The History of the Texas Tech University Orchestra, 1925-1964
by
Laura Flanagan, B.M.
A Thesis
In
Music Education
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of
MASTER OF MUSIC EDUCATION
Approved
Dr. Blair Williams Chair of Committee
Dr. Janice Killian
Dr. Peter Martens
Mark Sheridan Dean of the Graduate School
May, 2020
Copyright 2020, Laura Flanagan
Texas Tech University, Laura Flanagan, May, 2020
ACKNOWLEDGEMENTS
Thank you so much to Lynn Whitfield, archivist, Texas Tech University, as well as Elissa Strommen, James Parker, Randy Vance, Andy Wilkinson and the staff of the
Southwest Collection/Special Collections Library at Texas Tech University.
Thank you also to Terry Brown, archivist for the Houston Symphony Orchestra and to Galen Wixon, CEO of the Lubbock Symphony Orchestra, and to Rob Farrar at the
School of Music.
My sincerest thanks to Ed Ellsworth for sharing the wonderful picture of his father, Paul Ellsworth in Mexico, and the list of repertoire the orchestra played during his tenure. Thank you for your permission to use these items in this document.
Many thanks to Dr. Jane Ann Wilson, Dr. Dwight Pounds, Dr. Jan Garverick and
Mr. Boyce Wyrick for your guidance in locating information from the early years of the
Texas Tech Symphony Orchestra.
An enormous thank you to my advisor, Dr. Blair Williams, and my entire thesis committee for their assistance and professionalism in guiding me through this process.
Last, but most importantly, thank you to my husband, Gary Flanagan.
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TABLE OF CONTENTS
ACKNOWLEDGEMENTS ...... ii
ABSTRACT ...... vi
LIST OF TABLES ...... vii
LIST OF FIGURES ...... viii
CHAPTER 1: INTRODUCTION ...... 1 Background…………………………………………………………………………….. 2 Brief History of Music in Lubbock and at Texas Tech………………………………… 3 Need for the Study………………………………………………………………………4 Research Questions…………………………………………………………………….. 5 Methodology…………………………………………………………………………… 6 Definitions……………………………………………………………………………… 6 Limitations……………………………………………………………………………... 8 Delimitations…………………………………………………………………………… 8 Summary……………………………………………………………………………….. 9
CHAPTER 2: REVIEW OF RELATED LITERATURE ...... 10 Introduction…………………………………………………………………………… 10 Methodology for Finding Related Research………………………………………….. 10 Non-Western Classical Ensembles…………………………………………………….14 Professional Bands and Orchestras…………………………………………………… 14 Community Bands and Orchestras……………………………………………………. 18 Secondary School Bands, Orchestras, and their Organizations………………………. 21 University or Collegiate Music Ensembles…………………………………………… 26 Summary……………………………………………………………………………… 32
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CHAPTER 3: METHODOLOGY AND MATERIALS ...... 34 Research Questions…………………………………………………………………… 34 Archival Resources and Methodology………………………………………………... 35 Summary……………………………………………………………………………… 36
CHAPTER 4: DATA ...... 38 Introduction…………………………………………………………………………… 38 1925-1934: Orchestra appears on the band calendar…………………………………. 38 1934-1949: The orchestra accompanies the choir…………………………………….. 40 Julien Paul Blitz ...... 40 Dewey O. “Prof” Wiley ...... 44 Blitz & Dewey as Colleagues ...... 44 Change in Leadership ...... 51 1949-1954: A period of transition for the orchestra…………………………………...53 Dr. Gene LeClair Hemmle ...... 53 Robert Dean: Additional String Instruction ...... 59 Degree Program Changes ...... 60 1954-1964: The formation of the Texas Tech Symphony Orchestra…………………. 62 Paul Raymond Ellsworth ...... 62 Records of Tech Orchestra Concerts and Activities from 1954-1964 ...... 65 Students’ hometowns ...... 72 Scholarships for Music Students ...... 74 Continued Involvement of the Department of Music in the Lubbock Symphony Orchestra ...... 75 Support of the Public School Orchestra Programs ...... 75 Outreach Beyond Lubbock ...... 76 Summary……………………………………………………………………………… 78
CHAPTER 5: CONCLUSIONS ...... 79 Findings……………………………………………………………………………….. 80 Challenges in the Research…………………………………………………………… 81 Archival ...... 82 iv
Texas Tech University, Laura Flanagan, May, 2020
Texas Tech University: School of Music Records, President’s Office Records and Vice President’s Office Records ...... 82 Personal Collections ...... 83 Institutional Research & Information Management Records ...... 83 Oral Histories ...... 84 Other Potential Sources of Archival Information ...... 84 Symphonic Archives ...... 84 Local and Regional Newspapers ...... 85 Other Unexamined Sources of Information ...... 86 Summary ...... 86 Emerging Questions & Related Areas of Research…………………………………... 87 Blitz’s Limited Success ...... 87 Ellsworth’s Success ...... 88 Emerging Areas for Further Research…………………………………………………90 Conclusion……………………………………………………………………………..91
REFERENCES ...... 92
APPENDIX ...... 109
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ABSTRACT As of 2020, a number of paintings and photographs adorn the wall outside of
Hemmle Recital Hall within the Texas Tech University School of Music. These represent many of the early faculty members of the Department of Music, including Dr. Gene
Hemmle and Professor Paul Ellsworth. Dr. Gene Hemmle was the Director of the
Department of Music from 1949-1979. Ellsworth is recorded in the 1968 Department of
Music Report as being hired to start the Texas Tech Symphony Orchestra in 1954.
However, orchestra is listed in the Texas Tech course catalog as early as 1925. This study will focus on the history of the Texas Tech Symphony Orchestra (TTSO) from the founding of Texas Technological College in 1925 until the Texas Tech Symphony
Orchestra’s Concert Tour of Mexico in 1964. This time period represents a formative period in the history of the Department of Music and the TTSO as documented by the portraits on the wall outside of Hemmle Recital Hall and supported by the additional information found.
This study will examine the time period from 1925-1964 in the TTSO’s history through the use of archival databases and resources including the Texas Tech University
Archives, the Southwest Collection/Special Collections Library, periodicals, concert programs, oral histories, and ephemera. Special attention shall be given to the orchestra’s role in training students for careers as music educators in public school bands and orchestras. This will include educational outreach programs connected with the TTSO.
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LIST OF TABLES
Table 1. Keywords Utilized for the WorldCat Search 11 Table 2. WorldCat Keyword Search Results 11 Table 3. University Archive Search Results 35 Table 4. Texas Tech University Symphony Orchestra Concerts 66
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LIST OF FIGURES Figure 1. A Map of Historic West Texas and the Llano Estacado 7 Figure 2. Mr. and Mrs. Julien Paul Blitz 43 Figure 3. The Texas Tech Orchestra and the Texas Tech Choir 49 Figure 4. Dr. Gene LeClair Hemmle 54 Figure 5. Paul Raymond Ellsworth 62 Figure 6. TTSO Students by Home State 72 Figure 7. TTSO Students by Hometown 73 Figure 8. The Texas Tech Symphony Orchestra, 1961-1962 74 Figure 9. Texas Tech Symphony Orchestra in Mexico 78
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CHAPTER 1
INTRODUCTION
Institutions of higher education have offered and housed instrumental music since the late 19th century. The University of Wisconsin-Madison Symphony Orchestra traces its roots to a modest, student-led ensemble begun in 1892 (James, 1996, p. 2). In the early
20th century, instrumental music programs became more prevalent within secondary public schools across the country (Mark & Gary, 2007, pp. 320-323). The need for highly qualified instrumental music teachers increased, leading colleges and universities to begin to provide training for classroom music teachers in their offerings, ultimately leading to degrees (Mark & Gary, 2007, pp. 320-323). The first Bachelor of Science in
Music Education in the United States was awarded at Oberlin Conservatory in 1922
(Mark & Gary, 2007, pp. 320-323). However, the first Bachelor of Music degree with a specific focus in instrumental music teaching was not created until 1941 at the University of Michigan by William Revelli (Mark & Gary, 2007, p. 326).
The charter to establish Texas Technological College (now Texas Tech
University) was signed in 1923 and classes began to be offered in 1925 (Graves, 1959, p.
235; Schulze, 1975, p. 17). The 1925 Bulletin from Texas Tech Technological College lists both “band” and “orchestra” among its course offerings (Texas Tech University,
1 Texas Tech University, Laura Flanagan, May, 2020
1968, p. 177). However, the Bachelor of Music degree was not offered by the college until 1952 and the first Bachelor of Music with a major in Music Education until 1959.
Music education courses had been offered at Texas Technological College before 1952, but those students wishing to teach instrumental music in schools pursued the Bachelor of
Science degree with a major in Public School Music and Band (Texas Tech University,
1968, p. 178).
Background Several studies chronicle the development and growth of specific university or college bands and orchestras across the United States (Brozak, 2004; Bush, 2015; Caruso,
2013; Culver, 1978; de Seriere, 2018; Faucett, 2018; Fisher, 2009; Holdhusen, 2010;
James, 1996; Montague, 2010; Wyder, 1995). The growth of instrumental music programs in the public schools of Lubbock, Texas and the development of music education degree programs at Texas Tech University parallel the growth of instrumental music education programs and organizations throughout the United States (Cutter, 1991;
Mark & Gary, 2007; Texas Tech University, 1968; Ware, 1941).
Faculty and alumni of Texas Tech University were contributing leaders in music education as early as the 1940s and 1950s and continue to be influential voices in music education. For example, both faculty and alumni have served on the Texas Music
Educators Association (TMEA) executive board (Eskridge, 1943; Mark & Gary, 2007).
2 Texas Tech University, Laura Flanagan, May, 2020
Brief History of Music in Lubbock and at Texas Tech
Instrumental music programs in the public schools of the United States began in the twentieth century, with instrumental music programs especially beginning to blossom in select schools in the 1920s (Mark & Gary, 2007, p. 299). The first orchestras and bands within the Lubbock Public Schools were organized in 1916, about eight years after music first appeared in their classrooms (Ware, 1941, p. 20). Lubbock itself was founded in 1891, only seventeen years before music appeared in the local public-school system in
1908 (Cutter, 1991, p. v; Ware, 1941, p. 20).
Very few written records exist on the formation of the Texas Tech Symphony
Orchestra. The Texas Tech University Archives have cataloged a large amount of archival material and collected many oral histories from former School of Music faculty members. However, due to a number of name changes and an inconsistent process of transferring records to the archives, records relating specifically to the TTSO/TTUSO are scattered and may not be clearly identified through keyword searches of databases like
Texas Archival Resources Online (TARO) (L. Whitfield & E. Stroman, personal conversation, October 29, 2019). One key document is a Texas Tech University
Department of Music Report from 1968, in which the history and origins of the TTUSO are described:
Sometime after 1934, an orchestra, called the Tech-Lubbock Orchestra was
organized at Texas Tech by Julian Paul Blitz. This group was a college-
3 Texas Tech University, Laura Flanagan, May, 2020
community orchestra with a membership made up of Tech students and faculty,
and townspeople. Soon after the entrance of the United States into World War II,
this orchestra was discontinued and Lubbock was without an orchestra until after
the end of the war. In 1946, William Harrod organized the Lubbock Symphony
Orchestra. Although using Tech students and faculty, this orchestra had no direct
connection with the college. The Tech Orchestra, therefore, lost its identity. An
attempt was made in 1952 to inaugurate an orchestral program at Tech, but it
was unsuccessful. In the school year 1954-55, Paul Ellsworth was added to the
faculty at Tech, and during that year, an organization was begun which is now
known as the Texas Tech Symphony Orchestra. That first year the membership
was made up of Tech students, Tech faculty, high school and junior high
students, public school music teachers, and numbered about 35 (Texas Tech
University, 1968, p. 182).
This report was compiled by members of the faculty of the Department of Music in 1968 as a portion of a larger document by the College of Arts and Sciences titled
“Long Range Plans.” The document also contained a history of the department and its ensembles along with the perceived needs for the department.
Need for the Study The Texas Tech Symphony Orchestra (TTSO), which would later become the
Texas Tech University Symphony Orchestra (TTUSO), was founded in the 1954-1955 academic year, and because no formal record of the formation of the organization or its 4 Texas Tech University, Laura Flanagan, May, 2020
early years appears to exist outside of a few short paragraphs in the Department of Music
1968 Report, much of its history stands in danger of being lost. Many who founded the
TTSO and early alumni of the organization continue to age and pass away. As the Texas
Music Educators Association celebrates its centenary in 2020 and Texas Tech University approaches its centenary in 2023, such a history of the institution’s symphony orchestra and a study of its connection to music education is a timely reflection looking both backwards and forwards on the growth of instrumental music education. In part, this document seeks to collect and help preserve that history. Unfortunately, the Texas Tech faculty and alumni’s influence on instrumental music education has not been formally tracked over time and must be put together using a variety of forms of research.
This study will examine the time period from 1925-1964 in the TTSO’s history through the use of archival databases and resources including the Texas Tech University
Archives, the Southwest Collection/Special Collections Library, periodicals, concert programs, oral histories, and ephemera. Special attention shall be given to the orchestra’s role in training students for careers as music educators in public school bands and orchestras. This will include educational outreach programs connected with the TTSO.
Research Questions
This study will focus on the history of the Texas Tech Symphony Orchestra
(TTSO) from the founding of Texas Technological College in 1925 up until the Texas
Tech Symphony Orchestra’s Concert Tour of Mexico in 1964.
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The research questions include:
1) What is the organizational history of the TTSO?
2) What influences and circumstances were present at the creation and throughout
the history of the TTUSO which impacted the growth of music educators both
directly and through outreach programs?
3) Who were the primary faculty influences in creation of the TTSO and its
growth from 1925-1964?
Methodology
This study utilizes a methodical search of archival resources including the
Southwest Collection/Special Collections Library and the University Archives housed at
Texas Tech University, local newspapers like the Lubbock Avalanche-Journal, and the historic files of the Lubbock Symphony Orchestra. A detailed outline of these methodologies will be discussed in Chapter 3.
Definitions
1) Instrumental music education shall be defined as formally organized concert
bands and orchestras in public schools.
2) Carlson and Glasrud (2014) define West Texas as a region which includes “the
Panhandle; the Rolling Plains, and Llano Estacado; the Edwards-Plateau, western
Hill Country, and Permian Basin; and the Big Bend-Trans-Pecos country-the
‘Giant Side of Texas’” (p. 1). The current study will focus mostly on the area of 6 Texas Tech University, Laura Flanagan, May, 2020
West Texas located on the Llano Estacado, which includes Lubbock, Texas. Both
definitions are shown in Figure 1 (Carlson & Glasrud, 2014, p. ii).
Figure 1 A map of Historic West Texas and the Llano Estacado
Note. This figure shows the boundaries of historic West Texas (shaded in medium light and dark gray) as well as the defined boundary of the Llano Estacado (outlined in light gray), (Carlson & Glasrud, 2014, p. ii).
