the course of the past four academic years ( 1985-86.1986-87.1987- 88. and 1988-89). A suggested format vas provided, although compilations vere accepted in any form convenient to the respondents. After several revisions, the survey questionnaire vas submitted to eight collegiate vind band conductors for pilot testing. The evaluators judged the questionnaire on length of completion time, content clarity, response clarity, form 79 and desigfi. and were asked finally to provide an overall rating of the survey instrument. The questionnaire received a mean positive response rating of 4.123 (out of a possible 3) The questionnaire vas also submitted to three university music educators and conductors vho vere asked to make suggestions for improvement. The final draft vas then duplicated for mailing. The population identified for this study vas composed of directors and conductors of college and univeisity vind band programs and vho vere affiliate members of the College Band Directors National Association (CBDNA). A stratified, proportional random sample of 30 individuals vas selected from the 712 CBDNA members-at-large. As a matter of courtesy, and at their ovn request, the participants in the pilot study vere also included in the survey sample, bringing the total sample to3S. The identified population vas given a completion and return deadline of approximately three veeks after receiving the survey. The survey questionnaire, suggested format for repertoire listing, cover letter, and a self-addressed stamped return envelope vere mailed via the U.S. Postal Service to each of the participants in the sample. A foUov-up letter to all participants vas mailed to all participants tvo veeks later. A second survey packet and updated cover letter vere mailed to each of the non-respondents one and one-half veeks after the original deadline, vith a request to return the completed questionnaire tvo veeks after receipt. A reminder letter vas mailed to the original non-respondents one veek later, and vas accompanied by a personal phone call in the veek prior to the final deadline Completed questionnaires vere received from 26 respondents (68.42%) of the identified collegiate vind band conductor population sample. The completed questionnaires vere assigned codes to identify participating individuals (and institutions) and vere statistically treated to obtain frequency, percentage, and mean 8C of all responses. Data gathered from the individual repertoire listings vas compiled and tabulated to determine frequency of performance for each composition listed. Data from both parts of the survey vas compiled in tabular form for ease of later analysis.
Summary of Results
Results Pertaining to the Collegiate Wind Band Questionnaire
1. The mean undergraduate enrollment across the survey sample vas 11.733 28. while the mean graduate student enrollment was 2.101. Departmental enrollment registered a mean of 189.73 students, while individual concert band program enrollment reflected an average enrollment of 110.63 2 Of the programs represented, 63 4% reported enrollment figures in a range of 0 to 99. 192% reported enrollment between 100-199. and 7.7% reported figures between 200 and 299. None of the respondents stated enrollment between 300 and 399. while two institutions (7.7% ) reported enrollment figures in excess of 400 students. 3 Of the participants. 33 3% estimated that music education was the strongest aspect of the instructional program in place at their instituion. while 30.3% identified a strength in a liberal arts program. 13.9% of the respondents identified music performance as the strongest program, while only 21% identified another program as being of strength. Interestingly, six responding institutions identified two or more program strengths, while a single respondent that listed "other” as a program strength identified that program as "music industry." 81
4. Within the survey sample, 9 (34.6%) institutions reported only one wind band in operation within the program, 6 (23.1%) reported two groups currently in operation, 2 institutions (7.7% ) reported 3 groups operating, while 3 (11.3%) reported 4. Six different institutions (23 1%) reported that 3 or more wind bands were in operation at the time of the survey. 3 In estimating the number of ability levels represented within the wind band program, 34.6% claimed only one level of ability, while 30.8% identified 2. Further. 192% of the respondents reported 3 ability levels, 7.7% reported 4, and no institutions (0%) reported 3 of more levels of ability. One respondent (3 9%) declined response, deeming the question not applicable to his situation. 6. Exactly one-half of the institutions represented (30% ) placed 73 to 100% of the students by audition, while only 5 (19.2% ) of the institutions placed 30- 74% of the students in the same manner. Only 2 (7.7%) responding institutions placed 25-49% of the participating students, while 1 (39%) placed less than 23% Interestingly, 3 of the programs represented (192% ) required no auditions of its participating students. 7. At 42.3% of the institutions, auditions for the wind band program were completed each grading period, while at 19.2% of the institutions, auditions were completed each academic year only, or not required for participation at all. 3.9% of the programs completed auditions after each scheduled performance, while 15.4% of the respondents claimed audition frequency to be determined by the director. 8. A wide variety of ensemble names were employed across the survey sample to represent the various groups within operation; these included: wind ensemble, concert band, symphonic band, college band, chamber 82
winds, university band, wind symphony, chamber ensemble, community band, symphonic wind ensemble, and varsity band The term "wind ensemble appeared most frequently, occurring at 50.0% of the institutions, while the terms "concert band" and "symphonic band" occured at 46.2% of the institutions. All terms, with the exception of “chamber ensemble," community band," "symphonic wind ensemble," and "varsity band" appeared at more than one institution across the survey sample. 9. The mean time that each ensemble represented in the survey sample spent in rehearsal on a weekly basis was 3.44 hours, though the range of all responses was 5 hours. In addition, the average number of performances annually for each group represented was 5.63, with a range of 24 performances across the sample. 10. The mean level of graduate-level enrollment within the wind band programs represented was 1.7%, while the mean level of non-music major enrollment was 60.8%. 11. Respondents with music major participation in the band program reported that music education majors accounted for 68.3% of the music student enrollment, while music performance accounted for 17.6% of the music majors enrolled in the wind band program. 12. In the area of staffing, the mean number of full-time faculty employed on behalf of the wind band program was 1.73, while the mean number of part-time faculty or graduate teaching associates was 0.73 13 The mean total operatin g budget across the institutions represented within the survey was $9,622.73: it was estimated that, on the average, 302% of 83
that budget vas spent on nev music or maintenance of the existing band music library. 14. Sources of funding claimed by the participants as contributing to the operating budget included: college or school budget (92% ). student activity funds (24%). alumni association fhnds (12.5%), athletic department support (4%), college foundation (4%). fund raising activities (4%), student fees (4% ). and trust funds (4% ). 15 On the issue of vhether the concert band program at each represented institution folloved a pre defined university or school approved curriculum. 64% of the respondents agreed. 20.5% disagreed, and 16% vere undecided. In the same manner. 72% of the respondents agreed that the vind band program folloved a pre defined departmental philosophy, vhile 12% believed that it did not. A fiill 16% vere undecided on this issue. 16. 80% of the respondents believed that their individual programs vere based upon clearly defined instructional goals and objectives, vhile 16% vere undecided, and another 4% did not observe this to be the case. 17. A fhll 88% of the reqmndents believed that their individual program alloved for the student development of musical sensitivity, vhile 12% vere undecided upon the issue. None of the respondents specifically indicated that their program failed to accommodate thm development. 18. Similarly. 88% of the respondents felt their program did an adequate job of alloving for the student development of skills to become a “literate musician," vhile 8% vere undecided upon this issue. There vas no level of disagreement vith this item on the questionnaire. 19. Once again. 88% of the respondents felt that the students participating in the vind band program vere able to successfully translate traditional and 84
aon-traditioaal musical symbols vith accuracy. While 4% vere undecided here, S% disagreed that this vas accessible vithin their individual programs. 20. A full 100% of the respondents agreed that the students vithin the vind band programs vere exposed to a vide variety of music and musical styles. 21. On the issue of providing student opportunity to develop an appreciation for the American musical heritage, 84% of the respondents agreed that their programs vere successful in addressing this issue, vhile 16% vere undecided. 22. On the ability of the vind band program at the various institutions to allov for the development of student understanding of the relationships betveen music and the other disciplines, 52% of those surveyed agreed. 28% vere undecided, and 20% disagreed that the concert band medium accomplished this task. 23. 48% of those surveyed agreed that the vind band program alloved for the development of student avareness of other peoples and cultures, 32% vere undecided, and 20% disagreed. 24. In rating the ability of the vind band program to develop student avareness of career opportunities in music. 48% of the sample responded positively. 20% vere undecided, and 32% disagreed. 25 On vhether students developed sensitivity to the aesthetic content in music. 92% agreed, vhile 8% vere undecided. 26. 80% of the respondents believed that music selected for study reflected current practices in musical composition, vhile 8% disagreed, and 12% vere undecided. 83
27. A full %% believed the music chosen for performance at their institutions vas challenging technically, interpretatively, and artistically, while 4% were undecided Additionally, 88% of those surveyed believed the music chosen to be appropriate to the capabilities and schedule limitations of the selected ensembles, while 4% disagreed that this was the case, and 8% were undecided. Further, a full 92% felt that the music selected for study effectively balanced interpretative and technical demands, while 8% were again undecided on this issue. 28. That literature was chosen to raise the consciousness of both the performer and listener was evident at 96% of those surveyed, with 4% undecided. Continuing in that same venue. 92% of the respondents found the literature chosen for study to represent a “growth experience" for both the conductor and student, while 8% were undecided upon the issue. 29. Vhile 72% of the survey respondents agreed that the literature chosen for performance represented a wide range of stylistic periods, there were 20% who disagreed that this was indeed the case, while 8% were undecided. However, agreement level rose significantly when the issue of contemporary literature was addressed; it was found that 92% of the participating institutions provided for the study of literature that was composed between 1930 and the present, while 4% did not. and 4% were undecided in the matter 30. That band music was chosen as part of a larger cycle of literature in a multi-year curriculum was evident in 76% of the programs surveyed, while in 12% it was not. 12% of the programs were undecided. 31 Instructional objectives that were common among the participants included; providing a positive re-creative atmosphere, fostering a love a 86
music, developing musinl appreciation and sensitivity and the appreciation for aesthetic content, developing performance skills and technical mastery, exposure to a variety of vorks and composers, exposure to traditional and contemporary literature, development of student creativity, developing the ability to listen, hear, and produce contrast, realization of the composer's intent, and providing examples of literature and instructional settings for music education majors. (See table 38 for a complete listing). 32. Factors of selection taken into consideration at the participating Institutions included: educational and artistic needs of the students, audience, and conductor, integrity and artistic validity of the composition vithin the medium, variety and range of interest for performer and audience, difficulty, instrumentation, compositional devices employed, composer, cultural/historical significance, program balance, stylistic diversity, expressive content, timeliness, musical structure, and instructional potential. 33 In addressing the global concerns of the wind band profession as a whole, 44% of the respondents perceived a significant lack of band literature that is "innovative and new," while 52% did not. Only 4% were undecided upon this issue. 34. In the selection of repertoire for performance, a full 68% observed a "polarization" of literature within the profession; that is, old versus new literature, transcriptions versus none, and so on. While 28% did not perceive this to be the case, only 4% again were undecided on the issue. 35 68% of the respondents believed that there is a standardized curriculum of repertoire that is generally accepted and followed among members of the 87
profession, while 32% did not. Interestingly, however, 60% of the respondents also believed that there is a significant body of literature that has remained largely ignored by the profession. In this regard, 32% of the respondents did not observe this to be the case, while 8% remained undecided. 36. The respondents were almost evenly divided regarding the issue of the relative success of the concert band profession in addressing the needs of participating students. 44% felt the profession successful in this regard, while 40% did not. 16% of the respondents were undecided. 37. Though many of the respondents adapted the examples provided on the questionnaire, the general classifications for the categorization of wind band literature, as listed in table 33. included the following:
Table 33 Synopsis of General Classifications of Wind Band Literature
Classifications Worthy and unworthy Original wind music and transcriptions Historical, transitional, contemporary, wind ensemble Standard, historical, contemporary Full band instrumentation, chamber instrumentation Good and "other Transcriptions, warhorses, marches Historical classic, standard classic, contemporary educational, contemporary classic, modern Historical, standard, modern transcriptions, innovative, etc.
To be sure, a wide variety of opinions is evident: there appears few common significant definitions. (For a complete listing, see table 43 ) 88
38. Of the survey sample, 64% agreed that it was appropriate to classify band literature at the college level by level of difficulty, while 32% did not. and 4% were undecided. Those same 64% also agreed with the classification model offered, while 32% again did not. and 4% were undecided. 39. With the proposed repertoire classification model offered as the collegiate standard." the respondents listed 22 different compositions (seen in table 47) as "Level I" literature, which was identified in the model as being appropriate for "University Band ' 40. The respondents identified 29 different compositions as "Level 11" literature, coinciding with a "Concert Band" level of difficulty at the collegiate level, and listed in table 48 earlier. 41. As can be seen in table 49. the respondents identified 19 different compositions as "Level III" literature, coinciding with a "Symphony Band" level of difficulty at the collegiate level. 42. The respondents identified 21 compositions as "Level IV" literature, coinciding with a "Wind Ensemble" level of difficulty at the collegiate level, and those titles are listed earlier in table 50. 43. A total of 64 different wind band compositions, regardless of level, were chosen by the respondents as being "most significant" to the wind band medium, and as such, worthy of ensemble study. The listing generated by the respondents may be found in table 51.
Results Pertaining to the Repertoire Compilation
It is important to note that the entire compilation was too extensive to be reprinted here; the reader is therefore referred to the complete tabular listings in the appendices of this document. Appendix H lists the repertoire in alphabetical order 89 by the composer's last name, while appendix I presents the same listing in order of composition title. The last listing (appendix J) presents the compositions in order of frequency of performance. A review of the listings yields the following general results. 1. 1.131 different compositions were studied or performed among all the institutions represented within the survey sample during the past four academic years. 2. Of those compositions. 410 (36.3%) were studied or performed more than once during the four-year period; further. 108 (9.6%) compositions within the total listing were performed 5 or more times during the same period. 3 A full 63.8% (N-721) of the compositions contained in the listing were performed only once during the four-year period in question. 4. 57 of the compositions (3.0% ) were studied or performed at least once each academic year during the four-year period under review.
INCLUSIONS
Based upon the results of the collegiate wind band curriculum and repertoire survey and the compilation of actual works reported in this study, the following conclusions pertaining to the current practices in the selection of repertoire for study and performance are offered: 1. A representative and comprehensive listing of wind band literature that has been studied and/or performed at the collegiate level over the past four academic years is now available to the profession. 2. Programming practices, as weii as the selection of repertoire for study, are flawed, according to a majority of the survey population. There appears to 90
be a ‘’polarization" among members of the profession, as evidenced in the lack of different genre (old vs. new, transcriptions vs. none, etc.) of music chosen for study and/or performance. To this point, a significant body of wind band literature had yet to be identified, through performance, by members of the wind band conducting medium. 3. Frequency of performance is not an adequate indicator of a composition's perceived overall artistic, technical, and educational merit, in that 72% of the 100 most frequently performed compositions during the study do not appear within the respondents' subjective listing of the "most significant wind band compositions." 4. If frequency of performance is truly indicative of programming, then current practices of the same are extremely predictable, in that there are a fairly small number of compositions that repeatedly arise in wind band programs across the population. 5 The wind band music chosen for study at the collegiate level is not necessarily indicative of a careful examination of the individual program's demographics as much as it may be a function of the conductor's own personality, philosophical beliefs, experience, and skills. The wide divergence evident in the outlining of respondents' instructional goals and objectives that are said to contribute to their music selection processes point to a lack of commonality within the profession as a whole. 6. The collegiate wind band curriculum enjoys limited success in addressing the needs of the undergraduate student of music; with evidence of difficulty in initial demographic investigation, programs of instruction are not adequately prepared to deal with the development of potential within the student population. 91
7. There is greater thought among members of the profession toward the major factors of music selection than on the selection of clearly defined instructional goals and objectives. That there was less variation among the respondents in this category than in the definition of objectives points to more commonly held beliefs regarding the study of the repertoire as contributing more to the selection process than an examination of the needs of the student population. 8. The nature and makeup of the student population is changing; non-music majors account for the majority (60.8%) of student involvement in the collegiate wind band programs surveyed. Further examination of the factors of repertoire selection and instructional goals and objectives reveal little significant recognition of this fact. Further, the majority of students who are music majors across the sample are music education majors; music performance majors represent less than one-fifth of the music major involvement alone across the survey sample. This again points to the lack of consistency among members of the profession in the development and employment of defined instructional goals and objectives, and identification of the factors contributing to the selection of music for study and performance. 9. There is no significant common method of analysis and classification of collegiate wind band literature, even though such classification is deemed important among members of the profession. 10. Levels II ("Concert Band") and IV ("Wind Ensemble") of this study's proposed curricular model, respectively, appear to be the primary levels of expertise for most wind band conductors, as evidenced by the greater number of titles presented for these two categories. 92
IMPLICATIONS
One of the purposes of this study, based upon the results of the collegiate wind band conductors survey, listing of works studied and performed over a period of four years, and survey of literature, was to determine present practices in the area of repertoire selection at the university level. The study was also designed to determine how the college wind band curriculum is addressing the educational needs of the undergraduate student of music. The following concepts and suggestions were derived from the results of the survey, repertoire listing, and relevant literature, and may serve as implications from which wind band conductors and music educators may develop, utilize, and study repertoire selection processes at the college level. 1. Seventy-two percent of the 100 compositions that were performed most frequently during the time period under study did not even appear in the listing identified by the respondents as the "most significant" wind band works. Further, of the 1,131 titles in the composite listing, the majority (63.73%) were performed only once in the four years under examination - and it is important to note that the "once" represents only one performance atone institution of all those included in the original survey. This immediately raises the question of those single compositions' relative acceptance within the "standard" curriculum. Frequency of performance, of course, may not be indicative of a composition's value, but these findings point again to the aforementioned "polarization " of programming. An investigation of those factors that determine a work's "significance" to the wind band repertoire again might reveal an appropriate model of ansdysis and grading. 93
2 Though a laajcrity of college wind band conductors believe that there is a standardized curriculum of repertoire that is generally accepted among members, a majority again observes a polarization of programming within the profession. Increased perception of the individual program demographics and the tenor of the student population could perhaps help alleviate some of the repetitive or one-sided programming evident within the profession. 3 While the collegiate wind band appears successful in addressing such issues as the development of student musical and technical skills, appreciation of the American musical heritage, and the development of sensitivity to the aesthetic content in music, progress is desired by the profession in regard to addressing the needs of participating students, increasing awareness of career opportunities, and increasing awareness of the relationship between music and the other disciplines. This interesting dichotomy could perhaps be resolved through an investigaton of the student population to better understand its societal and sociological placement and direction. 4. Processes of repertoire selection should take into account the increasing percentage of non-music major involvement evident within the concert band program. These students may have different educational needs and desires that contribute to their undergraduate development than the students majoring in music. 3. As music education students represent the highest percentage of music majors in the concert band program, a re-evaluation of instructional goals and objectives may be necessary to provide a supportive curriculum best suited to those students' career orientation. It would seem appropriate that 94
different models of instructional settings and rehearsal techniques, as veil as exposure to literature associated with the various levels of public school (and collegiate) instrumental music instruction be provided vithin the collegiate vind band curriculum. 6. The profession deems successful its efforts in choosing music for performance that is reflective of current practices in musical composition, representative of a vide range of stylistic periods, challenging technically, interpretatively, and artistically, and enhancing to performer and perceiver consciousness. Hovever, the concert band profession appears somevhat concerned that there may be a lack of nev and innovative literature, despite the fact that no shortage of compositions composed from 1930 to the present is observed. 7. The classification of band literature at the collegiate level vas deemed appropriate by the participants in the survey; yet, the respondents' ovn classification of literature vithin the proposed four-tiered model shovs a good deal of "level crossing." This points to divergent beliefs regarding the factors that determine that classification. The establishment of a commonly accepted method of compositional analysis and subsequent grading of literature vould seem appropriate to eliminate the lack of clarity among members of the profession in the placement of vind band vorks for undergraduate study. This has far-reaching implications, not only for the vind band conducting profession, but for the music publishing industry as veil. 8. Changes or additions to the collegiate vind band curriculum, and its methodology regarding repertoire selection processes should be based upon the results of conducted research. 95
9. Data gathered from surveys and/or interviews with practicing collegiate wind band conductors and music educators should be used in studying and developing wind band curricula and repertoire.
RECOMMENDATIONS
This study attempted to determine current practices of repertoire selection in the collegiate wind band medium, and reveal the degree to which the college wind band curriculum is addressing the educational needs of the undergraduate student of music. The following recommendations were prompted by the results and conclusions of this study. 1. There is a need for research in the area of curricular development within the collegiate wind band medium. Results of the collegiate wind band survey indicated a widely diversified student population that shows a general increase in the percentage of participants who are not in music- related fields of study. In addition, those participating students who are music majors are predominantly oriented toward careers in music education. The educational and developmental needs of these students should be investigated and analyzed to refine the wind band curriculum to accommodate these specialized needs while still operating within its departmental philosophy of music instruction. 2 An investigation into a consistent music analysis and grading model needs to be implemented to alleviate the concision evident within the profession regarding the classification of music for study. There are widely divergent views among members of the profession as it stands, and it is difficult to %
compare at present compositions of supposed merit and value when there is such discrepancy in the evaluation, and acceptance, of the same. 3. Composers need encouragement to continue to write for the wind band medium. Results of this study indicate that while no shortage of contemporary literature composed since 1950 is observed, there is growing concern that there is a lack of literature that is considered "innovative and new." Programs of composer residencies, commissioned works, and so forth are often implemented at individual institutions, to be sure, but more global acceptance can be obtained through carefully planned programs initiated by professional organizations such as the College Band Directors National Association, Music Educators National Conference and others. 4. Research by wind band conductors and proponents of the wind band curriculum and repertoire needs to be made public and accessible. Virtually all of the respondents indicated a desire to obtain the results of this study. Avenues of communication between collegiate wind band conductors must remain open in order to maintain healthy dialogue and provide for constructive growth.
Suggestions for the Development of a CollepiflU* Wind Band Curriculum
One purpose of this study was to develop suggestions for a wind band curriculum designed to address the educational needs of the undergraduate student of music, based on the data gathered from both the collegiate wind band curriculum survey and subsequent repertoire listing. The following recommendations are a result of this research. 97
Instfucüonal Goals anH fihiecüves
Any réévaluation of the existing collegiate concert band curriculum should include the establishment of a series of instructional goals and objectives designed to address the educational and developmental needs of the participating undergraduate students. Goals and objectives vould be derived from a careilil investigation of the student population to assess its qualitative nature. The objectives chosen should then reflect the needs of those students vithin the framevork of the operational music department philosophy of instruction. Though not exclusive, the instructional objectives should include: providing a positive re creative atmosphere, fostering a love of music, developing a sensitivity to the aesthetic content of music, developing performance skills and technical mastery, exposure to a variety of vorks and composers of merit, developing the understanding of form and structure in music, exposure to traditional and contemporary literature, developing the ability to listen, hear, and produce contrast, realization of the composer's intent, providing a learning environment conducive to the student's career orientation, understanding the relationships betveen music and the other arts and disciplines, and development of student creativity. Additional goals and objectives vould of necessity reflect the individual program demographics and environmental situation. Contributing factors of concern should include: undergraduate and graduate enrollment figures and percentages, the recognized program strength of the institution, pre-existing university- and school- defined curricula, and as before, an analysis of the type of student participation.
Selection of Repertoire forStudv
Clearly defined instructional goals and objectives vould become the initial basis of selection of repertoire for study vithin the vind band curriculum, vhile still 98
taking into consideration those demographic factors that contribute to the program as veil. It is necessary to have an understanding of: the different ability levels represented in the vind band program, the number and types of different ensembles, the purpose, nature and frequency of student auditions, the rehearsal time available to each ensemble vithin the program, the activity and performance schedule, time demands upon the participating students, literature availability, and the budget available for the purchase of nev music and the maintenance of the existing band music library.
Suggested Wind Band Repertoire for Studv
Before the repertoire selection process can begin, it is important to understand any composition being considered in relation to its placement vithin a model of music classification by level of difficulty. Though there are compositions that are appropriate for study at any level due to musical and artistic merit, the common ground for a vork s "appropriateness" to a particular ensemble should be its observed level of technical and musical difficulty. Further, a classification model that takes into account the constituency of the ensembles that may perform a vork, and that is based upon ability level and type of student participation vould prove valuable. Folloving is the outline of the model proposed by this study: 1. Level I - Undergraduate, non-music majors, general university student, not selected by audtion. May include music majors studying secondary instruments. ("University Band") 2. Level II - Undergraduate, predominantly underclass music majoM, selected by audition, developmental in nature. ("Concert Band") 3 Level III - Undergraduate and graduate, predominantly upperclass music majors, selected by audition. ("Symphony Band") 99
4. Level IV - Undergraduate and graduate, predominantly music majors, selected by audition, greater performance demand created by smaller ensemble size, and literature of varied ensemble requirements and performance techniques. Instrumentation often dictated by the requirements of the composers. ("Wind Ensemble )
Based upon the results of this study, a series of compositions may be offered within the framework of the above model. Though occasional duplication of titles across levels is observed, it is worth noting that some compositions may be worthy of study at any level by virtue of their artistic and/or technical merit. This listing would also serve as the groundwork for future selection of other literature for study, and could be adapted into a multi-year, rotating curriculum, in order to provide the best variety of musical experiences to the student performer. For this listing of compositions by level, the reader is referred to tables 47-30 in chapter IV. BIBLIOGRAPHY
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100 101 Garofalo. R. (1976). Blueprint for band. Portland, ME: J. Weston Walch.
Getz, R. P. (1984). Music education in tomorrow s schools: a practical approach. The future of musical education in AmArirA Proceedings of the Tulv 1983 Conference, (pp. 21-29). Rochester, NY: Eastman School of Music Press. Hemberger, G.J. (1988). Wind repertoire project. Unpublished manuscript. University of Colorado, School of Music, Boulder, CO. Hoffer, C. R. (1988, September). Critical issues in music education. Music Educators Tournai. 75(1). 18-21. House, R. & Leonard, C. (1972). Foundations and principles of music education. New York: McGraw-Hill. Kohut, D.L. (1973). Instrumental music pedagogy. Englewood Cliffs: Prentice-Hall.
LeBlanc, A. (1984, May). Excellence in music teacher education. Music Educators ■Tournai. 70(9). 36-38. Lehman, PR. (1989, January). Toward civilization: How can it affect music education? Music Educators Tournoi 25(5). 22-27. Leonhard, C. (1984) The future of musical education in america: A pragmatist's view. The future of musical education in america: Proceedings of the Tulv 1983 Conference, (pp. 60-69). Rochester, NY: Eastman School of Music Press. Leonhard, C. (1984. May). Humanizing music in a mechanized society. Music Educators Journal. 68(9), 23-24.
Magee, L. (Ed ). (1983). Band music guide. Evanston, IL: Instrumentalist. Mark. M. (1978). Contemporary music education. New York: Schirmer.
Mercer. R.J. (1970). The band director's brain bank. Evanston. IL: Instrumentalist. Mercer. R.J. (1972. February). Is the curriculum the score-or more? Music Educators Journal. 38(6). 31-33. Music Educators National Conference. (1974). The school music program: Description and standards. Reston. VA: Author.
Neidig, K.L. (1987, September-October). The basic band curriculum. BD Guide. 2(1), 12.
Ohio Music Education Association. (1980). A guide for planning musical experiences. Columbus, OH: Author. Ohio Music Education Association. (1987, September-October). 1987-88 Competition music - Band selections. Senior high school. Triad. 31(1). 102
Ohio Music Education Association. (19&S, September-October). lOSS-89 Competition music - Band selections. Senior high school. Triad. ]6( 1 ).
Ostling, A. & Whitvell, D. (Eds.). ( 1977). The college and university band. Reston, VA; Music Educators National Conference. Reimer, B. ( 1965, January). The development of aesthetic sensitivity. Music Educators Tournai, 51(3).33-36. Reimer. B. (1970). A nhilosoohv of music education. Englewood Cliffs: Prentice-Hall. Reimer, B. (1989, February). Music education and aesthetic education: Past and present. Music Educators Tournai. 22(6), 22-28. Reimer, B. (1989, March). Music education and aesthetic education: Toward the future. Music Educators Tournai. 75(7), 26-32.
Rose, M. (Ed ). (1989, April). Idea bank: Favorite music for performing groups. Music Educators Tournai. 75(8), 46-49.
Smith, N. & Stoutamire, A. (1979). Band music notes. San Diego: Kjos. Strange, R. (Ed ). (1986). Selective music list for band. Nashville, TN: National Band Association. University Interscholastic League. (1983) Prescribed music list for 1983-1986. Austin, TS: University of Texas at Austin. University Interscholastic League. (1987). Prescribed music list for 1987-1990. Austin, 1%: University of Texas at Austin. Whitehead, A N. (1967). The aims of education and other essavs. New York: The Free Press. Woike, D.O. (1987). The bia ten schools core wind band repertoire. Unpublished manuscript. The Ohio State University, School of Music, Columbus, OH. Zerull, D. (1988, November). Enhancing our students' music education. Triad. 56(2). 14. APPENDIX A SURVEY QUESTIONNAIRE
103 104
COLLEGIATE WIND BAND
CURRICULUM AND REPERTOIRE
SURVEY
JANUARY, 1990
DAVID 0. WOIKE. B.M.E., M.A.
THE OHIO STATE UNIVERSITY 103 PROGRAM DEMOGRAPHICS 1. What is the approximate total undergraduate and graduate student enrollment at your college or university 7 ______Undergraduate ------Graduate
2. What is the approximate total student enrollment vithin your school, college, or department of music?
3. Approximately how many students are involved with your concert band program at present?
4. In your estimation, what is the strongest aspect of your school, college, or department of music? (Performance, Music Education, Liberal Arts, Other)
3 How many different concert bands, wind ensembles, or chamber ensembles are currently in operation within your program?
6. How many different group ability levels would you say the different concert bands represent? (For example, undergraduate non-major ensemble, select wind ensemble, symphony band, etc.) Circle one below:
1 2 3 4 3
7. What percentage of the student enrollment in the total concert band program is placed by audition?
8. How frequently are auditions completed? (Check most appropriate response) No auditions required ____ Each scheduled performance Each academic year ____ Frequency determined by Director Each grading period 106 9. List below, ranging from the "top ensemble" down (in order of technical skill), each group within your total concert band program by specific name.
10. How many hours does each group within the concert band program spend in full rehearsal on a weekly basis? (List by group)
11. How many total performances (on and off campus) are presented by each group within the concert band program in the course of a single academic year? (List by group) 107 12. w&aiis me percentage or graduate-level participation in me band program?
13 Of the students enrolled in the band program, what percentage are non-music majors?
14. If applicable, what percentage of the music majors enrolled in the band program are music performance majors?
15 If applicable, what percentage of the music majors enrolled in the band program are music education majors?
16. How many full-time faculty serve me concert band program?
17. How many part-time faculty or graduate teaching associates serve me concert band program?
18. Vhat is me estimated total operating budget of me concert band program mis academic year? (Include maintenance and repair, new equipment, purchase of music, etc.; do not include staff salaries)
19. What percentage of me total budget would you estimate is spent in me purchase of new music and me maintenance of your existing music library?
20. What are me primary sources of funding for your instrumental music program? (e.g., college or school budget, student organizations, etc.) List in order below; 108 CURRICULAR COHSIDERATIORS Focusing specifically on your university's concert band program, respond to the folloving statements, circling the appropriate response below each. SA - STRONGLY AGREE A - AGREE U . UNDECIDED D > DISAGREE SD - STRONGLY DISAGREE
21. The yearly concert band/wind ensemble program closely follows a university- or school-approved curriculum or course of study. SA A U D SD
22. The concert band curriculum reflects a clearly defined departmental philosophy. SA A U D SD
23. The concert band curriculum is based upon clearly defined instructional goals and objectives, which uniquely reflect demographic circumstances. SA A U D SD
24. The program allows for the student development of sensitivity to music, through interaction with its basic elemental components, such as pitch, duration, loudness, timbre, etc. SA A U D SD
23. There is sufficient opportunity within the program for the student development of skills to become a literate musician. SA A U D SD
26. Students can develop abilities to translate traditional and non-traditional symbols into musical sounds with accuracy and expression. SA A U D SD
27. Students are exposed to a variety of music to develop and sustain positive experiences, SA A U D SD 109
28. Through ensemble participation, students are given the opportunity to develop an appreciation for the American musical heritage. SA A U D SD
29. Students can develop an understanding of the relationships between music and the other arts and disciplines. SA A U D SD
30. Students can develop an awareness of the role which music plays in understanding other people and cultures, through the study of music associated with such. SA A U D SD
31. Through the concert band program, the students can develop an awareness and understanding of career opportunities in music. SA A U D SD
32. The primary goal of the concert band program is the development of the sensitivity of each student to the aesthetic content of music. SA A U D SD
KEFEKTOIKE SELECTIOM 33 The quality and artistic level of the concert band literature chosen for study reflects the continually evolving current practices of music composition. SA A U D SD
34. The band literature chosen for study challenges the performers' technique, interpretative capabilities, and capacity for artistic involvement. SA A U D SD
33 The music chosen lies within the capabilities of the ensembles for which it is chosen, and within the limits of the rehearsal schedule. SA A U D SD 110
36. The chosen literature carefully balances interpretative and technical demands. SA A U D SD
37. The band literature chosen far performance reflects a desire to raise the musical consciousness of both the performers and the listening audience. SA A U D SD
38. Each concert performance reflects literature that represents a growth experience both for the conductor's and students' musical comprehension and technical skills. SA A U D SD
39. The concert literature chosen for study represents a wide range of stylistic periods, including, but not limited to Baroque, Classical, Romantic, Contemporary, etc. SA A U D SD
40. The yearly concert program provides for the study of contemporary literature composed for the concert band medium from 1930 to the present. SA A U D SD
41. Band music chosen for study on a yearly basis is part of a larger cycle of literature, patterned after a multi-year curriculum. SA A U D SD I l l GEimtAL COHSIDEKATIOHS Please respond to the following. Please include a brief explanation of your rationale. 42. Vhat are the primary instructional objectives addressed within your concert band program? (For example, development of performance skills, appreciation for aesthetic content, etc.)
