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“Country Band” March Historical Perspectives, Stylistic Considerations, and Rehearsal Strategies

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“Country Band” March Historical Perspectives, Stylistic Considerations, and Rehearsal Strategies “COUNTRY BAND” MARCH HISTORICAL PERSPECTIVES, STYLISTIC CONSIDERATIONS, AND REHEARSAL STRATEGIES by Jermie Steven Arnold A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Musical Arts Instrumental Conducting Committee: Director Program Director ___________________________________ Director of the School of Music Dean, College of Visual and Performing Arts Date: Spring Semester 2014 George Mason University Fairfax, VA “Country Band” March Historical Perspectives, Stylistic Considerations, And Rehearsal Strategies A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts at George Mason University By Jermie Steven Arnold Master of Music Brigham Young University, 2007 Bachelor of Music Brigham Young University, 2002 Director: Tom Owens, Associate Professor School of Music Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Jermie Steven Arnold All Rights Reserved ii DEDICATION For my lovely wife, Amber and my wonderful children, Jacob, Kyle and Bethany. iii ACKNOWLEDGEMENTS It is truly amazing how paths cross and doors open. Knowing there isn’t such a thing as a coincidence reminds me of the many blessings I have received during the journey to my Doctoral degree. I am grateful to my immediate and extended family who sacrificed much so that I could pursue my dreams. Their unyielding support kept me focused and determined. It is their faith in me that motivated the completion of this dissertation. To those I first called mentors and now friends: Mark Camphouse, Dennis Layendecker, Anthony Maiello, Tom Owens, and Rachel Bergman, thank you for your wisdom, expertise and most importantly your time. To all the faculty and staff at George Mason University it has been a pleasure working, learning, and serving with you. I count myself deeply honored and blessed to know such wonderful individuals. Truly our profession is enhanced because of your contributions. Finally, it is my own personal faith that reminds me that God has a plan for each of us. It is He who leads and guides. It is He who watches over and protects. From the beginning to the end of this journey I recognize His hand in my life. iv TABLE OF CONTENTS PAGE LIST OF MUSICAL EXAMPLES ............................................................................................. vii ABSTRACT ................................................................................................................................ viii INTRODUCTION .......................................................................................................................... 1 REVIEW OF LITERATURE ....................................................................................................... 2 PRIMARY SOURCES ...................................................................................................................... 3 BIBLIOGRAPHIC SOURCES ............................................................................................................ 9 BIOGRAPHICAL SOURCES ............................................................................................................. 9 COMMENTARIES ......................................................................................................................... 13 JOURNAL ARTICLES .................................................................................................................... 17 DISSERTATIONS/THESIS ............................................................................................................. 20 REVIEWS ..................................................................................................................................... 23 FINDINGS .................................................................................................................................... 24 CHAPTER 1. HISTORICAL PERSPECTIVES ....................................................................... 25 THE BANDSMAN ......................................................................................................................... 25 EARLY WORKS ........................................................................................................................... 27 CHAPTER 2.“COUNTRY BAND” MARCH .............................................................................. 35 THE MANUSCRIPT ...................................................................................................................... 35 ANALYSIS ................................................................................................................................... 41 A COMPARISON OF THE THEATER ORCHESTRA AND WIND BAND VERSIONS ........................... 60 CHAPTER 3. STYLISTIC CONSIDERATIONS ..................................................................... 66 MARCH PERFORMANCE PRACTICE ............................................................................................. 66 Rhythm .................................................................................................................................. 67 Articulation/Accents .............................................................................................................. 68 Dynamics ............................................................................................................................... 69 Implications ........................................................................................................................... 70 RAGTIME PERFORMANCE PRACTICE .......................................................................................... 71 Rhythm .................................................................................................................................. 71 Tempo .................................................................................................................................... 72 Articulation ............................................................................................................................ 74 Dynamics ............................................................................................................................... 75 Implications ........................................................................................................................... 76 CHAPTER 4. REHEARSAL STRATEGIES ............................................................................ 77 ENSEMBLE CHALLENGES ........................................................................................................... 77 Pulse/Tempo .......................................................................................................................... 78 Rhythmic Clarity ................................................................................................................... 80 v Melodic Clarity ...................................................................................................................... 83 Ensemble Balance .................................................................................................................. 85 Harmonic Balance ............................................................................................................. 86 Melodic Balance ................................................................................................................ 87 Specific Challenges ............................................................................................................... 88 Measures 76-79 ................................................................................................................. 88 Measures 160-181 ............................................................................................................. 92 CHAPTER 5. CONDUCTING CHALLENGES ....................................................................... 95 CLARITY AND CONSISTENCY OF PATTERN ................................................................................ 96 Exercise 1: ............................................................................................................................. 96 Exercise 2: ............................................................................................................................. 98 METRIC CHANGES .................................................................................................................... 100 3/8 Exercise: ........................................................................................................................ 103 CONDUCTING CUES .................................................................................................................. 107 CONDUCTING STYLE ................................................................................................................ 110 OTHER CONDUCTING CHALLENGES ......................................................................................... 112 PERSPECTIVES FROM RESPECTED CONDUCTORS .................................................................. 114 Responses ............................................................................................................................ 115 Colonel Thomas H. Palmatier, the United States Army Band “Pershing’s Own” ......... 116 Stephen Pratt, Director of Bands at Indiana University ................................................. 118 Thomas Lee, former Director of Bands at the University of California at Los Angeles . 119 Craig
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