3) Texas Technological College changed its name to Texas Tech University in 1969
(Texas Tech University, 2020b). For the purposes of this research, Texas
Technological College will be used to refer to the school when specifically
examining the period between 1925 and 1969; Texas Tech University will be used
to refer to the overall history from 1925 to 2020. 7 Texas Tech University, Laura Flanagan, May, 2020
4) The Department of Music at Texas Technological College was originally part of
the College of Arts and Sciences. It was renamed the School of Music in 1989
(Texas Tech University, 1988). The School of Music at Texas Technological
College subsequently remained part of the College of Arts and Sciences until
2002 when the College of Visual and Performing Arts was formed (Texas Tech
University, 2003). For the purposes of this study, The Department of Music will
be used to refer to the current School of Music specifically in the time from 1925-
1989, and School of Music will be used to refer to it in general.
Limitations It is unclear how much memorabilia and archival information has been retained from the early history of the Texas Tech Symphony Orchestra. It is likely that some information has been lost to time and that there will be gaps in the information that is available.
Time is a significant limitation as the only known written history for the TTUSO is from the Department of Music, 1968 report. Therefore, substantial archival research must be conducted.
Delimitations Due to challenges related to access, only the period from 1925-1964 shall be examined in this history. Additionally, because the archival research needed to conduct this study is so extensive, a focus will only be made through collecting archival data, and
8 Texas Tech University, Laura Flanagan, May, 2020
other sources of historical information, such as interviewing past members of the organization, will not be included.
Summary Through the use of archival research, this study will shed light on the history of the TTSO by examining questions regarding factors leading to its organization, faculty members who contributed to its growth, and its role in preparing future music educators in a variety of ways, including educational outreach programs.
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CHAPTER 2
REVIEW OF RELATED LITERATURE
Introduction With the exception of the Department of Music, 1968 report (Texas Tech
University, 1968), research has not manifested any formal writing on the history of the
Texas Tech University Symphony Orchestra or the School of Music. Therefore, it is important to review other similar studies done about musical organizations, and especially instrumental ensembles, in both the professional and educational realm to compose such a document for this organization.
Methodology for Finding Related Research In preparing to research the history of the Texas Tech University Symphony
Orchestra (TTUSO), prior research was sought to gather a portrait of how other histories of other musical ensembles had been gathered. The WorldCat database and a keyword search (see Tables 1 & 2) were used to locate similar studies. Searching this way produced a large number of search results, however, not many published works on similar topics were available. Most of the research done on the history of university and collegiate musical ensembles remains within the realm of unpublished master’s theses and doctoral dissertations.
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Table 1 Keywords Utilized for the WorldCat Search A B C D
history music orchestra collegiate
account instrumental symphony university
ensemble
Table 2 shows the number of results for each search using a combination of keywords from Table 1 in WorldCat Discovery database. Relevant studies were then pulled from these results. Searches were also run using the same keywords in Academic Complete,
ERIC (EBSCO), IIMP, and JSTOR (Articles and Books), however the search results were mostly duplicated from WorldCat Discovery.
Table 2 WorldCat Keyword Search Results World Cat Discovery A PLUS B PLUS C PLUS D Results history AND music AND orchestra AND collegiate 29
" " instrumental " " " " 4
" " ensemble " " " " 5 " " music symphony " " 8
" " instrumental " " " " 3
" " ensemble " " " " 1 " " music orchestra university 2954
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Table 2 Continued
" " instrumental " " " " 637
" " ensemble " " " " 245 " " music symphony " " 1636
" " instrumental " " " " 278
" " ensemble " " " " 102 account music orchestra collegiate 9
" " instrumental " " " " 2
" " ensemble " " " " 1 " " music symphony " " 3
" " instrumental " " " " 1
" " ensemble " " " " 1 " " music orchestra university 1171
" " instrumental " " " " 173
" " ensemble " " " " 161 " " music symphony " " 497
" " instrumental " " " " 80
" " ensemble " " " " 56
Note. This table shows the number of results obtained from each keyword search.
As the results were examined, the relevance of each item was determined by reading the title and the abstract and looking for words focused primarily on the history of musical organizations. Of particular interest were the sources, methodology, and 12 Texas Tech University, Laura Flanagan, May, 2020
organization of each study. This narrowed down the search to ninety separate historical studies of musical organizations.
The studies showed diverse methodologies and sources for gathering information about the histories of the musical ensembles, and orchestras in particular, along with some similarities. Similarities included: use of archival material from their organization’s history; information gathered from scrapbooks, photographs, correspondence, budgets, and concert programs; consultations of archived media coverage from the geographic area, including newspapers, newsletters, and some radio recordings; and personal interviews with directors, ensemble members, faculty members of institutions, and even spouses and children of past directors.
Findings within the studies were organized in a loosely chronological fashion and used pivotal points or director’s tenure to break the history into chapters, as opposed to separating the timeline by decade or by a set period of time.
After narrowing down the results of the search, studies were organized into five categories: Non-Western Classical Ensembles; Professional Bands and Orchestras;
Community Bands and Orchestras; Secondary School Bands, Orchestras and their
Organizations; and University or Collegiate Music Ensembles. A brief summary of the findings is below.
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Non-Western Classical Ensembles
The histories of non-Western Classical ensembles were broad ranging from jazz ensembles, mandolin orchestras, Bulgarian folk music, and polka bands (Buchanan,
1991; Otto, 2010; Rice, 1998; Ruppa, 1988; Spalding, 1986). Of particular interest was the Spalding (1986) study of a polka band in Connecticut.
Spalding (1986) utilized two different models of ethnomusicological research to demonstrate the change in Polish-American polka music over time. Using a variety of resources including first-hand research of the Irene Oleszewski Orchestra of East
Hartford, Connecticut, Spalding demonstrated how the evolution of the repertoire performed by the orchestra over time reflected the changing needs and interests of the community. The study concluded that as long as there are Polish-American communities seeking to express their identity through their musical heritage, polka bands will continue to be able to adapt and survive.
Professional Bands and Orchestras
Studies involving professional bands and orchestras (musicians performing for salary or compensation) covered a long history of music-making across the globe including the United States, Canada, England, Scotland, Africa, Australia, and Japan
(Ardoin, 1999; Belfry, 1986; Birkhead, 1977; Canarina, 1998; Chen, 1985; Edwards,
2006; Egge,1994; Ehrlich, 1995; Gollom, 2000; Hardy, 2012; Henley & McKernan,
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2009; Herbison, 1984; Holliman, 1966; Johnson, 1976; Lanzen Harris, 2016; Mazzola,
1984; Michael, 1983; Morrison, 2004; Mueller, 1973; Murchie, 2010; Noltingk, 2017;
Olfert, 1992; Pearsall, 1969; Rasmussen, 1997; Remington, 1973; Schabas, 2005;
Steinwand, 2008; Thomas, 1972; Trimble, 1997; Wagner, 1998; Warren, 2002; Wilkie,
1970).
Trimble (1997) traced the history of the Topeka Symphony Orchestra in Topeka,
Kansas by examining its growth both before and throughout its inception in 1946 until the time of publication in 1997. The study detailed the struggles of the organization to support itself financially and grow from a community orchestra into a semi-professional ensemble. Through the first 40 years of its existence, the orchestra had close ties with
Washburn University as the conductor was also a member of the faculty. Many members of the orchestra were interviewed and proved to be music educators within the Topeka,
Kansas community.
The study carefully detailed not only the history of the organization, but also its influence on music education in Topeka. For example, the Topeka Symphony Orchestra was instrumental in the founding of both the Topeka Youth Symphony Orchestra and the
Topeka String Project. For forty years the Topeka Symphony Orchestra also offered scholarships to music students at Washburn University. Trimble also examined the roles of each of the conductors of the symphony orchestra as leaders in music education within the community.
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The format of this study is especially notable because of the way the author chose to unfold the findings. First the history of the organization is presented, then the biographies of each of the conductors, followed by a history of the symphony’s supporting organization (the Topeka Symphony Society), the youth orchestra and string project, and then each of these elements is examined for its impact on music education utilizing interviews with past and present orchestra members.
Gollom (2000) traced the history of the Cape Town Symphony Orchestra from its initial development as the Cape Town Municipal Orchestra in 1914 through two World
Wars, the tumultuous history of South Africa itself, and multiple international orchestral tours, while navigating within the complex world of twentieth century South African governmental politics and policies. As stated:
Throughout its existence, the Orchestra remained a leading organisation in
musical culture in South Africa. In 1988 the Orchestra helped to break cultural
barriers when it accepted an invitation to perform in China. The cultural boycott
was still in place at the time and the tour to China helped to break some of the
international isolation which South Africa was experiencing (p. 306).
Gollom also revealed that through the course of research a great deal of archival resources that were unknown before beginning the study came to light.
Morrison (2004) detailed the origins of the London Symphony Orchestra (LSO),
“Since playing its very first notes on 9 June 1904, the LSO has been owned and governed
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by its own players. They answer to nobody, admit to no higher authority than the board of directors they elect from their own ranks” (p. 4). Throughout this history, the events of the evolution of the London Symphony Orchestra up to 2004 are described as “turbulent”
(Morrison, 2004, p. xi) and are painted against the backdrop of London’s historical and cultural past. The study was written for the orchestra’s centenary and utilizes not only the
LSO archives, but also an extensive list of interviews with those involved in the symphony itself, including Pierre Boulez, Sir Colin Davis, André Previn, Mstislav
Rostropovich and Michael Tilson Thomas (Morrison, 2004, p. xii). Morrison concluded by reflecting on what the orchestra needs to do to continue to thrive into the twenty-first century.
The Detroit Symphony Orchestra (DSO) held its first concert at the end of 1887
(Lanzen Harris, 2016). Chronicled as only the fourth city in America to establish a professional orchestra (after the New York Philharmonic, the St. Louis Symphony and the Boston Symphony Orchestra, respectfully) the author detailed the many ups and downs of this organization.
In many ways, the rise and fall of the Detroit Symphony parallels the financial
and social fortunes of the city itself. This book was written shortly after the city of
Detroit filed for bankruptcy in 2013. It was the largest municipal bankruptcy in
the nation’s history. The DSO has also failed financially, and gone out of
business, more often than any other major ensemble in the country. But it has also
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come back [emphasis in original] more times than any other symphonic
organization (p. 1).
Lanzen Harris examined almost 130 years of the DSO’s history, including recent educational and community outreach efforts utilizing the latest technology and concluded by dramatically comparing the DSO to the Russian legend of the Firebird, which continually was reborn from its own ashes.
Community Bands and Orchestras
Research also revealed a number of histories on community bands and orchestras.
These ensembles were made up primarily of unpaid amateurs coming together to make music. Studies found include not only of orchestras and bands, (Anderson Free, 1994;
Brown, 1973; Disharoon, 1980; Gordon, 1971; Lewis, 1956; Paterno, 2010; Togerson,
1996; Woodruff, 1979), but also community brass and flute choirs (Hayes, 2004; Siler,
2012; Wechsler, 2012). Two examples of historical studies conducted on community orchestras will be further detailed.
According to Brown (1973) one of the primary purposes for conducting a study on the Corning Philharmonic Orchestra of Corning, New York was:
With each passing year the early history of an organization becomes more and
more difficult to recover as records are lost or destroyed, memories fade, and facts
become distorted. Therefore it is important to research the histories as soon as
conditions permit (pp. 2-3). 18 Texas Tech University, Laura Flanagan, May, 2020
The Corning Philharmonic Orchestra was formed as an amateur orchestra in 1933 and performed its first concert in 1934. Its first director was the supervisor of music in
Corning Public Schools. The orchestra was incorporated in 1953 and began using an increasing number of paid professional musicians from outlying areas to supplement the local players sometime afterwards. From 1953-1958, the local Corning Glass Works sponsored a mixed chorus that sometimes performed with the orchestra. After 1958 that organization became sponsored by the Corning Philharmonic who continued educational outreach through additional programs. These programs included, “Suzuki programs, . . . an instrumental loan program for area schools, summer orchestra for area students, an annual award for outstanding strings students, . . . open rehearsals for local schools . . .
[and] the organization of an annual student orchestra trip” (p. 164).
Interviews with current and past members were conducted, along with questionnaires, observed behaviors, and interviews with public school students and members of the community (Brown, 1973, pp. 2-3). The conclusion called for more studies to be done on community orchestras, as well as follow up research every ten years on the Corning Philharmonic Orchestra to maintain the study.
In contrast, Torgerson (1996) examined the history of several different community orchestras in Montana. The study was delimited by choosing towns whose population was less than 20,000 which housed a community orchestra. Interviews, concert programs, and newspapers contributed to the sources used when studying this wide variety of orchestras. The purpose of the study was to allow examinations of these
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ensembles to stand as a potential representation for rural community orchestra program growth across the United States. As stated:
The reader can be made aware that there is more to Montana than mountain men,
wilderness, cowboys and Indians. In addition, wherever the arts have thrived in
the United States, they have stemmed from humble beginnings. Montana’s
musical heritage is no different, and the description of the history of community
orchestras in Montana’s smaller communities serves as a reminder of the
beginnings of the history of orchestral ventures in the United States as a whole
(pp. 5-6).
Torgerson concluded the study by summarizing the similarities and differences between the individual orchestras. Similarities included a view of what made each ensemble successful over the long term or not, including leadership and funding, enrollment, the origin of participants (were they local or regional), and programming.
Differences included a diverse approach to organization and approach to the philosophy of having the ensemble. Several orchestras faced challenges but utilized what Torgerson referred to as a “do-it-yourself” attitude (Togerson, 1996, p. 172). The author’s final emphasis was placed on the desire for community ensembles to not just experience music through recordings, but to experience the act of making music and sharing in the live performance aspect.
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Secondary School Bands, Orchestras, and their Organizations
The history of music making within secondary educational institutions as well as in youth-oriented ensembles put together for an educational purpose were of special interest in the search results. Historical studies of band and orchestra class instruction surfaced (Baggett, 1974; Grover, 1960; Martin, 1999; Starr, 2007; Takowski, 1965;
Wasiak, 2000; Williams, 1968) as well as histories of other music education outreach to secondary students, including youth orchestras (Dowdy, 1995; James & Allsobrook,
1995; McGuire, 1969; Tonks, 2011), outreach concerts (Rowe, 1989), and summer camps
(Stace et al., 1978). Additionally, histories of organizations supporting school music programs were also found (Hause, 1969; Moore, 2012). Several are summarized below.
Takowski (1965) provided the history of the Greater Winnipeg School Orchestras in Manitoba, Canada. The program was begun in 1923 by Percy Graham Padwick (1888-
1938) who had been hired by the Winnipeg School District in 1920 to teach Latin and mathematics. Takowski detailed the importance of Padwick to the school orchestra program, which included his recording of a weekly radio broadcast for rural school children to participate in learning an instrument.
Percy Graham Padwick organized, nurtured, and promoted a student orchestra
which grew to its peak of four hundred participants in1938, the year of his death.