43 'Whatare the five major factors that contribute to your selection of music for study in any of your ensembles? (i.e.. composer, difficulty, compositional devices, etc.)
44. Regarding the profession as & whole, do you perceive a significant lack of concert band literature that is innovative and new? 112
45. Do you observe a “polarization'' among collegiate wind band programs in repertoire selected for performance? (i.e.. old vs. new literature, transcriptions vs. none, etc.)
46. Do you believe that there is a standardized curriculum of repertoire that is generally accepted and followed among the members of the profession?
47. Do you feel that there is a body of literature that is significant to the profession, but that remains largely ignored among its members? 113
48. Is the concert band profession generally addressing the needs of participating students? If needed, vhat suggestions would you have to improve this?
49. What general classifications would you assign to wind band literature? (For example, standard, contemporary, historical, and so forth.) Explain your choices. 114 30. Is it appropriate to classify band literature at the collegiate level by difficulty? Do you agree with the following model, or would you offer suggestions for revision? Level I Undergraduate, Non-music majors, general university student, not selected by audition. May include music majors studying secondary instruments. ("University Band") Level II Undergraduate, Predominantly underclass music majors. selected by audition, developmental in nature. ("Concert Band") Level III Undergraduate & Graduate, Predominantly upperclass music majors, selected by audition. ("Symphony Band") Level IV Undergraduate & Graduate, Predominantly music majors, selected by audition, greater individual performance demand created by smaller ensemble size, and literature of varied ensemble requirements and performance techniques. Instrumentation often dictated by the requirements of composers. ("WindEnsemble")
RESPONSE: 115 Di. using me aroremeniionea four levels as a "siandard," orrer your choice or two compositions and their composers for each in the spaces provided below. Level I
1______2 ______Level II
1. 2 . Level III
1.. 2 . Level IV
!..
2 ..
52. List below, in your opinion, the ten most significant wind band compositions, along with their composers and/or arrangers. (Regardless of level) 116
PLEASE MAKE ANT ADDITIONAL COMMENTS YOU MAT NAVE IN THE FOLLOWING SPACE APPENDIX B REPERTOIRE LISTING SUGGESTED FORMAT
117 BELOW IS THE SUGGESTED FORMAT FOR SUBMITTING PÊRF0W1ANCE PROGRAM INFORMATION OVER TK€ PAST FOUR ACADEMIC YEARS. PLEASE KEEP IN MIND. HOWEVER. T>C MATERIAL CAN BE SUBMITTED W A FORM MOST CONVENIENT TO YOU. IT IS IWORTANT THAT ALL PERTWSNT INFORMATION (SUCH AS TITLE. COMPOSER. ETC.) BE INCLUDED FOR REPORTING ACCURACY. IF ABBREVIATIONS ARE USED TO IDENTIFY THE PERFORMANCE OF A COMPOSITION BY ENSEfffiLE. PLEASE LIST SEPARATELY THE GROUPS REPRESENTED (FOR EXAMPLE. WE - WIND ENSEMBLE. CB - CONCERT BAND. AND SO ON).______
COMPOSITION COMPOSER ARRVTRANSVED. PUBLISHER ERSBSLE 85-0606-0787-00 88-09 TrtutPSlnfonI* W agntr. Richard Lefdzan. Erik Associated OS 1 1
0» APPENDIX C C0LLEGIA1Î SURVEY COVER LETTER
119 120
January, 1990
Dear Colleague: The college band conducting profession represents a rich and diversified assemblage of beliefs and philosophies about music-making and music education. This diversity manifests itself in the selection of repertoire for vind band performance. The specific educational mission of our schools, the competencies of our students, our ovn beliefs about choosing repertoire for performance, and numerous other factors determine the performance curriculum that our students experience under our guidance. In an effort to more clearly understand the process, the Band Department at The Ohio State University is initiating a stu ^ of wind band repertoire. The intent of this study is to identity a standardized, multi-grade wind band "core curriculum" for use at the collegiate level through a two-part survey of representative wind band programs. The first portion addresses the following issues: 1. Factors considered in the selection of repertoire for performance, including: a. Composer, b. Level of difficulty. c. Instrumentation. d. Compositional devices employed, and e. Appropriateness to the chosen curriculum: 2 Philosophical considerations: 3 Establishing minimum student performance competencies: 4. Establishing a suggested repertoire for performance: 5. Correlation between the suggested repertoire list and actual performed repertoire among the participating schools. The second portion of this survey will comprise a compilation of the wind band compositions performed at your institution over the past four years. If your department has maintained a listing or file of concert programs, a copy of that listing is all that would be required. A member of your staff (e g ., a graduate assistant) could probably accomplish this task in very little time. A suggested format is provided: however, the compilation could be submitted in a form most convenient to you. This information may be submitted on floppy disk as well - for the Apple 11 or Macintosh family of computers. In any event, if assistance is desired for successful completion of this portion of the survey, please contact David Voike. Project Coordinator (see information below). 121 This listing may not, in and of itself, necessarily constitute a “core curriculum," or frequency of performance may not be indicative of a work's appropriateness for study as much as it reflects individual program demographics. It may prove interesting to see how this listing compares to the concepts of repertoire selection uncovered in the first portion of this survey. Your participation in this study will provide an invaluable insight as to how our profession currently accomplishes this task, while providing a curricular model that may prove useful in the future. All responses will be held in the strictest confidence, and instructions are provided for completion of each segment of the survey. A postage-paid envelope is enclosed for return of both the survey and your program information to our location at no cost to you. In order to insure the timely and adequate compilation of information, please make every attempt to return all items no later than Friday, February 2,1990. For your efforts, results of this study will be made available to all respondents. To be sure, it is a busy time of year for us all, but your participation will provide a powerful insight into the methods we currently employ, and perhaps even ease the process in years to come. Please accept our best wishes for a successful academic year, and our thanks, in advance, for your contribution to this study! Sincerely,
Professor Craig Kirchhoff Director of Bands School of Music The Ohio State University Ofc.-(614) 292-2300
David 0. Woike Graduate Assistant, University Bands School of Music The Ohio State University Ofc.-(614) 292-3272 Hm -(614) 771-8744
Deadline for Submission of Survey Materials: February 2.1990 APPENDED PILOT SURVEY EVALUATION FORM
122 123 QUESTIOHHAIRE EYALÜTION FORM NAME OF EVALUATOR:. 1. Approximaisiy how long did it take you to complete the survey questionnaire? ______Minutes
2. Are the questions on the questionnaire clear and unambiguous? < )YES ( )N0 If NO, please indicate those questions wich you feel are not clear:
3. Are the answer choices on the questionnaire clear and logical? ( )YES ( )N0 If NO, please indicate those answer choices which you feel are not clear and/or logical;
4. Are the questions and responses arranged in an easy-to-follow sequence? ( )YES ( )N0 If NO, please comment on problem areas:
3. Please give the questionnaire an overall rating based on your reactions to reading and completing it: Circle Rating: 1 2 3 4 3 Low High Rating Rating
6. Please comment on any aspect of the questionnaire which you feel needs revision. Your suggestions and/or criticisms are most appreciated. Feel free to use the back of this form if needed. APFENDUE
FIRST FOLLOW-UP LETTER
124 123
January 24,1990
Dear Colleague: Recently, a questionnaire entitled "Collegiate Wind Band Curriculum and Repertoire Survey" was mailed to members of the College Band Directors National Association. The intent of this doctoral research, initiated at The Ohio State University Band Department, is to identify a standardized, multi-grade vind band “core curriculum" for use at the collegiate level. As one of only 30 randomly selected individuals in this study, your participation is greatly appreciated. If you have had the opportunity to examine and complete the survey questionnaire, you will recall that the second portion of the survey comprises a compilation of the vind band compositions performed at your institution over the past four years. As a reminder, this compilation may be submitted in a form most convenient to your situation. One early respondent included actual program copies for the time period in question, while another forwarded a computer-generated listing that his department had already maintained over time. If you have already completed and returned the survey, please accept our grateful appreciation. If you have NOT yet received the questionnaire, please contact us immediately. If you have received the survey, but have not yet completed it, we hope that you will take the time to do so and return the survey in the self-addressed stamped envelope previously provided by February 2nd.
Sincerely.
Professor Craig Kirchhoff Director of Bands School of Music The Ohio State University Ofc.-(614)292-2300
David 0. Woike Graduate Assistant, University Bands School of Music The Ohio State University Ofc.-(614) 292-5272 Hm -(614) 771-8744 APPENDIX F
SECOND FOLLOW-UP LEFIER
126 127
February 12.1990 Dear Colleague; Recently, a questionnaire entitled "Collegiate Wind Band Curriculum and Repertoire Survey"" was mailed to selected members of the College Band Directors National Association. The intent of this doctoral research, initiated at The Ohio State University Band Department, is to identify a standardized, multi-grade wind band ""core curriculum" for use at the collegiate level. While most of the responses have been received to date, your contribution is still very important to us! The global application and suitability of the study results depends to a great extent upon the participation of all the programs involved. In the event you did not receive the original packet, an additional copy of both the Survey Questionnaire and Suggested Repertoire listing Format are enclosed. From responses received thus far. it appears that the questionnaire portion requires approximately 30-43 minutes to complete. As a reminder, the Suggested Repertoire Listing Format is provided only as a guideline; this second portion of the study essentially comprises a compilation of the wind band compositions performed at your institution over the past four years. This compilation may be submitted in a form most convenient to your situation. Several respondents included actual program copies for the time period in question, while others forwarded listings that their respective departments had already maintained over time. As before, your participation in this study is important, and will provide an invaluable insight as to how our profession currently accomplishes the task of repertoire selection, while providing a curricular model that may prove useful in the Aiture. All responses will be held in the strictest confidence, and instructions are provided for completion of each segment of the survey. A postage-paid envelope is enclosed for return of both the survey and your program information to our location at no cost to you. In order to insure the timely compilation of information, please make every attempt to return all items no later than Wednesday. February 28. 1990. For your efforts, results of this study will be made available to all respondents. Your participation in this study is important, and we want to have your institution represented appropriately! The significance of the results to the profession as a whole will be made much more so with your timely response! Thank you! Sincerely.
Professor Craig Kirchhoff David 0. Woike Director of Bands Graduate Assistant. Univ. Bands School of Music School of Music The Ohio State University The Ohio State University Ofc. - (614) 292-2300 Ofc. - (614) 292-3272 APPENDIX G LIST OF INDIVIDUALS INCLUDED IN THE RANDOM SAMPLE
128 129 Individuals Included in Random Sample
NAME TITLE UNIVERSITY
1. Anderson. Dr. John Director of Bands Cal Poly State University 2. Arrovood, James Director of Bands University of North Carolina 3 Attinger. Dr. Ronald C. Director of Bands Jacksonville State University 4. Barnes. Arthur P. Director of Bands Stanford University 3. Benstein. Harvey Director of Bands McNeese State University 6. Christensen, Carl J. Director of Bands Hartnell CoUege 7. Cook. Bruce F. Director of Bands Clemson University 5. Cramer. Raymond Director of Bands Indiana University 9. Dancz. Roger L. Director of Bands University of Georgia 10. Gardner, Jerry Director of Bands University of Central Florida 11. Gonano.MaxA. Director of Bands California Univ. of Pennsylvania 12. Hanes. Michael Director of Bands Southern Illinois University 13 Havkins. Ben Director of Bands Transylvania University 14. Hinkle. WilUam Director of Bands Seminole Community CoUege 13 HoveU. Ron Asst. Prof of Music Central State University 16. Hoy. Patricia Director of Bands Northern Arizona University 17. Hufstader. Ron Director of Bands University of Texas at El Paso 18. Kephart. Donald Director of Bands Geneva College 19 Kirchhoff. Craig Director of Bands The Ohio State University 20. La Voie. Karen R. Director of Bands Olivet CoUege 21. Mack. Bruce Director of Bands CoUege of Lake County 22. Mack. Kyle D. Director of Bands Simpson CoUege 130
23 Manfredo, Joseph Band Director Purdue University 24. Martin, Larry Director of Bands Warner Pacific College 25 Martin, Valerie G. Director of Bands Centernary College 26. McGarrell, Matthew Director of Bands Brown University 27. Montgomery, Lee Boyd Director of Bands Texas Lutheran College 28. Okamura, GrantK. Director of Bands University of Hawaii 29. Pollart, Gene J. Director of Bands University of Rhode Island 30. Reynolds, H. Robert Director of Bands University of Michigan 31. Saville, KirtR. Director of Bands Washburn University 32. Schmidt, Lewis A. Chmn, Music Dept. Lakeland College 33 Simon, Jack Director of Bands Rock Valley College 34. Smith, James Conductor University of Wisconsin-Madison 35 Stasenka, C. Robert Band Director Northern Eastern Jr. College 36. Swinehart, Timothy Director of Bands Capital University 37. Tower, Ibrook Director Inst. Music Juniata College 38. Vroman, David C. Director of Bands Bradley University APPENDIX H REPERTOIRE COMPILATION. ALPHABETICAL BY COMPOSER’S LAST NAME
131 COMPOSITION COMPOSER ARR«TRANS«ED1985*861986*87 1987*881988*89 TOTAL 0 Holy N I # Adam. A. 2 2 Hymn Festival, A Adas. H. 1 1 Symphony No. 3 - Diptych Adler. S. 1 1 Divertissement; The Three Trumpeters Agostini. 0. Balnum 2 2 Amerlca...The Dream Goes On Alan/Bergmann/WHHams 1 1 2 Cordoba fhom Songs of Spain Albenlz. 1. 1 1 Colossus of Columbia Alexander. R. 1 1 Olympia HIppldrome Alexander, R. 1 1 Southerner. The Alexander. R. Balnum 1 1 Purple Carnival. The Alford. H i. 1 1 2 Step Ahead. A Alford. Hi. 1 1 Army of the Nile Alford. KJ. Fennell 1 1 2 Colonel Bogey Alford. K J. 1 1 2 Mad Major. The Alford. KJ. Multiple 1 1 2 Standard of St. George. The Alford. KJ. 1 1 Vanished Army. The Alford. K J. Multiple 1 1 2 4 Susplros de Espada Alvarez. A. Wiley 1 1 Concerto for Horn Amram. 0. 1 1 Rondo Alla Turca Amram. D. 1 1 King Lear Variations Amran, D. 1 1 Belle of the Ball Anderson. L. 1 1 Buglers Holiday Anderson. L. Edwards 1 1 Christmas Festival. A Anderson. L. 1 I 4 Irish Suite. The Anderson. L. 1 1 Irish Washerwoman. The Anderson. L. 1 1 Serenata Anderson. L. 1 1 Sleigh Ride Anderson. L. 1 1 2 Trumpeter's Lullaby. A Anderson. L. 1 1 Typewriter. The Anderson. L. Werle 1 1 Slnfonla "II Flume’ Andrlessen. J. I 1 Wizard of Oz Fantasy. The Arlen 1 1 Cornish Dances. Op. 91 Arnold. M. Marclnlak 1 1
% COWOSITION COMPOSER ARR«TRANS«ED 1985*861986*87 1987*88 1988*89TOTAL CKjke of Combrldgo Arnold, M. 1 1 English Dances Arnold, M. Johnstone 3 3 2 a Four Scottish Dances Arnold, M. Paynter 1 3 2 6 March from "Little Suite" Arnold, M. Summer 1 1 Peterloo Arnold, M. 1 1 Prelude, Sicilano and Rondo Arnold, M. Paynter 1 1 1 4 7 Sarabande and Polka Arnold, M. 1 1 Tam Of Shanter, Op. 51 Arnold, M. Paynter 1 1 Concerto for Trumpet Arulunian, A. Duker 1 1 2 Concerto for Oboes and Wind Orchestra. Op. 90 Atehortua, B£. 1 1 Chorale Prelude Bach, J.S. 1 1 Fantasia in 6 Major Bach, J.S. Goldman/Lolst 1 2 2 5 From Heaven Above - Chorale Prelude Bach, J.S. Malin 1 1 Fugue In G Minor Bach, J.S. Cailiiet 1 1 Fugue No. iV from "The A rt of the Fugue" Bach, J.S. McKay 1 1 Gott Lebet Noch (God Still Lives) Bach, J.S. Reed, A. 2 1 1 4 Herzllch Tut Mich Verlangen Bach, J.S. 1 1 if Thou Be Near Bach, J.S. Multiple 1 1 1 1 4 Jesu, Joy of Man's Desiring Bach, J.S. Multiple 1 1 3 5 Jesus, Oh What Anguish Bach, J.S. Reed, A. 1 1 Komm, Siisser Tod (Come Sweet Death) Bach, J.S. Reed,A. 2 4 6 Mein Jesul Was Flir Seelenweh Bach, J.S. Reed, A. 1 1 My Heart Is Filled With Longong Bach, J.S. Reed,A. 1 1 0 Fervent is My Longing Bach, J.S. Cailiiet 1 1 0 Mensch. Gewein Dein SUnde Gross Bach, J.S. Grainger 1 1 2 Our Father Who A rt in Heaven Bach, J.S. Reed, A. 1 1 Prelude and Fugue in C Minor Bach, J.S. Volz/Sledek 1 1 1 3 Prelude and Fugue in 0 Minor Bach, J.S. Moehlmann 1 1 Prelude and Fugue in E-flat Major Bach, J.S. Conley 1 1 Prelude and Fugue in G Minor Bach, J.S. Moehlmann 1 1 2 Sheep May Safely Graze Bach, J.S. Richardson 1 1 Sleepers Wake (Wachel Auf ) Bach, J.S. Multiple 2 2 COMPOSITION COMPOSER ARR*TRAHS«ED I9B 5«8G 1986*87 1987*88 1988*89 TOTAL Thus Do You Fare. My Jesus Bach. J.S. Reed. A. 1 1 2 Toccata and Fugue in D Minor Bach. J.S. Leidzen/Hindsley 1 1 2 Two Chorales Bach. J.S. Frackenpohl 2 2 Two Chorales Bach. J.SVSchop. J. Leldzen/Latham 1 1 Grand Serenade for an AwfUi Lot of Winds & Percussion Bach. PO O. Schickele 2 1 3 National Emblem Bagley. E£. Multiple 2 1 1 4 8 Adagio Barber. S. 1 1 Commando March Barber, S. 3 2 1 3 9 OverUre to "The School for Scandal' Barber. S. Hudson 1 1 Capriccio for Saxophone Quartet & Band Barker.W . 2 2 Patriotic Pageantry Barker. W. 1 1 %corded by Sinatra Barker. W. 1 1 Duke of York. The Barnes. A.P. 1 1 Autumn Soliloquy Barnes. J. 1 1 Chorale Prelude on a German Folk Tune Barnes. J. 1 1 Heatherwood Portrait Bara'S. J. 1 1 invocation and Tocatta Barnes, J . 2 2 Texan. The Barnes. J. 1 1 Torch Dance Barnes. J. 1 1 Yorkshire Ballad Barnes. J. 1 1 2 4 Concerto Grosso Barnes. L. 11 Battle of Shiloh. The Barnhouse. Cl. Paynter 1 1 Fanfare and Dance Segments B arrett. R. 1 1 Colors and Contours Bassett. L. 1 1 2 Sounds. Shapes & Symbols Bassett. L. 1 1 2 Galloping Major. The Bestow, G. Jacob 1 1 Jazz Variants Beck, J. 1 1 Rhapsody for Percussion and Band Beck. J. & Jones. D. 1 1 Drel Zipfenstretche (Three Ceremonial Marches) Beethoven. L. v. Schaefer 1 1 2 Fanfare Prelude on 'Ode to Joy' Beethoven. L.v. Curnow 1 1 March In F Major Beethoven. L.v. 2 2 Octet for Winds. Op. 103 Beethoven. L.v. 1 1
% COMPOSITION COMPOSER ARR*TRANS#ED 1985*861986*871987*88 1988*89TOTAL Concerto for Oboe Bellini, V, Simmons 1 1 2 Nepoll Bellstedt, H. Simon 1 1 March of the Steel Men Belsterling, C.S. Alford 1 1 Dialogue for Clarinet Bencriseutto, F. 1 1 Latina Bencriscutto, F. 1 1 President's Trio Bencriseutto, F. 1 1 Serenade for Ai to Saxophone and Band Bencriscutto, F, 1 1 Symphonic Jazz Suite Bencriscutto, F. 1 1 Jamaican Rhumba Benjamin, A, 1 1 Miiitary Escort Bennett, H. Fennell i 1 Autobiography Bennett, R.R. 1 1 Down to the Sea In Ships Bennett, R.R. 1 1 Four Preludes for Band Bennett. R.R. 1 1 2 Rose Variations Bennett, R.R. 1 1 Suite ofQd American Dances Bennett, R.R. 2 3 4 1 10 Symphonic Songs for Band Bennett, R.R. 1 2 2 5 Concertino for Alto Saxophone and Band, Mvt. II Benson, W. 1 1 Helix Benson,W. 1 I Passing Bell, The Benson, W. 1 1 Solitary Dancer, The Benson, W. 1 1 March with Trumpets Bergsma, W. 2 2 Tribute to Irving Berlin Berlin, 1. Barker 1 1 Grande Symphonie Funebre et Triomphale Berlioz, H. t 1 Rakoczy March Berlioz. H. Gordon 1 1 Roman Carnival Berlioz, H. Multiple 1 2 3 Symphonie Funebre et Triomphale Berlioz, H. Whitweli 1 1 Divertissement Bernard, E. 2 2 What Birds See Berners, J. 1 1 Danzon from "Fancy Free" Bernstein, L. Krance 1 2 3 Divertimento Bernstein, L. Grundman 1 2 3 Overture to "Candide" Bernstefri, L. Beeler 2 1 2 3 8 Overture to "Candide" Bernstein, L. Grundman 1 1
» COMPOSITION COWOSER ARR«TRANS«ED1985*86 1986*871987*88 1988*89 TOTAL Profanation Bernstein, L. Bencrlscutto 1 1 Prologua from 'Waal Side Story' Bernstein. L. 1 1 2 Slava! Bernstein. L. Grundman 1 2 3 1 7 Symphonic Dances from 'West Side Story' Bernstein. L. Polster 2 2 Three Dance Episodes Bernstein. L. Stith 1 1 West Side Story. Selections fhom Bernstein. L. Dutholt 2 3 1 2 8 Der Klelne Schelm Bessicon. A. 1 1 American Civil War Fantasy Blllk. J. 1 1 2 1 5 Boys from Liverpool, The Blllk. J. 1 1 Blue Goose Rag Birch. R. Broege 1 1 Habanera Bizet. G. 1 1 L' Arleslenne Suite No. 2 - Part II - Farandole Bizet. G. Lasllll 1 1 Pearl Fishers Overture. The Bizet. Q, Callllet 1 1 2 Flag of Victory Blon. F . V 1 1 Die Wacht am Rhein. Marsch Blon. F. V. Wiley 1 1 Fantasia dl Concerto Boccalari. E. Kent-Akers 1 1 2 Fiddler on the Roof. Selections from Bock. J. Lowden 1 1 Fanfare and Hymn of Brotherhood Bocook. J. 1 1 Toccata (Athalanta) Bonelll. A. Christensen 1 1 Ballet Music from 'Prince Igor' Borodin. A, Bennett 1 1 Symphony No. 2 - Mvt. 1 Borodin. A. Leldzen 1 1 Contrasts Bottje. W.6. 1 1 Les Misérables. Selections from Boublll. A./Schienberg. ( Barker 1 2 3 Serenade. Op. 22 Bourgeois. D. 1 1 Academic Festival Overture Brahms. J. Hlndsley 1 1 Blessed Are They from 'A German Requiem' Brahms. J. Buahlman 2 1 3 Two Chorale Preludes Brahms. J. Guenther 1 1 Men In Gray Brahmstedt. N.K. 1 1 Dormant Craters Brant. H. 1 t Antiphony One Brant. H. 1 1 Carnival of Venice Brkclaldl. G. Coppola t 1 Prelude and Fugue In F Minor Bright. H. 1 1 COMPOSITION COMPOSER ARR«TRANS«EO 1985*06 1986*87I987#881986*89 TOTAL Slnfonla V - Sacra a t Profana Broege, T. 11 SInfonIa XII - Southern Heart/Sacred Haro Broege, T. 1 1 Suita for Winds and Percussion Broege, T. 11 Christmas Fugue Brown, RB. 1 1 Concerto No. 1 1n 6 minor. Op. 26 Bruch, M. Hlndsley 1 1 Apollo March Bruckner, A. Rhodes 1 2 3 Ecce Sacerdos Magnus Bruckner, A. Orzel 1 1 Hymn of Praise Bruckner,A. Gordon 1 1 Mass In E minor Bruckner, A. 1 2 3 Symphony No. 1 for Winds and Perciaslon Bukvlch, D J. 1 3 4 Voodoo Bukvlch, D J. 1 1 2 Four of a Kind Bullock, J. 1 1 Pageant Bullock, J. 1 1 Joy of Christmas - English Carols Burt. A. Edmondson 1 1 Battell, The Byrd, W. Jacob 1 1 2 Flute and the Droome, The Byrd, W. 1 1 Burnished Brass Cacavas, J. 1 1 Days of Qlory Cacavas, J. 1 1 Let ItSnowl Cahn, SyStyne, J. Leonard 1 1 Variations on the Thome 'Pool Goes the Weasel' Callllet, L. 1 1 Romantic Variations Calvert, M. 1 1 Tribute Camphouse, M. 1 1 Baroque Suite Carter, A. 1 1 Overture for Winds Carter, C. 1 1 Symphonic Overture C arter, C. 1 1 1 London Sketches (1926) Casadesus, F. 1 1 Introduction, Chorale and March Casslla, A. 1 1 Divertissement (f ete Casterede, J. 1 1 Overture In C Major Catel, C.S. Goldman 1 1 Boys of the Old Brigade Chambers, WP. Smith 1 1 Chicago Tribune Chambers. WP. 1 1 Hostrauser's March Chambers, WP. 1 1 COMPOSITION COMPOSER ARR*TRANS«ED1985*861986*871987*881988*89 TOTAL Concertino for Flute Chamlnade, C. Wilson 1 1 Blue Like Chance, J £ . 1 1 2 Begy Chance, 2 1 t 3 7 Incantetlon end Dsnce Chance, J £ . 1 3 2 2 8 Symphony No. 2 Chance, J £ . 2 2 Verlatlona on a Korean Folk Song Chance, JB . 2 6 4 4 16 Spanish Fever Chattaway, J. 1 1 Caccia Clark, R. 1 1 Bride of the Waves, The Clarke, Hi. 1 1 Stars In a Velvety Sky Clarke. Hi. 1 1 Three Aces, The Clarke. H i. 1 1 Dam Busters. The Coates. E. 1 1 Knights bridge Coates. E. 1 1 Zacatecas Codina, 6. Laurendeau 1 1 Clarinets Allegro Cofleld, F. 1 1 Star Spangled Spectacular Cohan,G. Cacavas 1 1 Cohan Broadway Festival, A Cohan, J.A. War le 1 1 Winds of Nagual Colgrass. M. 1 1 Copland P ortrait, A Copland, A. Grundman 1 1 2 El Salon Mexico Copland, A. Hlndsley 1 1 Emblems Copland, A. 1 1 Fanfare for the Common Man Copland, A. 1 2 3 Lincoln Portrait, A Copland, A. Beeler 1 1 1 3 Outdoor Overture Copland, A. 2 2 Variations on a Shaker Melody Copland, A. 2 3 2 7 Waltz and Celebration Copland, A. Lang 1 1 Concerto Grosso No. 12 Corelli, A. Gordon 1 1 Gazebo Dances Corlgllano, J. 1 1 2 Beezlebub, air Varié CotozzI, A. 1 1 Waltzing Matilda Cowan, M. Barker 1 1 Curse and a Blessing, A Cowell, H. 1 1 Little Concerto for Plano Cowell, H. 1 1