He used a nucleus of Winnipeg students for a studio orchestra to broadcast
Saturday morning rehearsals to rural students. The orchestral parts were sent to
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the rural participants who were then able to practice the music and rehearse with
the radio orchestra in their own homes. During Easter week the rural students
came to Winnipeg for final rehearsal with the orchestra preparatory to the final
concert. Through the use of broadcasting and the final massed orchestra concert,
Mr. Padwick involved a large number of students from Winnipeg, and rural
Manitoba, Saskatechawan and Ontario, and created widespread interest in
instrumental music-making (p. 55).
After Padwick’s death in 1938, the community organized a committee to find a way to continue orchestras for children in Winnipeg. This resulted in formal instrumental music instruction in the schools, the organization of a parent support group, funding efforts to provide instruments and other resources for students, and by 1964 the division of the performing orchestras into three different orchestras and a concert band. The study included appendices ranging from newspaper articles, daily schedules, concert programs, a list of conductors, enrollment figures from 1938-1963, the constitution for the orchestra’s parent organization, a festival adjudication form, letters requesting funding, a promotional pamphlet for the orchestra, and an extended appendices of the financial statements for the orchestra from 1939 to 1963.
Williams (1968) studied the history of the orchestra movement in Kansas.
Utilizing surveys and personal interviews, as well as a variety of published sources, the author sought to verify Kansas was home to the first high school orchestra in the United
22 Texas Tech University, Laura Flanagan, May, 2020
States and examined the decline and then increase of high school orchestra programs in the state. Williams defined the high school orchestra as one which rehearses in a school building, using resources owned by the school, and in which the instructor's salary is paid by the school. Williams quoted an article which appeared in the Music Educators Journal in 1956 saying the high school orchestra in Winfield, Kansas organized by Louis Gordon in 1890, was among the first of its kind. In conclusion, Gordon stated:
From Kansas’ early years music has been an important part of her culture. Her
music education program has often been a source of natural leadership for the
nation because of the organization of some of the first school orchestras in the
country, the early acceptance of instrumental class lessons, and the initiating of
high school music contests. In addition, excellent orchestras have performed
throughout the United States as living examples of music in Kansas schools
(Williams, 1968, p. 68).
Starr (2007) provided an oral history of string educator James Hainlein of
Stillwater, Minnesota. The purpose was to help fill a void in the literature by addressing the “dearth of research related to exemplary school string programs or string program evaluation” (Starr, 2007, p. 4). The oral history was conducted after Hainlein had retired and consisted of a four-hour interview by the author. In this interview, Starr sought to examine the elements of Hainlein’s teaching and program structure which allowed the orchestra program to grow to accommodate 700 students, and to perform at a high level.
23 Texas Tech University, Laura Flanagan, May, 2020
The study concluded that his success was attributable to “a combination of [Hainlein’s] school politicking skills, a well-planned curriculum, a high standard for musical performance, accurate and thorough record keeping, special events planned for students, and the personal connections he made with students at all levels of the string program”
(Starr, 2007, p. 107).
Other important student-oriented orchestra programs included youth orchestras existing outside of the schools. Dowdy (1995) examined the history of the youth orchestras of San Antonio, Texas. In this study, the author defined the purpose of a youth orchestra as “to offer the specialized musical training of interested students using high quality literature and expert direction” (Dowdy, 1995, p. 4). Using the existing research on string programs and youth orchestras at the time, Dowdy outlined not only the history of the organization but potential elements contributing to its success. This was done utilizing archival materials including old programs as well as interviews with those critical to the development of the youth orchestra program.
Dowdy (1995) identified two periods between 1977 and 1994 in which the youth orchestra experienced “high quality musical achievement” (p. 58). The author found that these two periods can be attributed to the high-quality leadership of the conductors during those periods. Additionally, Dowdy emphasized that “the recruitment of talented students is also necessary to provide an outstanding performance experience” (p. 58). Additional factors contributing to the program’s success are listed as orchestra tours, building and 24 Texas Tech University, Laura Flanagan, May, 2020
maintaining positive relationships with the public-school orchestra programs and instructors, as well as the requirement that students involved in the youth orchestra remain involved in their school orchestra program. Dowdy called for further research of youth orchestra programs.
In comparison, Tonks (2011) published a study on the National Youth Orchestra of New Zealand. This youth orchestra began as a potential training ground for the
National Orchestra of New Zealand, the country’s professional orchestra (Tonks, 2011, p.
25). Its first rehearsal was in May of 1959 during a school holiday (Tonks, 2011, p. 29).
The youth orchestra was comprised of students ages 13 to 19 who were selected through an audition process from across New Zealand (Tonks, 2011, p. 1). This study, published for the orchestra’s 50th anniversary, was put together using archival material and ephemera as well as extensive interviews with orchestra alumni and former conductors.
In the concluding chapter, Peter Walls, the newly retired, long time conductor of the orchestra, wrote about the future of the orchestra. He expressed concern for a decline of instrumental programs accessible to the youth of New Zealand and stated:
I am constantly reminded, every time the NZSO goes into a rural area to do
education work, of the abundance of innate musical talent that exists throughout
New Zealand society. The musical gifts of Māori children in particular, are quite
remarkable. Yet we do very little about it. If I could be granted one wish for the
future of music in New Zealand it would be to have a revitalized itinerant music
25 Texas Tech University, Laura Flanagan, May, 2020
teaching scheme that would take affordable tuition on musical instruments into
every town in New Zealand (Tonks, 2011, p. 239).
University or Collegiate Music Ensembles
Most pertinently, a number of histories of university and collegiate ensembles came to light through this search. These included histories of choral organizations
(Fisher, 2009; Holdhusen, 2010), bands (Brozak, 2004; Caruso, 2013; de Seriere, 2018;
Faucett, 2018) and orchestras (Culver, 1978; James, 1996; Lyons, 1950; Montague, 2010;
Wyder, 1995) as well as a history of the Big Ten Band Directors Association (Bush,
2015). The studies conducted on university and collegiate orchestras are summarized below.
Of interest not only for its sources and organization, Lyons (1950) surveyed the history and status of American institutes of higher learning with orchestras in 1950 by writing letters and mailing surveys to the institutions of higher learning who might possibly have an orchestra across the United States. This included sixty-five letters to institutions of higher learning in the state of Texas to which thirteen schools responded
(Lyons, 1950, p. 12). Although Texas Technological College was not among the institutions who responded, the information in this document could be useful in determining the climate of university and college orchestra programs in Texas in 1950.
Of the survey, Lyons said:
26 Texas Tech University, Laura Flanagan, May, 2020
The original idea was to make a general survey of all the symphonic orchestras in
the world, for the purpose of publishing a handbook. This book would contain a
thumbnail sketch of each orchestra as well as a complete up-to-date directory of
all the symphonic orchestras in existence … The method used to gather the
material for this thesis involved writing to each and every college and university
in the United States with the exception of Junior Colleges, Seminaries, institutions
which by their very nature would not have an orchestra and higher learning
institutions with an enrollment of less than 100 students (Lyons, 1950, pp. 1-2).
Lyons also included conductors’ personal comments about their programs that are often enlightening and sometimes include a keen sense of humor, as in the case of
Southwest Texas State Teachers College in San Marcos, Texas, whose conductor noted about his orchestra:
Ours is a school orchestra; there are no scholarships so we have what we get by
choice and naturally, never anything very good. Brasses and woodwinds are band
people and as such naturally or for some reason are not very NEAT players to
begin with. Strings are scarce. We encourage students from the 1st year required
string class for music majors and minors to get into the orchestra on a string
instrument as soon as possible, many stay the four years. The string situation is
BAD [emphasis included in original] here, it seems band men as such cannot see
music . . . I am a band man (p. 130).
On the other hand, the director of orchestras at Baylor University in Waco, Texas noted:
27 Texas Tech University, Laura Flanagan, May, 2020
Students in conducting and composition are given opportunities to work with the
orchestra. Compositions are read by the orchestra, but not performed. The
principal of each section of the orchestra is a professional on the staff (pp. 129-
130).
Only a partial copy of Culver (1978) was attainable, however, it included a preface, a table of contents and a bibliography. In addition to utilizing interviews by the author, Culver’s sources included newspaper, radio programs, and university archive sources like personal correspondence, archival audio recordings, and books on local history. The history spanned a period from 1875-1977 and that time period was divided by pivotal changes to the way the school of music was organized starting as first a music program before becoming a department of music and finally a school of music (Culver,
1978, p. iv). As stated in the preface:
By a large measure, the University is an important intellectual and artistic center
for the state of Iowa. During the last sixty years, the Orchestra has been a vital
force in the musical life of the University, Iowa City, and the state of Iowa. . . A
study of the Orchestra is being undertaken for several reasons. First, I hope this
document will be a proper history of the Orchestra; second artistic institutions are
appropriate gauges by which to measure a culture, and third, the discussion of
repertory. . . Lastly, this essay is a tribute to those people who have over the years
28 Texas Tech University, Laura Flanagan, May, 2020
nurtured the Orchestra into an ensemble which today has attained a national
reputation (p. iii).
On the other hand, James (1996) is a comparatively small twenty-page book put together to celebrate the centenary of the orchestra program at the University of
Wisconsin-Madison. Of his sources, James says,
This history of the UW-Madison orchestra program is first and foremost a study
in archival documents. Sources for this history include the extensive holdings of
the Wisconsin Music Archives, located in Mills Music Library, and the University
of Wisconsin-Madison Archives, located in Memorial Library. The Wisconsin
Music Archives contains material on Richard Church as well as numerous concert
and recital programs. … Consulted in the University Archives were University
Catalogs, faculty biographical files … as well as documents specific to the School
of Music … including UW Letters and Sciences and School of Music Bulletins
dating from 1895, boxes of recital and concert programs, four scrapbooks of
newspaper clippings covering 1925-31, 1944-47 and 1956-57 and the papers of
Richard Church. Selected volumes and issues of The Daily Cardinal and The
Badger Yearbook were also consulted. … The UW Office of News and Public
Affairs supplied ... the file on the UW School of Music Symphony Orchestra
which contained numerous press releases and announcements from recent decades
(James, 1996, p. 20).
29 Texas Tech University, Laura Flanagan, May, 2020
The document is organized through both time periods and by conductors. He has given some of the orchestra directors their own sections detailing their background and the impact they had on the university symphony orchestra while it appears other periods in the orchestra’s history have been grouped together. These are mostly time periods of less than five years with the exception of the first 25 years. Photos, which do not list a source, are included throughout the work.
The sources suggest that student-led orchestras and instrumental groups predate the University of Wisconsin-Madison School of Music. The first listing of a student-led instrumental ensemble is in the 1892 yearbook, three years before the School of Music began. The first performance of the University Symphony Orchestra, however, was probably in 1901. James continues by including highlights of the orchestra’s performances throughout the twentieth century. The conclusion highlights the commitment of the University Symphony Orchestra to both musical excellence and music education (James, 1996, p. 20).
Montague (2010) does not clearly state primary sources except to thank the
University of Southern Mississippi archives, the alumni association and the local newspapers for providing photos. The author thanked the “story contributors” but does not specify who the contributors were (Montague, 2010, p. 5). Each chapter appears to begin at what the author perceived to be a pivot point in the history of the orchestra, usually precipitated by a change of director and includes a chapter dedicated to the opera
30 Texas Tech University, Laura Flanagan, May, 2020
program. The overall layout of the book focused on full page photographs and scans of ephemera, like concert programs and newspaper clippings. Additionally, the appendices list all of the music faculty and orchestra alumni since the school opened, as well as the repertoire performed by season.
The University of Southern Mississippi, originally called Mississippi Normal
College and then the State Teachers College, first recorded an orchestra in 1913, however, it was not until 1930 that a regular offering of orchestra can be confirmed at the
University. Montague proceeded to detail the growth of the organization from this point forward and includes congratulatory letters from internationally renowned soloists who have appeared with the orchestra such as Yo-Yo Ma, James Galway, and Plácido
Domingo.
Wyder (1995) clearly stated the importance of chronicling the Ohio State
University Symphony Orchestra:
As a group that has functioned as an important part of the music program at Ohio
State University, the orchestra has served as a role model for other student
orchestras in the state. Leaders of this orchestra played major roles, not only
within the university, but also in the growth of music throughout the state.
Because of its place in the university structure, many famous orchestras and string
performers have found their way to the campus of Ohio State. Many members of
this orchestra have gone and will go on to change the shape of string teaching in
31 Texas Tech University, Laura Flanagan, May, 2020
Ohio and throughout the country. The string teachers who received their training
at the university will affect, in numerous ways, students all over the world (p. 2).
The author organized the study by pivotal years in the organization’s history.
Directors of the program were embedded into chapters divided by time periods, rather than focusing on the development of the orchestra through the directors. This study also carefully placed the history of the Ohio State University Symphony Orchestra into the larger context of history, education, and music education specifically. Wyder utilized interviews for much of the information in the study, but also collected information from the University archives, concert programs, and personnel files (Wyder, 1995, p. 172). The author concluded by lamenting the lack of more information on the orchestra’s history and encouraged the School of Music to make an effort in the future to better chronicle its history (Wyder, 1995, p. 172).
Summary
A wide range of studies exist on the history of orchestral organizations across the world. Common themes among the research include the celebration of longevity achieved through struggle, gratitude for extraordinary leadership, and a desire to inspire music education in a variety of communities. Many of these studies were conducted to celebrate milestones like centenaries. Almost all of them utilized archival sources, like newspapers and concert programs. Many relied heavily on personal interviews to give insight into the
32 Texas Tech University, Laura Flanagan, May, 2020
organization’s purpose, philosophy and history. A few, like Brown (1973) and Wyder
(1995) expressed a concern for history that could be potentially lost. Again, as Brown stated:
With each passing year the early history of an organization becomes more and
more difficult to recover as records are lost or destroyed, memories fade, and facts
become distorted. Therefore it is important to research the histories as soon as
conditions permit (Brown, 1973, pp. 2-3).
33 Texas Tech University, Laura Flanagan, May, 2020
CHAPTER 3
METHODOLOGY AND MATERIALS
This study utilized a methodical search of archival resources including the
Southwest Collection/Special Collections Library and the University Archives housed at
Texas Tech University, local newspapers like the Lubbock Avalanche-Journal, and the historic files of the Lubbock Symphony Orchestra.
Research Questions
This study focuses on the history of the Texas Tech Symphony Orchestra (TTSO) from the founding of Texas Technological College in 1925 up until the Texas Tech
Symphony Orchestra’s Concert Tour of Mexico in 1964.
The research questions include:
1) What is the organizational history of the TTSO?
2) What influences and circumstances were present at the creation and throughout
the history of the TTUSO which impacted the growth of music educators both
directly and through outreach programs?
3) Who were the primary faculty influences in creation of the TTSO and its
growth from 1925-1964?
34 Texas Tech University, Laura Flanagan, May, 2020
Archival Resources and Methodology
Primary archival research was conducted utilizing the Southwest
Collection/Special Collections Library and University Archives at Texas Tech
University. The Texas Archival Resources Online (TARO) database will be examined first for specific mentions of the TTUSO. The Texas Tech University archivists will be consulted for additional help locating archival resources not yet included on TARO.
Once archives with information pertaining to the search are found, they will be logged as seen in Table 3.
Table 3 University Archive Search Results LOCATION/BOX FOLDER/ IN THE FOLDER NOTES/ TITLE QUESTIONS
University Archives: Box 1, Folder 19 1948 includes a 15- History is especially U123.1 The Cadence year history of the interesting but does not Texas Tech School of Summer Band summer band mention orchestra Music Records, 1934- School Yearbook, program and a list of 2010 1948-1954 1954 students and Box 1 of 19 where they came E20.1B from for camp.
University Archives: Box 1, Folder 19 1953 includes Did the development of U123.1 The Cadence pictures from the an orchestra camp Texas Tech School of Summer Band summer orchestra beginning in 1952 Music Records, 1934- School Yearbook, camp (and a choral contribute to Gene 2010 1948-1954 camp as well). Hemmle’s vision to create Box 1 of 19 an orchestra program? E20.1B
Note. This table is an example of what collected data could look like. It includes the call number for each archival box, as well as the name of the box and the specific folder containing the information as well as a place to keep research notes and additional questions. 35 Texas Tech University, Laura Flanagan, May, 2020
Archival resources shall be utilized in the following ways:
1) To create a list of former directors of the TTUSO as well as former and
current faculty members who have impacted and performed with the
organization
2) To examine potential factors contributing to the formation of the
organization
3) How enrollment in the Texas Tech Symphony Orchestra has changed over
time
4) To potentially unpack the impact the TTUSO has had on the Lubbock and
West Texas music community, a large number of archival resources will
be utilized including concert programs, ephemera, and other items kept at
the Texas Tech University Archives and the Lubbock Symphony
Orchestra Archives
Additionally, articles from the local newspaper, the Lubbock Avalanche-Journal, will be utilized to gain additional information on the activities and musical programs of the TTSO from 1925-1964.
Summary
Through the use of archival research, this study will shed light on the history of the TTSO by examining questions regarding factors leading to its organization, faculty
36 Texas Tech University, Laura Flanagan, May, 2020
members who contributed to its growth, and its role in preparing future music educators in a variety of ways, including educational outreach programs.
37 Texas Tech University, Laura Flanagan, May, 2020
CHAPTER 4
DATA
Introduction The Texas Tech Orchestra was first mentioned in the early publications of the
Texas Technological College course catalog, however, during the early years, it was limited by there being few students on campus who played string instruments. From
1925-1934, the orchestra resembled more of a chamber ensemble, made up of whoever enrolled on whatever instruments they had. From 1934-1949, under the leadership of
Julien Paul Blitz, an effort was made to form a more balanced ensemble that could be utilized to accompany choirs in the performance of large choral works. A change of leadership in 1949 led Dr. Gene Hemmle to become chair of the Department of Music where he began a concerted effort to build an orchestra program at Texas Technological
College. The hiring of Paul Ellsworth in 1954, the increase of applied string music faculty, and the financial support of the community and college in the form of scholarships spurred a period of strong growth within the Texas Tech Orchestra program.
This culminated in the orchestra’s invitation to tour Mexico in 1964.
1925-1934: Orchestra appears on the band calendar
The 1925 preliminary course catalog for Texas Technological College lists men’s and women’s glee clubs, concert and military bands, and an orchestra among its course offerings (Texas Technological College, 1925). However, The Department of Music,
38 Texas Tech University, Laura Flanagan, May, 2020
1968 Report indicates thirty-four total students enrolled in these courses. “Although from the beginning students might receive certain credits for lessons in voice, piano, and violin given by approved private teachers, it was not until 1952 that the degree Bachelor of
Music was offered” (Texas Tech University, 1968, p. 177).
In a letter from 1927, Professor W. R. Waghorne, chairman of the Department of
Music from 1925-1934, responds to a solicitation for a position teaching orchestra at the college:
Dear Sir: Due to the unfortunate absence of string players, we have no college
orchestra this past year. There are however, two dance orchestras made up largely
of our college boys, but these have no official connection with the college. I am
quite sure there will be no such opening as outlined in your letter at the present
time (Waghorne, 13 May 1927).
Historical research into the history of Lubbock indicates there were string players in the area at the time, although few. Dr. Lawrence Graves in A History of Lubbock, cites a Lubbock Orchestra that existed for a few months in 1910 made up of a pianist, three violinists, and two cornetists (Graves, 1959, p. 219). Ware (1941) notes Lubbock music teacher Margaret Huff organized a five-piece orchestra which included two violins within
Lubbock schools in 1916 (p. 20).
In 1925, Harry LeMaire was hired as the first band director at Texas
Technological College (Texas Tech University, n.d.). Evidence that he also organized an orchestra varying between 13 to 18 participants in the late 1920’s and early 1930s exists
39 Texas Tech University, Laura Flanagan, May, 2020
in the form of band calendars from those years. Performances of the orchestra took place at the Y.M.C.A., a Baptist church, an unspecified Home Economics open house, a Bible class, and the Texas Technological College President’s reception at the Hilton Hotel
(LeMaire, 1929a; LeMaire, 1929b; LeMaire, 1930; LeMaire, 1933, January 12). The specifics of these performances and their settings are unclear. For example, the Home
Economics open house and Bible class do not specify whether they are for university, secondary school, or church classes. Student lists included with these schedules suggest instrumentation did not reflect a traditional orchestra and in addition to a violin and viola, the ensemble also possibly included clarinets, saxophones, and slide trombones. The
1930-1931 course catalog lists the College Orchestra as meeting on Wednesday nights
(Texas Technological College, 1931).
1934-1949: The orchestra accompanies the choir
Upon the retirement of Professor Waghorne and Professor LeMaire, the university hired Professor Julien Paul Blitz to chair the Department of Music, teach music theory, and organize an orchestra. Additionally, Professor Dewey O. “Prof.” Wiley was also hired as the band director.
Julien Paul Blitz
In a confidential letter from Dr. Bradford Knapp, then president of Texas
Technological College, to Julien Paul Blitz, responded to his inquiry about the opening of a position in the Music Department. In this letter, Dr. Knapp speaks candidly about the 40 Texas Tech University, Laura Flanagan, May, 2020
situation of the orchestra and the Public School Music degree at Texas Technological
College in early 1934:
Our department also has some teachers who are not on salary, but who are
approved by the college, who live here in town and teach piano, voice, and violin.
When our catalog speaks of an orchestra, frankly, I think it is over-stating what
we have. I am discouraged and somewhat disgusted with the failure to develop
an orchestra here when we should have one which could be made an excellent
part of the institution … We are particularly anxious to perfect the work in Public
School Music. I understood very well from those who have talked to me about
your [sic] very high training in orchestra music and stringed instruments (Knapp,
1934, February 5).
Blitz’s response outlined his desire that the position opening at Texas
Technological College would lead to a Dean of Music position. He detailed his philosophical belief that in order for a band or orchestra to be successful, its members need to have individual instruction on their instruments, and he gave suggestions of ways to do this consistent with the conservatory model of teaching. He also openly stated that he had no desire to lead the band at parades or football games. Of building an orchestra, he says:
Almost everything I have said regarding the development of a band is also true in
the development of an orchestra with this difference. That the orchestra will
entirely depend upon the good will and co-operation of the citizens of Lubbock. It
can hardly be done without their co-operation and positively nothing good in the
41 Texas Tech University, Laura Flanagan, May, 2020
way of an orchestra can be developed by this student body itself unless the
members of the orchestra are receiving private or class lessons upon their
respective instruments (Blitz, 1934, February 20).
A strong advocate for orchestras in communities, by every indication, in 1934
Julien Paul Blitz had established himself as a man with great success in building orchestras and as a solo cellist. Julien Paul Blitz was born in 1885 in Ghent, Belgium. His family immigrated to the U.S. and became directors of music at Cottey College in
Nevada, Missouri. However, Blitz returned to Europe and attended the Royal
Conservatoire of Music in Ghent, Belgium where he graduated Laureate Cum Laude in
1905 (Blitz, 1949, September 15). Records show Blitz was performing as a cellist in both
Houston and San Antonio, Texas by 1908 (San Antonio Gazette, 1908, September 8; The
Violinist, 1908).
In 1913, Julien Paul Blitz, together with philanthropist Ima Hogg, organized 35 musicians in a concert which would become the Houston Symphony Orchestra. Blitz served as the conductor of the Houston Symphony from 1913-1916 (Kirkland, 2009, p.
170). In 1916, Blitz cited the reason for his resignation from the Houston Symphony as being that “he desires an orchestra conducted on more democratic lines” saying he wanted to “bring it nearer to the people” (Blitz quits orchestra and he has good reason, too, 1916, June 9). From Houston, Blitz moved to San Antonio, Texas where he directed the San Antonio Symphony but would on occasion return to Houston to give performances on cello (1949, September 15).
42 Texas Tech University, Laura Flanagan, May, 2020
Julien Paul Blitz married pianist, Flora Briggs in 1921. Briggs was born in
Stockdale, Texas in 1894. She moved to San Antonio in 1906 as a child. Briggs studied piano at the Cincinnati Conservatory in Cincinnati, Ohio (Find a Grave, 2020). Later,
Mrs. Blitz taught piano at Texas Technological College from 1935-1945 (Blitz, 1949,
September 15).
Figure 2 Mr. and Mrs. Julien Paul Blitz
Note: Photo courtesy of the Texas Tech Southwest Collection/Special Collections (Blitz, 1949, September 15).
In 1930, Blitz began teaching at Austin College, in Sherman, Texas where he taught chorus and orchestra and also at Kidd-Key College, also in Sherman, where he taught strings and music theory (Blitz, 1949, September 15). It was during his tenure at these institutions that he began communicating in early 1934 with Dr. Knapp at Texas
Technological College about the potential administrative/teaching position there (Knapp,
1934, February 5).
43 Texas Tech University, Laura Flanagan, May, 2020
Dewey O. “Prof” Wiley
Professor Dewey O. (“Prof”) Wiley was also hired in 1934 as the new director of bands. Wiley was born in Alexander, Texas in 1898. Wiley was educated at Midland
College (Midland, Texas), Texas Wesleyan University (Fort Worth, Texas), Hardin-
Simmons University (Abilene, Texas), and American Conservatory (Chicago, Illinois)
(Wiley, 1949, September 10). By 1934, Wiley was highly respected as a band director. In
1921, because of his background playing violin, Wiley had been hired to teach strings at
Hardin-Simmons University but quickly found himself developing the first Hardin-
Simmons marching band. This organization quickly grew to be one of the largest in the state (Wiley, 1969, June 12). Dr. Knapp actively recruited Wiley to teach band at Texas
Technological College beginning in 1933 (Wiley, 1933, June 11).
Blitz & Dewey as Colleagues
In the summer of 1934, Blitz began the first reorganization of the Department of
Music at Texas Technological College. His memo of June 6, 1934 to Dean James Marcus
Gordon of the College of Arts and Sciences, lists extensive changes to the course catalog including the requested revision of part time instrumental music faculty (Blitz, 1934, June
6). This was problematic and all instructors of music were omitted from the 1934-1935 course catalog (Texas Technological College, 1934). A letter to Miss Beulah Dunn (who was ultimately retained on faculty) from President Knapp explains the omission as follows:
44 Texas Tech University, Laura Flanagan, May, 2020
It has been the policy of the College heretofore to offer special courses in music
to be taught by certain musicians who are residents of Lubbock. In the past,
through lack of proper administrative responsibility, the names of persons have
been added to the list from time to time without the approval of the President and
of the Board of Directors. It is quite essential that all of these matters shall be
approved by the President and by the Board of Directors. Therefore, all names are
being omitted from the new catalog with the simple statement that certain
musicians in Lubbock are permitted to give courses for credit under the
supervision of the Head of the Department of Music when their names have been
approved as I have indicated (Knapp, 1934, July 23).
Incidentally, Miss Dunn was not only a part-time instructor of violin for Texas
Technological College, she was also taught orchestra for the Lubbock Public Schools
(Ware, 1941, p. 7).
Blitz’s memo to Dean Gordon also requested the addition of applied courses for viola, cello, and bass to be taught by Blitz with listings of solo etudes and repertoire included for each level of the course. The following note also appeared: “Nota Bene:
Dean Gordon, we now have represented all the instruments of the classic orchestra and band, plus piano and organ” (Blitz, 1934, June 6). These courses did not make it into the
1934-1935 catalog but did appear in the 1935-1936 catalog (Texas Technological
College, 1934; Texas Technological College, 1935).
45 Texas Tech University, Laura Flanagan, May, 2020
The names of instructors of music returned in the 1935-1936 course catalog
(Texas Technological College, 1935). Dewey O. Wiley is listed in the catalog as being an instructor of the violin, in addition to his position as director of bands. However, there is no evidence that Blitz reciprocated by assisting with the band. Of working with Blitz,
Wiley said “I remember the first thing he told me, he was kind of a… he was a comedian in a way, kind of a nut. And he says ‘Now I don’t want to know anything about this insanity you’re carrying on over there with all them wind instruments!’” (Wiley, 1969,
June 12).
In 1935, a memo from the registrar to President Knapp reported on a performance of the Tech Orchestra as follows:
I should like to take this means of reporting to you the very fine work of Professor
and Mrs. Blitz and the Tech orchestra in their appearance at the high school
graduating exercises at Crosbyton on Friday night, May twenty-fourth. At the
invitation of the school authorities, Professor and Mrs. Blitz carried some fifteen
or twenty members of their orchestra to Crosbyton, and it has been a long time
since I have seen any more cordial reception or appreciative audience than they
had at the program last night. The house was crowded, and the people were
literally charmed by the graciousness of Mr. and Mrs. Blitz and the artistic
presentation of their well-chosen program. Numbers of people of the town
expressed to me their very sincere appreciation for the coming of the members of
the group (Clements, 1935, May 25).
46 Texas Tech University, Laura Flanagan, May, 2020
During his time at Texas Technological College, Blitz organized an orchestra to perform The Seven Last Words of Christ (1867) by Theodore Dubois, a collaborative work for chorus and orchestra, that was performed annually around Easter from 1935-
1942 (Texas Technological College, 1935, April 8; Texas Technological College, 1938,
April 12; Texas Technological College, 1939, April 4; Texas Technological College,
1940, March 19; Texas Technological College, 1941, April 7; Texas Technological
College, 1942, March 31). Other concert programs found included two performances of
Handel’s Messiah (Texas Technological College, 1941, December 14; Texas
Technological College, 1942, December 20). An additional reference to a performance of
Messiah by the Texas Tech Orchestra in 1939 was found in a publication from Lubbock
High School (Chorus to present Handel’s “Messiah”, 1939, December 15).
These performances were conducted at various venues in Lubbock, including
Lubbock High School and First Baptist Church as Texas Technological College did not have a performance space at that time. A memo from Blitz in 1940 indicates that this was a point of long-standing discussion between him and college president, Dr. Clifford B.