% COMPOSITION COK1>OSER ARR«TRANS«EI^ 1985*861986*87 1987*88 1988*89 TOTAL March Electric Creaiore, G. Falcone 1 1 Celebration Overture, Co. 61 Creslon, P. 1 4 1 6 Concertino for Marimba and Band Creston, P. 1 1 1 3 Honey Boys on Parade Cupero, E.V. 1 1 American Triptych Curnow, J, 1 1 Canticle of the Creatures Curnow, J, 1 1 Fanfare Prelude on "Lancashire" Curnow, J. 1 1 Fanfare Prelude on "Lobe Den Herren" Curnow, J. 1 1 Fantasy on a Sea Chantey Curnow. J. 1 1 Hymn and Allelujah Curnow, J. 1 1 Mulanza Curnow, J. 1 1 Partita for Band Curnow, J. 1 1 Phoenix Overture Curnow, J, 1 1 Rejouissance Curnow. J. Symphonic Triptych Curnow, J. 1 1 Variants on an Ancient Air Curnow, J. 1 1 Variants on an Early American Hymn Tune Curnow, J. 1 1 Bravada (Paso Ooble) Curzon,F. 1 1 Slnfonletta Dahl. 1. 1 1 Concertino for Trombone David, F. Phillips 1 1 White end Red Rose March, The De Luca, J. Wiley 1 1 Universal Judgment, The De Nardis, C. 1 1 Gossamer Rings for Soprano Saxophone and Band Deason, D. 1 1 Engulfed Cathedral, The Debussy. C. Morrison 1 1 Sarabande Debussy, C. Nelson 1 1 Canzone Del Borgo, E. 1 1 Centennial Celebration Del Borgo, E. 1 1 Do Not Go Gentle into That Good Night DelBorgo, E. 3 2 in Memorlam: Baba Yar Del Borgo, E. 1 1 Music for Winds and Percussion Del Borgo, E. 1 1 P roio^e and Dance Del Borgo, E. 1 1 Sinfonia Marziale Del Borgo, E. 1 1 COWOSITION COWOSER ARR«TRANS«EO| I98S«86| I986«87| 1987*88 |I988«89|TOTALI Tryptich Del Borgo, E. 1 1 March and Proceaaion of Bacchus Delibes, L. Oslerling 1 1 L'Inalealna. Symphonie March Delia Case, D. 1 1 2 Dancing Sergeant, The Dello Jolo, N. 1 t Fantaalea on a Theme by Haydn DelloJolo, N. 2 2 4 From Every Horizon Dello Jolo, N. 1 1 2 Satiric Dances DelloJolo, N. 2 2 1 5 Sennes from 'The Louvre" Dello Jolo, N. 2 5 2 4 13 Songs of Abelard DelloJolo, N. 1 1 2 Variants on a Medieval Tune DelloJolo, N. 2 2 1 5 Brass Menagerie, The DIemer, E.L. 1 1 March for the Sultan Abdul Medjid Donizetti, 3. 1 1 2 Arologue and Pageant Dougherty, W. 1 1 Night Before Christmas, The Douglas, S. t 1 Symphony for Winds and Percussion Downing, J.H. 1 1 We Never Really Say Soodbye Dragon, D. I 1 Crystals (1985) Duffy, T.C. 1 1 Fanfare from "La Perl' Dukas. P. 1 1 Sorcerer’s Apprentice, The Dukas, P. Hlndsley 1 1 Finale from ‘New World Symphony" Dvorak, A. Leldzen 1 1 Humoresque Dvorak. A. Callllet 1 1 Serenade In D Minor, Op. 44 Dvorak. A. 1 1 Slavonic Dances Dvorak. A. Johnson 1 1 Pageantry Overture Edmondson, J. 1 1 Three Pieces for Winds Edmondson. J. 1 1 Enigma Variations Elgar. E. Slocum 1 1 Nimrod from "Enigma Variations" Elgar. E. Multiple 1 1 Ellington Festival, An Ellington. D. Nestlco 1 1 Ellington Portrait, An Ellington, D. Werle 1 1 Caravan Ellington, EX. 1 1 British Eighth Elliott, Z.A. Luckhardt 3 1 2 3 9 Stargazing Erb, D. 1 1 2 COWOSITIOM COMPOSER ARR*TRANS«ED I985a881986*871987*881988*89 TOTAL Air for Band Erickson. F, I 1 1 3 Chroma Erickson. F. 1 1 Third Symphony for Band Erickson. F. 1 1 Toccata for Band Erickson. F. 1 1 2 Suite for Synthesizer Erickson. F. & Meglll. D. 1 1 Heat is On. The Faltermeyer. H. Forsey-Cook 1 1 Giles Farnaby Suite Farnaby. 6. Jacob 1 1 Paulas Wharfe Farnaby. 6. Gordon 1 1 Bombas to March Farrar. OR. Smith 1 2 3 Indiana State Bind March Farrar. OR. Smith 1 1 Symphony in B-flat Fauchet. P. Gillette 1 1 2 4 Americans We Fillmore. H. Fennell 1 3 4 a Circus Bee. The Fillmore. H. 1 1 His Honor Fillmore. H. Fennell 2 2 1 1 6 Klaxon. The Fillmore. H. Fennell 3 5 Lassus Trombone Fillmore. H. 2 2 Oranoe Bowl Fillmore, H. 1 1 Rolling Thunder Fillmore. H. Fennell 2 1 3 Early English Suite FIndlayson. W. 1 1 Skating on the Sheyenne Finney. R I. 1 1 Le Journal du FVIntemps Fischer. J. 1 1 Longer Fogelberg. D. 1 1 Canto Forma Forsblad. L. 1 1 Fantasia on a Hymn by Praetorlus Foster. R. 1 1 2 Pastorale for Trombone Frackenpohl. A. 1 1 Panis Angellcus Franck.0. Reed. A. 1 1 Intrada No, 7 Franck. M. Johnson 1 1 Aguero - Paso Doble Franco. J. 1 1 Quintette Frangalx. J. 1 1 Toccata Frescobaldl. G. Slocum 1 4 2 1 6 Florentiner. Die (Grande Marcia Itallana) Fuçlk, J. Lake/Fennell 2 1 1 2 6 Thunder and Blazes Fuclk. J. 1 1 COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*881988*89TOTAL Canzon Primt TonI Gabrieli. 6. 1 1 Canzon Septimi TonI No. 2 Gabrieli. 6. Christensen 1 1 2 Jubilate Deo Gabrieli. G. 1 1 Sonata Plane Forte Gabrieli. 6. Multiple 1 1 2 Jalousie Gade. J. Krance 1 1 2 Elegy Gallagher. J. 1 1 ni Be Home for Christmas Gannon/Kent/Ram Leonard 1 1 1.2.3 Garcia. E.G. Cummings 1 1 Conga Garcia. E.G. Cummings. D. 1 1 Mosalco De Mexico Gates. G. 1 1 Concerto for Trumpet. Winds. Harp and Percussion Genzmer. H. 1 1 Western Overture George. T.R. 1 1 American In Paris. An Gershwin. 6. Krance 1 1 2 George Gershwin Selections Gershwin. G. Bennett 1 1 2 Gershwlnl Gershwin. G. Barker 1 2 2 5 Porgy and Bess. Selections from Gershwin. G. Multiple 1 4 3 8 Rhapsody In Blue Gershwin. 6. Grofé 1 1 2 Second Prelude from 'Three Preludes' Gershwin. G. Krance 1 3 4 Strike up the Band Gershwin. G. 1 1 Old French Dances Gervalse. C. d* Atteignant 1 1 Fantasia for Band Glannini. V. 1 1 2 Symphony No. 3 Glannlnl. V. 1 3 1 5 January February March. The Glllls. D. 1 1 1 3 Spiritual from 'Symphony No. 5 1/2' Glllls. D. Balnum 1 1 2 Tulsa Glllls. 0. Ford 1 1 Danza Final from 'Estancia' GInastera. A. John 3 3 Jubilance Glovannlnl. C. Robinson 1 1 Overture In B-flat Glovannlnl. C. Robinson 1 3 4 Ouachita GIroux-West. J. 1 1 2 O vertire Solonelle. Op. 72 Gliere. R. 1 1 Russian Sailor's Dance Gllere. R. Isaac 1 1 Russian and Ludmilla Glinka. M. Henning 1 1
Si COMPOSITION COMPOSER ARR«TRAMS«EO| 1985*86 1986*871987*881988*89TOTAL Exodus Gold, E. Reed 1 1 Chimes of Liberty, The Goldman, E.F. 2 2 On the Mall Goldman, E,F. Lake 3 1 3 7 Cheerio Goldman, R f. 1 1 Foundation March Goldman, R f . 1 1 1 3 Wind and the Lion, The Goldsmith, J. Davis 1 1 11 Guarnay Overture Gomez, A.C. 1 1 Tribute to Benny Goodman, A Goodman, 8, Hayman 1 1 Sheep-Shearing Song Goosens Grainger 1 1 Classic Overture Gossec, FJ. 1 1 Poeme Du Feu Gotkovsky, 1. 1 1 American Salute, An Gould, M, Lang 1 2 1 I 5 Ballad for Band Gould, M, 1 1 2 Concertette for Viola and Band Gould, M. 1 I Hillbilly Gould, M, Bennett 1 1 Jericho Gould, M, 2 2 Symphony for Band Gould, M, 1 1 Petite Symphonie, Op, 90 Gounod, C, 2 1 3 Washington Grays Graflilla, C.S, Reeves 2 1 3 Australian Up-Country Tune Grainger, P.A. Balnum 1 1 4 6 Children's March Grainger, P.A. Erickson 2 3 2 7 Colonial Song Grainger, P.A, 1 2 4 7 Country Gardens Grainger, P.A. Clark 1 1 2 Faeroe Island Dance Grainger, P.A. 2 2 Greenbushes, Themes from Grainger, P.A, Daehn 1 1 2 Handel in the Strand Grainger, P.A. Goldman 3 2 1 6 Harvest Hymn Grainger, P.A. Krelnes t 1 2 Hill Song No. 2 Grainger, P.A. 2 2 I'm Seventeen Come Sunday Grainger, P.A. 1 1 Immovable Do, The Grainger, P.A. 1 1 2 Irish Tune from County Derry Grainger, P.A. Kent 4 3 3 1 17 Lincolnshire Posy Grainger, P.A. Multiple 4 2 2 6 14 COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 iti.ügq.-iii'iinniTirPîCT Molly on the Shore Grilnoer. P.A. 1 I Shephard’s Hey 11 Spoon River Sussex Mummer's Christmas Carol, Th Two Grainger Melodies Walking Tune Ye Banks and Braes O' Bonnie Doon Concerto for Tuba Last Spring. The Niÿitfall White Peacock. Op. 7. No. 1 On the Trail from 'Grand Canyon Suite' Three from the Hills American Folk Rhapsody No. 1 American Folk Rhapsody No. 2 Blue and the Gray. The Concord English Suite Fantasy on American Sailing Songs Hebrides Suite Irish Rhapsody. An Music for a Carnival Quiet Christmas Morceau Symphonique Harlem Nocturne Le Bel de Beatrice O' Este Suite New Colonial March. The Chorus Line. Highlights from Marvin Hamllsch Showcase What I Did For Love Awake the Trumpet's Lofty Sound Elopement Great, The
6 COMPOSITION COMPOSER ARR«TRANS«ED I985«861986*871987*881988*89 TOTAL Hallelujah Chorus (Y-om "Mesaleh' Handel. G f . Chieffarell 1 1 March and Chorus Handel, 6 f . 1 1 March from 'Sclplone' Handel. 6 f . Goldman 1 1 Music for the Royal Fireworks Handel, 6 P . Multiple 4 1 5 Overture from 'Messiah' Handel. G f . Johnson 1 1 See the Conqu'ring Hero Comes fr. 'Judas Maccabaeus" Handel. 6 f . Goldman. R f . 1 1 Suite from the Water Music Handel, G f . Harvey 1 0 1 Water Music Suite Handel. G f . Erickson 1 3 4 American Colonial Hannay. R. 1 1 Sic Transit Spirltus Hannay. R. 1 1 Chorale and Alleluia Hanson, H. 1 2 4 1 8 Dies Natalis Hanson. H. 1 2 3 Laude Hanson. H. 1 1 Symphony No. 2. 'Romantic' Hanson.H. Multiple 2 2 Valdres Norwegian March Hanssen. J. Balnum 2 2 1 3 8 For Eighteen Winds Harblson. J. 1 1 Across the Far Field Harmon. J. 1 1 Cimmaron Overture Harris. R. 1 1 Concerto for Violin with Percussion Harrison 1 1 Concerto for 23 Winds Hartley. W.S. 1 1 0 Sacred Head Now Wounded Hassler. H.L. Multiple 1 3 4 Symphony for Brass and Percussion Haufhecht. H. 1 1 How the West Was Won Hawkins 1 1 Symphony No. 100 Haydn. F.J. Moses-TobanI 1 1 March for the Prince of Wales Haydn. J. Schaefer 1 1 Frolic for Trombones Heath. R. Bashford. R. 1 1 Diversion for Alto Saxophone and Band Helden. B. 1 1 2 Overture Heins. J. 1 1 Concerto for Piano. Winds and Percussion Helsinger. B. 1 1 Statement Heisinger. B. 1 1 Jubilee Hennagin. M. 1 1 2 Concerto for Horn Herman. R. 1 1
a COMPOSITION COMPOSER ARRaTRAHSaED I9asa86 1986a87 19B7a88I988a89 TOTAL Sing of Christmas Herman. R. 1 1 Ode Hermann. R. 1 1 Flute Dance from "La Fllle Mai Gardee" Herold-lanchbery 0 Brien 1 1 Home for Christmas Higgins. J. 1 1 Geschvdndmarsch from Symphonia Serena Hindemith. P. 2 2 Konzertmuslk. Op. 49 Hindemith. P. 1 1 March from Noblllsslma VIslone Hindemith. P. Henderson 1 1 Septet Für Blislnstrumente Hindemith. P. 1 1 Symphonic Metamorphoses Hindemith. P. Wilson . 2 2 2 1 7 Symphony In B-flat for Concert Band Hindemith. P. 3 2 2 7 Prince Consort Holmes. P. 1 1 Lastrlnge Ganglat Holmgrln. J. 1 1 Armies of the Omnipresent Otserf Holslnger. D. 1 1 Havcndance Holslnger. D. 1 1 2 Liturgical Dances Holslnger. D. 2 2 2 1 7 Nllesdance Holslnger. D. 1 1 On Ancient Hymns and Festal Dances Holslnger. D. 1 1 Prelude and Rondo Holslnger. D. 1 1 Bach's Fugue a la GIgue Holst. G. 1 1 First Suite In E-flat for Military Dand Holst. G. 2 3 5 8 18 Hammersmith; Prelude and Scherzo. Op. 52 Holst. G. 2 1 3 Jupiter and Mars from "The Planets' Holst. G. 2 2 Marching Song Holst. G. 2 2 4 Moors Ida March Holst. 6. Jacob 3 4 7 Moorslde Suite Holst. G. Wright 1 1 Second Suite In F for Military Band Holst. G. 2 3 4 7 16 Somerset Rhapsody. A. Op. 21 Holst. G. Grundman 2 1 3 Songs of the West Holst. G. Curnow 1 1 We Three Kings Hopkins. J.H. Walters 2 2 Four Dances fhom "Femmes d'Alger" Horowltz.J. 1 1 Prayer of St. Gregory Hovhaness. A. 1 1 Suite for Band Hovhaness. A. 1 1 2 COMPOSITION COMPOSER ARR*TRANS*ED 1985*861966*871987*88 1988*89TOTAL Symphony No. 4 Hovhaness, A. 1 1 Three Journeys to a Holy Mountain - Mvt. 3 Hovtwness, A. 1 1 Glasgow Fair Howe, J.H. 1 1 Pentland Hills Howe, J.H. 1 1 2 Pentland Hills Howe, J.H. 1 1 Battle Hymn of the Republic Howe-Steffe Multiple 1 2 3 Rustic Dance Howell, CP. 1 1 Them Basses Hufflne, G.H. 1 2 3 Trumpet Concerto - Rondo Hummel, J.N. Corley 1 1 A1 Fresco Husa, K. ! 1 2 Divertimento for Brass and Percussion Husa, K. 1 1 Fanfare Husa, K. 1 1 Music for Prague 1968 Husa, K. 1 1 3 5 Smetana Fanfare Husa, K. 1 1 After a Gentle Rain lannaccone, A. 1 1 1 3 Concerto for Violoncello and Winds Ibert, J. 1 1 Elegy from "A Downland Suite" Ireland, J. 1 I Country Band March Ives, C. Sinclair 2 2 March Intercollegiate Ives, C. Brion 1 1 2 4 March: Omega lambda Chi Ives, C. Brion 1 1 Variations on "America" Ives, C. Schuman/Rhoads 3 4 t 8 Concerto for Band Jacob, G. 1 1 Flag of Stars Jacob, G. 1 1 Giles Farnaby Suite Jacob, G. 1 1 Music for a Festival Jacob, G. 2 2 Old Wine in New Bottles Jacob, G. 1 1 Original Suite, An Jacob, 6. 3 1 1 6 11 Suite in B-flat Jacob, G. 1 1 Tribute to Canterbury Jacob, G. 1 1 When Johnny Comes Marching Home Jacob, Q. Steadman-Allen 1 1 William Byrd Suite Jacob, 6. 1 3 3 5 12 March de Henri IV Jadin, L. 1 1
4 COMPOSITION COMPOSER ARR»TRANS«EO1985*861986*87 1987*881988*89 TOTAL Marche de la Guarde a Harenga Jadin. L. 11 Marche des Musiques de la Revolution Jadin. L. 1 1 Symphonie for Band Jadin. L. 1 1 Child's Garden of Verses. A Jager. R. 1 1 Colonial Airs and Dances Jager. R. 2 2 Concerto for Bass Tuba and Band Jager. R. 1 1 Esprit de Corps Jager. R. 3 2 5 Heroic Saga Jager. R. 2 2 Interface Jager. R. 1 1 March of the Dragon Masters Jager. R. 1 1 Pastorale and Country Dance Jager. R. 1 1 Preamble Jager. R. 1 1 Sinfonia Noblllsslma Jager. R. 1 1 2 Stars and Bars Jager. R. 1 1 Symphony No. 2 - 'Seal of Three Laws' Jager. R. 1 1 Third Suite Jager. R. 2 1 2 4 9 Variations on a Theme by Robert Schumann Jager. R. 1 1 2 World Turned Upside Down, The Jager. R. 1 1 Sokol Fanfare from “Sinfonietta' Janacek. L. 1 1 Holiday Suite for Band Jenkins. D. 1 1 Variations on "A Mighty Fortress Is Our God" Jenkins. D. 1 1 American Overture for Band Jenkins. J.W. 4 3 1 8 Charles County Overture Jenkins. J.W. 1 1 Cuernavaca Jenkins. J.W. 1 1 Strike Jenny. J.D. 1 1 Old Circus Band March Jewell. F. Boyd 1 1 Sonata for Winds end Timpani (1967) Jirko. 1. 1 1 Rhapsody of an English Sea Song Johnson 1 1 Concerto No. 2 Jolivet. A. 1 1 Our President Jones. S.T. Tower 1 1 Chrysanthemum. The Joplin. S. Marclnlak 1 1 Combination March Joplin. S. Schuller 1 1
& COMPOSITION COMPOSER ARRoTRANSeED 1985*86 1 9 8 6 * 8 7 1987*88 1988*89 TOTAL Entertainer, The Joplin. S. Curnow 1 1 Entertainer. The Joplin. S. Reed. A. 1 1 C ast Noell - French Canadian Carols Jutras, A, 1 1 Symphony No. 1 In S minor - Finale Kalinnikov. B. Balnum 2 Concerto for Oboe and Wind O-chestra Kalllvoda. J.V. 1 1 Paasacaglla and Rounds Karlins, W. 1 1 Deck the Halls - A Merrle Fugue Kay. H. 1 1 Night Soliloquy Kennan. K. 1 1 Coat of Arms Kenny. G. 1 2 Jubilee Kenny.G. 1 1 Tribute to Jerome Kern Kern, J. Barker 1 1 Armenian Dances Khachaturian. A. Satz 1 1 Gallop, from the Masquerade Suite Khachaturian, A. Leldzen 1 1 Sabre Dance Khachaturian. A. 1 1 Cyrus the Great Persian King. K.L. 1 1 Hosts of Freedom King. K.L. 1 1 Men of Music King. K.L. Walters 3 Prestissimo King. K.L. 1 1 Purple Pageant. The King. K.L. 1 1 Sells-Floto Triumphal King. K.L. 1 1 Trombone King. The King, K.L. 1 1 Billboard March. The Klohr. J.N. 1 1 American Pageant Knox. T. 1 1 La Vlrgen De La Macarena Koff. C. 1 1 Dialogues and Entertainments Kraft. W. 1 1 Broadway Curtain Time Krance. J. 1 1 Fanfare Prelude - Rejoice. Ye Pure In Heart Kroener, R. t 1 Partita for Band, Op. 57 Krommer, F. 1 1 2 Good Soldier Schwelk. The Kurka. R. 1 1 2 Sea Portrait - A Tone Painting La Gassey. H. 1 1 2 Prospect La Plante, P. 1 1 2 Concert Des Trompettes LaLande. M.R. de Schaefer 1 1
6 COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*871987*881988*89TOTAL Igor Fantasy Lamb 1 1 Les Paplllones - ■Butterflies' Lancaster. C. 1 1 Serenade Landers. J. 1 1 Allens Kidnapped Me and Stole My Blood Lang. D. 1 1 Folksongs of Wisconsin and New Foundiand LaPlante. P. Sirulnikoff 1 1 Brighton Beacli Latham. W.P. 1 1 2 Court Festival Latham. W.P. 1 1 2 Dodecaphonic Set Latham. W.P. 1 1 Proud Heritage Concert March Latham. W.P. 1 1 2 Psalm 148 Latham. W.P. 1 1 Three Chorale Preludes Latham. W.P. 1 1 2 Avatara Leckrone.M. 1 1 Expositions Leckrone.M. 1 1 2 Intrusions Leckrone. M. 1 1 Reflection Leckrone.M. I 1 Tower of the Americas Leckrone. M. 1 1 La Comparas Lecuona. E. 1 1 Domingo Ortega Ledesma. F./(Yopesa. R. Wiley 1 1 Marche des Parachutistes Beiges Leemans. P. Wiley 1 1 6 6 First Swedish Rhapsody Leldzen. E. 1 1 Man of La Mancha. Selections from Leigh. M. Erickson 1 1 2 Concertino for Piano Solo. Winds. Percussion and Harp Lendvay. K, 1 1 Beatles: Echoes of an Era Lennon. McCartney, etc. Higgins 1 1 Brigadoon. Selections fhom Lerner/Loewe Leldzen 1 1 Camelot. Highlights from Lerner/Loewe Yoder 1 1 SIgl. Selections from Lerner/Loewe Bennett 1 1 My Fair Lady. Selections from Lerner/Loewe Bennett 1 2 3 Serenade for a Picket Fence Leyden. N. 1 1 Mosaico Mexicano LIfchitz. M. 1 1 Sechs Miniaturen Ligeti. 6. 1 1 Nederlandse Suite Lijnschooten. H. y. 1 1 Variations on a Japanese Folksong Lijnscheoten, H. v. 1 1 COMPOSITION COMPOSER ARR«TRANS«ED 1985*861986*871987*88 1988*89 TOTAL InvBrcargill March Lithgow. A. Laurendeau 2 2 Elegy for a Young American Lo Presti. R. 1 1 2 4 World l3 Waiting for the Sunrise. The Lockhart/Seitz Alford. H.L. 1 1 2 Jol Logan.R. 1 1 Concertino for Woodwind Quintet Long, N. 1 1 Concerto for Wind Orchestra Lopatnikoff. N. 1 1 Gloria March Losey. F.H. Seredy 1 I Ballet Egyptian Luigini. A. Bennett. D. I 1 Musica Boema Lukas. Z. 1 1 Dance Preludes (1959) Lutoslawskl. W. 1 1 Trois Poeme d' Henri Michaux Lutoslawski. W. 1 1 Festival Finale: God of Our Fathers Maddy. J. 1 1 Argentum Mahr. T. 1 1 Fantasia in 6 Mahr. T. 2 3 3 8 Liturgical Music for Band, Op. 33 Mailman. M. 2 1 3 1 7 Aegean Festival Overture Makris. A. Bader 2 1 3 Hail to the Fleet Maltby. R, 1 2 3 Suite for Solo Drum Set Manclnl. D. 1 1 Mr. lucky. Selections from Manclni. H. 1 I Psalm and Air Marcello. B. Ployhar 1 1 Color Margolis. B. 1 I Rudolph the Red-Nosed Reindeer Marks. J. Leonard 1 1 Symphony No. 2 Maslanka. D. 1 1 Meditation from ’Thais' Massenet. J. Harding 1 1 2 Exordium Mattel. E. 1 1 Beowulf McBeth. W.F. 1 1 Beowulf - An Heroic Trilogy McBeth. W.F. 2 1 3 Cantique and Faranade McBeth. W.F. 1 1 Chant and Jubilo McBeth. W.F. 2 1 3 Divergents McBeth. W.F. 1 1 2 Drammatico McBeth. W.F. 1 1 Grace Praeludium McBeth. W.F. 1 1 1 3 COMPOSITIONCOMPOSERARR*TRAMS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Srice Prseludlum McBeth. W.F. 1 1 Kaddlah McBeth. W.F. 1 1 Kaddish McBeth, W.F. 1 1 Ksggue McBeth. W.F. 1 1 1 Praises McBeth, W.F. 1 1 To Be Fed By Ravens McBeth. W.F. 1 1 With Sounding Trumpets McBeth, W.F. 1 1 Bells McCord, J. 1 1 Bells McDougall, 1. 1 1 Syntonos McGlnty. A. 1 1 Testimonium McGlnly, A. 1 1 American Patrol Meacham, F. W. 1 1 Overture to the Opera 'Joseph' Mehul. E.H. Schmidt 1 1 FIngal's Cave, Overture Mendelssohn. F. Seredy 1 1 Midsummer Night's Dream. Overture Mendelssohn. F. WInterbottom 1 1 Overture for Winds. Op. 24 Mendelssohn. F. Multiple 2 1 Trastung. Op. 30. No. 3 Mendelssohn. F. Davis 1 1 War March of the Priests Mendelssohn. F. Leldzen 1 1 Vlrgen de la Macarena, La Mendez, R. Koff 1 1 Music for Brass and Percussion Mendoza. V. 1 1 Canzona Mennin. P. 2 1 1 1 Three Scenes for Band Menocho, C.P. 1 1 Sebastian Ballet Menottl. 6.C. Lang 1 1 Jazz Suite, A Mersey. R. Hunsberger 1 1 Oiseaux Exotiques Messiaen. 0. 1 1 March Triumphal Mlakovsky. N. 1 1 La Creation Du Monde Milhaud. D. 1 1 Suite Française Milhaud, D. 1 5 3 Introduction and Fantasia Mitchell. R. 1 1 Rhapsody for Winds and Percussion Mitchell. R. 1 1 Huapangol Moncayo. J.P. Multiple 1 1 Mirror Lake Montgomery. E.E. 1 1
« COMPOSITION COrVOSER ARR*TRANS«ED 1 9 8 5 * 8 6 1986*87 1987*88 1988*89 TOTAL Nsncie Morley. T. Gordon 1 1 Music for a Ceremony Morrissey. J. 1 1 Thirly-flve Second March Morse. D. 1 1 Energie 1 Morthenson. J. 1 1 D R. Ill's Honnormarsj Mostad. E. 1 1 Rondeau Mouret. J.J. Stout 2 2 Coronation Scene from ‘Boris Godunov' Moussorgsky. M. Multiple 1 1 2 Night on Bald Mountain Moussorgsky. M. Schaefer 2 2 Pictures a t an Exhibition Moussorgsky. M. Leldzen 1 1 1 3 Abduction from the Seraglio. The M ozyt. W.A. Wendt 1 1 Adagio InB. K.411 Mozart. W.A. 1 1 Concerto No. 2 in E-flat. K. 417 Mozart. W.A. Sanaone 1 1 Concerto No. 3 in E-flat - Mvt. Ill Mozart. W.A. Bardeen 1 1 Impresario Overture. The Mozart. W.A. Barnes 1 1 Serenade in B -flat Major. K. 361 (K. 370A) Mozart. W.A. 1 1 1 Serenade in C minor. K. 380 Mozart. W.A. 1 1 Three German Dances. K. 605 Mozart. W.A. 1 1 Animal Ditties Nash. OyPloQ. A. 1 1 Chorale Nelhybel. V. 2 1 Estample Nelhybel. V. 1 1 Prelude and Fugue Nelhybel. V. 1 1 Songs of Praise Nelhybel. V. 4 Symphonic Movement Nelhybel. V. 1 1 Toccata for Piano and Winds Nelhybel. V. 1 1 Aspen Jubilee Nelson. R. 1 1 Homage to Mschaut from "Medieval Suite" Nelson. R. 1 1 Medieval Suite Nelson. R. 1 1 2 Rocky Point Holiday Nelson. R. 2 3 3 8 Savannah River Holiday Nelson. R. 2 2 Frosty the Snow Man Nelson. S/Rollins. J. Edmondson 1 1 All Through the Night Nestlco. S. 1 1 Blues. The Nestlco. S. 1 1
t » COMPOSITION COMPOSER ARR«TRANS«ED 1985*861986*87 1987*881988*89 TOTAL Portrait or a Trumpet Nestlco. S, 1 1 Conquest Newman. A. Bennett 1 1 California Jubilee Nixon. R. 1 1 Elegy and Fanfare-March Nixon. R. I 1 2 Fiesta Del Paelflco Nixon, R. 2 1 3 Pacific Celebration Suite Nixon, R. 1 1 Reflections Nixon, R. 1 1 Best of Julie Slyne - Selections Nowak, J. 1 1 White Ensign. The Nowak, J. 2 2 Ballet Parisien Offenbach, J. Isaac 1 1 2 La Belle Helene Overture Offenbach, J. Odom 2 2 Orpheus Overture Offenbach, J. Lake 1 1 Carmine Burana Orff, C. Multiple 2 1 3 Little Concerto (1927) Orff, C. I 1 Concerto for Trombone - Wind Band Version Orr, B. 1 1 John Gay Suite Orr, B. 1 1 1 Have Been One Acquainted With U» Night Osmon, L. 1 1 Bandolero Osser,G . 1 1 Begulne for Band Osser,Q. 2 13 Thundercrest Oslerling, E. 1 1 Serenade Otterloo, W. V. 1 1 Symphonletta voor Blaslnstrumenten Otterloo, W. v. 1 1 2 Epinlclon Paulson, J. 1 3 4 Cave of the Winds Peck, R. 1 1 Suite for Brass Pelz, W. 1 1 Suite for Woodwinds Pelz, W. I 1 Synkretlsmos Penders, J. 1 1 El Gate Monies (Pasodoble Torero) Penolla, M. 1 1 Apollo Pennington, J. 1 1 2 Fandango Perkins, F. 1 1 Bagatelles for Band PerslchettI, V. 2 2 Celebrations PerslchettI, V. 1 1
% COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*871987*881988*89 TOTAL Chorale Prelude: 06od Unseen. Op. 160 PerslchettI, V. 1 1 Chorale Prelude: So Pure the Star PerslchettI. V. 1 1 Chorale Prelude: Turn Not Thy Face PerslchettI. V. 1 1 Divertimento for Band. Op. 42 PerslchettI, V. 3 2 3 8 Masquerade PerslchettI, V. 1 1 0 Cool Is the Valley PerslchettI. V. 1 1 Pageant PerslchettI, V. 2 2 2 3 9 Psalm for Band PerslchettI, V. 1 1 2 4 Serenade for Band. No. 11. Op. 85 PerslchettI. V. 1 1 2 Serenade No. 1 for Ten Wind Instruments PerslchettI, V. 1 I 2 Symphony for Band. Op. 69 PerslchettI, V. 2 2 4 2 10 Concert Piece Phillips, B. 1 1 Concert Piece for Bassoon and Band Phillips, B. 1 1 Jingle Bells Rhapsody Plerpont. J. Walters 1 1 Tom Thumb's March Pinto Henderson 1 1 Tunbridge Fair Piston. W. 1 1 Sulla Tomba dl Garibaldi -Elegla Ponchlelll, A. 1 1 Cole Porter on Broadway Porter. C. Baker 1 1 Cole Porter Spectacular. A Porter, C. Nestlco 1 1 Aubade: Concerto for Plano and 18 Instruments Poulenc. F. 1 1 Suite Française Poulenc. F. 1 1 Courante from "Terpsichore" Praetorlus. M. Christensen 1 1 Time of My Life Prevlte. DeNlcola. etc. 1 1 Sing. Sing. Sing Prima. L. Hathaway 1 1 Athletic Festival March Prokofleff, S. Goldman 1 1 March. Op. 99 Prokofleff. S. Yoder 1 2 Spartakalde Prokofiev, S. 1 1 Troika from I t . Klje Suite" Prokofiev, S. Murphy 1 1 Annie Laurie. Air Varie Pryor, A. 1 1 Italian Polka Rachmaninoff. S. Leldzen 1 1 Laura Raskin. D. Holcombe 2 Le Regiment de Sambre et Meuse Rauskl. J.F. Fennell 1 1
« COWOSITION COMPOSER ARR«TRANS«ED1985*861986*87 1987*88 1988*89TOTAL Requiem in Our Time. A Rautavaara, E. 1 1 Bolero Ravel, M. Erickson 1 1 La Valiee Des Cloches Ravel, M. Hunsberger 1 1 Mother Goose Suite Ravel, M. Elliot 1 1 Pavana, infante Defunte Ravel, M. Hlndsley 1 1 Tombeaude Couperin, Le Ravel, M. Henderson 1 1 Alleiulai Laudamus Te Reed, A. 1 2 3 Armenian Dances, Part 1 Reed, A. 1 2 I 4 8 Christmas intrada, A Reed, A. 1 1 2 Copland P ortrait, A Reed, A. 1 1 Crowning Glory Reed, A. I 1 El Camino Real Reed, A. 1 1 Festival Prelude. A Reed, A. 1 4 1 3 9 Festive Overture, A Reed, A. 1 1 First Suite for Band Reed, A. 1 2 I 1 5 Hounds of Spring, The Reed, A. 1 1 2 Jubilant Overture, A Reed, A. 1 2 3 Music for "Hamlet" Reed. A. 1 1 Music Makers, The Reed, A. 1 I Punchinello Reed, A. I 1 Rejoicing Reed, A. 1 1 Russian Christmas Music Reed. A. 3 3 4 10 Symphonic Prelude, A Reed, A. 1 1 1 3 Symphony No. 3 Reed, A. 1 1 Symphony No. 5 Reed, A. I 1 Three Revelations from the Lotus Sutra Reed.A. 1 1 2 Viva Musica’ Reed, A. 1 1 Awakening of the Ents Reed, H. 0. 1 1 Touch of the Earth Reed, H. 0. 1 1 Heart of the Morn Reed, HO. 1 1 2 La Fiesta Mexicana Reed, HO. 2 1 1 3 7 Carnival of Venice, The Reeves, D.W, Multiple 2 2 COMPOSITION COMPOSER AHRoTRANSaED 1985*861986*871987*88 1988*89 TOTAL Yankee Doodle. FenUstlc Humoresque Reeves. D.W. 1 1 Dance Rhythms. Op. 59a Reigger. W. 1 1 2 Pines of Rome. The Respighi. 0. Multiple 1 2 1 4 Alquemie 1 Reuter. RJ. 1 1 Earth Song Reuter. RJ. 1 i Hymn and Exultation: Capitaiis in Aeternum Reuter, RJ. 2 Mirrors for Horn and Band Reuter. RJ. 1 1 One Night In A pril.. . Another In November Reuter. RJ. 1 1 Scenes Revisited Reynolds, V. 1 1 Liturgical Music Rhoads. W.E. 1 1 1res Danzas De Mexico Rhoads. W.E. 1 1 Folk Song Rhapsody Rhodes. P. 1 1 Emblem of Unity Richards. J J . 1 1 Golden Bear March Richards. J J . 1 1 Rameses March Richards. J J . Phillips 1 I Concerto for Clarinet and Band Rimsky-Korsakov. N. 1 1 Concerto for Trombone and Band Rimsky-Korsakov. N. 1 1 2 Czar's March from "The Tale of Czar Sultan' RImsky-Korsakov. N. Hudadoff 2 Dubinushka. Op. 62 Rimsky-Korsakov. N. Chldester 2 2 Flight of the Bumble Bee Rimsky-Korsakov. N. Davis 1 1 introduction & Wedding March fr. "The Golden Cockerel' Rimsky-Korsakov. N. Harding 1 1 2 Procession of Nobles Rimsky-Korsakov. N. Leldzen 2 2 9 Tequila Rio. C. Lavender 1 1 Carousel. Selections from Rodgers. R. Leldzen 1 1 Slaughter on Tenth Avenue Rodgers. R. Tatgenhorst 1 1 Sound of Music. Selections from Rodgers. R. Bennett 1 1 Victory at Sea Rodgers. R. Bennett 1 1 Rodgers and Hammersteln's Oklahoma Rodgers/Hammersteln Edmondson 1 1 Deguello Rodriguez 1 1 Three Japanese Dances Rogers. B. 1 1 Sounds from Kenny Rogers Rogers.K. Lowden 1 1 Prevailing Winds Rogers. R. 1 1 COMPOSITION COMPOSER ARR«TRANS«EOI985«86 I986«87 1987*88 1988*89 TOTAL Migration Rokeach. M. 1 1 Student Prince 0/erture Romberg. S. 1 1 Partita Rosettl. A. 1 1 Barber of Seville. Overture Rossini. G. Multiple 1 1 1 3 Introduction. Theme and Variations Rossini. 6. Hermann 1 1 Italian in Algiers. Overture Rossini. 6. Callllet 3 1 1 1 6 La Gazza Ladra Overture Rossini. G. Brown 1 1 Scherzo for Band Rossini. 6. Schaefer 1 1 2 TancredI Overture Rossini. G. Falcone 1 1 William Tell. Overture Rossini. G. 2 1 3 Marche Militaire Française Saint-Saëns. C. HIndsley/Lake 1 2 1 4 Pas Redoublé. Op. 86 Saint-Saëns. C. Frackenpohl 1 I 2 4 Symphony No. 1 In E-flat Saint-Saëns. C. 1 1 La Orega de Oro San Miguel. M. Multiple 2 1 3 Synergistic Parable Sartor. D. 1 1 Scherzo Schlnestlne. W. 1 1 Dionysiaques. Op. 62 Schmitt. F. 1 1 Theme and Variations. Op. 43a Schoenberg. A. 1 1 Worried Drummer. The Schreiner. A. 1 1 Little Symphony for Winds Schuber. F. Reynolds. V. 1 1 American Hymn. Variations on 'The Lord Has A Child" Schuman. W. I 1 Chester Overture Schuman, W. 5 1 2 4 12 George Washington Bridge Schuman. W. 1 1 2 4 New England Triptych Schuman. W. 1 1 2 Newsreel in Five Shots Schuman. W. 1 1 2 When Jesus Wept - Prelude for Band Schtman. W. 1 1 1 3 Christmas Story. The Schütz. H. Christensen 1 1 Chamber Concerto IV for Saxophone Schwwtz. E. 1 1 Purple Transformation Schwartz. E. 1 1 Nocturne. Op. 9. No. 2 Scriabin. A. Reed. A. 1 1 Casey Jones Fantasia Seibert. T. Newton 1 1 Brooke's Chicago Marine Band March Seitz. R.F. t 1 COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89TOTAL March Srandtoao Seitz. R.F. Multiple 2 2 CT& V Sellars, C. 1 1 Almighty Fortress. An Shaffer. D. 1 1 Princeton Variations L a ffe r. D. 1 1 Fall River (Verture Sheldon. R. 1 1 Festive Overture, Op. 96 Shostakovich. D. Hunsberger 2 2 3 6 13 Finale from Symphony No. 5 Siostakovlch. D. Righter 1 1 Folk Dances Shostakovich. D. Multiple 3 1 1 6 li Galop Shostakovich. D. Hunsberger 1 1 Prelude In E-flat Minor. Op. 34 Shostakovich. D. Reed. A. 1 1 Prelude. Op. 34. No. 14 Shostakovich. D. Reynolds I 1 Symphony No. 5 - 'Finale' Shost*ovich. D. Righter 1 1 2 Symphony No. 9 Shostakovich. D. Schaefer 1 1 Finlandia. Op. 26. No. 7 Sibelius. J. Callllet 1 1 1 3 Atlantic Zephyrs Simons. F. 1 1 Fanfares from the Opera lib u s e ' Smetana. B. Nelhybel 1 1 1 3 Three Revolutionary Marches Smetana. B. Nelhybel 4 4 Anthem for Winds and Percussion Smith. C.T. 1 1 Chorale and Allegro Smith. C.T. 1 1 Concert Variations Smith. C.T. 2 2 Credence Smith. C.T. 1 1 Emperata Smith. C.T. 1 2 2 5 Eternal Father. Strong to Save Smith. C.T. 2 2 Festival Variations Smith. C.T. 1 1 Flight Smith. C.T. 2 2 incidental Suite Smith. C.T. 2 1 3 6 Jubilant Prelude Smith. C.T. 1 1 Rondo for Trianpet Smith. C.T. 1 1 Variations on a Hymn by Louis Bourgeois Smith. C.T. 1 1 Variations on a Revolutionary Hymn Smith. C.T. 1 1 Little Night Music. A -E xcerpts from Son*eim. S. Wallarab 1 1 Balance All and Swing Partners Sousa, J.P. 1 1 COMPOSITION COMPOSER ARR«TRANS«EO1 9 8 5 * 8 6 1986*87 1987*88 1 9 8 8 * 8 9 TOTAL Belle of Chicago. The Sousa. J.P. 1 1 Black Horse Troop. The Sousa. J.P. 2 2 1 5 Bullets and Bayonets Sousa. J.P. 1 1 Corcoran Cadets. The Sousa. J.P. 1 1 1 3 Daughters of Texas Sousa. J.P. Multiple 1 1 2 Directorate. The Sousa. J.P. 1 1 El Capitan Sousa. J.P. Multiple 1 2 1 4 El Capitan. Selectlona from the Operetta Sousa, J.P. 1 1 Fairest of the Fair Sousa. J.P. Fennell 1 1 2 4 Foshay Tower Washington Memorial Sousa. J.P. 1 1 Free Lance. The Sousa. J.P. Multiple 1 2 3 Gallant Seventh, The Sousa. J.P. Fennell 1 1 1 3 George Washington Bicentennial Sousa. J.P. 1 1 4 Globe and Eagle March. The Sousa, J.P. Rogers 1 1 Glory of the Yankee Navy. The Sousa. J.P. 1 1 Hall to the Spirit of Liberty Sousa. J.P. Hunsberger 1 1 2 Hands Across the Sea Sousa. J.P. Multiple 1 2 2 5 Harmonica Wizard. The Sousa. J.P. 1 1 Jack Tar Sousa. J.P. 1 1 2 King Cotton Sousa. J.P. 1 2 3 t 7 Liberty Bell Sousa. J.P. Multiple 3 3 1 1 8 Looking Upward Suite Sousa. J.P. 1 1 Manhattan Beach Sousa. J.P. Multiple 4 1 2 1 8 Minnesota March Sousa, J.P. 1 1 New Mexico March Sousa. J.P. Fennell 1 1 New York Hlpodrome Sousa, J.P. 1 1 Nobles of the Mystic Shrine Sousa. J.P. Fennell 3 2 3 6 Northern Pines Sousa. J.P. 1 1 Pride of the Wolverines. The Sousa. J.P. Fennell 2 2 4 Riders for the Flag Sousa, J.P. 1 1 Rifle Regiment. The Sousa. J.P. Fennell 1 2 3 Royal Welch Fusiliers. The Sousa. J.P. 1 1
o COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Sabre and Spurs Sousa. J.P. 1 1 Semper Fidelia Sousa. J.P. Multiple 2 2 1 5 Stars and Stripes Forever Sousa. J.P. 2 5 2 2 11 Thunderer. The Sousa. J.P. 1 1 2 U.S. Field Artillery. The Sousa. J.P. 1 1 2 Washington Post Sousa. J.P. Multiple 1 1 4 1 7 Yorktown Centennial Sousa. J.P. 1 1 Puenteareas Soutullo. R. Weger 1 1 2 Barn Dance and Cowboy Hymn Sparke. P. 1 1 Year of the Dragon. The Sparke. P. 33 Alleluias Spears. J. 3 3 Bayporl Sketch Spears. J. 1 1 Chronolog Spears. J. 1 1 Fallen. Fallen is Babylon Spears. J. 1 1 March for Moderns Spears. J. 11 Quartet for Paper Bags Spivack. L. 1 1 Cumulations Starer. R. 1 1 Stone Ridge Set 5 tarer. R. 1 1 2 Tara’s Theme from 'Gone with the Wind' Steiner Wallace 1 1 2 Hoye's Tribute Stamper. F. 1 1 Radetzky March Strauss. J. 1 1 Allerseelen. Op. 10. No, 8 Strauss. R. Davis 1 2 1 4 Death and Transfiguration Strauss. R. Harding 1 1 Die Nacht Strauss. R. Davis 1 1 Einloitung und Allegro Strauss. R. 1 1 2 Festival Fanfare Strauss. R. 1 1 Serenade In E-flat. Op. 7 Strauss. R. Fennell 1 3 4 Sonatine. 'From an Invalid's Workshop' Strauss. R. 1 1 Suite in B-flat. Op. 4 Strauss, R. 1 1 1 3 Waltzes from 'Der Rosenkavaller' Strauss, R. Cailliet 1 1 ZUelgnung Strauss. R. Davis 1 1 Berceuse & Finale from 'The Firebird' Stravinsky, i. Goldman. R f. 1 1
O' COWOSITION COWOSERARR«TRAHS«EO1 9 8 5 * 8 6 1 9 8 6 * 8 7 1 9 8 7 * 8 8 1988*89 TOTAL Circus Polks Stravinsky. 1. 1 1 Concerto for Piano and Wind Instruments Stravinsky. 1. 1 1 Eight Instrumental Miniatures Stravinsky. 1. 1 1 Octet for Wind instruments Stravinsky, 1. 1 1 Pastoral Stravinsky. 1. 1 1 Symphonies of Wind Instruments Stravinsky. 1. 2 1 3 Salaam Alekum Min Kuwait Strlght. R. 1 1 Three Ayres from Gloucester Stuart, H. 1 1 Symphonic Variations on "Dona Nobis Pacem' Sudduth. J. 1 1 Pineapple Poll - Suite from ttie Ballet Sullivan. A. Mackerras 1 1 I 2 5 Light Cavalry (h/erture Suppé, F.v. Fillmore 2 2 Morning. Noon, and Night in Vienna Suppé, F. V. Morelli 1 1 Paeans and Dances of Heathen Iberia Surinach. C. 1 1 Battle Pavane. The Susato. T. Multiple 1 1 2 Dance of the King Susato. T. Buslje 1 1 Four Dances from 'The Danserye" Susato. T. Christensen 3 3 Moorish Dance Susato. T. Buslje 1 1 Suite from 'The Danserye' Susato. T. Walters 1 1 2 Susato Suite Susato. T. Iveson 1 1 Novena Swearingen. J. 1 1 Festa Espagnol Sweeney 1 1 Ringling Brothers Grand Entry Sweet. A. 1 1 Suite - Divertimento Tailleferre. G. Dondeyne 1 1 2 Garden Rain Takemitsu. T. 1 1 Sonata for Marimba Tanner. P. 1 1 2 Concerto in D Major Tartinl. G. Bach. J. 1 1 2 March Slav Tchaikovsky. P.l. 1 1 (Venture 1812 Tchaikovsky. P.l. 1 2 3 Symphony No. 4 in F minor - 'Finale' Tchaikovsky. P i. Swearingen 2 2 Symphony No. 6 -Mvts. 1.3 Tchaikovsky. P.l. Fletcher 1 1 Alte Kameraden (Old Comrades) Teike. C. Lake/Laurendeau 1 2 1 4 Officer Candidate Teike. C. Watson 1 1
R COMPOSITION COMPOSER ARR«TRANS«EO 1985*86 1986*87 1987*88 1988*89 TOTAL Suit* In A minor Teleman. GP. Reed, A. 1 1 All Glory. Laud and Honor Teschner,M. 1 1 Amparito Roca Texldor, J, Winter 1 5 6 Solemn Music, A Thomson, V. 1 1 Adagio Music, Op. 12 Thorne. N, 1 1 Procession du Vendredi-Saint Tomasi, H. 1 1 Amazing Grace Traditional Holmes 1 1 An English Christmas Traditional Grundman 2 2 Christmas Greetings March Traditional Walters 1 3 4 Christmas Music for Winds Traditional Cacavas 1 1 Fanfare and Variations on Amazing Grace Traditional Norred 1 1 Floral Dance Traditional Martin 1 1 Greensleeves Traditional Reed, A. 2 3 5 1 Wonder As 1 Wander Traditional Vosbein 1 1 Irish Washerwoman, The Traditional Anderson. L. 1 1 Red River Valley Traditional Hill I 1 Story of Christmas, The Traditional Johnson 1 1 Suite of Carols Traditional Walters 2 2 Vuletide at Yorkshire Traditional Walters 2 2 Cara Mia Trepani/Lange 1 1 Nutcracker Suite, The Tschaikovsky. P.l. Hindsley 1 1 Salvation in Created Tschesnokoff, P. Houseknecht 2 3 5 Intermezzo Tubb, M. 1 1 La Bamba de Vera Cruz TuccI, T. Hunsberger 1 1 Ceremonial Proclamation Tull, F, 1 1 Concerto Grosso for Brass Ouintet and Symphonic Band Tull, F. 1 I Fanfare for Antiphcnal Brass & Band Tull. F. 1 2 3 Final Covenant, The Tull, F. 2 1 3 March for Tripod Tull, F. 1 1 Prelude and Double Fugue Tull, F, 1 1 Sketches on a Tudor Psalm Tull, F. 4 2 6 Toccata full, F. 1 1
V) COrfi>OSITION COMPOSER ARR«TRANS«EDI985«86 1986*87 1987*88 1988*89 TOTAL Ftve Miniatures Turlna. J. Krance 1 1 La Procession Du Pocto Turlna. J. Reed. A. 2 2 French National Defilè Turlet Seredy 1 1 BIg Bands in Concert Various Lowden 1 1 Broadway Show-Stoppers (h/erture Various Barker. W. 3 3 Bulldog Medley, The Various Dancz 1 1 It's Broadway Various Edmondson 1 I Magic of Disney. The Various Barker 1 1 Movies. The Various Higgins 1 1 Tribute to the Count Various Nestico 1 1 English Folk Song Suite Vaughan Williams. R. 2 4 5 4 15 Flourish for Wind Band Vaughan Williams. R. 2 1 2 4 9 Linden Lea Vaughan Williams. R. Stout 1 1 Music from "England's Pleasant Land" Vaughan Williams. R. Grechesky 2 2 0 How Amiable Vaughan Williams, R. 1 1 Prelude from the 49th Parallel Vaughan Williams. R. Osmon 1 1 Rhosymedre Vaughan Williams. R. Beeler 1 2 1 1 5 Scherzo alia Marcia from "Symphony No. 8" Vaughan Williams. R. 1 1 Sea Songs Vaughan Williams. R. 2 2 2 6 Sine Nomine Vaughan Williams. R. 1 1 1 3 Toccata Marzlale Vaughan Williams. R. 3 3 6 King Duncan's March from "Macbeth' Verdi. Q. Smith. R. 1 1 2 Nabucco 0 /erture Verdi. S. Cailliet 1 1 2 Prelude to Act 1 of "La Traviata" Verdi. 6. Falcone 1 1 1 3 Fanfare and Lyra VIctorlne. D.E. 3 3 Three Winter Scenes VIzzutti. A. 1 1 Under the Doiile Eagle Wagner. J. 1 1 Elsa's Procession to the Cathedral Wagner. R. Multiple 2 2 2 2 8 Huldlgungsmersch Wagner. R. Schaefer 1 1 2 Introduction to Act ill from "Lohengrin" Wagner. R. Drumm 1 1 Llebestod Wagner. R. Balnum 1 1 2 Overture to Rienzi Wagner. R. Multiple 2 2
s COMPOSITION COWOSER ARR«TRANS«EO 1985*86 1986*87 1987*88 1988*89 TOTAL Prelude from "Die Melsterslnger' Wagner. R. Moses-Tobiant/Ken 1 1 Siefrled's Funeral Music Wagner. R. Whear 1 1 Trauerslnfonie Wagner. R. Leldzen 1 2 1 2 March for Concert Band Walton. W. Vinter 1 1 Spitfire Prelude Walton. W. Bashford 1 1 America the Beautiful Ward. S.A. Dragon 1 1 1 2 Jazz Tangents Ward-Stelnman. D. 1 1 Capriol Suite Warlock. P. 1 1 God of Our Fathers Warren. G. Smith 1 1 Chorale for Band Washburn. R. 1 1 Ode for Band Washburn. R. 1 1 Symphony for Band Washburn. R. 1 1 Two Pieces Washburn. R. 1 1 Garnet and Grey March Weatt. C. 1 I Cats, Selections from Webber. A t. Edmondson/Cummi 1 1 Phantom of the Opera. Selections from Webber. A t, Barker 2 Concerto No. 2 Weber. C.M. v. Brown 1 1 Euryanthe Overture Weber. C M. v. 1 1 Fantasia and Rondo Weber. C.M. v. Snavely 1 1 Rondo from the Clarinet Quintet Weber. C.M. v. Snavely 1 1 Second Concerto in E-Oat. Op. 14 for Clarinet Weber. K.M. v. Brown I 1 America on Gua*d Weber-Steinmetz 1 1 Little Threepenny Music Weill. K. 1 1 Centaurs. The Weiner. L, 1 1 Ceremonial Fanfare Wells. T. 1 1 Celebration of Christmas. A Werle. F. 1 1 Concertino for Three Brass Werle. F. 1 1 Jedermann Overture Whear. P. 1 1 Ambrosian Hymn Variants White. D.H. 1 1 Concertino for Solo Timpani. Winds and Percussion White. D.H. 1 1 2 Miniature S et for Band White. D.H. 1 1 1 3 introduction and Samba Whitney. M. 2 2
3 COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Saxarella WIdeoeft. R. Schuller 1 1 Tribute to Rudy Wiedoefl WIedoeft. R. Schuller 1 1 2 Giles Ferneby Suite Wiggins. 8. 1 1 Old Scottish Melody Wiley. C. 2 2 Lowlands Concert March Wiley. C.A. 1 1 Royce Hail Suite Wlllan. H. Teague 1 1 Caccia and Chorale Williams. C. 1 1 Dedicatory (Venture Williams. C. 1 1 2 Dramatic Essay Williams. C. 1 1 Fanfare and Allegro Williams. C. 2 3 1 6 Festival Williams. C. 1 1 2 Sinfonians, The Williams. C. 3 3 6 Symphonic Dance No. 2 Williams. C. 1 1 Symphonic Dance No. 3 - "Fiesta* Williams. C. 2 2 I 5 Symphonic Suite Williams. C. 1 2 2 3 8 Trilogy for Band Williams. C. 1 1 Variation Overture Williams. C. 1 1 Cowboys. The Williams. J. Curnow 1 1 1 3 E.T.. Selections from Williams. J. Cacavas 1 1 Jaws. Selections from Williams. J. Cacavas 1 1 Liberty Fanfare Williams. J. Curnow 1 1 Olympic Fanfare and Theme Williams. J. Curnow 1 1 Star Wars Williams. J. Turner 1 1 Star Wars - A Medley Williams. J. Burden 1 1 2 Superman Fanfare Williams. J. Reynoso 1 1 Superman. Selections from Williams. J. Lowden 2 2 Symphonic Marches. The Williams. J. Higgins 1 1 Basin Street Blues Williams. S. Lang 1 1 2 Shakata: Singing the World Into Existence Wilson. D, 1 1 Music Man, Selections from Wilson. M, Lang 1 1 Mannin Veen Wood. H. 1 1 2 Montmartre Wood. H. 1 1
(y.Ov COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Gallimaufry Woolfenden, 6. 1 1 Alpha and Omega Yoder.P. 1 1 Pachlnko Voder,P. 1 1 Gesu Bambino Von. P. Leldzen 1 1 Scherzo for a Bitter Moon Voutz, G. 3 3 World Events Zamecnik. J.S. 1 1 Chorale and Shaker Dance Zdechllk. J. 1 3 2 3 9 Dialogues on 'In Dulci Jubllo* Zdechllk. J. 1 1 Lake Washington Suite Zdechllk, J. 1 1 Psalm 46 Zdechllk, J. 3 3 Rhelnlsche KIrmestanze Zimmerman. B.A. 1 1 APPENDIX I REPERTOIRE COMPILATION: ALPHABEriCALBYCOMPOSmONTITLE
16S COMPOSITION COMPOSER ARR*TRANS*ED 1985*86 1986*87 1987*88 1988*89 TOTAL 1.2.3 Garcia. E.G. Cummings 1 1 Abduction from the Sereollo. The Mozart. W.A. Wendt 1 1 Acedemic Festival Overture Brahms. J. Hindsley 1 1 Across the Far Field Harmon. J. 1 1 Adagio Barber. S. 1 1 Adagio in B, K. 411 Mozart. W.A. 1 1 Adagio Music, Op. 12 Thome. N. 1 1 Aegean Festival Overture Makris. A. Bader 2 1 3 After a Gentle Rain iannaccone. A. 1 1 1 3 Aguero - Paso Doble Franco. J. 1 1 Air for Band Erickson. F. 1 1 1 3 Ai Fresco Husa. K. 1 1 2 Aliens Kidnapped Me and Stole My Blood Lang. D. 1 1 All Glory. Laud and Honor Teschner. M. 1 1 All Through the Night Nestico. S. 1 1 Alleluiai Laudamus Te Reed. A. 1 2 3 Alleluias Spears, J. 3 3 Allerseelen. Op. 10. No. 8 Strauss.R . Davis 1 2 1 4 Almighty Fortress. An Shaffer. D. 1 1 Alpha and Omega Voder. P. 1 1 Alquemie 1 Reuter. RJ. 1 1 Alte Kameraden (Old Comrades) Teike. C. Lake/Laurendeau 1 2 1 4 Amazing Grace Traditional Holmes 1 1 Ambrosian Hymn Variants White, D.H. 1 1 America on Guard Weber-Steinmetz 1 1 America the Beautiful Ward. S.A. Dragon 1 1 1 2 5 America...The Dream Goes On Alan/Bergmann/Williams 1 1 2 American Civil War Fantasy Bilik. J. 1 1 2 1 5 American Colonial Hannay. R. 1 1 American Folk Rhapsody No. 1 Grundman. C. 1 2 3 American Folk Rhapsody No. 2 Grundman. C. 1 1 American Hymn. Variations on 'The Lord Has A Child' Schuman. W. 1 1
Ov COMPOSInwi COMPOSER ARR«TRANS«ED I98S«86 I986«87 1987*86 1988*89 TOTAL American in Paris, An Gershwin. G. Krance 1 1 2 American Overture for Band Jenkins. J.W. 4 3 1 8 American Pageant Knox. T. 1 1 American Patrol Meacham. F. W. 1 1 American Salute. An Gould. M. Lang 1 2 1 1 5 American Triptych Curnow. J. I 1 Americans We Fillmore. H. Fennell 1 3 4 8 Amparito Roca Texidor. J. Winter 1 5 6 An English Christmas Traditional Grundman 2 2 Animal Ditties Nash. 0./Plog. A. 1 1 Annie Laurie. Air Varie Pryor. A, 1 1 2 Anthem for Winds and Percussion Smith. C.T. 1 1 Antiphony One Brant. H. 1 I Apollo Pennington. J. 1 1 2 Apollo March Bruckner. A. Rhodes 1 2 3 Argentum Mahr. T. 1 1 Armenian Dances Khachaturian. A. Satz 1 1 2 Armenian Dances. Part 1 Reed. A. 1 2 1 4 8 Armies of the Omnipresent Otserf Holsinger. D. 1 1 Army of the Nile Alford. KJ. Fennell 1 1 2 Aspen Jubilee Nelson. R. 1 1 Athletic Festival March Prokofieff. S. Goldman I 1 Atlantic Zephyrs Simons. F. 1 1 Aubade: Concerto for Piano and 18 instruments Poulenc. F. 1 1 Australian Up-Country Tune Grainger. P.A. Bainum 1 1 4 6 Autobiography Bennett. R.R. 1 1 Autumn Soliloquy Barnes. J. 1 1 Avatara Leckrone. M. 1 1 Awake the Trumpet's Lofty Sound Handel. 6 f , 1 1 Awakening of the Ents Reed. H. 0. 1 1 Bach's Fugue s la uigue Holst. 6. 1 1 Bagatelles for Band Persichetti. V. 2 2 COMPOSITION COMPOSER ARR«TRANS«ED| 1985*86 1986*8711987*8811988*891 TOTAL 1 Baleince All and Swing Partners Sousa. J.P. 1 1 Ballad for Band Gould. M. 1 1 2 Ballet Egyptian Luiglni, A. Bennett, D. 1 1 Ballet Music from 'Prince Igor" Borodin. A. Bennett 1 1 Ballet Parisien Offenbach. J. Isaac 1 1 2 Bandolero Osser.G. 1 I Barber of Seville. Overture Rossini. 6. Multiple 1 1 1 3 Barn Dance and Cowboy Hymn Sparke. P. 1 1 Baroque Suite Carter. A, 1 1 Basin S treet Blues Williams. S. Lang 1 1 2 Battell. The Byrd. W. Jacob 1 1 2 4 Battle Hymn of the Republic Howe-Steffe Multiple 1 2 3 Battle of Shiloh, The Barnhouse. C l. Paynter 1 1 Battle Pavane. The Susato. T. Multiple 1 1 2 Bayporl Sketch Spears,J. 1 I Beatles; Echoes of an Era Lennon. McCartney, etc. Higgins 1 1 Beezlebub. air Varié Cotozzl. A. 1 1 Beguine for Band Osser. 6. 2 1 3 Belle of Chicago. The Sousa. J.P. 1 1 Bella of the Ball Anderson. L. I 1 Bells McCord. J. 1 1 Bells McOougall. 1. 1 1 Beowulf McBeth. W.F. 1 1 Beowulf - An Heroic Trilogy McBeth. W.F. 2 1 3 Berceuse & Finale from 'The Firebird" Stravinsky. 1. Goldman. R f. 1 1 Best of Julie Styne - Selections Nowak. J. 1 1 Big Bands in Concert Various Lowden 1 1 Billboard March, The Klohr. J.N. 1 1 2 Black Horse Troop. The Sousa. J.P. 2 2 1 5 Blessed Are They from *A German Requiem* Brahms. J. Buehlman 2 1 3 Blue and the Gray. The Grundman. C. 2 2 Blue Goose Reg Birch. R. Broege 1 1 COMPOSITION COMPOSER ARR«TRAHS»ES )986«87 Blue Lake Chance. J £ . 1 1 2 Blues. The Nestico. S. 1 1 Bolero Ravel. M. Erickson 1 1 Bombasto March Farrar. OR. Smith 1 2 3 Boys from Liverpool, The Blllk. J. 1 1 Boys of the Old Brigade Chambers. WP. Smith 1 1 2 Brass Menagerie. The DIemer. E.L. 1 1 Bravada (Paso Doble) Curzon. F. 1 1 Bride of the Waves. The Clarke. H i, 1 1 Brlgadoon. Selections from Lerner/Loewe Leldzen 1 1 Brighton Beach Latham. W.P. 1 1 2 British Eighth Elliott. 2.A. Luckhardt 3 1 2 3 9 Broadway Curtain Time Krance, J. 1 1 Broadway Show-Stoppers (Verlure Various Barker. W. 3 3 Brooke’s Chicago Marine Band March Seitz. R.F. 1 1 Buglers Holiday Anderson. L. Edwards 1 1 Bulldog Medley, The Various Dancz 1 1 Bullets and Bayonets Sousa. J.P. I 1 Burnished Brass Cacavas. J. 1 1 C ast Noell - French Canadian Carols Jutras. A...... “ j 1 1 Caccia Clark. R. 1 1 Caccia and Chorale Williams. C. 1 1 California Jubilee Nixon. R. 1 1 Camelot. Highlights from Lerner/Loewe Yoder 1 1 Canticle of the Creatures Curnow. J. 1 1 Cantique and Fcranade McBeth. W.F. 1 I Canto Forma Forsblad. L. 1 t Canzon PrlmlTonl Gabrieli. G. 1 1 Canzon Septlml Toni No. 2 Gabrieli. G. Christensen 1 1 2 Canzona Mennln. P. 2 1 1 1 5 Canzone Del Borgo. E. 1 1 Capriccio for Saxophone Quartet & Band Barker. W. 2 2