Jones (1938-1944). In this memo, Blitz included a photograph of a performance of The
Seven Last Words of Christ showing a large extension to the Lubbock High School stage built specially to accommodate the performance (See Figure 3). This memo also demonstrates the language and turns of phrases found throughout Blitz’s correspondence:
47 Texas Tech University, Laura Flanagan, May, 2020
Dear Dr. Jones:
This kind of a letter has now become a dogmatic part of my musical catechism. Nothing new in it. A mere repetition of former pleas for help in my department. No. 1--We have to use the high school for all performances of any magnitude. The high school stage has become too small and can not [sic] seat chorus and orchestra. We are obliged to build on to this stage with loose lumber and tile, as these pictures will show. No. 2--Music teachers have to rent the hotel ballroom or some other place in which to present their pupils in recitals. No. 3--
We have to rent a church for rehearsal purposes. Even now this church is too small to accommodate the chorus. Part of the chorus has to rehearse in another place. No. 4--Practice rooms lamentably small and few. Kids have to light their gas stoves and are seriously hampered. But why continue? You know our needs and I am writing this letter merely to let you know that we have not become immune to these ills. Which reminds me of a story. There was a canton in
Switzerland where everybody had a goiter. The good Father was preaching a sermon to his flock when a stranger entered who did not have a goiter and all the congregation stared at him. The good Father reprimanded them severely, telling them not to stare in stupefaction at the man, but rather thank the Lord that they possessed all of their members and faculties; and so, Dr. Jones, we have not become so accustomed to this goiter as to believe that it forms part of our destiny
(Blitz, 1940, October 30).
48 Texas Tech University, Laura Flanagan, May, 2020
Figure 3 The Texas Tech Orchestra and the Texas Tech Choir
Note: A performance of The Seven Last Words of Christ, in the Lubbock High School Auditorium, 1940. Photo courtesy of the Texas Tech Southwest Collection/Special Collections (Blitz, 1940, October 30).
Beginning in 1940, Professor Blitz’s son, Edouard, aged seventeen, a cellist, and a pupil of his father, took over the direction of the annual performance of The Seven Last
Words of Christ (Texas Technological College, 1940, March 19). It is unclear why this change occurred, however in a memo from Blitz to President Jones in 1941, Blitz addressed a request for Edouard to again direct the performance by saying “This would suit me perfectly as there is so much managerial work connected with the production and
49 Texas Tech University, Laura Flanagan, May, 2020
this over-seeing is in line with my duties and can difficultly be intrusted [sic] to anyone else” (Blitz, 1941, February 8).
A memo to President Jones by Blitz in May of 1941 takes care to point out that
“aside from the guest conductor, the guest soloist, Mr. Webster, and six in the orchestra who belong to the public school, all these participants are college students and teachers.
In other words we have not filled this stage with the town people. This is purely a college presentation” (Blitz, 1941, May 1). The guest conductor was Edouard Blitz, however, Mr.
Webster’s position in the community is unknown.
The attack on Pearl Harbor on December 7, 1941 and the resulting entry of the
United States into World War II had a great effect on the student enrollment of Texas
Tech University (Wiley, 1969, June 12). In a memo to President Jones on February 21,
1942, Professor Blitz suggests paying tribute to lost soldiers and their families at the annual performance of The Seven Last Words of Christ this time billed as an “Easter
Memorial Service” (Blitz, 1942, February 21; Texas Technological College, 1942, March
31).
No data involving Tech Orchestra activities has been found between the years
1942-1948, possibly because President Whyburn’s records have yet to be located.
However, in 1946, the Lubbock Symphony Orchestra was founded by William Harrod
(Peoples, 2017, p. 114). Neither Professor Blitz, nor his son Edouard, are listed on
Lubbock Symphony concert programs examined. However, there is evidence to suggest both Professor Blitz and Professor Wiley attended the first rehearsal of the “Lubbock
50 Texas Tech University, Laura Flanagan, May, 2020
Little Symphony” in the summer of 1946 (Peoples, 2017, p. 115). The Lubbock
Symphony Orchestra’s first concert program lists the organization as the “Lubbock Little
Symphony,” however, this is the only time it is referred to by that name in concert programs (Lubbock Symphony Orchestra, 1946, December 17). The only other time research revealed this name for the Lubbock Symphony Orchestra was in a memo from
Blitz to then college President Dr. Dossie M. Wiggins (1948-1952) defending Blitz’s support of students performing with the Lubbock Symphony (Blitz, 1949, March 24). By the end of the second season in the spring of 1948, Professor Wiley was serving on the
Board of Directors (Lubbock Symphony Orchestra, 1948, April 20). Professor Blitz’s name was notably absent.
On June 10, 1948, Dr. Wiggins was named president of Texas Technological
College, resulting in his resignation from the position of president of the College of
Mines and Metallurgy in El Paso, Texas (Skaggs, 1967, September). In the Fall of 1948 a report from Professor Blitz showed that 28 students were enrolled in the orchestra and
140 were enrolled in the band (Blitz, 1948, December 14). How many of these students were music majors is unknown.
Change in Leadership
Shortly after being named president, Dr. Wiggins began corresponding with Gene
LeClair Hemmle, who was serving on the faculty of the College of Mines and Metallurgy at this time, about his current studies at Columbia and Wiggins’ desired changes in the
Department of Music at Texas Technological College (Wiggins, 1948, October 11). Upon 51 Texas Tech University, Laura Flanagan, May, 2020
his appointment as president, Wiggins had brought several staff members with him from the College of Mines (Allen, 1988). Correspondence indicates that after extensive negotiation, including a telegram from Hemmle declining an initial offer in February
1949, Hemmle accepted the position of chair of the Department of Music at Texas
Technological College at the end of May 1949 (Hemmle, 1949, February 11; Hemmle,
1949, May 31). In a letter to his current employer, Dr. Wilson Homer Elkins, President of
Texas College of Mines and Metallurgy in El Paso, Texas, Hemmle cites four important influences in accepting the chairmanship at Texas Technological College. These four factors were listed as 1) the promise to build a $400,000 Music Hall (when calculated for inflation, this translates to approximately $4.3 million in USD in the year 2020), 2) the promise to provide $3,000 in music scholarships by a patron of the community, 3) a slight raise in salary, and 4) an “assurance of the opportunity to advance to Dean of Fine
Arts within a reasonable period of time” (Hemmle, 1949, May 31).
Professor Blitz learned of this change in academic leadership allegedly through a student (Blitz, 1949, March 21). Other than personal correspondence between Dr.
Wiggins and Gene Hemmle in which Dr. Wiggins suggests that “the Music Department is going to have to have a complete overhauling”, it is unknown what prompted Texas
Technological College to change Blitz’s position (Wiggins, 1948, October 11). However,
Professor Wiley reflected on his colleague as follows:
He was brilliant. But he never did like trying to teach what he was trying to teach
here. He should have been on a conservatory, you know, where they were
52 Texas Tech University, Laura Flanagan, May, 2020
teaching musicians. He wasn’t happy here. And later on I think it kinda, because
there were no orchestras developing for him to get string players you see, and I
think he was pretty well frustrated (Wiley, 1969, June 12).
During the summer of 1949, Hemmle completed his dissertation to receive a doctor of education at Columbia University entitled A Plan for Group Action for
Expansion of the Department of Music of Texas Technological College (Hemmle, 1949).
It was with this plan in hand that he began his tenure as Department Chair of Music of
Texas Technological College on September 1, 1949.
Professor Blitz stayed on the faculty of Texas Technological College one academic year after Dr. Hemmle became department chair, and in May of 1950 he resigned to take a position working with string pedagogue, Marjorie Keller as part of the
Dallas Public School system (Dr. Blitz resigns Tech music post, 1950, May 19).
1949-1954: A period of transition for the orchestra
Dr. Gene LeClair Hemmle
Dr. Gene LeClair Hemmle was born in 1914 in Neosho, Missouri but graduated from Arlington High School in Arlington, Texas in 1931. His parents were both amateur musicians and his father especially encouraged his musical career. Hemmle began a career in vocal performance after receiving his BM from Southern Methodist University in 1937. After the death of his father, Hemmle left this career to teach music in Wink,
Texas. In 1941, Hemmle accepted a position teaching music theory and choral music at
Texas College of Mines and Metallurgy in El Paso, Texas. After the outbreak of World 53 Texas Tech University, Laura Flanagan, May, 2020
War II, he served with the United States Naval Reserves from 1942-1945. Upon his discharge, Hemmle returned to teach at The College of Mines and Metallurgy where he became the Chairman of the Department, taught music education, music appreciation, and choral music. During this time, he attended Columbia University in the summers, first pursuing first a masters and then an EdD in Music (Hemmle, 1949, September 12;
Hemmle, 1955, January 21).
Figure 4 Dr. Gene LeClair Hemmle
Note: Photo courtesy of the Southwest Collection/Special Collections Library (Hemmle, 1949, September 12).
Although data have not been found as to why Blitz was replaced by Hemmle as the Chairman of the Department of Music, Hemmle gave a short history of music and orchestra in Lubbock in his dissertation:
54 Texas Tech University, Laura Flanagan, May, 2020
Music has not been neglected in Lubbock. The Lubbock Symphony Orchestra with
sixty-five members employs a full-time director and manager. The orchestra
performs six concerts each season for the 1800 members of the Lubbock
Symphony Association. The Community Concert Association will begin a series of
concerts in Lubbock during 1950; and Texas Technological College now presents
ten outstanding artists annually on its Artists Series. In the past all concerts have
been held in the auditorium of Lubbock High School. The city now has under
construction a municipal auditorium which will seat 3000 persons. In this same
auditorium will be housed a recital hall seating 500 persons (Hemmle, 1949, p.
31).
Numerous pieces of correspondence were exchanged between Hemmle, Blitz, and
President Wiggins in June through September of 1949 as the transition in chairmanship was made within the Department of Music. In some of these, Blitz wrote dramatically, suggesting he may have felt he was being set aside because of his age. For example in one memo addressed to Dr. Hemmle, President Wiggins, and Dr. Edward N. Jones (then
Dean of the College of Arts and Sciences) he begins:
Oh! Let the old rooster crow his last. Bear with him! (Biologically interesting if
nothing else). The 31st of August will come circularly to its close and the
September sun will rise without his help. He will shake his feathers and go
permanently to roost, and his voice in barn yard affairs shall no longer be heard.
So take little heed to his requiem chant which is a mere apology to his successor
55 Texas Tech University, Laura Flanagan, May, 2020
for conditions in the hennery, for which he is not responsible (Blitz, 1949, August
25).
Hemmle, in turn, considered his predecessor from a more removed viewpoint when describing the current situation in the Department of Music in his dissertation:
A graduate of the Royal Government Conservatory, Ghent, Belgium, he has in the
past taught theory, conducting, and directed choral and orchestral music at the
College. Possibly due to his foreign education he has never accepted
wholeheartedly our democratic concept of education. The Director of Bands holds
the rank of professor and was also appointed to his position in 1934. In regard to
the responsibilities which should be assumed by an American college department
of music, the Band Director has held to a democratic viewpoint; thus contrasting
greatly with that of the former Chairman. As a result of this fact the Department of
Music at Texas Technological College has been divided, creating two departments
within one. At present, even the catalog distinguishes between music and band.
Since two very strong professors have held to such opposing viewpoints, the
Department of Music consequently has been working in two directions. It is
interesting to note that the band program with its democratic procedures has
moved rapidly forward under the guidance of the present director, while the so-
called music program has lagged far behind with its autocratic direction (Hemmle,
1949, p. 33).
56 Texas Tech University, Laura Flanagan, May, 2020
Hemmle listed three bands and two choral organizations in existence at Texas
Technological College in 1949. Of the orchestra he stated: “A chamber orchestra of twenty-one students provides the stringed instrument student with his only opportunity for ensemble playing at the college” (Hemmle, 1949, p. 36).
Hemmle’s concern that the Department of Music had become separated from the band at Texas Technological College and his strong feelings for unity within the department were also stated in a letter to President Wiggins in July of 1949, almost two months before Hemmle officially began his role as Department Chair:
To build a strong Department of Music it is necessary for us to think of all
musical organizations and all classes in music as being in one department. Mr.
Wiley failed to show any scheduling for band rehearsals and classes now listened
under “Band” in the catalog. I hope he understands that we all must function as a
single unit, thus drawing band organizations and classes into the Department of
Music. I am sure this unit is desired by you and Dr. Jones since you both stressed
it in our initial discussion when I was in Lubbock last month. I sincerely hope that
Mr. Wiley understands that only through such a unified program, combining all
groups and classes under one heading, can we expect to build a Department of
Music capable of producing authentic results (Hemmle, 1949, July 12).
The building of a symphony orchestra program was also a priority of Dr.
Hemmle’s vision for the Department of Music, stating directly in a memo to Wiley in
1953, “It has been and continues to be our strong desire to inaugurate a string program or
57 Texas Tech University, Laura Flanagan, May, 2020
an orchestral program on this campus” (Hemmle, 1953, May 23). Additionally, minutes from a faculty meeting in 1952 show that Hemmle was recruiting thirty-four possible candidates for the string program with the first rehearsal being held three days after the meeting. Faculty members were asked to “support and encourage” the new string ensemble (Hemmle, 1952, October 11).
A memo from Dr. Hemmle to Dr. Robert C. Goodwin, Dean of the College of
Arts and Sciences, shows that students were able to perform with the Lubbock Symphony
Orchestra for credit in 1953. These students rehearsed for three hours every Monday night and an additional eight hours on the Sunday the week of the concert (Hemmle,
1953, March 27). Hemmle had shown strong support for the Lubbock Symphony
Orchestra since his arrival at Texas Tech. A newspaper article from 1949 states:
The music head [Hemmle] pointed out that a successful symphony orchestra is
an asset to the chamber of commerce because it helps to further the publicity of a
city; leaders of industry considering moving to such a city are interested because
of the opportunity it offers to their families and employees, and it means added
business for merchants from residents of nearby towns who attend symphony
concerts. He pledged the support of Tech’s music department to the orchestra,
especially in the stringed section (Lubbock Symphony’s role is emphasized,
1949, October 14).
58 Texas Tech University, Laura Flanagan, May, 2020
Robert Dean: Additional String Instruction
In the academic year of 1951-1952, Robert Dean was hired by Texas
Technological College to conduct an orchestra and teach applied courses in strings
(Texas Technological College, 1953). Born in 1924, Professor Dean studied viola as an undergraduate student at the University of Alabama. He attended the Eastman
Conservatory of Music as a graduate student earning a Masters in Music Literature
(Viola) in 1951. Professor Dean received experience as an assistant high school band director at a junior high school in Tuscaloosa, Alabama in the academic year of 1942-
1943, and as an instructor of strings in public schools in East Rochester, New York from
January to June 1951 (Dean, 1951, June 16). Unfortunately, Professor Dean only stayed at Texas Technological College for two academic years. Says Hemmle:
Our first orchestra at Texas Tech was a string ensemble directed by a boy whose
name I’ve forgotten. But the band people frightened him away in one good year.