r s j COMPOSITION COMPOSER ARR«TRANS«EDI9B5«86 1986*87 1 9 8 7 * 8 8 1 9 8 8 * 8 9 TOTAL Capriol Suite Warlock. P. 1 1 Cara Mia Trepani/Lange 1 1 Caravan Ellington. EX. 1 1 Carmina Burana Orff. C. Multiple 2 1 3 Carnival of Venice Bricclaldl. G. Coppola 1 1 Carnival of Venice. TVie Reeves. D.W. Multiple 2 2 Cerouael, Selections from Rodgers. R. Leldzen 1 1 Casey Jones Fantasia Seibert. T. Newton 1 1 Cats, Selections from Webber. A.L. Edmondson/Cummii I 1 2 Cave of the Winds Peck. R. 1 1 Celebration of Christmas. A Werle. F. 11 Celebration Overture. Op. 61 Creston. P. 1 4 1 6 Celebrations Persichetti. V. 1 1 Centaurs. The Weiner. L. 11 Centennial Celebration Del Borgo. E. 1 1 Ceremonial Fanfare Walls. T. 1 1 Ceremonial Proclamation Tull. F. 1 1 Chamber Concerto IV for Saxophone Schwartz. E. 1 1 Chant end Jubllo McBeth. W.F. 2 1 3 Charles County Overture Jenkins. J.W. 1 1 Cheerio Goldman. R f . 1 1 Chester O/erture Schuman. W. 5 1 2 4 12 Chicago Tribune Chambers. WP. 1 1 Child's Garden of Verses. A Jager. R. 1 1 Children's March Grainger. P.A. Erickson 2 3 2 7 Chimes of Liberty. The Goldman. E.F. 2 2 Chorale Nelhybel. V. 2 1 3 Chorale and Allegro Smith. C.T. 1 1 Chorale and Alleluia Hanson. H. 1 2 4 1 8 Chorale and Shaker Dance Zdechllk. J. 1 3 2 3 9 Chorale for Band Washburn. R. 1 1 Chorale Prelude Bach. J.S. 1 1 COMPOSITION COMPOSER ARR«TRANS«ED 1985*66 1986*87 1987*88 1988*89 TOTAL Chorale Prelude on a German Folk Tune Barnes, J, 1 1 Chorale Prelude: OQod Unaeen. Op. 160 Persichetti, V. 1 1 Chorale Prelude: So Pure the Star Persichetti, V. 1 1 Chorale Prelude; Turn Not Thy Face Persichetti, V. 1 1 Chorus Line, Hiohliflhta from Hamlisch, M. Cacavas 1 1 Chrlatmaa Festival, A Anderson, L. 1 1 4 6 Christmas Fugue Brown. RB, 1 1 Christmas Greetings March Traditional Walters 1 3 4 Christmas Intreda, A Reed, A. 1 1 2 Christmas Music for Winds Traditional Cacavas 1 1 Christmas Story, The Schütz, H. Christensen 1 1 Chroma Erickson. F. 1 1 Chronolog Spears, J. 1 1 Chrysanthemum, The Joplin, S. Marciniak 1 1 Cimmaron Overture Harris, R. 1 1 Circus Bee, The Fillmore, H. 1 1 Circus Polka Stravinsky, i. 1 1 Clarinets Allegro Cofield. F, 1 1 Classic Overture Gossec, FJ. 1 1 Coat of Arms Kenny,6. 1 2 3 Cohan Broadway Festival, A Cohan, J.A. Werle 1 1 Cole Porter on Broadway Porter, C. Baker 1 1 Cole Porter Spectacular, A Porter, C. Nestico 1 1 Colonel Bogey Alford, K J. 1 1 2 Colonial Airs and Dances Jager, R. 2 2 Colonial Song Grainger, P.A. 1 2 4 7 Color Margolis, B. 1 1 Colors and Contours Bassett. L. 1 1 2 Colussus of Columbia Alexander, R. 1 1 Combination March Joplin, S. Schuller 1 1 Commando M fch B arber,S. 3 2 1 3 9 Concert Des Trompettes Lalande, M R. de Schaefer I 1 COMPOSITION COMPOSER ARR«TRAHSaED 1985*86 1986*87 1987*88 1988*89 TOTAL Concert Piece Phillips. B, 1 1 Concert Piece for Baseoon and Band Phillips. B. 1 1 Concert Variations Smith. C.T, 2 Concertetta for Viola and Band Gould, M. 1 1 Concertino for Alto Saxophone and Band, Mvt. II Benson, W. 1 1 Concertino for Flute Chaminade. C, Wilson 1 1 Concertino for Marimba and Band Creston. P. 1 1 1 Concertino for Plano Solo. Winds. Percussion and Harp Lendvay, K, 1 1 Concertino for Solo Timpani, Winds and Percussion White. D.H, 1 1 Concertino for Three Brass Werle. F, 1 1 Concertino for Trombone David. F. Phillips 1 1 Concertino for Woodwind Quintet Long, N, 1 1 Concerto for 23 Winds Hartley. W,S, 1 1 Concerto for Band Jacob. G, 1 1 Concerto for Bass Tuba and Band Jager. R, 1 1 Concerto for Clarinet and Band Rimsky-Korsakov. N, 1 1 Concerto for Horn Amram. D. 1 1 Concerto for Horn Herman. R, 1 1 Concerto for Oboe Bellini. V, Simmons 1 1 Concerto for Oboe and Wind Orchestra Kallivoda. J,V, 1 1 Concerto for Oboes and Wind Orchestra, Op, 90 Atehortua. B E, 1 1 Concerto for Piano and Wind instruments Stravinsky. 1. 1 1 Concerto for Piano. Winds and Percussion Heislnger. B. 1 1 Concerto for Trombone - Wind Band Version Orr. B, 1 1 Concerto for Trombone and Band Rimsky-Korsakov. N, I 1 Concerto for Trumpet Arutunian. A, Duker 1 1 Concerto for Trumpet. Winds. Harp and Percussion Genzmer. H, 1 1 Concerto for Tuba Gregson. E, 1 1 1 Concerto for Violin with Percussion Harrison 1 1 Concerto for Violoncello and Winds ibert. J. 1 1 Concerto for Wind Orchestra Lopatnikoff. N. 1 1 Concerto Grosso Barnes. L, 1 1 COMPOSITION COMPOSER ARR#TRANS#ED 1965*86 1986*87 1987*88 1988*89 TOTAL Concerto Croeso for Brass Quintet and Symphonic Band Tull, F. 1 1 Concerto Grosso No. 12 Corelli, A. Gordon 1 1 Concerto in 0 Major Tartini, G. Bach, J. 1 1 Concerto No. 1 in G minor. Op. 26 Bruch, M. Hindsley 1 1 Concerto No.2 Jolivel, A. 1 1 Concerto No,2 Weber, C.M, v. Brown 1 1 Concerto No. 2 in E-flat, K. 417 Mozart, W.A. Sansone 1 1 Concerto No. 3 in E-flat - Mvt. Ill Mozart, W.A. Bardeen 1 1 Concord Grundman, C. 1 1 Conga Garcia, E.G. Cummings, D. 1 1 Conquest Newman, A. Bennett 1 1 Contrasts Boltje, W.6. 1 1 Copland Portrait, A Copland, A. Grundman 1 1 Copland Portrait, A Reed, A. 1 1 Corcoran Cadets, The Sousa, J.P. 1 1 1 Cordoba from Songs of Spain Albeniz, 1. 1 1 Cornish Dances, Op. 91 Arnold, M. Marciniak 1 1 Coronation Scene from ‘Boris Godunov' Moussorgsky. M. Multiple 1 1 2 Country Band March Ives, C. Sinclair 2 2 Country Gardens Grainger. P.A. Clark 1 1 2 Courante from 'Terpsichore' Praetorius, M. Christensen 1 1 Court Festival Latham, W.P. 1 1 2 Cowboys. The Williams, J. Curnow 1 1 1 3 Credence Smith. C.T. 1 1 Crowning Glory Reed, A, 1 1 Crystals (1985) Duffy, T.C. 1 1 CT&V Sellars, C, 1 1 Cuernavaca Jenkins, J.W. 1 1 Cumulations Starer, R. 1 1 Curse and a Blessing, A Cowell, H. 1 1 Cyrus the Great Persian King, K.L. 1 1 Czar's March from 'The Tale of Czar Sultan' Rimsky-Korsakov, N. Hudadoff 2 2
5J COMPOSITION COMPOSER ARR«TRANS«EDI9B5*86 I986«87 1987*88 1988*89 TOTAL D.R. Ill's Honnormarsj Mostad, E. 1 1 Dam Busters. The Coates, E. 1 1 Dance of the King Susato, T. Buslje 1 1 Dance Preludes (1959) Lutoslawski, W. 1 1 Dance Rhythms, Op. 58a Reigger, W. 1 1 2 Dancing Sergeant, The Dello Jolo, N. i 1 Danza Final from 'Estancia* Ginastera, A. John 3 3 Danzon from 'Fancy Free' Bernstein, L. Krance 1 2 3 Daughters of Texas Sousa. J.P. Multiple 1 1 2 Days of Glory Cacavas. J. 1 1 Death and Transfiguration S trauss,R . Harding 1 1 Deck the Halls - A Merrie Fugue Kay, H. 1 1 Dedicatory Overture Williams, C. 1 1 Deguello Rodriguez 1 1 Der Klelne Schelm Besancon. A. 1 1 Dialogue for Clarinet Bencrlscutto. F. 1 1 Dialogues and Entertainments Kraft, W. 1 1 Dialogues on 'In Dulci Jubllo* Zdechllk, J. 1 1 Die Nacht Strauss, R. Davis 1 1 Die Wacht am Rhein, Marsch Blon, F. V. Wiley 1 I Dies Natalis Hanson,H. 1 2 Dionysiaques, Op. 62 Schmitt, F. 1 1 Directorate, The Sousa. J.P. 1 1 Divergents McBeth, W.F. 1 1 2 Diversion for Alto Saxophone and Band Heiden, B. 1 1 2 Divertimento Bernstein, L. Grundman 1 2 3 Divertimento for Band, Op. 42 Persichetti. V. 3 2 3 8 Divertimento for Brass and Percussion Husa. K. 1 t Divertissement Bernard. E. 2 2 Divertissement d' ete Casterede. J. 1 1 Divertissement: The Three Trumpeters Agostini. 6. Balnum 2 2 Do Not Go Gentle Into That Good Night Del Borgo. E. 3 2 2 7 c o w o sm o M COMPOSER ARR«TRANS«ED1985*86 1986*87 1987088 1988*89 TOTAL Dodecaphonic Set Latham, W P. 1 1 Domingo Ortega Ledesma, FVtYopesa, R. Wiley 1 1 Dormant Craters Brant, H. 1 1 Down to the Sea in Ships Bennett, R.R. 1 1 Dramatic Essay Williams, C. 1 1 Drammatico McBeth, W.F. 1 1 Orel Zapfenstreiche (Three Ceremonial Marches) Beethoven, L.v. Schaefer 1 1 2 Dubinushka. Op. 62 Rimsky-Korsakov, N. Chidester 2 2 Duke of Cambridge Arnold, M. 1 1 Duke of York. The Barnes, A.P. 1 1 E.T., Selections from Williams, J. Cacavas 1 1 Early English Suite Findlay son, W. 1 1 Earth Song Reuter, R.J. 1 1 Ecce Sacerdcij Magnus Bruckner, A. Orzel 1 1 Eight Instrumental Miniatures Stravinsky, 1. 1 1 Einleitung und Allegro Strauss, R. 1 1 2 El Camino Real Reed, A. 1 1 El Capitan Sousa, J.P. Multiple 1 2 1 4 El Capitan, Selections from the Operetta Sousa, J.P. 1 1 El Sato Montes (Pasodoble Torero) Penella, M. 1 1 El Salon Mexico Copland, A. Hindsley 1 1 Elegy Chance, J.6. 2 1 1 3 7 Elegy Gallagher, J. 1 1 Eiegy and Fanfare-March Nixon, R. 1 1 2 Eiegy for a Young American LoPresti, R. 1 1 2 4 Elegy from 'A Downland Suite" Ireland, J. 1 1 Ellington Festival, An Ellington, D. Nestico 1 1 Ellington Portrait, An Ellington, D. Werle 1 I Elopement Great, The Handel, G f . Henderson 1 1 Elsa's Procession to the Cathedral Wagner, R. Multiple 2 2 2 2 8 Emblem of Unity Richards, JJ. 1 1 Emblems Copland, A. 1 1 COMPOSiTION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Emperata Smith. C.T. 1 2 2 5 Energia 1 Morthenson. J. 1 1 English Dances Arnold. M. Johnstone 3 3 2 8 English Folk Song Suite Vaughan Williams, R. 2 4 5 4 15 English Suite Grundman. C. 1 1 2 Engulfed Cathedral. The Debussy. C. Morrison 1 1 Enigma Variations Elgar. E. Slocum 1 1 Entertainer. The Joplin, S. Curnow 1 1 Entertainer. The Joplin. S. Reed. A. 1 1 Epiniclon Paulson, J. 1 3 4 Esprit de Corps Jager. R. 3 2 5 Estampie Nelhybel. V. 1 1 Eternal Father. Strong to Save Smith. C.T. 2 2 Euryanthe OverUre Weber. C.M. v. 1 1 Exodus Gold. E. Reed 1 1 Exordium Mattel. E. 1 1 Expositions Leckrone. M. 1 1 2 Faeroe island Dance Grainger, P.A. 2 2 Fairest of the Fair Sousa. J.P. Fennell 1 1 2 4 Fall River Overture Sheldon. R. 1 1 Fallen. Fallen Is Babylon Spears, J. 1 1 Fandango Perkins. F. 1 1 Fanfare Husa. K. 1 1 Fanfare and Allegro Williams, C. 2 3 1 6 Fanfare and Dance Segments B arrett, R. 1 1 Fanfare and Hymn of Brotherhood Bocook, J. 1 1 Fanfare and Lyra VIctorlne. D.E. 3 3 Fanfare and Variations on Amazing Grace Traditional Norred 1 1 Fanfare for Anliphonal Brass & Band Tull. F. 1 2 3 Fanfare for the Common Man Copland, A. 1 2 3 Fanfare from "La Peri' Dukas.P. 1 1 Fanfare Prelude - Rejoice. Ye Pure In Heart Kroener, R. 1 1 COMPOSITION COMPOSER ARR«TRANS«ED| 1985*86 1986087 1987088 1988089 TOTAL Fanfire Prelude on 'Lancashire' Curnow. J. 1 1 2 Fanfare Prelude on "Lobe Den Horren' Curnow. J. 1 1 Fanfare Prelude on 'Ode to Joy' Beethoven. L.v. Curnow 1 1 Fanfares from the Opera "Llbuae" Smetana. B. Nelhybel 1 1 1 3 Fantasia and Rondo Weber. C.M. v. Snavely 1 1 2 Fantasia di Concerto Boccalari. E. Kent-Akers 1 1 2 Fantasia for Band Giannini. V. 1 1 2 Fantasia in 0 Mahr. T. 2 3 3 8 Fantasia in 6 Major Bach. J.S. Goldman/Lelsl 1 2 2 5 Fantasia on a Hymn by Praetorius Foster. R. 1 1 2 Fantasies on a Theme by Haydn Dello Joio. N. 2 2 4 Fantasy on a Sea Chantey Curnow. J. 1 1 Fantasy on American Sailing Songs Grundman. C. 1 1 Festa Espagnol Sweeney 1 1 Festival Williams, C. 1 1 2 Festival Fanfare Strauss.R . 1 1 Festival Finale; God of Our Fathers Maddy. J. 1 1 Festival Prelude, A Reed. A. 1 4 1 3 9 Festival Variations Smith. C.T. 1 1 Festive Overture. A Reed. A. 1 1 Festive Overture. Op. 96 Shostakovich. D. Hunsberger 2 2 3 6 13 Fiddler on the Roof. Selections from Bock. J. Lowden 1 1 Fiesta Del Pacifico Nixon. R. 2 1 3 Final Covenant. The Tull. F. 2 1 3 Finale from 'New World Symphony' Dvorak. A. Leldzen 1 1 2 Finale from Symphony No. 5 Shostakovich. D. Righter 1 1 Fingal's Cave. Overture Mendelssohn. F. Seredy 1 1 Finlandia. Op. 26. No. 7 Sibelius. J. Cailliet 1 1 1 3 First Suite for Band Reed. A. 1 2 1 1 5 First Suite in E-flat for Military Band Holst. 6. 2 3 5 3 18 First Swedish Rhapsody Leldzen. E. 1 1 Five Miniatures Turlna, J. Krance 1 1
§ COMPOSITION COMPOSER ARR«TRANS«EO 1 9 8 5 * 8 6 1 9 8 6 * 8 7 1987*88 1988*89 TOTAL Flag of Stars Jacob, G. 1 1 Flag of Victory Blon, F. V 1 1 Flight Smith, C.T. 2 Flight of the Bumble Bee Rimsky-Korsakov, N. Davis 1 1 Floral Dance Traditional Martin 1 1 Florentiner. Die (Grande Marcia Italiana) Fucik, J. Lake/Fennell 2 1 I 2 Flourish for Wind Band Vaughan Williams. R. 2 1 2 4 Flute and the Droome. The Byrd, W. 1 1 Flute Dance from 'La Fille Mal Gardee' Herold-Lanchbery 00 COWOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Galop Shostakovich, D. Hunsberger 1 1 Garden Rain Takemitsu. T. 1 1 Garnet and Grey March Weail, C. 1 1 Gazebo Dances Corigliano, J. 1 1 2 George Gershwin Selections Gershwin. Q. Bennett 1 1 2 George Washington Bicentemiai Sousa. J.P. 1 1 2 4 George Washington Bridge Schuman. W. 1 1 2 4 Gershwini Gershwin. 6. Barker 1 2 2 5 Geschwlndmarsch from Symphonia Serena Hindemith. P. 2 2 Gesu Bambino Yon. P. Leldzen 1 1 Gigi. Selections from Lerner/Loewe Bennett 1 1 Giles Farnaby Suite Farnaby. G. Jacob 1 1 Giles Farnaby Suite Jacob. G. 1 1 Giles Farnaby Suite Wiggins. B. 1 1 Glasgow Fair Howe. J.H. 1 1 Globe and Eagle March. The Sousa. J.P. Rogers 1 1 Gloria March Lossy. F.H. Seredy 1 1 Glory of the Yankee Navy, The Sousa. J.P. 1 1 God of Our Fathers Warren. 6. Smith 1 1 2 Golden Bear March Richards, JJ. 1 1 Good Soldier Schweik, The Kurka. R. 1 1 2 Gossamer Rings for Soprano Saxophone and Band Deason. D. 1 1 Gott Lebet Noch (God Still Lives) Bach. J.S. Reed. A. 2 1 1 4 Grace Praeludium McBeth. W.F. I 1 1 3 Grace Praeludium McBeth. W.F. 1 1 Grand Serenade for an Awful Lot of Winds & Percussion Bach. P.D.Q. Schickels 2 1 3 Grande Symphonie Funebre et Triomphale Berlioz. H. 1 1 Greenbushes. Themes from Grainger. P.A. Daehn 1 1 2 Greensleeves Traditional Reed. A. 2 3 5 Habanera Bizet. 6. 1 1 Hail to the Fleet Maltby. R. 1 2 3 Hail to the Spirit of Liberty Sousa. J.P. Hunsberger 1 1 2 8 COMPOSITION COWOSER ARR«TRAHS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Hallelujah Chorus from 'Messiah' Handel. G.F. Chieffarell 1 1 Hammersmith; Prelude and Scherzo. Op. 52 Holst. 6. 2 1 3 Handel In the Strand Grainger. P.A. Goldman 3 2 1 6 Hands Across the Sea Sousa. J.P. Multiple 1 2 2 5 Harlem Nocturne Hagen. E. Bullock 1 1 Harmonica Wizard, The Sousa. J.P. 1 1 Harvest Hymn Grainger. P.A. Kreines 1 1 2 Havendance Holsinger. 0. 1 1 2 Heart of the Morn Reed. H.O. 1 1 2 Heat Is On. The Falter meyer. H. Forsey-Cook 1 1 Heath erwood P ortrait Barnes. J. 1 1 Hebrides Suite Grundman. C. 1 1 1 3 Helix Benson. W, 1 1 Heroic Saga Jager. R. 2 2 Herzllch Tut Mich Verlangen Bach. J.S. 1 1 Hill Song No. 2 Grainger. P.A. 2 2 Hillbilly Gould. M. Bennett 1 1 His Honor Fillmore. H. Fennell 2 2 1 1 6 Holiday Suite for Band Jenkins. 0. 1 1 Homage to Machaul from "Medieval Suite* Nelson. R. 1 1 Home for Christmas Higgins. J. 1 1 Honey Boys on Parade Cupero. E.V. 1 1 Hostrauser's March Chambers. WP. 1 1 Hosts of Freedom King. K.L. 1 1 Hounds of Spring. The Reed. A. 1 1 2 How the West Was Won Hawkins 1 1 Hoye's Tribute Stamper. F. 1 1 Huapangol Moncayo. J.P. Multiple 1 1 2 Huldlgungsmersch Wagner. R. Schaefer 1 1 2 Humoresque Dvorak. A. Cailliet 1 1 Hymn and Allelujah Curnow. J. 1 1 Hymn and Exultation: Capltalis In Aeternum Reuter. R.J. 2 2 V)00 COMP%mOM COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Hymn Festival, A Ades, H. 1 1 Hymn of Praise Bruckner. A. Gordon 1 1 1 Have Been One Acquainted With the Nlflhl Osmon. L. 1 I 1 Wonder As 1 Wander Traditional Vosbein 1 1 111 Be Home for Christmas Gannon/Kenl/Ram Leonard 1 1 I'm Seventeen Come Sunday Grainger. P.A, 1 1 If Thou Be Near Bach. J.S. Multiple 1 1 1 1 Igor Fantasy Lamb 1 1 11 Guamay Overture Gomez. A C. 1 1 Immovable Do. The Grainger. P.A. 1 1 Impresario (\erture. The Mozart. W.A. Barnes 1 1 In Memoriam; Baba Yar Del Borgo. E. 1 1 Incantation and Dance Chance. J £ . 1 3 2 2 Incidental Suite Smith. C.T. 2 1 3 Indiana State Bind March Farrar. OR. Smith 1 1 Interface Jager. R. 1 1 Intermezzo Tubb.M. 1 1 Intrada No. 7 Franck.M. Johnson 1 1 Introduction & Wedding March fr. 'The Golden Cockerel" Rimsky-Korsakov. N. Harding 1 1 introduction and Fantasia Mitchell. R. 1 1 introduction and Samba Whitney. M. 2 Introduction to Act III from "Lohengrin" Wagner. R. Drumm 1 1 Introduction. Chorale and March Casella, A. 1 1 Introduction. Theme and Variations Rossini. G, Hermann 1 1 Intrusions Leckrone.M. 1 1 Invercargill March Lithgow. A. Laurendeau 2 2 Invocation and Tocatta Barnes. J. 2 2 Irish Rhapsody. An Grundman. C. 1 1 2 Irish Suite. The Anderson. L. 1 1 Irish Tune from County Derry Grainger. P.A. Kent 4 3 3 7 17 Irish Washerwcman. The Anderson. L. 1 1 Irish Washerwoman. The Traditional Anderson. L. 1 1 00 COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Ils Broadway Various Edmondson 1 1 Italian in Aigiara. Overture Rossini, G. Caiiiiet 3 1 1 1 6 itaiian Poika Rachmaninoff. S. Leldzen 1 1 Jack Tar Sousa. J.P. 1 1 2 Jaiouaie Gade, J. Krance 1 1 2 Jamaican Rhumba Benjamin. A. 1 1 January February March. The Gitits. D. 1 1 1 3 Jaws, Seiectiona from Williams, J. Cacavas 1 1 Jazz Suite. A Mersey. R. Hunsberger 1 1 Jazz Tangenta Ward-Steinman, D. 1 1 Jazz Varianta Beck, J. 1 1 Jedermann Overture Whear, P. 1 1 Jericho Gouid, M. 2 2 Jesu. Joy of Man's Desiring Bach, J.S. Multiple 1 1 5 Jesus. Oh What Anguish Bach, J.S. Reed. A. 1 1 Jingle Balia Rhapsody Pierpont. J. Walters 1 1 John Gay Suite Orr, B. 1 1 Joi Logan, R. 1 1 Joy of Christmas - Engilsh Carols Burt. A. Edmondson 1 1 Jubilance Giovannlnl, C. Robinson 1 1 Jubilant Overture. A Reed, A. 1 3 Jubilant Prelude Smith, C.T. I 1 Jubilate Deo Gabrieli, G. t 1 Jubilee Hennagin, M. 1 1 2 Jubilee Kenny, G. 1 1 Jupiter and Mara from 'The Planets" Hoist, G. 2 2 Kaddish McBeth. W.F. 1 1 Kaddish McBeth. W.F. 1 1 King Cotton Sousa, J.P. 1 2 3 1 7 King Duncan's March from "Macbeth' Verdi, G, Smith, R. 1 1 2 King Lear Variations Amran, D. 1 1 Klaxon. The Fillmore, H. Fenneii 3 2 5 LA COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Knighlsbridse Coates. E. 1 1 Komm. Süsser Tod (Coma Sw eet Death) Bach. J.S. Reed. A. 2 4 6 Konzertmwalk, Op. 49 Hindemith. P. t 1 L’ Arleslenne Suite No. 2 - Part II - Farandole Bizet. 6. Lasllll 1 1 L' Ingleaina. Symphonic March Delle Case. D. 1 1 2 La Bamba de Vera Cruz Tuccl. T. Hunsberger 1 1 La Belle Helene Overture Offenbach. J. Odom 2 2 La Comparse Lecuona. E. 1 1 La Creation Du Monde Milhaud, D. 1 1 La Fiesta Mexicans Reed, H.O. 2 1 I 3 7 La Qazza Ladra 0 /ertu re Rossini. 0. Brown 1 1 La Orega do Oro San Miguel. M. Multiple 2 I 3 La Procession Du Rocio Turlna. J. Reed. A. 2 2 La ValleeDes Cloches Ravel. M. Hunsberger 1 1 La VirgenDe la Macarena Koff, C. 1 1 Lake Washington Suite Zdechllk. J. 1 1 Lassus Trombone Fillmore. H, 2 2 Last Spring. The Or leg. E. Wilson 1 1 Lastringe Ganglat Holmgrln. J. 1 1 Latina Bencrlscutto. F. 1 1 Laude Hanson. H. 1 1 Laura Raskin. D. Holcombe 2 2 Le Bel de Beatrice D' Este Suite Hahn. R. 1 1 2 Le Journal du Printemps Fischer. J. 1 1 Le Regiment de Sambre et Meuse Rauskl, J.F. Fennell 1 1 Les Misérables. Selections from Boublll. A./Schaenberg. ( Barker 1 2 3 Les Papillones - "Butterflies" Lancaster. C. 1 1 Let It Snow! Cahn. S./Styne. J. Leonard 1 I Liberty Bell Sousa. J.P. Multiple 3 3 1 1 8 Liberty Fanfare Williams. J. Curnow 1 1 Llebestod Wagner, R. Balnum 1 1 2 Light Cavalry Overture Suppé. F. V. Fillmore 2 2 COMPOSITION COMPOSER ARRaTRANSeEO I9 8 5 « 8 6 1986*87 1987*88 1988*89 TOTAL Lincoln Portroit. A Copland, A. Beeler 1 1 1 3 Lincolnshire Posy Grainger, P.A. Multiple 4 2 2 6 14 Linden Lea Vaughan Williams, R, Stout 1 1 Little Concerto (1927) Orff, C. 1 1 Little Concerto for Plano Cowell, H. 1 1 Little Night Music. A - Excerpts from Sondheim, S. Wallarab 1 1 Little Symphony for Winds Schuber, F. Reynolds, V. 1 1 Little Threepenny Music Weill, K. 1 1 Liturgical Dances Holslnger, D. 2 2 2 1 7 Liturgical Music Rhoads, W.E. 1 1 Liturgical Music for Band, Op. 33 Mailman, M. 2 1 3 1 7 London Sketches (1926) Casadesus, F. 1 1 Longer Fogelberg, D. 1 1 Looking Upward Suite Sousa, J.P. 1 1 Lowlands Concert March Wiley, C.A. 1 1 Mad Major, The Alford, K.J. Multiple 1 1 2 Magic of Disney, The Various Barker 1 1 Man of La Mancha, Selections from Leigh, M. Erickson 1 1 2 Manhattan Beach Sousa, J.P. Multiple 4 1 2 1 8 Mannin Veen Wood, H. 1 1 2 March and Chorus Handel, 6.F. 1 1 March and Procession of Bacchus Delibes, L. Osterllng 1 1 March de Henri IV Jadin, L. 1 1 March Electric Creatore, Q. Falcone 1 1 March for Concert Band Walton, W. Vinter 1 1 March for Moderns Spears. J. 1 1 March for the Prince of Wales Haydn, J. Schaefer 1 1 March for the Sultan Abdul Medjid Donizetti, 6, 1 1 March for Tripod Tull, F, 1 1 March from "Little Suite" Arnold. M. Summer 1 1 March from "Sciplone" Handel, G.F. Goldman 1 1 March from Nobilissima Vislone Hindemith, P. Henderson 1 1 COMPOSITION COMPOSER ARR*TRANS«ED i986«87 1967*88 11988*89 ITOTAL 1 March Grandiose Seitz. R.F. Multiple 2 2 March in F Major Beethoven. L.v. 2 2 March InUrcolleglate Ives. C. Brion 1 1 2 4 March of the Dragon Masters Jager. R. 1 1 March of the Steel Men Belslerling. O.S. Alford 1 1 March Slav Tchaikovsky, P.i. 1 1 March Triumphal Miakovsky. N. 1 1 March with Trimpets Bergsma. W. 2 2 March. Op. 99 Prokofieff. S. Yoder 1 2 3 March; Omega lambda Chi ives. C. Brion 1 1 Marche de la Guards a Marenga Jadin. L. 1 1 Marche des Muaiques de la Revolution Jadin. L. 1 1 Marche des Parachutistes Belges Leemans. P. Wiley 1 1 6 8 Marche Militaire Française Saint-Saëns. C, HIndsley/Lake 1 2 1 4 Marching Song Holst. 6. 2 2 4 Marvin Hamliach Showcase Hamlisch. M. Barker 1 1 Masque McBeth. W.F. 1 1 1 3 Masquerade Persichetti. V. 1 1 Maas in E minor Bruckner. A. 1 2 3 Medieval Suite Nelson. R. 1 1 2 Meditation from "niais' Massenet. J. Harding I 1 2 Mein vlesul Was Fiir Seelenweh Bach. J.S. Reed. A. 1 1 Men in Gray Brahmstedt, N.K. 1 1 Men of Music King. K.L. Walters 3 3 Midsummer Night's Dream. (Xerture Mendelssohn. F. Winterbottom 1 1 Migration Rokeach. M. 1 1 Military Escort Bennett. H. Fennell 1 1 Miniature Set for Band White. D.H. 1 1 1 3 Minnesota March Sousa. J.P. 1 1 Mirror Lake Montgomery, E.E. 1 1 Mirrors for Horn and Band Reuter. RJ. 1 1 Molly on the Shore Grainger. P.A. 1 1 1 3 8 COMPOSITION COMPOSER ARR«TRANS«EO 1985*86 1986*87 1987*88 1988*89 TOTAL Montmartre Wood. H. 1 1 Moorish Dance Susato. T. Buslje 1 1 Moorside March Holst. 6. Jacob 3 4 7 MoorsWe Suite Holst, 6. Wright 1 1 Morceau Symphonique Gullmant. A. Shepard 1 1 1 3 Morning. Noon, and Night In Vienna Suppé. F. V. Morelll 1 1 Mosalco De Mexico Gates. G. 1 1 Mosalco Mexicano Lifchitz. M. 1 1 Mother Goose Suite Ravel, M. Elliot 1 1 Movies. The Various Higgins 1 1 Mr. Lucky. Selections from Manclnl. H. 1 1 Music for 'Hamlet' Reed. A. 1 1 Music for a Carnival Grundman. C. 1 1 2 Music for a Ceremony Morrissey. J. 1 1 Music for a Festival Jacob, 6 . 2 2 Music for Brass and Percussion Mendoza. V. 1 1 Music for Prague 1968 Husa. K. 1 1 3 5 Music for the Royal Fireworks Handel. G f. Multiple 4 1 5 Music for Winds and Percussion Del Borgo. E. 1 1 Music from 'England's Pleasant Land' Vaughan Williams. R. Grechesky 2 2 Music Makers. The Reed. A. 1 1 Music Man. Selections from Wilson. M. Lang 1 1 Musica Boema Lukas. Z. 1 1 Mutanza Curnow. J. 1 1 My Fair Lady. Selections from Lerner/Loewe Bennett 1 2 3 My Heart Is Filled With Longong Bach. J.S. Reed. A. 1 1 Nabucco Overture Verdi. 6. Callllet 1 1 2 Nancle Morley. T. Gordon 1 1 Napoli Bellstedt. H. Simon 1 1 National Emblem Bagley, E f , Multiple 2 1 1 4 8 Nederlandse Suite Lijnschooten. H. v. 1 1 New Colonial March. The Hall. R.B. 1 1 1 3 s COMPOSITION COWOSER ARR«TRAMSiEW New England Triptych Schumen. W. New Mexico March New York HIpod'ome Newsreel in Fivo Shots Night Before Christmas, The Night an Bald Mountain Night Soliloquy Nightfall Nilesdince Nimrod from 'Enigma Variations* Nobles of the Mystic Shrine Nocturne, Op. 9. No, 2 Northern Pines Novena Nutcracker Suite, The 0 Cool Is the Valley 0 Fervant Is My Longing 0 Holy Night 0 How Amiable OMensch, Bewein Dein Siinde Gross 0 Sacred Head Now Wounded Octet for Wind Instruments Octet for Winds, Op, 103 Ode Ode for Band Officer Candidate Oiseaux Exotiques Old Circus Band March Old French Dances Old Scottish Melody Old Wine in New Bottles Olympia Hippidrome g COMPOSITION COWOSER ARR«TRANS«EOI9B5«86 1986*07 1987*88 1988*89 TOTAL Olympic Fanfare and Theme Williams. J. Curnow 1 1 On Ancienl Hymns and Festal Dances Holslnger. 0. 1 1 On the Mall Goldman, E.F. Lake 3 1 3 7 On the Trail from "Grand Canyon Suite" Grofé. F. Leidzen 1 1 One Night In A pril., . Another In November Reuter. RJ. 1 1 Orange Bowl Fillmore. H. 1 1 Original Suite. An Jacob. G. 3 1 1 6 11 Orpheus 0/erture Offenbach. J. Lake 1 1 Ouachita Giroux-West. J. 1 1 2 Our Father Who A rt In Heaven Bach. J.S. Reed. A. 1 1 Our President Jones. S.T. Tower 1 1 Outdoor Overture Copland. A. 2 2 0 /erture Heins. J. 1 i Overture 1012 Tchaikovsky. P.I. 1 2 3 Overture for Winds Carter. C. 1 1 (Venture for Winds. Op. 24 Mendelssohn. F. Multiple 2 1 3 Overture from "Messiah" Handel. 