He was scared out of his wits because he would go down to have a rehearsal late
in the afternoon and a student organization that was band oriented would go in
and pop corn during his rehearsal (Hemmle, 1973, November 13).
One notable advance during Dean’s tenure was the addition of a Summer
Orchestra School to the annual summer band school Texas Technological College had been hosting since 1934. Although she later had to cancel for personal reasons, string pedagogue, Marjorie Keller of the Dallas Public Schools, was scheduled to guest conduct the first Summer Orchestra School (Tech orchestra to give concert tonight, 1952, June
59 Texas Tech University, Laura Flanagan, May, 2020
18). A local newspaper reported that:
Addition of the orchestra section, designed primarily for string students with
limited experience and training, is one of Tech’s contribution to the growing
string program of the city and South Plains. Forty students, all but two from
Lubbock, have registered for the two weeks session which opens Thursday. The
orchestra school will be directed by Randall Raley, director of orchestral music in
the Lubbock Public Schools, and Joe L. Haddon, of the Tech Music faculty. They
will be assisted by Robert Dean, Patsy Gibbs, and Rosemary Sprague, all
Lubbock music educators (Tech summer band, orchestra schools will begin here
Thursday, 1952, June 1).
Degree Program Changes
An additional concern of Hemmle was the music education program at Texas
Technological College. While negotiating for the chairmanship, even before he was hired, Dr. Hemmle was making plans to not only offer the Bachelor of Music degree but also made an argument for Texas Technological College to offer the Bachelor of Music
Education degree (Hemmle, 1949, May 19). He was keenly aware that training future teachers for school music programs was a major drawing point for the school. In his oral history, Hemmle explained:
The biggest problem in coming to Texas Tech, was that Texas Tech [offered] at
that time the Bachelor of Science in Education with a major in Public School
60 Texas Tech University, Laura Flanagan, May, 2020
Music or a major in Band. Now there is no such thing as far as a major is
concerned in Band. This was a unique situation here. So the first problem, was to
try to pull these two areas together into one and make it a Bachelor of Music
degree with a major in Music Education with an emphasis in vocal or
instrumental music. And of course there was naturally, as in any change, some
problems. But again we had such strong support from the Office of the President
and from the Board of Regents (Hemmle, 1973, November 13).
To do this, Hemmle strongly felt he needed to expand the faculty, especially in the area of applied music. He intentionally sought out specialists who could also teach music theory, music history, and music education courses. Says Hemmle:
Immediately the president allowed me to appoint the first year I was here, he
allowed me to go out that spring and appoint five. Five I believe, maybe six new
people to the music faculty. So that was a big step in moving the thing toward
what we were supposed to do on getting applied music on the campus (Hemmle,
1973, November 13).
By carefully hiring faculty who focused in applied areas, Hemmle could also choose faculty to teach courses like music theory, music education, and music history.
And so, many new faculty taught multiple subjects as needed (Hemmle, 1973, November
13). However, it was not until the 1954-55 academic year that Hemmle successfully hired someone to build an orchestra program.
61 Texas Tech University, Laura Flanagan, May, 2020
1954-1964: The formation of the Texas Tech Symphony Orchestra
Paul Raymond Ellsworth
Paul Raymond Ellsworth was born in 1927 in Earlville, Illinois. After graduating from high school in 1944, he joined the United States Cavalry in 1945 and served until
December 1946. He enrolled in Hillsdale College in 1947 to study music education and after graduation taught instrumental music in the schools of South Bend, Indiana. During the summer of 1953 he studied music education at Columbia University. He began teaching at Texas Technological College on a half time basis at the age of twenty-eight
(Ellsworth, 1954, September 18)
Figure 5 Paul Raymond Ellsworth
Note: Photo courtesy of the Southwest Collection/Special Collections Library (Ellsworth, 1954, September 18).
62 Texas Tech University, Laura Flanagan, May, 2020
Hemmle remembered that when he hired Ellsworth, he was asked how many string players were currently enrolled at Texas Tech. When Hemmle responded three,
Ellsworth asked “are they all on the same instrument?” (Hemmle, 1973, November 13).
Ellsworth quickly moved to a full-time position in the 1955-56 academic year
(Texas Technological College, 1954, July 25). The earliest found concert program listing the members of the Texas Tech Orchestra dates from the “Fifth Annual Texas
Symposium of Contemporary Music.” The orchestra performed March Caprice by
Frederick Delius, The Hollow Men by Vincent Persichetti, and Evening Piece by Roy
Harris that featured trumpet student, Jerry Pickens. The listing of orchestra personnel includes faculty members and community members who helped to fill out the Texas Tech
Orchestra. There were six first violins, six second violins, four violas, four cellos, two basses, two pianists, two trumpets, two trombones, two flutes, two oboes (clarinet professor, Keith McCarty, is listed as playing oboe on this program), two clarinets, two bassoons, two horns, and two percussionists. This included Professor Ellsworth’s wife,
Janice, who played bass. It is also worth noting that at least two members of this orchestra became lifelong music educators: Jan Daniel (later Dr. Jan Garverick) who was at the time, a seventh grade violin student in Lubbock Public Schools and Dr. Dwight
Pounds, who was an undergraduate student on viola (D. Pounds, personal communication, January 17, 2020; J. Garverick, personal communication, May 25, 2020;
Texas Technological College, 1956, May 7).
63 Texas Tech University, Laura Flanagan, May, 2020
A memo from Raymond Elliott, acting head of the department of music states that there were 30 instruments in the Texas Tech Orchestra as of the Fall of 1955 (Elliott,
1955, October 25). This potentially demonstrates a large increase from the three students
Ellsworth had when he arrived at the college. Professor Elliott was acting head while Dr.
Hemmle was on leave after receiving a fellowship from The Fund for the Advancement of Education to further his education in effective college teaching, with an emphasis on interdisciplinary studies at Texas Tech (Weiss, 1955, April 15) Hemmle reflects on
Ellsworth’s teaching as follows:
He’s an outstanding recruiter and Paul’s first orchestra was comprised of Tech
students and some of the better players from the high school who came out and
played with us. And then, we began feeling the real quality when we graduated
our first Lubbock public school people in strings. And got them out to Tech and
then by their careful management we did that which is rather unusual in the
development of the music school in a town that is as remote as Lubbock
(Hemmle, 1973, November 13).
An application for two new courses to be offered in the Department of Music dated November 1955 justifies the addition of applied courses in viola and cello by stating:
These courses provide necessary degree requirements for those students wishing
to major in viola or cello. These courses are necessary to the development of the
Tech Orchestra, for the enrollment of additional students in the string department,
64 Texas Tech University, Laura Flanagan, May, 2020
and the Music Department as a whole . . . Credit in these courses will be required
in the total number of hours for the string major, but will not reduce the total
number of hours required on any other degree (Texas Technological College,
1955, November 17).
The prospective enrollment of these two courses was ten and Paul Ellsworth was the proposed instructor.
Records of Tech Orchestra Concerts and Activities from 1954-1964
As the Department of Music continued to grow under the leadership of Dr. Gene
Hemmle, information began to be gathered as early as 1956 for examination by the
National Association of Schools of Music (NASM) (Jones, 1956, October 10). The examination by NASM took place in 1957 (Texas Technological College, 1957, April
16).
Concert program records before 1964 are incomplete. After that time, the
Department of Music gathered programs from each year together in program books. A full list of repertoire performed by the orchestra from 1954-1979 as recorded in the
Ellsworth Family Collection is shown in Appendix. Concerts in which the Texas Tech
Symphony Orchestra performed and for which concert programs do exist between 1959 through 1964 are listed in Table 4 by academic year.
65 Texas Tech University, Laura Flanagan, May, 2020
Table 4 Texas Tech Symphony Orchestra Concerts 1959-1964 Date Location Concert Title Instrumentation Performing Faculty
Spring 1959
28 Feb. Lubbock The Texas Tech Opera Theater and The 12 VN, 4 VA, 2 VC, 3 VN - Paul Ellsworth 1959 Municipal Texas Tech Orchestra Present SB, 2 FL, 2 OB, 1 EH, VA - George Robinson Auditorium Riders to the Sea 2 CL, 1 Bs CL, 2 BN, 2 Bs CL - Keith McCarty TP, 3 HN, 2 TB, 2 Perc TB - Robert Deahl **William Harrod, VN listed as the Conductor, Lubbock Symphony Janice Ellsworth is listed as playing bass but is not noted as faculty or community member.
18 Mar. Smylie Texas Technological College Department of 11 VN, 4 VA, 4 VC, 4 VA - Randall Raley 1959 Wilson Music presents in Concert SB, 2 FL, 2 OB, 1 EH, VC - Russell Cothran Auditorium Tech Symphony Orchestra 2 CL, 2 BN, 3 TP, 3 SB - Wyatt Burkhalter HN, 2 TB, 2 Perc, 1 FL - Edwine Hunter Pno TB - Robert Deahl Tenor - Charles Post **William Harrod, VN listed as the Conductor, Lubbock Symphony Janice Ellsworth is listed as playing bass but is not noted as faculty or community member.
25 Apr. Lubbock 8th Annual Texas Symposium of 11 VN, 4 VA, 4 VC, 4 VA - Randall Raley 1959 Municipal Contemporary Music SB, 2 FL, 2 OB, 1 EH, VC - Russell Cothran Auditorium 2 CL, 2 BN, 3 TP, 3 SB - Wyatt Burkhalter HN, 2 TB, 2 Perc, 1 FL - Edwine Hunter Pno TB - Robert Deahl **William Harrod, VN listed as the Conductor, Lubbock Symphony Janice Ellsworth is listed as playing bass but is not noted as faculty or community member.
66 Texas Tech University, Laura Flanagan, May, 2020
Table 4 Continued 1 May Music “Styles in Brass, Strings and Madrigals” Not listed 1959 Building Auditorium
1959-1960 15 Nov. Lubbock Texas Technological College Department of 14 VN, 5 VA, 4 VC, 4 VA - George Robinson 1959 Municipal Music presents in Concert SB, 3 FL, 2 OB, 2 CL, BN - Keith McCarty Auditorium The Tech Symphony Orchestra, 2 BN, 3 TP, 4 HN, 2 HN - Richard Tolley The Tech Choir and Tech Singers TB, 2 Perc, in a Schubert Concert
20 & 21 Music Texas Technological College Department of 4 VN, 1 VA, 2 VC, 1 VA - Paul Ellsworth Nov. Building Music SB, 2 FL, 2 OB, 2 BN, BN - Keith McCarty 1959 Recital Hall The Texas Tech Opera Theater 2 HN The Texas Tech Orchestra and Department of Physical Education for Women The Texas Tech Modern Dance Group Present An Evening of Opera, Chamber Music and Dance for The Texas Tech 1959 Fine Arts Festival 8 May Ballroom, 10th Annual Texas Symposium of 14 VN, 4 VA, 4 VC, 3 VA - Paul Ellsworth 1960 Student Union Contemporary Music SB, 2 FL, 2 OB, 2 CL, BN - Keith McCarty 2 BN, 4 HN, 3 TP, 3 HN - Richard Tolley TB, 4 Perc Choir - Gene Kenney **Ronald LoPresti was an American composer and a guest of the symposium
1960 - 1961 NO PROGRAMS FOUND
67 Texas Tech University, Laura Flanagan, May, 2020
Table 4 Continued
1961 - 1962 5 Nov. Lubbock Texas Technological College Department of 18 VN, 6 VA, 9 VC, 5 SB - Judson Maynard 1961 Municipal Music presents in Concert SB, 4 FL, 2 OB, 2 BN, SB - Benjamin Smith Auditorium The Texas Tech Symphony Orchestra 3 TP, 4 HN, 3 TB, 1 The Texas Tech Choir Timp, 2 Perc, The Texas Tech Singers
5 Dec. Music An Evening of Opera Scenes “Members of the 1961 Building, The Texas Tech Opera Theater with the Texas Tech Symphony Room 1 cooperation of The Texas Tech Symphony Orchestra” Orchestra 10 Dec. Lubbock The First Annual Children’s Christmas 18 VN, 6 VA, 9 VC, 5 SB - Judson Maynard 1961 Municipal Concert SB, 1 Harp, 4 FL, 3 SB - Benjamin Smith Auditorium The Texas Tech Symphony Orchestra CL, 2 OB, 2 BN, 4 HN, Harp - Thomas Mastroianni 3 TP, 3 TB, 1 Timp, 2 OB - Alice Cooke Perc 1961-62 Concert Tour 16 VN, 8 VA, 7 VC, 5 VC - Benjamin Smith SB, 1 Tn Sax, 4 FL, 2 Pno - Judson Maynard Notes: OB, 3 CL, 2 BN, 4 HN, OB - Alice Cooke Librarian - Al Hardin 3 TP, 3 TB, 1 Tuba, 3 Composer - Mary Helen McCarty Student Conductor - Dwight Pounds Perc Officers of the Orchestra: Robert Brown, President; Jane Ann Henry, Vice President; Ruth Latch, Secretary-Treasurer, David Watkins - Representative
25 Apr. Lubbock 11th Symposium of Contemporary Music 16 VN, 8 VA, 7 VC, 5 VC - Benjamin Smith 1962 Municipal Wednesday Evening SB, 1 Ten Sax, 4 FL, 2 Pno - Judson Maynard Auditorium The Texas Tech Symphony Orchestra OB, 3 CL, 2 BN, 4 HN, OB - Alice Cooke The Texas Tech Opera Theater 3 TP, 3 TB, 1 Tuba, 3 Composer - Mary Helen McCarty Perc Conductor - Keith McCarty Notes: Tech Opera Theater - Charles Lawrie Librarian - Al Hardin Student Conductor - Dwight Pounds
68 Texas Tech University, Laura Flanagan, May, 2020
Table 4 Continued
11 Nov. Lubbock Texas Technological College Department of 18 VN, 7 VA, 8 VC, 5 VC - Benjamin Smith SB - Dr. Judson Maynard 1962 Municipal Music presents The Tech Symphony SB, 3 FL, 2 OB, 2 CL, OB - Robert Humiston Auditorium Orchestra and Men of the Tech Choral 3 BN, 4 HN, 3 TP, 3 Organizations in a Fine Arts Festival TB, 2 Perc, 1 PNO
Notes: Librarian, Al Hardin
27-28 Union Texas Technological College Department of 6 VN, 2 VA, 3 VC, 2 VN - Paul Ellsworth Nov.1962 Ballroom Music SB, 1 OB, 1 OB - Robert Humiston & The Tech Opera Theater presents The Harpsichord 2 Dec. Triumph of Honor or The Rake’s Reform 1962 On back: The Tech Opera Theater gratefully acknowledges the cooperation of the following members of the Tech Symphony Orchestra
16 Dec. Lubbock The Second Annual Children’s Christmas 18 VN, 7 VA, 8 VC, 5 VC - Benjamin Smith 1962 Municipal Concert SB, 3 FL, 2 OB, 2 CL, SB - Dr. Judson Maynard Auditorium With the 3 BN, 4 HN, 3 TP, 3 OB - Robert Humiston The Texas Tech Symphony Orchestra TB, 2 Perc, 1 Timp, 1 And the Academy of Dance Pno
Notes: Librarian, Al Hardin
69 Texas Tech University, Laura Flanagan, May, 2020
Table 4 Continued
1962-63 Concert Tour 19 VN, 6 VA, 9 VC, 5 VC - Benjamin Smith, SB - Judson Maynard SB, 3 FL, 2 OB, 2 CL, SB - Mrs. Larry Weed 4 BN, 3 TP, 5 HN, 4 OB - Robert Humiston Notes: TB, 2 Perc, 2 Timp, 1 Harpsichord - Charles Lawrie Librarian, Al Hardin Harpsichord, 1 Harp
1 May Ballroom, 12th Symposium of Contemporary Music 19 VN, 6 VA, 9 VC, 5 VC - Benjamin Smith, SB - Judson Maynard, 1963 Student Wednesday Evening SB, 3 FL, 2 OB, 2 CL, Mrs. Larry Weed, OB - Robert Humiston Union Part I The Texas Tech Symphony Orchestra 4 BN, 3 TP, 5 HN, 4 TB, 2 Perc, 2 Timp., 1 Notes: Harp, Librarian, Al Hardin