6F . Johnson 1 1 Overture in 6-flat Giovanntni. C. Robinson 1 3 4 Overture In C Major Catel. C.S. Goldman 1 1 2 Overture Solonelle, Op. 72 Gliere. R. 1 1 Overture to "Candide" Bernstein. L. Beeler 2 1 2 3 8 (Venture to "Candide" Bernstein. L. Grundman 1 1 (Venture to "The School for Scandal" Barber, S. Hudson 1 1 (Venture to Rienzi Wagner. R. Multiple 2 2 (Venture to tho Opera "Joseph" Mehul, E.H. Schmidt 1 1 Pachirito Yoder. P. 1 1 Pacific Celebration Suite Nixon. R. 1 1 Paeans and Dances of Heathen Iberia Surinach. C. 1 1 Pageant Bullock. J. 1 1 Pageant Persichetti. V. 2 2 2 3 9 Pageantry (Venture Edmondson. J. 1 1 Panis Angellcus Franck. C. Reed. A. 1 1 COriPOSITION C0WO5ER ARR*TRAHS«ED I9BS«8G I986«87 1987*88 1988*89 TOTAL ParllU Rosetti. A. 1 1 Partita for Band Curnow, J. 11 Partita for Band. Op. 57 Krommer, F. 1 1 2 Pas Redoublé, Op. 86 Saint-Saëns, C. Frackenpohl 1 1 2 4 Passacaglla and Rou.ids Karlins, W. 1 1 Passing Bell, Hie Benson, W. 1 I Pastoral Stravinsky, 1. 1 I Pastorale and Country Dance Jager, R. 1 1 Pastorale for Trombone Frackenpohl, A. 1 I Patriotic Pageantry Barker, W. 1 1 Paulas Wharfe Farnoby, 6. Gordon I 1 Pavana. Infante Defunte Ravel, M. HIndsley 1 1 Pearl Fishers (Varture, The Bizet, G. Callllet 1 1 2 Pentland Hills Howe, J.H. 1 1 2 Pentland Hills Howe, J.H. 1 1 Pelerloo Arnold, M. 1 1 Petite Symphonic, Op. 90 Gounod. C. 2 1 3 Phantom of the Opera, Selections from Webber. A.L. Barker 2 2 Phoenix Overture Curnow, J. 1 1 Pictures at an Exhibition Moussorgsky, M. Leidzen 1 1 1 3 Pineapple Poll - Suite from the Ballet Sullivan, A. Mackerras 1 1 1 2 5 Pines of Roma. The Respighi, 0. Multiple 1 2 1 4 Poeme Du Feu Gotkovsky, 1. 1 1 Porgy and Bess, Selections from Gershwin, 6. Multiple 1 4 3 8 P o rtralto f a Trumpet Nestlco, S. 1 1 Praises McBeth, W.F. 1 1 Prayer of St. Gregory Hovhaness, A. 1 1 Preamble Jager, R. 1 1 Prelude and Double Fugue Tull. F. 1 1 Prelude and Fugue Nelhybel, V. 1 1 Prelude and Fugue In C Minor Bach. J.S. Volz/Sladek 1 I 1 3 Prelude and Fugue In D Minor Bach, J.S. Moehlmann 1 1 COMPOSITION COMPOSER ARR«TRANS«ED 1985«86 1986*87 1987*88 1988*89 TOTAL Prelude and Fugue In E-flat Major Bach, J.S. Conley 1 1 Prelude and Fugue In F Minor Bright. H. 1 1 Prelude and Fugue In 6 Minor Bach, J.S. Moehlmann 1 1 2 Prelude and Rondo Holsinger, D. I 1 Prelude from 'Die Meisterslnger' Wagner, R. Moses-Tobianl/Ken 1 1 Prelude from the 49th Parallel Vaughan Williams, R. Osmon 1 1 Prelude in E-flat Minor, Op. 34 Shostakovich, 0. Reed, A. 1 1 Prelude to Act 1 of "La Traviata' Verdi, 6. Falcone 1 1 1 3 Prelude, Op, 34. No. 14 Shostakovich. D. Reynolds 1 1 Prelude, Sicilano and Rondo Arnold, M. Paynter 1 1 1 4 7 President's Trio Bencrlscutto, F. 1 1 Prestissimo King, K.L. 1 I Prevailing Winds Rogers,R. 1 1 Pride of the Wolverines. The Sousa, J.P. Fennell 2 2 4 Prince Consort Holmes. P. 1 1 Princeton Variations Shaffer, D. 1 1 Procession du Vendredi-Saint TomasI, H. 1 1 Procession of Nobles RImsky-Korsakov, N. Leidzen 2 2 2 3 9 Profanation Bernstein, L. Bencrlscutto 1 1 Prologue and Dance Del Borgo, E. 1 1 Prologue and Pageant Dougherty. W. 1 1 Prologue from "West Side S tory' Bernstein. L. 1 1 2 Prospect La Plante, P. 1 1 2 Proud Heritage Concert March Latham, W.P. 1 I 2 Psalm 148 Latham, W.P. 1 1 Psalm 46 Zdechllk, J. 3 3 Psalm and Air Marcello, B. Ployhar 1 1 Psalm for Band Persichetti, V. 1 1 2 4 Puenteareas Soutullo, R. Weger 1 1 2 Punchinello Reed, A. 1 1 Purple Carnival, The Alford, H.L. 1 1 2 Purple Pageant. The King. K.L. 1 1 a COMPOSITION COMPOSER ARR«TRANS«ED1 9 8 5 * 8 6 1986*87 1987*88 1988*89 TOTAL Purple Transformation Schwartz, E. 1 1 Quartet for Paper Bags Sptvack, I. Quiet Christmas Qrundman, C. Quintette Français, J. Radetzky March Strauss, J. Rakoczy March Berlioz, H. Gordon Rameses March Richards, J J. Phillips Recorded by Sinatra Barker, W. Red River Valley Traditional Hill Reflection Leckrone,M. Reflections Nixon, R. Rejolcinfl Reed, A. Réjouissance Curnow, J. Requiem In Our Time. A Rautavaara. E. Rhapsody for Percussion and Band Beck, J. & Jones, P. Rhapsody for Winds and Percussion Mitchell, R. Rhapsody in Blue Gershwin, G. Grofé Rhapsody of an English Sea Song Johnson Rheinische Kirmestanze Zimmerman, B.A. Rhosymedre Vaufihan Williams, R. Beeler Riders for the Flag Sousa, J.P. Rifle Regiment, The Sousa, J.P. Fennell . Brothers Grand Entry Sweet, A. Rocky Point Holiday Nelson, R. Rodgers and Hammers tain's Oklahoma Rodgers/Hammerstein Edmondson Rolling Thunder Fillmore, H. Fennell Roman Carnival Berlioz. H. Multiple Romantic Variations Calvert, M. Rondeau Mouret, J.J. Stout Rondo Alla Turca Amram, D. Rondo for Trumpet Smith, C.T. Rondo from the Clarinet Quintet Weber, C.M. v. Snavely COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Rose Variations Bennett. R.R. 1 1 Royal Welch Fusiliers. The Sousa. J.P. 1 1 Royce Hall Suite Willan. H, Teague 1 1 Rudolph the Red-Nosed Reindeer Marks. J. Leonard 1 I Russian Christmas Music Reed. A. 3 3 4 10 Russian Sailor's Dance Gliere. R. Isaac 1 1 Russian and Ludmilla Glinka. M. Henning 1 1 Rustic Dance Howell. C.R. 1 1 Sabre and Spurs Sousa. J.P. 1 1 Sabre Dance Khachaturian. A. 1 1 Salaam Alekum Min Kuwait Strlght. R. 1 1 Salvation In Created Tschesnokoff. P. Houseknecht 2 3 5 Sarabande Debussy. C. Nelson 1 1 Sarabande and Polka Arnold, M. 1 1 Satiric Dances DelloJoio. N. 2 2 1 S Savannah River Holiday Nelson. R. 2 2 Saxarella Wideoeft, R. Schuller 1 1 Scenes from 'The Louvre" DelloJoio. N. 2 5 2 4 13 Scenes Revisited Reynolds, V. 1 1 Scherzo Schinestine. W. 1 1 Scherzo alia Marcia from "Symphony No. 6" Vaughan Williams. R. 1 1 Scherzo for a Bitter Moon Youtz, G. 3 3 Scherzo for Band Rossini. 6. Schaefer 1 1 2 Sea Portrait -A Tone Paintino La Gassey. H. 1 1 2 Sea Songs Vaughan Williams. R. 2 2 2 6 Sebastian Ballet Menotti. G.C. Lang 1 1 Sachs Minlaturen Ligeti, G. 1 1 Second Concerto In E-flat. Op. 14 for Clarinet Weber. K.M. v. Brown 1 1 Second Prelude from "Three Preludes" Gershwin. 6. Krance 1 3 4 Second Suite in F for Military Band Holst. G. 2 3 4 7 16 See the Conqu'ring Hero Comes fr. "Judas Maccabaeus' Handel. G.F. Goldman. R f . 1 1 Sells-Fioto Triumphal King. K.L. 1 1 es COMPOSITION COMPOSER ARR*TRANS*ED I985>86 1986*87 1987*88 1988*89 TOTAL Semper Fidelia Sousa, J.P. Multiple 2 2 1 5 Septet Fiir Blialnatrumente Hindemith, P. 1 1 Serenade Landers, J. 1 1 Serenade Otterloo, W. V. 1 1 Serenade for a Picket Fence Leyden, N. 1 1 Serenade for Alto Saxophone and Band Bencrlscutto, F. 1 1 Serenade for Band, No. 11, Op. 85 Persichetti, V. I 1 Serenade In B-flat Major, K. 361 (K. 370A) Mozart, W.A. 1 1 1 Serenade In C minor, K. 380 Mozart, W.A. 1 1 Serenade In D Minor, Op. 44 Dvorak, A. 1 1 Serenade in E-fiat, Op. 7 Strauss, R. Fennell 1 3 Serenade No. 1 for Ten Wind instrumenta Persichetti, V. 1 1 Serenade, Op. 22 Bourgeois, D. 1 1 Serenata Anderson, L. 1 1 Shakata; Slnoing the World Into Existence Wilson, D. 1 1 Sheep May Safely Graze Bach. J.S. Richardson 1 1 Sheep-Shearing Song Goosens Grainger 1 1 Shepherd's Hey Grainger. P.A. Kent 4 2 1 4 It Sic Transit SpirlUis Hannay, R. 1 1 Slefried's Funeral Music Wagner, R. Whear 1 1 Sine Nomine Vaughan Williams, R. 1 1 1 Sinfonia "11 Flume' Andrlessen, J. 1 1 Sinfonia Marziale Del Borgo, E. 1 1 Sinfonia Nobllissi'- .j Jager, R. 1 1 Sinfonia V - Sacra el Profana Broege, T. 1 1 Sinfonia XII - Southern Heart/Sacred Harp Broege, T. 1 1 SInfonlans, The Williams, C. 3 3 Sinfonietta Dahl, 1. 1 1 Sing of Christmas Herman, R. 1 1 Sing, Sing, Sing Prima, L. Hathaway 1 1 Skating on the Sheyenne Finney, R.L. 1 1 Sketches on a Tudor Psalm Tull, F. 4 2 6 COMPOSITION COMPOSER ARR«TRANS*ED 1985*86 1986*67 1987*88 1988*89 TOTAL Slaughter on Tenth Avenue Rodgers. R. Tatgenhorst 1 1 Slava 1 Bernstein. L. Grundman 1 2 3 1 7 Slavonic Dances Dvorak. A. Johnson 1 1 Sleepers Wake (Wachel Auf) Bach. J.S. Multiple 2 2 Sleigh Ride Anderson. L. 1 1 2 4 Smetana Fanfare Husa. K. 1 1 Sokol Fanfare from ‘Sinfonietta' Ja n a c^ . L. 1 1 Solemn Music. A Thomson. V. 1 1 Solitary Dancer. The Benson. W. I 1 Somerset Rhapsody. A. 21 Holst, e. Grundman 2 1 3 Sonata for Marimba Tanner.P. 1 1 2 Sonata for Winds and Timpani (1967) Jlrko. 1. 1 1 Sonata Plan e Forte Gabrieli. G. Multiple 1 1 2 Sonatine. 'From an invalid’s Workshop' Strauss. R. 1 1 Songs of Abelard DelloJoio. N. 1 1 2 Songs of Praise Nelhybel. V. 4 4 Songs of the West Holst. 6. Curnow 1 1 Sorcerer's' Apprentice. The Dukas. P. HIndsley 1 1 Sound of Music. Selections from Rodgers. R. Bennett I 1 2 Sounds from Kenny Rogers Rogers. K. Lowden 1 1 Sounds. Shapes & Symbols Bassett. L. 1 1 2 Southerner. The Alexander. R. Balnum 1 1 Spanish Fever Chattaway. J. 1 1 Spartakaide Prokofiev. S. 1 1 Spiritual from 'Symphony No. 5 1/2' Gillis. D. Bainum 1 1 2 Spitfire Prelude Walton. W. Bashford 1 1 Spoon River Grainger. P.A. 1 1 Standard of St. George. The Alford. K.J. 1 1 S tar Spangled Spectacular Cohan. G. Cacavas 1 1 Star Wars Williams. J. Turner 1 1 Star Wars - A Medley Williams. J. Burden 1 1 2 Stargazing Erb. D. 1 1 2 COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Stars and Bars Jager. R, 1 1 Stars and Stripes Forever Sousa. J.P. 2 5 2 2 11 Stars In a Velvety Sky Clarke. H.L. 1 1 Statement Helsinger. B. 1 1 Step Ahead. A Alford. H.L. 1 1 Stone Ridge Set Starer. R. 1 1 2 Story of Christmas. The Traditional Johnson 1 1 Strike Jenny, J.O. 1 1 Strike up the Band Gershwin. G. 1 1 Student Prince Overture Romberg. S. 1 1 Suite - Divertimento Tailleferre. G. Dondeyne 1 1 2 Suite for Band Hovhaness. A. 1 1 2 Suite for Brass Pelz. W. 1 1 Suite for Solo Drum Set Manclnl, 0. I 1 Suite for Synthesizer Erickson. F. & Megill. D. 1 1 Suite for Winds and Percussion Broege. T. 1 1 Suite for Woodwinds Pelz. W. 1 1 Suite Française Milhaud. 0. 1 5 3 9 Suite Française Poulenc. F. 1 1 Suite from 'The Danaerye' Susato. T. Walters 1 1 2 Suite from the Water Musk Handel. 6.F. Harvey 1 0 1 Suite in A minor Teleman. 6.P. Reed. A. 1 1 Suite in B-flat Jacob. G. 1 1 Suite in B-flat. Op. 4 Strauss. R. 1 1 1 3 Suite of Carols Traditional Walters 2 2 Suite of Old American Dances Bennett. R.R. 2 3 4 1 10 Sulla Tomba di Garibaldi -Elegia Ponchielli. A. 1 1 Superman Fanfare Williams. J. Reynoso 1 1 Superman. Selections from Williams. J. Lowden 2 2 Susato Suite Susato. T. Iveson 1 1 Suspiros de Espa/ia Alvarez. A. Wiley 1 1 Sussex Mummer's Christmas Carol. The Grainger. P.A. Goldman 2 3 2 7 a COMPOSITION COMPOSER ARR«TRAHS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Symphonic Dance No. 2 Williams. C. 1 1 Symphonic Dance No. 3 - "Fieata' Williams, C. 2 2 1 5 Symphonic Dances from 'West Side Story' Bernstein, L. Roister 2 2 Symphonic Jazz Suite Bencrlscutto. F. 1 1 Symphonic Marches. The Williams. J. Higgins 1 1 Symphonic Metamorphoses Hindemith. P. Wilson 2 2 2 1 7 Symphonic Movement Nelhybel. V. 1 1 Symphonic Overture Carter. C. 1 1 1 3 Symphonic Prelude. A Reed. A. 1 1 1 3 Symphonic Songs for Band Bennett. R.R. 1 2 2 5 Symphonic Suite Williams. C. 1 2 2 3 8 Symphonic Triptych Curnow. J. 1 1 2 Symphonic Variations on "Dona Nobis Pacem" Sudduth. J. 1 1 Symphonie for Band Jadin. L. 1 1 Symphonie Funebre et Triomphale Berlioz. H. Whitwell 1 1 Symphonies of Wind Instruments Stravinsky. 1. 2 1 3 Symphonletta voor Blaslnstrumenlen Otterloo. W. v. 1 1 2 Symphony for Band Gould. M. 1 1 Symphony for Band Washburn. R. 1 t Symphony for Band. Op. 69 Persichetti. V. 2 2 4 2 10 Symphony for Brass and Percussion Haufrecht. H. 1 1 Symphony for Winds and Percussion Downing. J.H. 1 1 2 Symphony In B-flat Fauchet, P. Gillette 1 1 2 4 Symphony In B-flat for Concert Band Hindemith. P. 3 2 2 7 Symphony No. 1 for Winds and Percussion Bukvlch. D.J. 1 3 4 Symphony No. 1 In E-flat Saint-Saëns. C. 1 1 Symphony No. 1 In G minor - Finale Kalinnikov, B. Balnum 2 2 Symphony No. ICO Haydn. F.J. Moses-TobanI 1 1 Symphony No. 2 Chance. J.B. 2 2 Symphony No. 2 Maslanka, D. 1 1 Symphony No. 2 - 'Seal of Three Laws' Jager. R. 1 1 Symphony No. 2 - Mvt. I Borodin, A. Leidzen 1 1 COMPOSITION COMPOSER ARR*TRANS«ED I98S«86 1986*87 1987*88 1988*89 TOTAL Symphony No. 2. 'Romantic' Hanson. H. Multiple 2 2 Symphony No. 3 Giannini. V. 1 3 1 5 Symphony No. 3 Reed, A. 1 1 Symphony No. 3 - Diptych Adler. S. 1 1 Symphony No. 4 Hovhaness. A. 1 1 Symphony No. 4 in F minor - 'Finale' Tchaikovsky. P.I. Swearingen 2 Symphony No. 5 Reed. A. 1 I Symphony No. 5 - 'Finale' Shostakovich. D. Rlghler 1 1 Symphony No. 6 - Mvta. 1. 3 Tchaikovsky. P.I. Fletcher 1 1 Symphony No. 9 Shostakovich. D. Schaefer 1 1 Synergistic Parable Sartor. D. 1 1 Synkretlsmos Penders, J. 1 I Syntonos McGinty, A. 1 1 Tam O’ Shanter. Op. 51 Arnold. M. Paynter 1 1 Tancredi Overture Rossini. G. Falcone 1 1 Tara's Theme from "Gone with the Wind' Steiner Wallace 1 1 Tequila Rio. C. Lavender 1 1 Testimonium McGlnty. A. 1 1 Texan. The Barnes. J. 1 1 Them Basses Huffine. 6.H. 1 2 Theme and Variations. Op. 43a Schoenberg. A. 1 1 Third Suite Jager. R. 2 1 2 4 Third Symphcfty for Band Erickson. F. 1 1 Thirty-Five Second March Morse. D. 1 1 Three Aces. The Clarke. HI. 1 1 Three Ayres from Gloucester Stuart. H. 1 1 Three Chorale Preludes Latham. W.P. 1 1 Three Dance Episodes Bernstein. L. Stlth 1 1 Three from the Hills Gross. C. 1 1 Three German Dances, K. 605 Mozart. W.A. 1 1 Three Japanese Dances Rogers. B. 1 1 Three Journeys to a Holy Mountain - Mvt. 3 Hovhaness. A. 1 1 I COMPOSITION COMPOSER ARR«TRANS*ED I9B5*86 1986«I37 1987*88 1988*89 TOTAL Three Pieces for Winds Edmondson. J. 1 1 Three Revelations from the Lotus Sutra Reed. A. 1 1 2 Three Revolutionary Marches Smetana. B. Nelhybel 4 4 Three Scenes for Band Menoche. C.P. 1 1 Three Winter Scenes Vizzuttl. A. 1 1 Thunder and Blazes Fuclk. J. 1 1 Thundercrest Osterllng. E. 1 1 Thunderer. The Sousa, J.P. 1 1 2 Thus Do You Fare, My Jesus Bach. J.S. Reed. A. 1 1 2 Time of My Life Previte. DeNlcola. etc. 1 1 To Be Fed By Ravens McBeth. W.F. 1 1 Toccata Frescobaldi. G. Slocum 1 4 2 1 8 Toccata Tull. F. 1 1 Toccata (Athalanta) Bonelll. A. Christensen 1 1 Toccata and Fugue In D Minor Bach, J.S. Leldzen/Hlndsley 1 1 2 Toccata for Band Erickson. F. 1 1 2 Toccata for Plano and Winds Nelhybel. V. 1 1 Toccata Marziale Vaughan Williams. R. 3 6 Tom Thumb's March Pinto Henderson 1 1 Tombeaude Couperin. Le Ravel. M. Henderson 1 1 Torch Dance Barnes. J. 1 1 Touch of the Earth Reed. H. 0. 1 1 Tower of the Americas Leckrone, M. 1 1 Trauerslnfonie Wagner. R. Leidzen 1 2 1 2 6 Très Danzas De Mexico Rhoads. W.E. I 1 Tribute Camphouse. M. 1 1 2 Tribute to Benny Goodman. A Goodman. B. Hayman 1 1 Tribute to Canterbury Jacob. G. 1 1 Tribute to Irving Berlin Berlin, 1. Barker 1 1 Tribute to Jerome Kern Kern. J. Barker 1 1 Tribute to Rudy WIedoeft WIedoeft. R. Schuller 1 1 2 Tribute to the Count Various Nestlco 1 1 COMPOSITIM COMPOSER ARR«TRANS«EO1985*86 1986*87 1987*88 1988*89 TOTAL Trilogy for Bind Williams. C. 1 1 Troika from I t . Kije Suite" Prokofiev. S. Murphy 1 1 Trois Poeme O' Henri Michaux Lutoslawski. W. 1 1 Trombone King. The King. K.L. 1 1 Tristung, Op.30. No.3 Mendelssohn. F. Davis 1 1 Trumpet Concerto - Rondo Hummel. J.N. Corley 1 1 Trumpeter's Lullaby. A Anderson. L. 1 1 Tryptich Del Borgo. E. 1 1 Tulsa Gillis. D. Ford 1 1 Tunbridge Fair Piston. W. 1 1 Two Chorale Preludes Brahms. J. Guenther 1 1 Two Chorales Bach. J.S. Frackenpohl 2 Two Chorales Bach. J.S./Schop. J. Leidzen/Latham 1 1 Two Grainger Melodies Grainger. P.A. Krelnes 2 Two Pieces Washburn. R. 1 1 Typewriter. The Anderson. L. Werle 1 1 U.S. Field Artillery. The Sousa. J.P. I 1 Under the Double Eagle Wagner. J. 1 1 Universal Judgment. The De Mardis. C. 1 1 Vaidres Norwegian March Hanssen, J. Bainum 2 2 1 3 8 Vanished Army. The Alford. K.J. Multiple 1 1 2 4 Variants on a Medieval Tune Dello Joio. N. 2 2 1 5 Variants on an Ancient Air Curnow. J. 1 1 Variants on an Early American Hymn Tune Curnow. J. 1 1 Variation Overture Williams. C. 1 1 Variations on "A Mighty Fortress Is Our God" Jenkins. D. 1 1 Variations on "America" Ives. C. Schuman/Rhoads 3 4 1 Variations on a Hymn by Louis Bourgeois Smith. C.T. 1 1 Variations on a Japanese Folksong Lijnschooten. H. v. 1 1 Variations on a Korean Folk Song Chance. J.B. 2 6 4 4 16 Variations on a Revolutionary Hymn Smith. C.T. 1 1 Variations on a Shaker Melody Copland. A. 2 3 2 7 g COMPOSITION COMPOSER ARR«TRANS«EDI98S«86 I986«87 I987«88 I988«89 TOTAL Variations on a Theme by Robert Schumann Jager, R. 1 1 2 Variations on the Theme 'Popl Goes the Weasel" Callllet. L. 1 1 2 Victory at Sea Rodgers, R. Bennett 1 1 Virgende la Macarena, La Mendez, R. Koff I I Viva Musical Reed, A. 1 1 Voodoo Bukvlch, D.J. 1 1 Walking Tune Grainger, P.A. Daehn 1 1 Waltz and Celebration Copland, A. Lang 1 1 Waltzes from "Der Roscnkavalier" Strauss, R. Callllet 1 1 Waltzing Matilda Cowan, M. Barker 1 1 War March of the Priests Mendelssohn, F. Leidzen 1 1 Washington Grays Grafulla, C.S. Reeves 2 1 3 Washington Post Sousa, J.P. Multiple 1 1 4 1 7 Water Music Suite Handel, G.F. Erickson 1 3 4 We Never Really Say Goodbye Dragon, D. 1 1 We Three Kings Hopkins, J.H. Walters 2 2 West Side Story. Selections from Bernstein, L. Duthoit 2 3 1 2 8 Western Overture George, T.R. 1 1 What Birds See Berners, J. 1 1 What i Did For Love Hamlisch, M. Nowak 1 1 When Jesus Wept - Prelude for Band Schuman, W. 1 I 1 3 When Johnny Comes Marching Home Jacob, 6. Steadman-Allen 1 1 White and Red Rose March, The Da Luca, J. Wiley 1 1 White Ensign, The Nowak, J. 2 2 White Peacock, Op. 7, No. 1 Griffes, C.T. Erickson 1 1 William Byrd Suite Jacob, G. I 3 3 5 12 William Tell, Overture Rossini, G. 2 1 3 Wind and the Lion, The Goldsmith, J. Davis 1 1 Winds of Nagual Colgrass, M. 1 1 With Sounding Trumpets McBeth, W.F. 1 1 Wizard of Oz Fantasy, The Arlen 1 1 World Events Zamecnik, J.S. 1 1 ë COMPOSITION COMPOSER ARR«TRANS*ED 1985*86 1986*87 1987*88 1988*89 TOTAL World l3 WaiUnfl for the Sunrise, The Lockhart/Seitz Alford, H.L. 1 1 2 World Turned Upside Down. The Jager, R. 1 1 Worried Drummer, The Schreiner, A. 1 1 Yankee Doodle, Fantastic Humoresque Reevss, D.W. 1 1 Ye Banks end Braes 0 Bonnie Doom Grainger, P.A. 1 1 2 4 8 Year of the Dragon, The Sparke, P. 3 3 Yorkshire Ballad Barnes, J. 1 1 2 4 Yorktown Centennial Sousa, J.P. 1 1 Yulelide at Yorkshire Traditional Walters 2 2 Zacatecas Codina, 6. Laurendeau I 1 Zueignung Strauss, R. Davis 1 1 s APPENDIX J REPERTOIRE COMPILATION: SORTED BY FREQUENCY OF PERFORMANCE AND COMPOSER'S LAST NAME 205 COMPOSITION COMPOSER ARR*TRANS«EO 1965«86 1985*87 1987*88 1 9 8 8 * 8 9 TOTAL First Suite tn E-flat for Military Band Holst, <3. 2 3 5 8 18 Irish Tune from County Derry Grainger, P.A. Kent 4 3 3 7 17 Variations on a Korean Folk Song Chance, J.B. 2 6 4 4 16 Second Suite In F for Military Band Holst, G. 2 3 4 7 16 English Folk Song Suite Vaughan Williams, R. 2 4 5 4 IS Lincolnshire Posy Grainger, P.A. Multiple 4 2 2 6 14 Scenes from 'The Louvre" DelloJoio, N. 2 5 2 4 13 Festive Overture, Op. 96 Shostakovich, D. Hunsberger 2 2 3 6 13 William Byrd Suite Jacob, G. 1 3 3 5 12 Chester Overture Schuman. W. 5 1 2 4 12 Shepherd’s Hey Grainger. P.A. Kent 4 2 1 4 11 Original Suite, An Jacob. 6. 3 1 1 6 11 Folk Dances Shostakovich, D. Multiple 3 1 1 6 11 S tars and Stripes Forever Sousa, J.P. 2 5 2 2 11 Suite of Old American Dances Bennett, R.R. 2 3 4 t 10 Symphony for Band, Op. 69 Persichetti, V. 2 2 4 2 10 Russian Christmas Music Reed, A. 3 3 4 10 Commando March Barber, S. 3 2 1 3 9 British Eighth Elliott, 2.A. Luckhardt 3 1 2 3 9 Third Suite Jager, R. 2 1 2 4 9 Suite Française Milhaud, D. 1 5 3 9 Pageant Persichetti, V. 2 2 2 3 9 Festival Prelude, A Reed, A. 1 4 1 3 9 Procession of Nobles RImsky-Korsakov, N. Leidzen 2 2 2 3 9 Flourish for Wind Band Vaughan Williams, R. 2 1 2 4 9 Chorale and Shaker Dance Zdechllk, J. 1 3 2 3 9 English Dances Arnold, M. Johnstone 3 3 2 8 National Emblem Bagley, E.E. Multiple 2 1 1 4 8 Overture to "Candida" Bernstein, L. Beeler 2 1 2 3 8 West Side Story, Selections from Bernstein, L. Duthoit 2 3 1 2 8 Incantation end Dance Chance, J.B. 1 3 2 2 8 Americans We Fillmore. H. Fennell 1 3 4 8 s COMPOSITION COMPOSER ARRaTRANSaED 1985*86 1986*87 1987*88 1988*89 TOTAL Toccata Frescobaldi, G. Slocim 1 4 2 1 8 Porgy and Boss, SolecUons from Gershwin, G. Mult%)le 1 4 3 8 Yo Banks and Brass O' Bonnio Doon Grainger, P.A. 1 1 2 4 8 Chorale and Alleluia Hanson, H, 1 2 4 1 8 Vaidres Norwegian March Hanssen, J. Balnum 2 2 1 3 8 Varletlons on "America" Ives, C. Schunan/Rhoads 3 4 1 8 American Overture for Band Jenkins, J.W. 4 3 1 8 Marche des Parachutistes Belges Leemans, P. Wiley 1 1 6 8 Fantasia In G Mahr, T. 2 3 3 8 Rocky Point Holiday Nelson, R. 2 3 3 8 Divertimento for Band. Op. 42 Persichetti, V. 3 2 3 8 Armenian Dances, P art 1 Reed, A. 1 2 1 4 8 Liberty Bell Sousa, J.P. Multiple 3 3 1 1 8 Manhattan Beach Sousa, J.P. Multiple 4 1 2 1 8 Nobles of the Mystic Shrine Sousa, J.P. Fennell 3 2 3 8 Elsa's Procession to the Cathedral Wagner, R. Multiple 2 2 2 2 8 Symphonic Suite Williams, C. 1 2 2 3 8 Prelude, Sicilano and Rondo Arnold, M. Paynter 1 1 1 4 7 Slava 1 Bernstein, L. Grundman 1 2 3 1 ? Elegy Chance, J.B. 2 1 1 3 7 Variations on a Shaker Melody Copland, A. 2 3 2 7 Do Not Go Gentle Into That Good Night Del Borgo, E. 3 2 2 7 On the Mall Goldman, E.F. Lake 3 1 3 7 Children's March Grainger, P.A. Erickson 2 3 2 7 Colonial Song Grainger. P.A. 1 2 4 7 Sussex Mummer's Christmas Carol, The Grainger, P.A. Goldman 2 3 2 7 Symphonic Metamorphoses Hindemith, P. Wilson 2 2 2 1 7 Symphony In B-flat for Concert Band Hindemith, P. 3 2 2 7 Liturgical Dances Holslnger, D. 2 2 2 1 7 Moorside March Holst, 6. Jacob 3 4 7 Liturgical Music for Band, Op. 33 Mailman, M. 2 1 3 1 7 La Fiesta Mexicans Reed, H.O. 2 1 1 3 7 g COMPOSITION COMPOSER ARR«TRANS«EO 1985*86 1986*87 1987*88 1988*89 TOTAL King Colton Sousa, J.P. 1 2 3 1 7 Washington Post Sousa, J.P. Multiple 1 1 4 1 7 Christmas Festival, A Anderson, L. 1 1 4 6 Four Scottish Dances Arnold, M. Paynter 1 3 2 6 Komm, Süsser Tod (Come Sweet Death) Bach, J.S. Reed, A. 2 4 6 Celebration Overture, Op. 61 Creston, P. 1 4 1 6 His Honor Fillmore, H. Fennell 2 2 1 1 6 Florenllner, Die (Grande Marcia Itallana) Fuclk, J. Lake/Fennell 2 1 1 2 6 Australian Up-Country Tune Grainger, P.A. Balnum 1 1 4 6 Handel In the Strand Grainger, P.A. Goldman 3 2 1 6 Italian In Algiers, Overture Rossini, G. Callllet 3 1 1 1 6 Incidental Suite Smith, C.T. 2 1 3 6 Amparlto Roca Texldor, J. Winter 1 5 6 Sketches on a Tudor Psalm Tull, F. 4 2 6 Sea Songs Vaughan Williams, R. 2 2 2 6 Toccata Marziale Vaughan Williams, R. 3 3 6 Trauerslnfonie Wagner, R. Leidzen 1 2 1 2 6 Fanfare and Allegro Williams, C. 2 3 1 6 SInfonlans, The Williams, 0. 