14 May Ballroom, The Texas Tech Symphony Orchestra in the 19 VN, 5 VA, 8 VC, 5 VC - Benjamin Smith 1963 Student 3rd Annual Commencement Concert SB, 3 FL, 2 OB, 2 CL, SB - Judson Maynard Union 4 BN, 3 TP, 5 HN, 4 SB - Mrs. Larry Weed TB, 2 Perc, 1 Timp., 1 OB - Robert Humiston Notes: Harp. Librarian, Al Hardin
1963 - 1964
8 Dec. Lubbock The Third Annual Children’s Concert with the 23 VN, 5 VA, 8 VC, 6 VN - Virginia Kellogg 1963 Municipal Texas Tech Symphony Orchestra and the SB, 3 Fl, 2 OB, 3 CL, VC - Benjamin Smith Auditorium Academy of Dance 3 BN, 5 HN, 3 TP, 3 SB - Judson Maynard TB, 1 Tuba, 4 Perc, 1 OB - Robert Humiston Timp., HN - Anthony Brittin Notes: Librarian, Al Hardin
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Table 4 Continued
13 Dec. Lubbock Texas Technological College Department of 15 VN, 4 VA, 4 VC, 2 VN - Virginia Kellogg 1963 Municipal Music the Tech Opera Theater and the Tech SB, 3 FL, 2 OB, 2 CL, OB - Robert Humiston Auditorium Symphony Orchestra present The Marriage 3 BN, 2 TP, 3 HN, 1 of Figaro Timp., 1 Harpsichord
13 Feb. Monterey Texas Technological College Department of 21 VN, 6 VA, 8 VC, 6 VN - Virginia Kellogg 1964 Auditorium Music presents the Texas Tech Symphony SB, 3 FL, 2 OB, 3 CL, VC - Benjamin Smith Orchestra in Concert 1 Saxophone, 2 BN, 4 SB - Judson Maynard HN, 3 TP, 3 TB, 1 OB - Robert Humiston Tuba, 1 Timp., 2 Perc Saxophone - Keith McCarty Notes: HN - Anthony Brittin Librarian, Andrea O’Brennan
28 Apr. Ballroom, 13th Symposium of Contemporary Music, 21 VN, 6 VA, 8 VC, 6 VN - Virginia Kellogg 1964 Student Tuesday, April 28, 1964 I. Texas Tech SB, 3 FL, 2 OB, 3 CL, VC - Benjamin Smith Union Symphony Orchestra 1 Saxophone, 2 BN, 4 SB - Judson Maynard Building HN, 3 TP, 3 TB, 1 OB - Robert Humiston Tuba, 1 Timp., 2 Saxophone - Keith McCarty Notes: Perc, 1 Pno. HN - Anthony Brittin Librarian, Andrea O’Brennan PNO - Thomas Mastroianni
12 May Ballroom, Texas Technological College Department of 21 VN, 6 VA, 8 VC, 6 VN - Virginia Kellogg 1964 Student Music presents The Tech Symphony SB, 3 FL, 2 OB, 2 CL, VC - Benjamin Smith Union Orchestra in a Commencement Concert 1 Saxophone, 2 BN, 4 SB - Judson Maynard HN, 3 TP, 3 TB, 1 OB - Robert Humiston Tuba, 1 Timp, 2 Perc Saxophone - Keith McCarty HN - Anthony Brittin Note: Known concerts at Texas Technological College including the orchestra from the Spring of 1959 through the Spring of 1964. Data was gathered from incomplete program books (Texas Technological College, 1959-1962; Texas Technological College, 1962- 1964).
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Students’ hometowns
The Concert Tour programs for 1961-1962 and 1962-1963 are especially informative because they list student’s hometowns beside their names in the concert program. As shown in Figure 6, students in the TTSO mostly came from Texas. In 1961-
62 there were five students participating in the orchestra from out of state, and in 1962-
1963 there were only four. Figure 7 divides the students by hometown, demonstrating that a large number of students (thirty-eight in 1961-1962 and thirty-four in 1962-1963) came from Lubbock. This suggests the connection with the Lubbock Public Schools was strong. The additional fact that both years had an equal number of student members in the orchestra (fifty-nine) opens the possibly that students were placed in the orchestra through some sort of selection process and the number of student members was capped.
Figure 6
TTSO Students by Home States 60 50 40 30 20 10 0 Texas New Mexico Kansas Missouri Washinton
# of Students, 1961-62 # of Students, 1962-63
Note: Data gathered from 1961-1962 and 1962-1963 Concert Tour Programs (Texas Technological College, 1959-1962, Texas Technological College, 1962-1964).
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Figure 7
TTSO Students by Hometown
40 35 30 25 20 15 10 5 0
Dallas, TX Snyder, TX Abilene,Amarillo, TX TX Dimmitt,El Paso,TX TX Lockney, TX Midland,Odessa, TX TX Granbury, TXLevelland, TX Lubbock, TX- Plainview,Portales, TX NMSundown,Tacoma, TX WA Big Spring,Coffeyville, TX KS Hagerman, NM Denver City, TX Los Alamos, NM West Plains, MO
# of Students, 1961-62 # of Students, 1962-63
Note: Data gathered from 1961-1962 and 1962-1963 Concert Tour Programs (Texas Technological College, 1959-1962, Texas Technological College, 1962-1964).
The bottom of the 1961-1962 Concert Tour brochure says:
Membership of the Tech Symphony Orchestras, Tech Choirs, Tech Bands, and
the Tech Opera Theater is made up from the general student body as well as
music majors, and represents the schools of Arts and Sciences, Engineering,
Business Administration, Agriculture and Home Economics. Scholarships are
available to all majoring in music (Texas Technological College, 1959-1962).
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Figure 8 The Texas Tech Symphony Orchestra, 1961-1962
Note: Photo of the Texas Tech Symphony Orchestra from the 1961-1962 Concert Tour Program. Photo courtesy of the Southwest Collection/Special Collections Library (Texas Technological College, 1959-1962)
Scholarships for Music Students
Further information on the back of the concert program specifies music scholarships for strings, woodwinds, brass, piano, voice, and organ based on academic record, musical ability, and financial need.
Hemmle was eager to attract top students through the utilization of scholarship money:
And what I would call some talent, that uh, is big talent and this is drawn by
scholarship money and it took the reaching out and development of funds from
the outside to build up enough scholarship money, as well as funds from within,
because we were very, very fortunate in having support there too . . . we could
compete with North Texas and the University of Texas on a scholarship program
so we began attracting the spectacular talent (Hemmle, 1973, November 13).
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Scholarship awards in 1961 came from a variety of places including area music clubs (including the Allegro Music Club, the Crosbyton Music Club, the Lubbock Music
Club, the Seagraves Music Club, the Music Appreciation Club, and the Seventh District,
Texas Federation of Music Clubs), various memorial funds, the Lubbock Symphony
Orchestra, and the college itself (Texas Technological College, 1959-1962).
Continued Involvement of the Department of Music in the Lubbock Symphony Orchestra
Careful examination of Lubbock Symphony Programs from 1954-1964 show overlap in musicians between the Texas Tech Orchestra and the Lubbock Symphony.
Because the Texas Tech Orchestra utilized community members early in its history as part of its ensemble and they are not noted as such in the programs (for example, as seen in Table 4, Paul Ellsworth’s wife, Janice Ellsworth, is listed as playing bass in the 1959 programs), it is impossible to tell exactly what the overlap was. However, Lubbock
Symphony programs show a strong presence of Texas Tech faculty performing with and supporting the ensemble. For example, Paul Ellsworth began playing in the Lubbock
Symphony in the fall of 1954, performing as a viola soloist on the December 1954 concert (Lubbock Symphony Orchestra, 1954, December 6-7).
Support of the Public School Orchestra Programs
In addition to the annual Summer Orchestra School, Texas Technological College continued to support orchestra programs in the local public schools by teaming up to begin a program starting select fifth grade students in 1960. The new “string project” was designed not only to give young students a head start on playing the violin, but also to help train pre-service teachers. As reported in a local newspaper:
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Student teachers will instruct under supervision and will formulate a method for
beginning string classes. Tech tutors will be instructed by Paul Ellsworth,
assistant professor of music at Tech, and two teachers from the Lubbock public
schools (Tech students assist, 1960, October 23).
Eight instruments for the program were donated by Lubbock Symphony Orchestra conductor, William Harrod perhaps demonstrating a concerted effort by the Lubbock
Public Schools, Texas Technological College and the Lubbock Symphony Orchestra to support orchestra in Lubbock. There is evidence that William Harrod and Randall Raley owned a music shop together (Monterey High School, 1957).
Another example of Texas Technological College’s outreach to public school children through the Tech Orchestra was an annual Children’s Christmas Concert (as seen in Table 4) beginning in December of 1961 specifically aimed at school aged children (Texas Technological College, 1959-1961). Given on a Sunday, it is interesting to note the involvement of Supervisor of Music in Lubbock Public Schools, Dr. John
Anderson, as narrator of the first and third annual concert. The concert included themed
Christmas music by composer Leroy Anderson, but also included a wide variety of other selections. Each year, dancers were also featured in these concerts.
Outreach Beyond Lubbock
In 1963, the Texas Tech Orchestra received an invitation to perform in Mexico.
This unprecedented opportunity was lauded in the local paper:
Texas Tech has accepted an invitation to send its symphony orchestra on a tour of
Mexico March 28-April 4. The invitation was extended by Rafael Gaona of
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Mexico’s National Institute of Fine Arts. It was formally accepted Tuesday in the
offices of Tech President R. C. Goodwin (Tech Symphony plans tour of Mexican
cities in ‘64, 1963, November 27).
According to the newspaper, the invitation came after Mexican pianist, Hector
Montes de Och heard the Texas Tech Symphony while he was in Lubbock playing a concert. Mexico agreed to pay for all expenses for the orchestra while they were in
Mexico. However, private funds were raised to facilitate the orchestra traveling to the country. Between November 1963 and April of 1964, a large number of events were held to raise the money for the orchestra, including benefit concerns in the community. Five concerts were ultimately given in Mexico with the orchestra traveling extensively by both bus and plane across the country.
This experience seems to culminate a period of intense growth for the Texas Tech
Orchestra program who had gone from three string players when Paul Ellsworth arrived at Texas Technological College to an orchestra with 59 student members in May of 1964,
38 of whom were string players.
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Figure 9 Texas Tech Symphony Orchestra in Mexico
Note: Paul Ellsworth with marquee advertising the Texas Tech Orchestra in Mexico. Photo courtesy of Edward Ellsworth (Ellsworth, 2020a).
Summary In summary, under Professor LeMaire from 1925-1934, The Texas Tech
Orchestra was a small ensemble made up of a limited number of students. From 1934-
1949 that orchestra expanded to include members of the community in order to present large productions with the Texas Tech Choir. It wasn’t until 1954 under the tenure of
Paul Ellsworth that the orchestra began to grow to become a full symphony orchestra almost wholly dependent on student participation.
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CHAPTER 5
CONCLUSIONS
This study focused on the history of the Texas Tech Symphony Orchestra (TTSO) from the founding of Texas Technological College in 1925 up until the Texas Tech
Symphony Orchestra’s Concert Tour of Mexico in 1964. This time period represents a formative period in the history of the Texas Tech Technological College and the TTSO as documented by the portraits on the wall outside of Hemmle Recital Hall, the performance space for the TTSO.
This study examined the time period from 1925-1964 in the TTSO’s history through the use of archival databases and resources including the Texas Tech University
Archives, the Southwest Collection/Special Collections Library, periodicals, concert programs, oral histories, and ephemera. Special attention was given to the orchestra’s role in the development of the Texas Technological College’s Department of Music in training students for careers as music educators in public school bands and orchestras.
This included educational outreach programs connected with the TTSO.
The research questions examined include:
1) What is the organizational history of the TTSO?
2) What influences and circumstances were present at the creation and throughout
the history of the TTUSO which impacted the growth of music educators both
directly and through outreach programs?
3) Who were the primary faculty influences in creation of the TTSO and its
growth from 1925-1964?
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Findings The findings of this research show the origins of the Texas Tech Symphony
Orchestra reach as far back as the first course catalog for Texas Technological College, published in 1925. However, the first mention of an orchestra found in the archives shows a small ensemble led by music professor Harry LeMaire in 1929 where performances of the orchestra were included in the band calendar for that year. A limiting factor in the growth of this organization appears to be a lack of string players as evidenced by a letter from chair of the music department, Professor Waghorne from 1927
(Waghorne, 1927, May 13).
College administration consistently appears to have desired an orchestra program on campus. Efforts were made to encourage the growth of an orchestral ensemble with the hiring of Professor Julien Paul Blitz to lead the Department of Music beginning in
1934 (Knapp, 1934, February 5). Under Blitz’s leadership, an orchestra at Texas
Technological College was formed by combining the forces of community members with the existing college students. This orchestra appeared in performances of sacred works which included a large choir, specifically The Seven Last Words of Christ (1867) by
Theodore Dubois and Handel’s Messiah.
After the foundation of the Lubbock Symphony Orchestra within the community in 1946, the administration of Texas Technological College appears to have become frustrated with the lack of growth of the orchestra program by 1948 (Wiggins, 1948,
October 11). Professor Blitz was replaced in 1949 as head of the Department of Music, then resigning from the college at the end of the following academic year (Dr. Blitz resigns Tech music post, 1950, May 19). Dr. Gene Hemmle assumed leadership of the
80 Texas Tech University, Laura Flanagan, May, 2020
Department of Music in September of 1949 and made the growth of the Texas Tech
Symphony Orchestra a priority.
In 1951, Dr. Hemmle hired Professor Robert Dean to begin an orchestra program.
Under Professor Dean, a new Summer Orchestra School was launched in 1952 as an outreach program for the public school orchestra students which mirrored the Summer
Band School which had been in place at Texas Technological College since 1934.