3 3 6 Fantasia In 6 Major Bach, J.S. Goldman/Lelst 1 2 2 5 Jesu, Joy of Man's Desiring Bach, J.S. Multiple 1 1 3 5 Symphonic Songs for Band Bennett, R.R. 1 2 2 5 American Civil War Fantasy Blllk, J. 1 1 2 1 5 Satiric Dances DelloJoio, N. 2 2 1 5 Variants on a Medieval Tune Dello Joio, N. 2 2 1 5 Klaxon, The Fillmore, H. Fennell 3 2 5 Gershwlnl Gershwin, G. Barker 1 2 2 5 Symphony No. 3 Glannlnl, V. 1 3 1 5 American Salute, An Gould, M. Lang 1 2 1 1 5 Music for the Royal fireworks Handel, 6.F. Multiple 4 1 S Music for Prague 1968 Husa, K. 1 1 3 5 Esprit de Corps Jager, R. 3 2 5 i COMPOSITION COMPOSER ARR"TRANS«EO I98S«86 1986*87 1987*88 1988*89 TOTAL Canzone Mennln. P. 2 1 1 1 S First Suite for Band Reed. A. 1 2 1 1 5 Emperata Smith. C.T. 1 2 2 5 Black Horse Troop. The Sousa. J.P. 2 2 1 5 Hands Across the Sea Sousa. J.P. Multiple 1 2 2 5 Semper FIdalls Sousa. J.P. Multiple 2 2 1 5 Pineapple Poll - Suite from the Ballet Sullivan. A. Mackerras 1 1 1 2 5 Creensleeves Traditional Reed. A. 2 3 5 Salvation In Created Tschesnokoff. P. Houseknecht 2 3 S Rhosymedre Vaughan Williams. R. Beeler 1 2 1 1 5 America the Beautiful Ward. S.A. Dragon 1 1 1 2 5 Symphonic Dance No. 3 - f ie s ta ' Williams. C. 2 2 1 5 Vanished Army. The Alford. K.J. Multiple 1 1 2 4 Sleigh Rida Anderson. L. 1 1 2 4 Sott Letwt Noch (God Still Lives) Bach. J.S. Reed. A. 2 1 1 4 If Thou Be Near Bach. J.S. Multiple 1 1 1 I 4 Yorkshire Ballad Barnes. J. 1 1 2 4 Symphony No. 1 for Winds and Percussion Bukvlch. D.J. 1 3 4 Battell, The Byrd. W. Jacob 1 1 2 4 Fantasies on a Theme by Haydn DelloJoio. N. 2 2 4 Symphony In B-flat Fauchet. P. Gillette 1 1 2 4 Second Prelude from 'Three Preludes' Gershwin. G. Krance 1 3 4 Overture In B-flat Glovannlnl. C. Robinson 1 3 4 Water Music Suite Handel. G.F. Erickson 1 3 4 0 Sacred Head Now Wounded Hassler. H.L. Multiple I 3 4 Marching Song Holst. 6. 2 2 4 March Intercollegiate Ives. C. Brion 1 1 2 4 Elegy for a Young American Lo Prestl. R. 1 1 2 4 Songs of Praise Nelhybel. V. 4 4 Epinlclon Paulson. J. 1 3 4 Psalm for Band Persichetti. V. 1 1 2 4 Pines of Romo. The Respighi. 0. Multiple 1 2 1 4 I COMPOSITION COMPOSER ARR«TRAHS«EO 1985*86 1986*87 1987*88 1988*39 TOTAL March# Militaire Française Saint-Saëns, C. HIndsley/Lake 1 2 1 4 Pas Redoublé. Op. 86 Salnt-Saens. C. Frackenpohl 1 1 2 4 George Washington Bridge Schuman. W. 1 1 2 4 Three Revolutionary Marches Smetana. B. nelhybel 4 4 El Capltan Sousa, J.P. Multiple 1 2 1 4 Fairest of the Fair Sousa. J.P. Fennell 1 1 2 4 George Washington Bicentennial Sousa. J.P. 1 1 2 4 Pride of the Wolverines, The Sousa. J.P. Fennell 2 2 4 Allerseelen, Op. 10. No. 8 Strauss. R. Davis I 2 1 4 Serenade In E-flat. Op. 7 Strauss. R. Fennell 1 3 4 Alte Kameraden (Old Comrades) Telke. C. Lake/Laurendeau I 2 1 4 Christmas Greetings March Traditional Walters I 3 4 Prelude and Fugue In C Minor Bach, J.S. Volz/Sladek 1 1 1 3 Grand Serenade for an Awful Lot of Winds & Percussion Bach. PO O. Schlckele 2 1 3 Roman Carnival Berlioz, H. Multiple 1 2 3 Danzon from 'Fancy Free' Bernstein. L. Krance 1 2 3 Divertimento Bernstein. L. Grundman 1 2 3 Les Misérables. Selections from Boublll. A./Schaenberg, C Barker 1 2 3 Blessed Are They from 'A German Requiem" Brahms. J. Buehlman 2 1 3 Apollo March Bruckner, A. Rhodes 1 2 3 Mass In E minor Bruckner,A. 1 2 3 Symphonic Overture Carter. C. 1 1 1 3 Fanfare for the Common Man Copland. A. 1 2 3 Lincoln Portrait. A Copland. A. Beeler 1 1 1 3 Concertino for Marimba and Band Creston. P. 1 1 1 3 Air for Band Erickson. F. 1 1 1 3 Bombas to March Farrar. OR. Smith 1 2 3 Rolling Thunder Fillmore. H. Fennell 2 1 3 January February March. The Glllls. 0. 1 1 1 3 Danza Final from 'Estancla' GInastera, A. John 3 3 Foundation March Goldman, R.F. 1 1 1 3 Petite Symphonie, Op. 90 Gounod, C. 2 1 3 N O COMPOSITION COMPOSER ARR*TRANS«ED 1985=86 1986=87 (987=88 1988=89 TOTAL Washington Grays Grafulla, C.S. Reeves 2 1 3 Molly on the Shore Grainger, P.A. 1 1 1 3 Concerto for Tuba Gregson, E. 1 1 1 3 American Folk Rhapsody No. 1 Grundman, C. 1 2 3 Hebrides Suite Grundman, C. 1 1 1 3 Morceau Symphonique Gullmant, A. Shepard 1 1 1 3 New Colonial March, The Hall, R.B. I 1 1 3 Dies Natalis Hanson. H. 1 2 3 Hammersmith; Prelude and Scherzo, Cp. 52 Holst, G. 2 1 3 Somerset Rhapsody, A, Op. 21 Holst, G. Grundman 2 1 3 Battle Hymn of the Republic Howe-Steffe Multiple 1 2 3 Them Basses Hufflne, 6.H. 1 2 3 After a Gentle Rain lannaccone, A. 1 1 1 3 Coat of Arms Kenny, 6. 1 2 3 Men of Music King. K.L. Walters 3 3 My Fair Lady, Selections from Lerner/Loewe Bennett I 2 3 Aegean Festival Overture Makris, A. Bader 2 1 3 Hall to the Fleet Maltby, R. 1 2 3 Beowulf - An Heroic Trilogy McBeth, W.F. 2 1 3 Chant and Jubllo McBeth, W.F. 2 1 3 Grace Praeludlum McBeth, W.F. 1 1 1 3 Masque McBeth, W.F. 1 1 1 3 Overture for Winds, Op. 24 Mendelssohn, F. Multiple 2 1 3 Pictures at an Exhibition Moussorgsky, M. Leldzen 1 1 1 3 Serenade In B-flal Major, K. 361 (K. 370A) Mozart, W.A. 1 I 1 3 Chorale Nelhybol, V. 2 1 3 Fiesta Del Paclflco Nixon, R. 2 1 3 Carmlna Burana Orff. C. Multiple 2 1 3 Begulne for Band O sser,G . 2 I 3 March, Op. 99 Prokofleff, S. Yoder 1 2 3 Alleluia 1 Laudsmus Te Reed, A. 1 2 3 Jubilant Overture, A Peed, A. 1 2 3 COMPOSITION COMPOSER ARR«TRANS«EO t9B5«86 1966*87 1987*88 1988*89 TOTAL Symphonie Prelude, A Reed, A. 1 1 1 3 Barber of Seville, Ortrture Rossini, G. Multiple 1 1 1 3 William Tell, Overture Rossini, 6. 2 I 3 La Orega de Cro San Miguel, M. Multiple 2 1 3 When Jesus Wept - Prelude for Band Schuman, W. 1 1 1 3 Finlandia, Op. 26, No. 7 Sibelius, J. Callllet 1 1 1 3 Fanfares from the Opera "Llbuse" Smetana, B. Nelhybel 1 1 1 3 Corcoran Cadets, The Sousa, J.P. 1 1 1 3 Free Lance, The Sousa, J.P. Multiple 1 2 3 Gallant Seventh, The Sousa, J.P. Fennell 1 1 1 3 Rifle Regiment, The Sousa, J.P. Fennell 1 2 3 Year of the Dragon, The Sparke, P. 3 3 Alleluias Spears, J. 3 3 Suite In B-flat, Op. 4 Strauss, R. 1 1 1 3 Symphonies of Wind Instruments Stravinsky, 1. 2 1 3 Four Dances from "The Danserye" Susato, T. Christensen 3 3 Overture 1812 Tchaikovsky, P.l. 1 2 3 Fanfare for Antlphonal Brass & Band Tull, F. 1 2 3 Final Covenant, The Tull, F. 2 1 3 Broadway Show-Stoppers Overture Various Barker.W . 3 3 Sine Nomine Vaughan Williams, R. 1 1 1 3 Prelude to Act 1 of "La Travlata" Verdi, G. Falcone 1 1 I 3 Fanfare and Lyra Vlctorlne, D.E. 3 3 Miniature Set for Band White, D.H. 1 1 1 3 Cowboys, The Williams, J. Curnow 1 1 1 3 Scherzo for a Bitter Moon Voutz, G. 3 3 Psalm 46 Zdechllk. J. 3 3 0 Holy Night Adam, A. 2 2 Divertissement; The Three Trumpeters Agostini, 6. Balnum 2 2 America...The Dream Goes On Alan/Bergmann/Wllllams 1 1 2 Purple Carnival, The Alford, H.L. 1 1 2 Army of the Nile Alford, K.J. Fennell 1 1 2 H*ta ta COMPOSITION COMPOSER ARR*TRANS«EO 1985*86 1986*87 1987*86 1988*89 TOTAL Colonel Bogey Alford, K.J. I 1 2 Mad Major, The Alford, K.J. Multiple 1 1 2 Concerto for Trumpet Arutunlan, A. Ouker 1 1 2 0 Mensch, Beweln Deln SUnde Gross Bach, J.S. Grainger 1 1 2 Prelude and Fugue In 6 Minor Bach, J.S. Moohlmann 1 I 2 Sleepers Wake (Wachel Auf) Bach, J.S. Multiple 2 2 Thus Do You Fare, My Jesus Bach, J.S. Reed, A. 1 1 2 Toccata and Fugue In 0 Minor Bach, J.S. Leldzen/Hlndsley 1 1 2 Two Chorales Bach, J.S. Frackenpohl 2 2 Caprlcclo for Saxophone Quartet & Band Barker, W. 2 2 Invocation and Tocatta Barnes, J. 2 2 Colors and Contours Bassett, L. 1 1 2 Sounds, Shapes & Symbols Bassett, L. 1 I 2 Orel Zapfenstrelche (Three Ceremonial Marches) Beethoven, L.v. Schaefer 1 1 2 March In F Major Beethoven, L. v. 2 2 Concerto for Oboe Bellini, V. Simmons 1 1 2 Four Preludes for Band Bennett, R.R. 1 I 2 March with Trunpets Bergsma, W. 2 2 Divertissement Bernard, E. 2 2 Prologue from 'West Side Story' Bernstein, L. 1 1 2 Symphonic Dances from "West Side Story' Bernstein, L. Polster 2 2 Pearl Fishers (Verture, The Bizet, G. Callllet 1 1 2 Fantasia di Concerto Boccalarl, E. Kenl-Akers 1 I 2 Voodoo Bukvlch, D.J. 1 1 2 Variations on the Theme 'PopI Goes the Weasel' Callllet, L. 1 1 2 Tribute Camphouse, M. 1 1 2 Overture In C Major Catel, C.S, Goldman 1 1 2 Boys of the Old Brigade Chambers, W.P. Smith 1 1 2 Blue Lake Chance, J.B. 1 1 2 Symphony No. 2 Chance. JB . 2 2 Copland Portrait, A Copland, A. Grundman 1 1 2 (Xildoor Overture Copland, A. 2 2 cs> COnPOSITION COMPOSER ARR«TRAHS«EO1985*861986*87 1 9 8 7 * 8 8 1 9 8 8 * 8 9 TOTAL Gazebo Dances Corlgllano. J. 1 1 2 Fanffre Prelude on ’Lancashire' Curnow, J. 1 1 2 Réjouissance Curnow, J. 2 Symphonic Triptych Curnow. J. 1 1 L 2 SInFonletta Dahl. 1. 1 1 2 L' Ingleslna, Symphonic March Oelle Cese. D. 1 1 2 From Every Horizon Dello Jolo. N. 1 1 2 Songs of Abelard Oello Jolo. N. I 1 2 March for the Sultan Abdul Medjld Donizetti. Q. 1 1 2 Symphony for Winds and Percussion Downing. J.H. 1 1 2 Finale from ’New World Symphony’ Dvorak. A. Leldzen I 1 2 Nimrod from ’Enigma Variations’ Elgar. E. Multiple 1 I 2 Stargazing Erb. D. 1 1 2 Toccata for Band Erickson. F. 1 1 2 Lassus Trombone Fillmore. H. 2 2 Fantasia on a Hymn by Praetor lus Foster. R. 1 I 2 Canzon Septimi Toni No. 2 Gabrieli. G. Christensen 1 1 2 Sonata Plane Forte Gabrieli. G. Multiple 1 1 2 Jalousie Gade. J. Krance 1 1 2 American In Paris. An Gershwin. G. Krance 1 1 2 George Gershwin Selections Gershwin. G. Bennett 1 1 2 Rhapsody In Blue Gershwin. 6. Grofé 1 1 2 Fantasia for Band Glannlnl. V. 1 1 2 Spiritual from ’Symphony No. 5 1/2’ Glllls. D. Balnum 1 1 2 (Xjachlta GIroux-Wost. J. 1 1 2 Chimes of Liberty. The Goldman. E.F. 2 Ballad for Band Gould. M. 1 1 2 Jericho Gould. M. 2 2 Country Gardens Grainger. P.A. Clark 1 1 2 Faeroe Island Dance Grainger. P.A. 2 2 Greenbushes. Themes from Grainger. P.A. Daehn 1 I 2 Harvest Hymn Grainger. P.A. Krelnes 1 1 2 I» A COMPOSITION COMPOSER ARR«TRANS«ED )985«86 1986«87 1987*88 1988*89 TOTAL Hill Song No. 2 Grainger, P.A. 2 2 Immovable Do, Tbe Grainger. P.A. 1 1 2 Two Grainger Melodies Grainger, P.A, Krelnes 2 2 Blue and the Gray, The Grundman, C. 2 2 English Suite Grundman, C. 1 1 2 Irish Rhapsody, An Grundman, C. 1 1 2 Music for a Carnival Grundman, C. 1 1 2 Le Bel de Beatrice D' Este Suite Hahn, R. 1 1 2 Symphony No. 2, 'Romantic' Hanson,H. Multiple 2 2 Diversion for Alto Saxophone and Band Heldon, B. 1 1 2 Jubilee Hennagin, M. 1 1 2 Geschwlndmarsch from Symphonie Serena Hindemith, P. 2 2 Havendance Holslnger, D. 1 1 2 Jupiter end Mars from "The Planets' Holst, G. 2 2 We Three Kings Hopkins. J.H. Walters 2 2 Suite for Band Hovhaness, A. 1 1 2 Pentland Hills Howe, J.H. 1 1 2 AI Fresco Husa, K. 1 1 2 Country Band March Ives, C. Sinclair 2 2 Music for a Festival Jacob, G. 2 2 Colonial Airs and Dances Jager, R. 2 2 Heroic Saga Jager, R. 2 2 SInfonIa Noblllsslma Jager, R. 1 1 2 Variations on a Theme by Robert Schumann Jager, R. 1 1 2 Symphony No. 1 In G minor - Finale Kalinnikov, B. Balnum 2 2 Armenian Dances Khachaturian, A. Satz 1 1 2 Trombone King. The King, K.L. 1 1 2 Billboard March, The Klohr, J.N. I 1 2 Partita for Band, Op. 57 Krommer, F. 1 1 2 Good Soldier Schwelk, The Kurka, R. 1 1 2 Sea Portrait - A Tone Painting La Gassey, H, 1 1 2 Prospect La Plante, P. 1 1 2 ts) COMPOSITION COMPOSER ARRaTRANSeED I985«86I986«87 1987*881988*89TOTAL Brighton Beach Latham. W.P. 1 1 2 Court Festival Latham. W.P. 1 1 2 Proud Heritage Concert March Latham. W.P. 1 1 2 Three Chorale Preludes Latham. W.P. 1 1 2 Expositions Leckrone.M. 1 1 2 Man of La Mancha. Selections from Leigh, M. Erickson 1 1 2 Invercargill March Lithgow, A. Laurendeau 2 2 World Is Waiting for the Sunrise. The Lockhart/Seltz Alford. H.L. I 1 2 Meditation from ‘Thais' Massenet. J. Harding 1 1 2 Divergents McBeth. W.F. 1 1 2 Oiseaux Exotiques Messiaen. 0. 1 1 2 Rhapsody for Winds and Percussion Mitchell. R. 1 1 2 Huapango! Moncayo. J.P. Multiple 1 1 2 Rondeau Mouret. J.J. Stout 2 2 Coronation Scene from ‘Boris Qodunov‘ Moussorgsky. M. Multiple 1 1 2 Night on Bald Mountain Moussorgsky. M. Schaefer 2 2 Medieval Suite Nelson. R. 1 1 2 Savannah River Holiday Nelson. R. 2 2 Elegy and Fanfare-March Nixon. R. 1 1 2 White Ensign. The Nowak. J. 2 2 Ballet Parisien Offenbach. J. Isaac 1 1 2 La Belle Helene Overture Offenbach. J. Odom 2 2 Symphonietta voor Blaslnstrumenten Otterloo. W. v. 1 1 2 ApoMo Pennington. J. 1 1 2 Bagatelles for Band Perslchettl. V. 2 2 Serenade for Band. No. 11. Op. 85 PerslchettI, V. 1 1 2 Serenade No. 1 for Ten Wind Instruments Perslchettl. V. 1 1 2 Tunbridge Fair Piston. W. 1 1 2 Annie Laurie. Air Varie Pryor. A. 1 1 2 Laura Raskin. D. Holcombe 2 2 Christmas Intrada. A Reed. A. 1 1 2 Hounds of Spring. The Reed. A. 1 1 2 N COMPOSITION COMPOSER ARR«TRANS«ED1985*861986*87 1987*88 1988*89 TOTAL Three Revelations from the Lotus Sutra Reed, A, 1 1 2 Hesrl of the Morn Reed, H.O. 1 1 2 Carnival of Venice, The Reeves, D.W. Multiple 2 2 Dance Rhythms, Op. 58a Relgger, W. 1 1 2 Hymn and Exultation: Capltalls In Aeternum Reuter. R J. 2 2 Concerto for Trombone and Band RImsky-Korsakov, N. 1 1 2 Czar's March from "The Tale of Czar Sultan" RImsky-Korsakov, N. Hudadoff 2 2 Dublnushka, Op. 62 RImsky-Korsakov, N. Chldester 2 2 Introduction & Wedding March fr. "The Golden Cockerel" RImsky-Korsakov, N. Harding 1 1 2 Sound of Music, Selections from Rodgers, R. Bennett 1 1 2 Scherzo for Band Rossini, G. Schaefer 1 1 2 New England Triptych Schuman, W. 1 1 2 Newsreel In Five Shots Schuman, W. 1 1 2 March Grandloso Seitz, R.F. Multiple 2 2 Symphony No. 5 - "Finale" Shostakovich, D. RIghter 1 I 2 Concert Variations Smith, C.T. 2 2 Eternal Father, Strong to Save Smith, C.T. 2 2 Flight Smith, C.T. 2 2 Daughters of Texas Sousa, J.P. Multiple 1 1 2 Hall to the Spirit of Liberty Sousa, J.P. Hunsberger 1 1 2 Jack Tar Sousa, J.P. 1 1 2 Thunderer, The Sousa, J.P. 1 1 2 U.S. Field Artillery, The Sousa, J.P. 1 1 2 Puenteareas Soutullo, R. Weger 1 1 2 Stone Ridge Set Starer, R. 1 1 2 Tara's Theme from "Gone with the Wind" Steiner Wallace 1 1 2 Elnleltung und Allegro Strauss, R. 1 1 2 Light Cavalry Overture Suppé, F. V. Fillmore 2 2 Battle Pavane, The Susato, T. Multiple 1 1 2 Suite from "The Danserye* Susato, T. Walters 1 1 2 Suite - Divertimento Tailleferre, 6. Dondeyne 1 I 2 Sonata for Marimba Tanner, P. 1 1 2 COMPOSITION COMPOSER ARR*TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Concerto In D Major Tartlnl, 6. Bach, J. 1 1 2 Symphony No. 4 1n F minor - "Finale" Tchaikovsky, P.l, Swearingen 2 2 An English Christmas Traditional Grundman 2 2 Suite of Carols Traditional Walters 2 2 Yulettde at Yorkshire Traditional Walters 2 2 La Procession Du Roclo Turlna, J. Reed, A. 2 2 Music from "England's Pleasant Land" Vaughan Williams, R. Grechesky 2 2 King Duncan’s March from "Macbeth" Verdi, 6. Smith, R. 1 1 2 Nabucco 0/erture Verdi, 6. Callllet 1 1 2 Huldlgungsmarsch Wagner, R. Schaefer 1 1 2 Llebestod Wagner, R. Balnum 1 1 2 Overture to RIenzI Wagner, R. Multiple 2 2 Sod of Our Fathers Warren, 6. Smith 1 1 2 Cats, Selections from Webber, A.I. Edmondson/Cummli 1 1 2 Phantom of the Opera, Selections from Webber, A t. Barker 2 2 Fantasia and Rondo Weber, C M. v. Snavely 1 1 2 Concertino for Solo Timpani. Winds and Percussion White, D.H. 1 1 2 Introduction and Samba Whitney, M. 2 2 Tribute to Rudy WIedoeft WIedoeft, R. Schuller 1 1 2 Old Scottish Melody Wiley, C, 2 2 Dedicatory Overture Williams, C. 1 I 2 Festival Williams, C. 1 1 2 Star Wars - A Medley Williams, J. Burden 1 1 2 Superman, Selections from Williams, J. Lowden 2 Basin Street Blues Williams, S. Lang 1 1 2 Mannln Veen Wood, H. 1 1 2 Hymn Festival, A Adas, H. 1 1 Symphony No. 3 - Diptych Adler, S. 1 1 Cordoba from Songs of Spain Albenlz, 1. 1 1 Colussus of Columbia Alexander, R. 1 1 Olympia HIppldrome Alexander, R. 1 1 Southerner, The Alexander, R. Balnum 1 1 es» 0» COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Step Ahead, A Alford, HI. 1 1 Standard of St. George, The Alford, K J . 1 1 Suspiros de Espada Alvarez, A. Wiley 1 1 Concerto for Horn Amram, D. 1 1 Rondo Alla Tirca Amram, D. 1 1 King Lear Variations Amran, 0. 1 1 Belle of the Ball Anderson, L. 1 1 Buglers Holiday Anderson, L. Edwards 1 1 Irish Suite, The Anderson, L. 1 1 Irish Washerwoman, The Anderson, L. 1 1 Serenata Anderson, L. I 1 Trumpeter's Lullaby, A Anderson, L. 1 1 Typewriter, The Anderson, L. Werle 1 1 SInfonIa "11 Ftume" Andrlessen, J. 1 1 Wizard of Oz Fantasy, The Arlen 1 1 Cornish Dances, Op. 91 Arnold, M. Marclnlak 1 1 Duke of Cambridge Arnold, M. 1 1 March from 'Little Suite' Arnold, M. Summer 1 1 Peterloo Arnold, M. I 1 Sarabande and Polka Arnold, M. 1 1 Tam O' Shanter, Op. 51 Arnold, M. Paynter 1 1 Concerto for Oboes and Wind Orchestra, Op. 90 Atehortua, BE. I 1 Chorale Prelude Bach, J.S. 1 1 From Heaven Above - Chorale Prelude Bach. J.S. Malln 1 1 Fugue In G Minor Bach, J.S. Callllet 1 1 Fugue No. IV from 'The A rt of ttie Fugue' Bach, J.S. McKay 1 1 Herzllch Tut Mich Verlangen Bach, J.S. I 1 Jesus, Oh What Anguish Bach, J.S. Reed. A. 1 I Moin Jesul Was Für Seelenweh Bach, J.S. Reed. A. 1 1 My Heart Is Filled With Longong Bach, J.S. Reed, A. 1 1 0 Fervent Is My Longing Bach, J.S. Callllet 1 1 Our Father Who A rt In Heaven Bach, J.S. Reed, A. 1 1 N»h-* s ù COMPOSITION COMPOSER AHRcTRANSaED l9BSa86 I986a87 1987a88 1988a89 TOTAL Prelude and Fugue In D Minor Bach, J.S. Moehlmann 1 1 Prelude and Fugue In E-Oat Major Bach, J.S. Conley 1 1 Sheep May Safely Graze Bach, J.S. Richardson 1 1 Two Chorales Bach, J.S./Schop, J. Leldzen/Latham 1 1 Adagio Barber, S. 1 1 (Verture to "The School for Scandal' Barber, S. Hudson 1 1 Patriotic Pageantry Barker, W. 1 1 Recorded by Sinatra Barker, W. 1 1 Duke of York, The Barnes, A.P. 1 1 Autumn Soliloquy Barnes, J. 1 1 Chorale Prelude on a German Folk Tune Barnes, J. 1 1 Heatherwood Portrait Barnes, J. 1 1 Texan, The Barnes, J. 1 1 Torch Dance B arnes,J. 1 1 Concerto Grosso Barnes, L. 1 1 Battle of Shiloh, The Barnhouse, C.L. Paynter 1 1 Fanfare and Dance Segments Barrett, R. 1 1 Galloping Major. The Bestow, 6. Jacob 1 1 Jazz Variants Beck, J. 1 1 Rhapsody for Percussion and Band Beck, J. & Jones, D. 1 1 Fanfare Prelude on 'Ode to Joy' Beethoven, L.v. Curnow 1 1 Octet for Winds, Op. 103 Beethoven, L. v. 1 1 Napoli Bellsledt, H. Simon 1 1 March of the Steel Men Belsterllng, C.S. Alford 1 1 Dialogue for Clarinet Bencrlscutto, F. 1 1 Latina Bencrlscutto, F. 1 1 President's Trio Bencrlscutto, F. 1 1 Serenade for Alto Saxophone and Band Bencrlscutto, F. 1 1 Symphonic Jazz Suite Bencrlscutto, F. 1 1 Jamaican Rhumba Benjamin. A. 1 1 Military Escort Bennett, H. Fennell 1 1 Autobiography Bennett, R.R. 1 1 § COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Down lo the S«« In Ships Bennett, R.R. 1 I Ros« Variations Bennett. R.R. 1 1 Concertino for Alto Saxophone and Band, Mvt. II Benson,W. 1 1 Helix Benson. W. 1 1 Passing Bell. The Benson. W. 1 1 Solitary Dancer. The Benson. W. 1 1 Tribute to Irving Berlin Berlin. 1. Barker 1 1 Grande Symphonie Funebre et Triomphale Berlioz. H. 1 1 Rakoczy March Berlioz. H. Gordon I 1 Symphonie Funebre el Triomphale Berlioz. H. Whitwell 1 1 What Birds See Berners, J. 1 1 Overture to 'Cindlde' Bernstein. L. Grundman I 1 Profanation Bernstein. L. Bencrlscutto 1 1 Three Dance Episodes Bernstein. L. Stith 1 1 Der Klelne Schelm Besancon, A. 1 1 Boys from Liverpool. The Blllk. J. 1 1 Blue Goose Rag Birch. R. Broege 1 1 Habanera Bizet. G. 1 1 L' Arleslenne Suite No. 2 - Part II - Farandole Bizet. G. Lasllll 1 1 Flag of Victory Blon, F. V 1 1 Ole Wacht am Pheln. Marsch Blon. F. V. Wiley 1 1 Fiddler on the Roof. Selections from Bock. J. Lowden 1 1 Fanfare and Hymn of Brotherhood Bocook. J. 1 1 Toccata (Athalanla) Bonelll. A. Christensen 1 1 Ballet Music from "Prince Igor" Borodin. A. Bennett 1 1 Symphony No. 2 - Mvt. 1 Borodin. A. Leldzen 1 1 Contrasts Bottje. W.G. 1 1 Serenade. Op. 22 Bourgeois. D. 1 1 Academic Festival Overture Brahms. J. HIndsley 1 1 Two Chorale Preludes Brahms. J. Guenther 1 1 Men In Gray Brahmstedt. N.K. t 1 Dormant Craters Brant. H. 1 1 K COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Antiphony One Brant. H. 1 1 Carnival of Venice Bricclaldl, 6. Coppola 1 1 Prelude and Fugue In F Minor Bright, H. 1 1 SInfonIa V - Sacra et Profana Broege, T. 1 1 SInfonIa XII - Southern Heart/Sacred Harp Broege, T. 1 1 Suite for Winds and Percussion Broege, T. 1 1 Christmas Fugue Brown, R.B. 1 1 Concerto No. 1 In G minor. Op. 26 Bruch.M. HIndsley 1 1 Ecce Sacerdos Magnus Bruckner, A. Oriel 1 1 Hymn of Praise Bruckner, A. Gordon 1 1 Four of a Kind Bullock, J. 1 1 Pageant Bullock, J. 1 1 Joy of Christmas - English Carols Burt, A. Edmondson 1 1 Flute and the Oroome, The Byrd, W. 1 1 Burnished Brass Cacarvas, J. 1 1 Days of Glory Cacavas, J. 1 1 Let It Snowl Cahn, S./Styne, J. Leonard 1 1 Romantic Variations Calvert, M. 1 1 Baroque Suite Carter, A. 1 1 Overture for Winds Carter, C. 1 1 London Sketches (1926) Casadesus,F. 1 1 Introduction, Chorale and March Casella, A. 1 1 Divertissement d' ete Castorede, J. 1 1 Chicago Tribune Chambers, W.P. 1 1 Hostrauser's March Chambers, W.P. 1 1 Concertino for Flute Chamlnade, C. Wilson 1 1 Spanish Fever Chattaway, J. 1 1 Caccia Clark, R. 1 1 Bride of the Waves, The Clarke, H.L. 1 1 Stars In a Velvety Sky Clarke, H.L. 1 I Three Aces, The Clarke, H.L. 1 1 Dam Busters, The Coates, E. 1 1 B COMPOSITION COMPOSER ARR«TRANS*EO 1985*86 1986*87 1987*88 1988*89 TOTAL Knlghtsbrldge Coates. E. I 1 Zacatecas Codlna. 6. Laurendeau 1 1 Clarinets Allegro Cofleld. F. 1 1 Star Spangled Spectacular Cohan. G. Cacavas 1 1 Cohan Broadway Festival, A Cohan. J.A. Werle 1 1 Winds of Nagual Colgrass. M. t 1 El Salon Mexico Copland. A. HIndsley 1 1 Emblems Copland. A. 1 1 Waltz and Celebration Copland. A. Lang 1 1 Concerto Grosso No. 12 Corelli. A. Gordon 1 1 Beezlebub, air Varié Cotozzl. A. 1 1 Waltzing Matilda Cowan. M. Barker 1 1 Curse and a Blessing, A Cowell. H. 1 1 Little Concerto for Plano Cowell. H. 1 1 March Electric Creatore. G. Falcone 1 1 Honey Boys on Parade Cupero. E.V. 1 1 American Triptych Curnow. J. 1 1 Canticle of the Creatures Curnow. J. 1 1 Fanfare Prelude on "Lobe Den Herren" Curnow, J. 1 1 Fantasy on a Sea Chantey Curnow. J. 1 1 Hymn and Allelujah Curnow. J. 1 1 Mutanza Curnow, J. 1 1 Partita for Band Ojrnow, J. 1 1 Phoenix Overture Curnow, J. 1 1 Variants on an Ancient Air Curnow, J. 1 1 Variants on an Early American Hymn Tune Curnow. J. 1 1 I'lravada (Paso Doble) Curzon. F. 1 1 Concertino for Trombone David. F. Phillips 1 1 White and Red Rose March. The De Luca. J. Wiley 1 1 Universal Judgment. The DeNardls. C. 1 1 Gossamer Rings for Soprano Saxophone and Band Deason. 0. 1 1 Engulfed Cathed-al. The Debussy. C. Morrison 1 1 K COMPOSITION COMPOSER ARR«TRAMS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Sarabande Debussy, C. Nelson 1 1 Canzone Del Borgo, E. 1 1 Centennial Celebration Del Borgo, E. 1 1 InMemorlam: Baba Yar Del Borgo, E. 1 1 Music for Winds and Percussion Del Borgo, E. 1 1 Prologue and Dance Del Borgo, E. 1 1 SInfonIa Marzlale Del Borgo, E. 1 1 Tryptlch Del Borgo, E. 1 I March and Procession of Bacchus Delibes, L. Oslerllng 1 1 Dancing Sergeant, The Dello Jolo, N. 1 1 Brass Menagerie, The Dlemer, E.L. 1 1 Prologue and Pageant Dougherty, W. 1 1 Night Before Christmas, The Douglas, S. 1 1 We Never Really Say Goodbye Dragon, D. 1 1 Crystals (1985) Duffy, T.C. 1 1 Fanfare from "La Perl' Dukas, P. 1 1 Sorcerer's Apprentice, The Dukas, P. HIndsley 1 1 Humoresque Dvorak, A. Callllet 1 1 Serenade In D Minor, Op. 44 Dvorak, A. 1 I Slavonic Dances Dvorak, A. Johnson 1 1 Pageantry Overture Edmondson, J. 1 1 Three Pieces for Winds Edmondson, J. 1 1 Enigma Variations Elgar, E. Slocum 1 1 Ellington Festival, An Ellington, D. Nestlco 1 1 Ellington Portrait, An Ellington, 0. Werle 1 1 Caravan Ellington, E.K. 1 1 Chroma Erickson, F. I 1 Third Symphony for Band Erickson, F. 1 1 Suite for Synthesizer Erickson, F. Î, Meglll, 0. 1 Heat Is On, The Faltermeyer, H. Forsoy-Cook I 1 Giles Farnaby Suite Farnaby, G. Jacob 1 1 Paulas Wharfe Farnaby, G. Gordon 1 1 8 COMPOSITION COMPOSER ARR«TRANS«EO1985*8611986*8711987*8811988*891 TOTAL { Indians Stste Bind March Farrar. OR. Smith 1 1 Circus Bee. The Fillmore. H. 1 1 Orange Bowl Fillmore. H. 1 1 Early English Suite Findlay son. W. 1 Skating on the Sheyenne Finney. R l. 1 Le Journal du fVlntemps Fischer.J. 1 1 Longer Fogelberg. D. 1 1 Canto Forma Forsblad. L. 1 1 Pastorale for Trombone Frackenpohl. A. 1 1 Panls Angellcus Franck. C. Reed.A. 1 1 Intrada No. 7 Franck. M. Johnson 1 1 Aguero - Paso Doble Franco. J. 1 1 Quintette Françalx. J. 1 1 Thunder and Blazes Fuçlk. J. 1 1 Canzon PrImI Toni Gabrieli. S. 1 1 Jubilate Deo Gabrieli. G. 1 1 Elegy Gallagher. J. 1 1 111 Be Home for Christmas Gannon/Kent/Ram Leonard I 1 1 .2 .3 Garcia. E.G. Cummings 1 1 Conga Garcia, E.G. Cummings. 