Despite this advancement, Professor Dean resigned from the college in 1953 after only two years.
Professor Paul Ellsworth was hired by Texas Technological College in 1954 to develop the orchestra program despite the fact that only three string players were enrolled at the time. Over the course of the next decade, Ellsworth became involved in the
Lubbock Symphony Orchestra, recruited players, began educational outreach programs with the Lubbock Public Schools including an annual Christmas Concert and a “string project” designed to help develop preservice string teachers. In 1961 he began to take the orchestra on an annual “Concert Tour.” In 1964 the orchestra was invited to tour Mexico, giving five performances there. By 1964, the overall student membership of the Texas
Tech Symphony Orchestra reached 59, 38 of which were string players.
Importantly, research revealed a wealth of archival information on the history of the Texas Tech University Symphony Orchestra dating from 1925 to present times, however gaining access to it proved to be challenging.
Challenges in the Research
The presented data represents the beginnings of research into a multi-faceted history of music and the arts in West Texas. Because of a lack of structured record
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keeping, challenges were faced in the collection of this data. However, in expanding the area of search for data, many other questions and avenues for future research were explored.
Archival
Texas Tech University: School of Music Records, President’s Office Records and Vice President’s Office Records
Unexpected challenges in researching the history of the Texas Tech University
Symphony Orchestra included archival information being scattered throughout a variety of sources. Department of Music and School of Music records were either entirely absent or incomplete. Many gaps were filled through utilizing more remotely related primary sources like files from the President’s or Vice President’s Offices. These files were also often incomplete or inconsistent depending on who the college or university president was at the time.
Additionally, many files, records, and ephemera at the Southwest
Collection/Special Collections Library and the University Archives at Texas Tech
University are in a continual state of organization and collection causing not all existing records to be available to the public. Several of the files utilized in this study were found through conversations with the university archivist and were found to be unavailable through traditional location searches. As more materials become available to the public over time, the history of the TTUSO should be continually re-examined.
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Personal Collections
Information for this topic was found in personal collections within the Southwest
Collection/Special Collections Library and University Archives at Texas Tech
University. For example, long time professors Dewey O. Wiley and Dr. Mary Jeanne Van
Appledorn left extensive collections to the University Archives. Because of time, a systematic search through these collections was impossible and it is likely they may contain key information relating to the history of Texas Technological College’s
Department of Music and the TTUSO itself.
The Ellsworth family has its own personal collection of information on the Texas
Tech Symphony Orchestra with artifacts dating to the time during Professor Paul
Ellsworth’s tenure. The family was eager to share this information. Limitations of time and distance prohibited further exploration of this source of information but should be explored further for future research.
Institutional Research & Information Management Records
While systematic searches of the Institutional Research & Information
Management Records (IRIM) files relating to orchestra and band directors at Texas
Technological College between 1925-1964 were conducted, searches of the IRIM files for Department of Music faculty members, especially those who participated in performing with the TTUSO during this period were not searched because of a limitation of time on the study. IRIM files, while not human resources files, contain similar information including curriculum vitas, copies of employment contracts, and other pertinent memos between university administrators and employees. A further search of
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these files as it relates to the Department of Music faculty members who were on the periphery of the TTUSO could possibly lead to additional findings.
Oral Histories
Careful attention was paid to the oral histories of Professors Dewey O. Wiley and
Dr. Gene LeClair Hemmle which are housed in the Southwest Collection/Special
Collections Library at Texas Tech University. However, restrictions of time did not permit the examination of the oral histories of long-time faculty members of the
Department of Music which could also lend insight into the history of the TTUSO. An example of an oral history still remaining to be examined in the Southwest
Collection/Special Collections includes Professor Richard Tolley who performed with the
Texas Tech Symphony Orchestra in the 1959-1960 academic year.
Other Potential Sources of Archival Information
Symphonic Archives
Conversations with the Lubbock Symphony Orchestra provided, through the generosity of their CEO, Galen Wixon, full access to their comprehensive files of past concert programs dating from 1946 until present day. With more time, and following further research of the TTUSO, a comparison study of the musicians performing with the
Lubbock Symphony Orchestra and the Texas Tech Orchestra could yield further insight into the potential interdependent relationship of these two organizations in their early years.
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Research into Julien Paul Blitz’s career before he accepted the position at Texas
Technological College led to a potential wealth of information about him as a string pedagogue and founder of the Houston Symphony. Searching the Texas Archival
Resources Online (TARO) database revealed that a collection of his papers and scrapbooks are held at the Dolph Briscoe Center for American History in Austin, Texas.
A conversation with the archivist there suggests that while it is potentially a rich source of information for his life before and after his time at Texas Technological College, there is no information about Blitz’s time in Lubbock. It is possible something was missed by the archivist there, and a visit to these archives could prove enlightening.
Additionally, the Houston Symphony maintains a large file on Julien Paul Blitz, their first conductor, including Lubbock and Houston newspaper clippings. Their archivist was extremely helpful in sharing information and with more time for research more information might be gained from these archives.
Local and Regional Newspapers
Because of limitations of time and resources, a thorough and systematic search of local and regional newspapers was impossible. Instead, targeted searches were conducted for specific persons and events (for example, the “string project” in 1960). However, preliminary keyword searches indicate a potential wealth of information about outreach concerts given by the Texas Tech Orchestra and faculty of the Department of Music dating as far back as the 1930s that were presented in Lubbock and surrounding towns like Crosbyton (Senior play is well attended last Friday, 1936, May 15). It appears many concerts were given involving the Texas Tech Orchestra in the 1950s and 1960s as
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advertised in the local paper. A more systematic search into the newspaper archives could fill in some of the gaps left by missing concert programs.
Other Unexamined Sources of Information
An emerging theme while searching for potential directions for archival research and visiting with former students of the Texas Tech Orchestra, as well as former
Department of Music faculty members, was their eagerness to share their experiences about the TTUSO. A potential next step for this research would be to conduct informal and semi-formal interviews with former students and faculty members, as well as with
Paul Ellsworth’s family.
Time is essential in this process as students from the 1954 orchestra are, as of writing in 2020, now in their eighties. Within the next twenty years, it could be impossible to gather this data due to an aging population of former students.
Using information gained in these interviews, it may be possible to trace connections from the Texas Tech University Symphony Orchestra to past and current practitioners in Texas music classrooms and across the nation.
Summary
A number of factors, including scattered and incomplete records, inhibited the progress of the research, making time a larger factor than initially expected. However, there are indications more information on the history of the TTUSO exists and it would be timely to pursue and continue to collect these data in a variety of forms, including archival as well as interview form.
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Emerging Questions & Related Areas of Research
Blitz’s Limited Success
Many questions emerged during the gathering of data. Evidence suggests the early administration of Texas Technological College were highly interested in building an orchestra program within the Department of Music. Given the mention of offering orchestra in the very first course catalog, it is evident the intentions of the college were to build a music program including a band, choir, and orchestra (Texas Technological
College, 1925). The hiring of Professor Julien Paul Blitz in 1934, a man with an extensive record of both teaching applied string instruments and building successful orchestras, including the Houston Symphony, implies a desire by the President to jump start Texas Technological College’s orchestra.
However, evidence shows Blitz was not truly successful in building an orchestra, specifically in the area of stringed instruments, at Texas Technological College. What were the factors that possibly played a role in preventing the growth of the orchestra under his tenure? To answer this question, more research is needed. Possible areas to explore include: the culture and population of Lubbock, Texas between 1934-1949 and
Blitz’s teaching style and/or conflict of personality. More research into the population and culture of Lubbock, Texas between the years of 1934-1949 could reveal a combination of isolation and pioneer mentality could have made orchestra less of a priority for the town. Additionally, both Professor Wiley and Dr. Hemmle suggested
Blitz’s teaching style to be more conservatory model based than Professor Wiley’s democratic approach. In fact, in a letter to the President before his hire in 1934, Blitz emphasized the importance of private lessons and studio time in the growth of musicians
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(Blitz, 1934, February 20). Blitz also expressed his frustration at the level of music literacy of incoming students in a memo (Blitz, 1949, March 21). A possibility exists that
Blitz’s growing frustration made it more difficult to build the orchestra program, possibly leading to his displacement as chair of the department.
Numerous correspondence between Blitz and various college administrators and faculty reveal he had a peculiar sense of humor. Questions remain as to whether this played a role in his ability to recruit and retain students. More research into enrollment may be helpful in this area.
Ellsworth’s Success
Unlike Professor Blitz, Professor Paul Ellsworth was able to expand the orchestra program from three string students to a full, symphony orchestra with 59 student members (including 38 string players) within a ten year period. Why was Ellsworth able to achieve success when Blitz was not? Further research is needed. Possible contributing factors may have included: a post-World War II boom across the United States in the growth of orchestras in communities and string programs in schools and Texas in particular, accelerated population and economic growth in Lubbock, Texas, the addition of a Summer Orchestra School at Texas Technological College, or a triumvirate of increased advocacy for strings in the Lubbock community spear-headed by Paul
Ellsworth, Randall Raley in the Lubbock Public Schools, and William Harrod, Conductor of the Lubbock Symphony Orchestra.
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Below is a timeline demonstrating the series of events in Lubbock, Texas and the
United States possibly contributing to Ellsworth’s success in starting the orchestra program at Texas Technological College:
1936 – Orchestra teachers are invited to join the Texas Band Teachers
Association resulting in a name change in the association to Texas School
Band and Orchestra Association (TSBOA)
1945 – After World War II, the number of professional orchestras in America
increased (Mark & Gary, 2007).
1946 – The Lubbock Symphony Orchestra is founded by William Harrod
(Peoples, 2017).
1947 – Five Texas All-State groups, including one orchestra, performed at the
state music educators convention of 1947 (Cross, 2019).
1947 – TSBOA votes to recognize the University Interscholastic League as its
official coordinator of music contests (Texas Music Educators
Association, 2020, February 12).
1948 – Music courses in Texas high schools were first allowed to count for one
credit toward a student’s high school graduation (Cross, 2019).
More research is needed, but it is possible, given that the increase of music in the public schools of Texas may have helped to create a more receptive culture and community to the Texas Tech Orchestra program in 1954 than Blitz encountered in
Lubbock in 1934.
It is unknown what impact the addition of the Summer Orchestra School had on enrollment in strings in the college. Records do exist, including the names of students
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who attended the camp. Therefore, it could be enlightening to compare the rosters of both organizations.
The “string project” in 1960 which gave preservice teachers the opportunity to teach 5th grade students in the Lubbock Public Schools and for which William Harrod of the Lubbock Symphony Orchestra donated eight violins suggests there was a shared vision among Ellsworth, Harrod, and Lubbock Public Schools string teacher, Randall
Raley (Tech students assist, 1960, October 23). The three men were all associated with the Lubbock Symphony in the 1950s (Lubbock Symphony Orchestra, 1956, October 15).
Further research, perhaps including interviews, could show whether this shared vision led to an intentional building of the string programs in Lubbock, Texas at that time.
It is worth pointing out that students who began playing stringed instruments in sixth grade, the year that Ellsworth arrived at Texas Technological College, could have been freshmen students at Texas Technological College performing in the orchestra in the
1962-1963 academic year. Given that the majority of students in the orchestra at that time were from Lubbock, it seems possible that part of Ellsworth’s success was the natural growth of a successful program. How much his personal temperament played in the success of the program is difficult to determine. Research utilizing interviews of former students may provide insight into this question.
Emerging Areas for Further Research
The research for the present study shed light on available material which could serve as a wealth of data for future topics. Topics of further inquiry could include:
1) A further history of the TTUSO from 1964 to present
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2) An history of the Texas Tech School of Music
3) Histories of the other major ensembles at the university
4) An history of the Lubbock Symphony Orchestra
5) An history of orchestra in the Lubbock Public Schools
6) An history of the Texas Tech Summer Band and Orchestra Camps
7) Further research on the roll that Professor Dewey O. Wiley played in the history
of the Texas Music Educators Association
8) A separate focus on the biographies on Professor Julien Paul Blitz and Dr. Gene
LeClair Hemmle.
Conclusion
The study presented in this document represents the very beginning of a line of research which could illuminate aspects of Lubbock’s arts history and the history of its orchestra programs. The more data that were gathered, the more avenues were overturned for further research into this fascinating area of West Texas history.
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Wasiak, E. (2000). School bands in Saskatchewan, Canada: A history. Journal of Historical Research in Music Education, 21(2), 112-131. http://www.jstor.org /stable/40215213
Wechsler, D. (2012). A history of the New York Flute Club [Unpublished doctoral dissertation]. City University of New York.
Weiss, J. K. (1955, April 15). [Letter to Gene Hemmle offering a fellowship award from The Fund for the Advancement of Education]. Texas Tech: Institutional Research & Information Management Records, 1920-1994. (Box 46, Folder 38. U278.1). Southwest Collection/Special Collections, Texas Tech University, Lubbock, Texas.
Welsh, M. (2013). One woman in a hundred: Edna Phillips and the Philadelphia orchestra. University of Illinois Press.
Wiggins, D. M. (1948, October 11) [Letter to Gene Hemmle]. Texas Tech: Institutional Research & Information Management Records, 1920-1994. (Box 46, Folder 38. U278.1). Southwest Collection/Special Collections, Texas Tech University, Lubbock, Texas.
Wiley, D. O. (1933, June 11). [Letter to Dr. Bradford Knapp]. Texas Tech: Institutional Research & Information Management Records, 1920-1994. (Box 113, Folder 29. U278.1). Southwest Collection/Special Collections, Texas Tech University, Lubbock, Texas.
Wiley, D. O. (1949, September 10). [Curriculum vita]. Texas Tech: Institutional Research & Information Management Records, 1920-1994. (Box 113, Folder 29. U278.1). Southwest Collection/Special Collections, Texas Tech University, Lubbock, Texas.
Wiley, D. O. (1969, June 12). [Oral history interview]. Interview by B. Schneider, [Audio recording]. Recording housed at the Southwest Collection/Special Collections. Texas Tech University, Lubbock, Texas.
Wilkie, A. B. (1970). A history of orchestral music in Tacoma, 1911-1970 [Unpublished master’s thesis]. University of Puget Sound.
Williams, G. (1960). Orchestras and bands: El Paso music 1880-1960 (UMI No. EP00215) [Doctoral dissertation, University of Texas at El Paso. ProQuest Dissertations and Theses Global.
Williams, L. (1968). A history of the high school orchestra movement in Kansas [Unpublished master’s thesis]. University of Kansas.
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Woodruff, J. (1979). A history of the Atlanta community orchestra, 1958-1978, as founded and sponsored by the Atlanta Music Club, Inc. [Unpublished master’s thesis]. Georgia State University.
Wyder, G. (1995). The history of the Ohio State University Symphony orchestra and string faculty [Unpublished master’s thesis]. Ohio State University.
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APPENDIX
Repertoire of the Texas Tech Orchestra during the tenure of Paul R. Ellsworth, provided with the permission of the Ellsworth Family (Ellsworth, E., 2020b)
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