0. 1 1 Mosalco De Mexico Gates. 6. 1 1 Concerto for Trumpet. Winds. Harp and Percussion Genzmer. H. 1 1 Western Overtire George. T.R. 1 1 Strike up the Band Gershwin. G. 1 1 Old French Dances Gervalse. C. d' Atteignant 1 1 Tulsa Glllls. 0. Ford 1 1 Jubilance Glovennlnl. C. Robinson 1 1 Overture Solonelle. Op. 72 Gllere. R. 1 1 Russian Sailor's Dance Gllere. R. Isaac 1 1 Russian and Ludmilla Glinka. M. Henning 1 1 Exodus Gold. E. Reed 1 1 Cheerio Goldman. R f. 1 1 a COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Wind and lh« Lion, The Goldsmith, J. Davis 1 1 Il Guarnay 0/erture Gomez, A.C. I 1 Tribute to Benny Goodman, A Goodman, B. Hayman 1 1 Sheep-Shearlng Song Goosens Grainger 1 1 Classic Overture Gossec, F.J. 1 1 Poeme Ou Feu Gotkovsky, 1. 1 1 Concertette for Viola and Band Gould, M. 1 1 Hillbilly Gould, M. Bennett 1 1 Symphony for Band Gould, M. 1 1 I'm Seventeen Come Sunday Grainger, P.A. 1 1 Spoon River Grainger, P.A. 1 1 Walking Tune Grainger, P.A. Daehn 1 1 Last Spring, The Grieg. E. Wilson 1 1 Nightfall Griffes, C. 1 1 White Peacock, Op, 7, No. 1 Griffes, C.T. Erickson 1 1 On the Trail from "Grand Canyon Suite" Grofé, F. Leldzen 1 1 Three from the Hills Gross, C. 1 1 American Folk Rhapsody No. 2 Grundman, C. 1 1 Concord Grundman, C. 1 1 Fantasy on American Sailing Songs Grundman, C. 1 1 Quiet Christmas Grundman, C. 1 1 Harlem Nocturne Hagen. E. Bullock 1 1 Chorus Line, Highlights from Hamllsch, M. Cacavas I 1 Marvin Hamllsch Showcase Hamllsch, M. Barker 1 1 What 1 Old For Love Hamllsch, M. Nowak 1 1 Awake the Trumpet's Lofty Sound Handel, G.F. 1 1 Elopement Great, The Handel, 6.F. Henderson 1 1 Hallelujah Chorus from "hiesslah" Handel, G.F. Chleffarell 1 1 March and Chorus Handel, G.F. 1 1 March from "Sciplone" Handel, 6.F. Goldman 1 1 Overture from "Messiah" Handel, G.F. Johnson 1 1 See the Conqu'ring Hero Comes fr. "Judas Maccabaeus" Handel, G.F. Goldman, R.F. 1 1 g COMPOSITION COMPOSER ARR«TRANS«EOI98S«86 1988*87 1987*88 1988*89 TOTAL Suite from the Water Music Handel, 6.F. Harvey 1 0 1 American Colonial Hannay, R. 1 1 Sic Transit Sptrllus Hannay, R. 1 1 Laude Hanson, H. 1 1 For Eighteen Winds Harblson, J. 1 1 Across the Far Field Harmon. J. 1 1 CImmaron Overture Harris, R. 1 1 Concerto for Violin with Percussion Harrison 1 1 Concerto for 23 Winds Hartley, W.S. 1 1 Symphony for Brass and Percussion Haufrecht, H. 1 1 How the West Was Won Hawkins 1 1 Symphony No. 100 Haydn, F.J. Moses-TobanI 1 1 March for the Prince of Wales Haydn, J. Schaefer 1 1 Frolic for Trombones Heath, R. Bashford, R. 1 1 Overture Heins, J. 1 1 Concerto for Plano, Winds and Percussion Helslnger, B. 1 1 Statement Helslnger, B. I 1 Concerto for Horn Herman, R. 1 1 Sing of Christmas Herman, R. 1 1 Ode Hermann, R. 1 1 Flute Dance from "La Fllle Mai Gardee" Herold-lanchbery O' Brian 1 1 Home for Christmas Higgins, J. 1 1 Konzertmusik, Op. 49 Hindemith, P. 1 1 March from Noblllsslma VIslone Hindemith, P. Henderson 1 1 Septet Fur Blaslnstrumente Hindemith, P. 1 1 Prince Consort Holmes, P. I 1 Lastrlnge Ganglat Holmgrin, J. 1 1 Armies of the Omnipresent Otserf Holslnger, D. 1 1 Nllesdance Holslnger, 0. 1 I On Ancient Hymns and Festal Dances Holslnger, D. 1 1 Prelude and Rondo Holslnger, D. 1 1 Bach's Fugue a la GIgue Holst, G. 1 1 § COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Moorside Suite Holst. G. Wright 1 1 Songs of the West Holst. G. Curnow i 1 Four Dances from "Femmes d'Alger" Horowitz.J. 1 1 Prayer of St. Gregory Hovhaness. A. 1 1 Symphony No. 4 Hovhaness. A. 1 1 Three Journeys to a Holy Mountain - Mvt. 3 Hovhaness. A. 1 1 Glasgow Fair Howe. J.H. 1 1 Pentland Hills Howe. J.H. 1 1 Rustic Dance Howell. C.R. 1 1 Trumpet Concerto - Rondo Hummel. J.N. Corley 1 1 Divertimento for Brass and Percussion Husa. K. 1 1 Fanfare Husa. K. 1 1 Smetana Fanfare Husa. K. 1 1 Concerto for Violoncello and Winds ibert, J. 1 1 Elegy from "A Oownland Suite" Ireland. J. 1 1 March: Omega Lambda Chi Ives. C. Brion 1 1 Concerto for Band Jacob. G. I 1 Flag of Stars Jacob. G. t 1 Giles Farnaby Suite Jacob. 6. 1 1 Old Wine in New Bottles Jacob. G. I 1 Suite in B-flal Jacob. G. 1 i Tribute to Canterbury Jacob. G. 1 t When Johnny Comes Marching Home Jacob. 6. Steadman-Allan 1 i March de Henri iV Jadin. L. 1 1 Marche de la Guarde a Marenga Jadln. L. 1 1 Marche des Musiques de la Revolution Jadin, L. 1 1 Symphonie for Band Jadin. L. 1 1 Child's Garden of Verses. A Jager. R. 1 1 Concerto for Bass Tuba and Band Jager. R. 1 1 interface Jager. R. 1 1 March of the Dragon Masters Jager. R. 1 1 Pastorale and Country Dance Jager. R. i 1 g COMPOSITION COMPOSER ARR«TRANS«EO1985*86 1986*87 1987*88 1988*89 TOTAL Preamble Jager, R. 1 1 Stars and Bars Jager. R. 1 1 Symphony No. 2 - 'Seal of Three Laws' Jager. R. 1 1 World Turned Ubside Down, The Jager. R. 1 1 Sokol Fanfare from 'Slnfonielta" Janacek. L. 1 1 Holiday Suite for Band Jenkins, 0. 1 1 Variations on 'A Mighty Fortress Is Our God' Jenkins, D. 1 1 Charles County Ortrture Jenkins, J.W. 1 1 Cuernavaca Jenkins, J.W. 1 1 Strike Jenny, J.D. 1 1 Old Circus Band March Jewell, F. Boyd 1 1 Sonata for Winds and Timpani (1967) Jlrko. 1. 1 1 Rhapsody of an English Sea Song Johnson 1 1 Concerto No.2 Jollvet, A. 1 1 Our President Jones, S T. Tower 1 1 Chrysanthemum. The Joplin, S. Marclnlak 1 1 Combination March Joplin, S. Schuller 1 1 Entertainer. The Joplin, S. Curnow 1 1 Entertainer. The Joplin, S. Reed, A. 1 1 C'est Noel! - French Canadian Carols Ju tris. A. 1 1 Concerto for Otoe and Wind Orchestra Kalllvoda, J.V. 1 1 Passacaglla and Rounds Karlins, W. 1 1 Deck the Halls - A Merrle Fugue Kay, H. 1 1 Night Soliloquy Kennan,K. 1 1 Jubilee Kenny,G. 1 1 Tribute to Jerome Kern Kern, J. Barker 1 1 Gallop, from the Masquerade Suite Khachaturian, A. Leldzen 1 1 Sabre Dance Khachaturian, A. 1 1 Cyrus the Great Persian King. K.L. 1 1 Hosts of Freedom King, K.L. 1 1 Prestissimo King, K.L. 1 1 Purple Pageant, The King, K.L. 1 1 s COMPOSITION COMPOSER ARR«TRAHS«ED 19BS«86 1986*87 1987*88 1988*89 TOTAL Sells-floto Triumphal King. K.L. 1 1 American Pageant Knox, T. 1 1 La VIrgenDe La Macarena Koff, C. 1 1 Dialogues and Entertainments Kraft, W. 1 1 Broadway Curtain Time Krance, J. 1 1 Fanfare Prelude - Rejoice, Ye Pure In Heart Kroener, R. 1 1 Concert Des Trompettes Latande, M.R. de Schaefer 1 1 Igor Fantasy Lamb 1 1 Les Paplllones - 'B utterflies' Lancaster, C. 1 1 Serenade Landers, J. 1 1 Allens Kidnapped Me and Stole My Blood Lang. D. 1 1 Folksongs of Wisconsin and New Foundland LaPlante, P. SIrulnlkoff 1 1 Dodecaphonic Set Latham. W.P. 1 1 Psalm 148 Latham. W.P. 1 1 Avatara Leckrone, M. 1 1 Intrusions Leckrone, M. 1 1 Reflection Leckrone, M. 1 1 Tower of the Americas Leckrone, M. 1 1 La Comparsa Lecuona, E. 1 1 Domingo Ortega Ledesma, F./O"opesa, R. Wiley 1 1 First Swedish Rhapsody Leldzen, E. I 1 Concertino for Plano Solo, Winds, Percussion and Harp Lendvay, K. 1 1 Beatles: Echoes of an Era Lennon, McCartney, etc. Higgins 1 1 Brigadoon, Selections from Lerner/Loewe Leldzen t 1 Camelot, Highlights from Lerner/Loewe Yoder 1 1 GIgl, Selections from Lerner/Loewe Bennett 1 1 Serenade for a Picket Fence Leyden, N. 1 1 Mosalco Mexlcano Lifchltz, M. 1 1 Sechs Mlnlaturon Ligeti. 6. 1 1 Nederlandse Suite Lljnschooten. H. v. 1 1 Variations on a Japanese Folksong Lijnschooten. H. v. 1 1 Jol Logan, R. 1 1 ts j 'â COMPOSITION COMPOSER ARR«TRANS«ED1985*86 1986*87 1987*88 1988*89 TOTAL Concertino for Woodwind Quintet Long, N. 1 I Concerto for Wind O-cheslre Lopatnikoff, N. 1 1 Gloria March Losey, F.H. Seredy 1 1 Ballet Egyptian Lulgini, A. Bennett, 0. 1 1 Musica Boems Lukas, Z. 1 1 Dance Preludes (1959) LutoslawskI, W. 1 1 Trois Poeme d' Henri Michaux Lutoslawski, W. 1 1 Festival Finale: God of Our Fathers Maddy, J. 1 1 Argentum Mahr, T. I 1 Suite for Solo Drum Set Mancini, 0. I 1 Mr. Lucky, Selections from Mancini, H. 1 1 Psalm and Air Marcello, B. Ployhar 1 1 Color Margolis, B. 1 1 Rudolph the Red-Nosed Reindeer Marks, J. Leonard 1 1 Symphony No. 2 Maslanka, D. 1 1 Exordium Mattel, E. 1 1 Beowulf McBeth, W.F. 1 1 Cantique and Faranade McBeth, W.F. 1 1 Drammatico McBeth, W.F. 1 1 Grace Praeludlum McBeth, W.F. 1 1 Kaddlsh McBeth, W.F. 1 1 Kaddish McBeth, W.F. 1 1 Praises McBeth, W.F. I 1 To Be Fed By Ravens McBeth, W.F. 1 1 With Sounding Trumpets McBeth, W.F. 1 1 Bells McCord, J. 1 1 Bells McDougall, 1. 1 1 Syntonos McGinty, A. 1 1 Testimonium McGlnty, A. 1 1 American Patrol Meacham, F. W. 1 1 Overture to the Opera ’Joseph’ Mehul, E.H. Schmidt 1 1 Fingal's Cave, Overture Mendelssohn, F. Seredy 1 1 ro COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Midsummer Night’s Dream, Overture Mendelssohn. F. Winterbottom 1 1 Trestung, Op. 30. No. 3 Mendelssohn. F. Davis 1 1 War March of the Priests Mendelssohn, F. Leldzen 1 1 VIrgen de ia Macarena. La Mendez. R. Koff 1 1 Music for Brass end Percussion Mendoza. V. 1 1 Three Scenes for Band Menoche. C.P. 1 1 Sebastian Ballet Menottl. G.C. Lang 1 1 Jazz Suite. A Mersey. R. Hunsberger 1 1 March Triumphal Mlakovsky. N. 1 1 La Creation Du Monde Milhaud, D. 1 1 Introduction and Fantasia Mitchell. R. 1 1 Mirror Lake Montgomery. E.E. I 1 Nancle Morley. T. Gordon 1 1 Music for a Ceremony Morrissey. J. 1 1 Thirty-five Second March Morse. D. 1 1 Energie 1 Morthenson. J. 1 1 D R. Ill's HonnormarsJ Mostad. E. 1 1 Abduction from the Seraglio. The Mozart, W.A. Wendt 1 1 Adagio in B. K. 411 Mozart, W.A. 1 1 Concerto No. 2 In E-flat. K. 417 Mozart, W.A. Sansone 1 1 Concerto No. 3 In E-Mat - Mvt. Ill Mozart, W.A. Bardeen 1 I Impresario Overture. The Mozart. W.A. Barnes I 1 Serenade In C minor, K. 388 Mozart. W.A. 1 1 Three German Dances. K. 60S Mozart, W.A. 1 1 Animal Ditties Nash. OVPIog, A. 1 1 Estample Nelhybel. V. 1 1 Prelude and Fugue Nelhybel. V. 1 1 Symphonic Movement Nelhybel. V. 1 1 Toccata for Plano and Winds Nelhybel. V. 1 1 Aspen Jubilee Nelson. R. 1 1 Homage to Machaut from Tledloval Suite" Nelson. R. 1 1 Frosty the Snow Man Nelson. S./Rolllns. J. Edmondson 1 1 ro % COMPOSITION COMPOSER ARR«TRANS«ED 198S«86 1985*87 1987*88 1988*89 TOTAL Ail Through theNIghl Nestlco, S. 1 1 Blues, The Nestlco, S. 1 1 Portrait of a Trumpet Nestlco, S. 1 1 Conquest Newman, A. Bennett 1 1 California Jubilee Nixon, R. 1 1 Pacific Celebration Suite Nixon, R. 1 1 Reflections Nixon, R. 1 1 Best of Julie Styne - Selections Nowak, J. 1 1 Orpheus Overtire Offenbach, J. Lake 1 1 Little Concerto (1927) Orff, C. 1 1 Concerto for Trombone - Wind Band Version Orr, B. 1 1 John Say Suite Orr, B. 1 1 1 Have Been One Acquainted With the Night Osmon, L. 1 1 Bandolero Osser, 6. 1 1 Thundercrest Osteriing, E. 1 1 Serenade Otterloo, W. V. 1 1 Cave of the Winds Peck, R. 1 1 Suite for Brass Pelz, W. 1 1 Suite for Woodwinds Peiz, W. 1 1 Synkretismos Penders, J. 1 1 El Sato Montes (Pasodobie Torero) Peneiia, M. 1 1 Fandango Perkins, F. 1 1 Celebrations Perslchettl, V. 1 1 Chorale Prelude: OGod Unseen. Op. 160 Perslchettl, V. 1 1 Chorale Prelr is: So Pure the Star Perslchettl, V. 1 1 Chorale Prelude. Turn Not Thy Face Perslchettl, V, 1 I Masquerade Perslchettl, V, 1 1 0 Cool is the Valley Perslchettl, V. 1 1 Concert Piece Phillips, 8. 1 1 Concert Piece fcr Bassoon and Band Phillips, B. 1 1 Jingle Beils Fhipsody Plerpont, J. Walters 1 1 Tom Thumb's March Pinto Henderson 1 1 COHPOSITKM COWOSER ARR«TRANS«EO 1985*86 1986*87 1987*88 1988*89 TOTAL Sulla Tomba cil Garibaldi - Eiegia Ponchielli, A. 1 1 Cole Porter on Broadway Porter, C. Baker 1 1 Cola Porter Spectacular, A Porter, C. Nestlco 1 1 Aubade: Concerto for Plano and 18 instruments Poulenc, F. 1 1 Suite Française Poulenc, F. 1 1 Courante from ’Terpsichore' Praetor lus, M. Christensen 1 1 Time of My Life Previto, DeNicoia, etc 1 1 Sing. Sing, Sing Prime, L. Hathaway 1 1 Athletic Festival March Prokofleff, S. Goldman 1 1 Spartakaide Prokofiev, S. 1 1 Troika from I t . Klje Suite’ Prokofiev. S. Murphy 1 1 italien Poika Rachmaninoff, S. Leldzen 1 1 Le Regiment de Sambre et Meuse Rauski, J.F. Fennell I i Requiem in (Xsr Time, A Rautavaara, E. 1 1 Bolero Ravel, M. Erickson 1 1 La Valiee Des Cloches Ravel, M. Hunsberger 1 1 Mother Goose Suite Ravel, M. Elliot 1 1 Pavana, infante Defunte Ravel, M. HIndsley 1 1 Tombeaude Couperin, Le Ravel, M. Henderson 1 i Copland P ortrait. A Reed, A. 1 1 Crowning Glory Reed, A. 1 1 El Camino Real Reed, A. 1 1 Festive Overture, A Reed, A. 1 1 Music for ’Hamlet’ Reed, A. 1 1 Music Makers, The Reed, A. 1 1 Punchinello Reed, A. 1 I Rejoicing Reed, A. 1 1 Symphony No. 3 Reed, A. 1 1 Symphony No. 5 Reed, A. 1 1 Viva Musical Reed, A. 1 1 Awakening of the Ents Reed, H. 0. 1 1 Touch of the Earth Reed, H, 0. 1 i wro COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Yankee Doodle, Fantastic Humoresque Reeves. D.W. 1 1 Alquemie 1 Reuter. R J. 1 1 Earth Song Reuter. RJ. 1 1 Mirrors for Horn and Band Reuter, R J. 1 1 One Night In A pril.. . Another In November Reuter. RJ. 1 1 Scenes Revisited Reynolds. V. 1 1 Liturgical Music Rhoads. W.E. 1 I 1res Danzas Oe Mexico Rhoads. W.E. 1 1 Folk Song Rhapsody Rhodes. P. I 1 Emblem of Unity Richards. J J. 1 1 Golden Bear March Richards. J J. 1 1 Rameses March Richards. J J . Phillips 1 1 Concerto for Clarinet and Band RImsky-Korsakov. N. 1 1 Flight of the Bumble Bee RImsky-Korsakov. N. Davis 1 1 Tequila Rio. C. Lavender 1 1 Csi'ousel, Selections from Rodgers, R. Leldzen 1 1 Slaughter on Tenth Avenue Rodgers. R. Tatgenhorst 1 I Victory at Sea Rodgers, R. Bennett 1 1 jgers and Hammorsteln's Oklahoma t%dgers/Hammersteln Edmondson 1 1 Deguello Rodriguez 1 I Three Japanese Dances Rogers. B. 1 1 Sounds from Kenny Rogers Rogers. K. Lowden 1 1 Prevailing Winds Rogers. R. 1 1 Migration Rokeach. M. 1 1 Student Prince Overture Romberg, S. 1 1 Partita Rosettl. A. 1 1 Introduction. Theme and Variations Rossini. 6. Hermann 1 1 La Gazza Ladra Overture Rossini. 6. Brown 1 1 TancredI Overture Rossini, G. Falcone 1 1 Symphony No. 1 in E-flat Saint-Saëns, C. 1 1 Synergistic Parable Sartor, D. 1 1 Scherzo Schlnestlne. W. 1 1 IS) « COMPOSITION COMPOSER ARR«TRANS«EDt985«86 1 9 8 6 * 8 7 1 9 8 7 * 8 8 1 9 8 8 * 8 9 TOTAL Dionysiaques. Op. 62 Schmitt. F. 1 1 Theme and Variations. Qp. 43a Schoenberg. A. 1 1 Worried Drummer. The Schreiner. A. 1 1 Little Symphony for Winds Schuber. F. Reynolds. V. 1 1 American Hymn. Variations on "The Lord Has A Child" Schuman. W. 1 1 Christmas Story. The Schütz. H. Christensen I 1 Chamber Concerto IV for Saxophone Schwartz. E. 1 1 Purple Transformation Schwartz. E. 1 1 Nocturne. Op. 9. No, 2 Scriabin. A. Reed. A. 1 1 Casey Jones Fantasia Seibert. T. Newton 1 1 Brooke's Chicago Marine Band March Seitz. R.F. 1 1 CT&V Sellars. C. 1 1 Almighty Fortress. An Shaffer. 0. 1 1 Princeton Variations Shaffer. 0. 1 1 Fall River Overture Sheldon. R. 1 1 Finale from Symphony No. 5 Shostakovich. D. RIghter 1 1 Oalop Shostakovich. 0. Hunsberger I 1 Prelude In E-flat Minor. Op. 34 Shostakovich. D. Reed, A. 1 1 Prelude. Op. 34. No. 14 Shostakovich. 0. Reynolds 1 1 Symphony No. 9 Shostakovich. 0. Schaefer 1 1 Atlantic Zephyrs Simons. F. 1 1 Anthem for Winds and Percussion Smith. C.T. 1 1 Chorale and Allegro Smith, C.T. 1 1 Credence Smith. C.T. 1 1 Festival Variations Smith. C.T. 1 1 Jubilant Prelude Smith. C.T. 1 1 Rondo for Trumpet Smith. C.T. 1 1 Variations on a Hymn by Louis Bourgeois Smith, C.T. 1 1 Variations on a Revolutionary Hymn Smith. C.T. 1 1 Little Night Music. A -E xcerpts from Son ts9 COMPOSITION COMPOSER ARRoTRAfjS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Bullets and Bayonets Sousa. J.P. 1 1 Directorate, The Sousa. J.P. 1 1 El Capitan, Selections from the Operetta Sousa. J.P. 1 1 Foshay Tower Washington Memorial Sousa. J.P. 1 1 Globe and Eagle March. The Sousa. J.P. Rogers 1 1 Glory of the Yankee Navy. The Sousa, J.P. 1 1 Harmonica Wizard. The Sousa. J.P. 1 1 Looking Upward Suite Sousa. J.P. I 1 Minnesota March Sousa. J.P. 1 1 New Mexico March Sousa. J.P. Fennell 1 1 New York Hipodrome Sousa. J.P. 1 1 Northern Pines Sousa. J.P. 1 1 Riders for the Flag Sousa. J.P. 1 1 Royal Welch Fusiliers, The Sousa. J.P. 1 1 Sabre and Spurs Sousa. J.P. 1 1 Yorktown Centennial Sousa. J.P. 1 1 Barn Dance and Cowboy Hymn Sparke. P. 1 I Bayport Sketch Spears, J. 1 1 Chronolog Spears. J. 1 1 Fallen. Fallen is Babylon Spears. J. 1 1 March for Moderns Spears. J. 11 Quartet for Paper Bags Spivack. L. 1 1 Cumulations Starer. R. 1 I Hoye's Tribute Stemper. F. I 1 Radetzky March Strauss. J. 1 1 Death and Transfiguration Strauss. R. Harding 1 1 Die Nacht Strauss. R. Davis 1 1 Festival Fanfare Strauss, R, 1 1 Sonatine. "From an Invalid's Workshop" Strauss. R. 1 1 Waltzes from "Der Rosenkavalier" Strauss. R. Cailliet 1 1 Zueignung Strauss. R. Davis 1 1 Berceuse & Finale from "The Firebird" Stravinsky. 1. Goldman. R.F. 1 1 COMPOSITION COMPOSER ARR«TRANS«ED 1985*86 1986*87 1987*88 1988*89 TOTAL Circus Poika Stravinsky, 1. 1 1 Concerto for Piano and Wind Instrumenta Stravinsky, 1. 1 1 Eight Instrumental Miniatures Stravinsky, 1. 1 1 Octet for Wind Instruments Stravinsky, 1. 1 1 Pastoral Stravinsky, 1. 1 i Salaam Alekum Min Kuwait Stright, R. 1 1 Three Ayres from Gloucester Stuart, H. 1 1 Symphonic Variations on 'Dona Nobis Pacem' Suddulh, J. 1 1 Morning, Noon, and Night in Vienna Suppé. F, V. Morelli 1 1 Paeans and Dances of Heathen Iberia Surinach, C. 1 1 Dance of the King Susato, T. Buslje 1 1 Moorish Dance Susato, T. Buslje 1 1 Susato Suite Susato, T. Iveson 1 1 Novena Swearingen, J. I 1 Festa Espagnol Sweeney 1 1 Ringling Brothers Grand Entry Sweet, A. 1 1 Garden Rain Takemilsu, T. 1 1 March Slav Tchaikovsky. P.l. 1 1 Symphony No. 6 ' Mvts. 1 ,3 Tchaikovsky, P.l. Fletcher 1 I Officer Candidate Teike, C. Watson 1 1 Suite in A minor Teleman, GP, Reed, A. 1 1 All Glory, Laud and Honor Teschner, M. 1 1 Solemn Music, A Thomson, V. 1 1 Adagio Music, Op. 12 Thorne, N, 1 1 Procession du Vendredi-Saint Tomasi, H. 1 1 Amazing Grace Traditional Holmes 1 I Christmas Music for Winds Traditional Cacavas 1 1 Fanfare and Variations on Amazing Grace Traditional Norred 1 1 Floral Dance Traditional Martin 1 1 1 Wonder As 1 Wander Traditional Vosbein 1 1 Irish Washerwoman, The Traditional Anderson. L. 1 I Red River Valley Traditional Hill 1 1 es) % COMPOSITION COMPOSER ARR«TRANS«ED1965*86 1986*87 1987*88 1988*89 TOTAL Story of Christmas, The Traditional Johnson 1 1 Cara Mia Trepani/Lange 1 1 Nutcracker Suite. The Tschaikovsky, P.l. Hindsley 1 1 Intermezzo Tubb,M. 1 1 La Bamba de Vera Cruz Tucci, T. Hunsberger 1 1 Ceremonial Proclamation Tull, F. 1 1 Concerto Grosso for Brass Quintet and Symphonic Band Tull, F. 1 I March for Tripod Tull, F. 1 1 Prelude and Double Fugue Tull, F. 1 1 Toccata Tull, F. 1 1 Five Miniatures Turina, J. Krance 1 1 French National Défilé Turlet Seredy 1 1 Big Bands in Concert Various Lowden 1 1 Bulldog Medley, The Various Dancz 1 1 It's Broadway Various Edmondson 1 1 Magic of Disney, The Various Barker 1 1 Movies, The Various Higgins 1 1 Tribute to the Count Various Nestico 1 1 Linden Lea Vaughan Williams, R. Stout 1 1 0 How Amiable Vaughan Williams, R. 1 1 Prelude from the 49th Parallel Vaughan Williams, R. Osmon 1 1 Scherzo alia Marcia from "Symphony No. 6 ‘ Vaughan Williams, R. 1 1 Three Winter Scenes Vizzutti, A. 1 1 Under the Double Eagle Wagner, J. 1 1 Introduction to Act III from "Lohengrin" Wagner, R. Drumm 1 1 Prelude from "Die Meistsrsinger" Wagner, R. Moses-Tobiani/Ken 1 1 Siefried's Funeral Music Wagner, R. Whear 1 1 March for Concert Band Walton, W. Vinter 1 1 Spitfire Prelude Walton, W. Bashford 1 1 Jazz Tangents Ward-Steinman, D. 1 1 Capriol Suite Warlock, P. 1 1 Chorale for BarJ Washburn, R. 1 1 s COMPOSITION COMPOSER ARR*TRANS«EO 1985*86 1986*87 1987*88 1988*89 TOTAL Ode for Band Washburn, R. 1 1 Symphony for Band Washburn, R. 1 1 Two Pieces Washburn,R. 1 1 Garnet and Grey March Wealt, C. 1 1 Concerto No. 2 Weber, C M. v. Brown 1 1 Euryanthe 0/erlure Weber, C M. v. 1 1 Rondo from the Clarinet Quintet Weber, C.M. v. Snavely 1 1 Second Concerto In E-flat, Op, 14 for Clarinet Weber. K.M. v. Brown 1 1 America on Guard Weber-Steinmetz 1 1 Little Threepenny Music Weill. K. 1 1 Centaurs. The Weiner. L. 1 1 Ceremonial Fanfare Wells, T. 1 1 Celebration of Christmas, A Werle, F. 1 1 Concertino for Three Brass Werle. F. 1 1 Jedermann Overture Whear, P. 1 1 Ambrosian Hymn Variants White, D.H. 1 1 Saxarella Wideoeft, R. Schuller 1 1 Giles Farnaby Suite Wiggins, B. 1 1 Lowlands Concert March Wiley. C.A. 1 1 Royce Hall Suite Willan, H. Teague 1 1 Caccia and Chorale Williams, C. 1 1 Dramatic Essay Williams, C. 1 1 Symphonic Dance No. 2 Williams, C. 1 1 Trilogy for Band Williams, C. 1 I Variation Overture Williams. C. 1 I E.T.. Selections from Williams. J. Cacavas 1 1 Jaws. Selections from Williams, J. Cacavas 1 1 Liberty Fanfare Williams, J. Curnow 1 1 Olympic Fanfare and Theme Williams, J. Curnow 1 1 Star Wars Williams, J. Turner 1 1 Superman Fanfare Williams, J. Reynoso 1 1 Symphonic Marches, The Williams, J. Higgins 1 1 COMPOSITION COMPOSER ARR«TRANS«ED1935*85 1986*87 1987*88 1988*89 TOTAL Shakata; Singing tha World Into Existence Wilson. D. 1 1 Music Man. Selections from Wilson. M. Lang 1 1 Montmartre Wood. H. 1 1 Gallimaufry Woolfenden. G. 1 I Alpha and Omega Yoder. P. 1 1 Pachinko Yoder.P. I 1 Gesu Bambino Yon. P. Leidzen 1 1 World Events Zamecnik. J.S. 1 1 Dialogues on 'In Dulci Jubilo' Zdechllk. J. 1 1 Lake Washington Suite Zdechlik. J. 1 1 Rheinische Kirmestanze Zimmerman. B.A. 1 1 K APPENDIX K ADDENDUM TO THE REPERTOIRE COMPILATION: LISTINGOFMULTÏPLEEDITIQNS OF COMPOSITIONS 242 243 COMPOSITIONCOMPOSER ARRa TRANSo ED Mad Major, The Alford. K J. Alford Fennell Vanished Army. The Alford. KJ. Alford Fennell If Thou Be Near Bach. J.S. Moehlmann Reed. A. Jesu, Joy of Man's Desiring Bach. J.S. Leidzen Reed, A. Sleepers Wake (Wachet Auf) Bach. J.S. Chiaffarelli Reed. A. National Emblem Bagley. E.E. Bagley Fennell Roman Carnival Berlioz. H. Godfrey Safranek Nimrod from "Enigma Variations" Elgar. E. Reed, A. Wright Sonata Pian'e Forte Gabrieli. G. Christensen Schaefer Porgy and Bess, Selections from Gershwin. G. Bennett Lowden Lincolnshire Posy Grainger, P.A. Grainger Fennell Music for the Royal Fireworks Handel. 6.F. LaBauve Schaefer Tower Symphony No. 2. "Romantic" Hanson. H. Goldberg McBeth 0 Sacred Head Now Wounded Hassler. H.L. Bach/Cailliet Bach/Morrison Latham Battle Hymn of the Republic Howe-Steffe Rutter Wilhousky Overture for Winds. Op. 24 Mendelssohn. F. Mendelssohn Boyd Greissle Huapangol Moncayo, J.P. Osmon Pérez Coronation Scene from "Boris Godunov" Moussorgsky.M. Buehlmann Leidzen Carmina Burana O rff.C. Krance Wanek 244 COMPOSITION COMPOSERARR*TRANS*ED Carnival of Venice. The Reeves. D.W. Brion Steigers Pines of Rome, The Respighi, 0. Duker d' Elia/Leidzen Barber of Seville. Overture Rossini. 6. Duthoit Zamecnik La Orega de Oro San Miguel. M. San Miguel Fennell March Grandiose Seitz. R.F. Seitz Reed. A. Folk Dances Shostakovich. D. Erickson Reynolds Daughters of Texas Sousa. J.P. Sousa Dvorak. R. El Capitan Sousa. J.P. Sousa Dvorak. R. Free Lance. The Sousa. J.P, Sousa Goldman Revelli Hands Across the Sea Sousa. J.P. Sousa LaBauve Liberty Bell Sousa. J.P. Sousa Brion Manhattan Beach Sousa. J.P. Dvorak.R. Fennell Semper Fidells Sousa. J.P. Sousa Gore Washington Post Sousa. J P . Sousa Fennell Battle Pavane. The Susato. T. Buslje Margolis Elsa's Procession to the Cathedral Wagner. R. Cailliet LaReau Overture to RienzI Wagner. R. Meyrelles Grabel