INFORMATION TO USERS
This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer.
The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction.
In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
Photographs included in the original manuscript have been reproduced xerographically in this copy, ffigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600
THE QUALITY OF REPERTOIRE CHOSEN BY HIGH SCHOOL
WIND BAND CONDUCTORS AND THE RESOURCES AND
CRITERIA USED TO CHOOSE THIS LITERATURE
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By Craig S. Young, B.M.E., M.M. *****
The Ohio State University
1998
Dissertation Committee: Approved by Professor Judith Delzell, Adviser
Professor Richard Blatti
Professor Patricia Flowers jQ A dviser Professor Jon Woods School of Music UMI N um ber; 9 9 1 1 2 9 3
UMI Microform 9911293 Copyright 1999, by UMI Company. All rights reserved.
This microform edition is protected against unauthorized copying under Title 17, United States Code.
UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Craig Steven Young 1998 ABSTRACT
The purpose of this study was: (a) to investigate what literature was being performed by wind bands in a sample of large secondary schools in the United States in the academic years of 1994-97, (b) to evaluate the quality level of this literature, (c) to investigate the resources and criteria used by secondary school band conductors in order to locate literature, and (d) to ascertain whether any
relationship can be found between the resources and criteria used by these band conductors and the quality of the literature that they chose.
Both a telephone and a written survey were administered to the sample group to ascertain the resources and criteria used when choosing literature for their large concert ensembles. In addition, the conductors were asked to return programs from their concerts performed in the academic years of 1994- 97. The Repertoire Evaluation Inventory (REI) was developed by use of numerous experts within the field of wind band literature to determine the quality of the repertoires, and consisted of three quality groupings.
Descriptive statistics, chi-squares, and f-tests were used in arriving at the conclusions. Almost half (47.77%) of the compositions performed by the bands surveyed did not contain a notable level of quality. In addition, 46.04% of the compositions that were determined to contain a notable level of quality were not programmed by any of the conductors surveyed. Only 24 of the 530 compositions included on the REI (4.53%) were performed by 10% (7) or more
ii of the bands surveyed.
When the respondents were grouped by the quality of their repertoires, publisher materials were determined to be utilized more often by those conductors in the low quality group, while college or university conductors and the attendance at clinics, workshops, or conventions were utilized more often by those in the high quality group. The high quality group also valued the criteria of musical quality and knowledge of the composer more than the low quality group.
Ill With love to Joann, Morgan, and N oah
I V ACKNOWLEDGMENTS
I must begin by acknowledging my wife, Joann, for her incredible patience and willingness to put up with (and supporting) the long process of finishing my degree. Although the process was not always easy, her love and support never wavered. I would also like to acknowledge the patience and persistence of Judy
Delzell, who helped (and pushed) me through that process. She always knew when I needed a little praise or a bit of a boot. A special thanks goes to Rick Blatti for being everything I needed throughout my years at Ohio State: teacher, friend, critic, confidant. There is little question that 1 would not be to this point in my career without his constant encouragement and assistance. Gratitude is also extended to Patricia Flowers and Jon Woods for taking the time to serve on my committee. A special thanks goes to the conductors who participated in the development of the REI: Richard Blatti, Gary Lewis, Bruce Moss, and Steven Peterson. The effectiveness of this dissertation relied heavily upon their willingness to spend hours examining endless lists of repertoire. Their contribution is greatly appreciated. Finally, 1 would certainly be remiss not to give a big thank you to my parents and my mother-in-law. Their interest, support, and assistance throughout the years will never be forgotten. Thank you. VITA
September 21,1966 ...... Born - Canton, Ohio
1988 ...... Bachelor of Music Education Bowling Green State University Bowling Green, Ohio
1989-92 ...... Director of Bands Belpre City Schools Belpre, Ohio
1995 ...... Master of Music (Conducting) The Ohio State University Columbus, Ohio
1993-present ...... Graduate Teaching Associate, The Ohio State University
FIELDS OF STUDY
Major Field: Music
Studies in Music Education: Professors Judith Delzell, Patricia Flowers, Timothy Gerber, and Jan McCrary
Studies in Conducting: Professors Richard Blatti and Gary Lewis
Studies in Saxophone Performance: Professor James Hill
VI TABLE OF CONTENTS
Page Abstract ...... ii
Dedication...... iv
Acknowledgments ...... v
Vita...... vi
List of Tables...... ix
Chapters 1. Introduction Statement of the Problem...... 4 Need for the Study ...... 11 Purpose of the Study...... 12 Limitations...... 13 Definition...... 14
2. Related Literature Quality in music and the judgm ent of this quality...... 15 The quality inherent in wind band literature and the wind band literature that is actually being performed in the secondary schools...... 24 Resources used by high school band conductors to locate desired music literature for large ensembles...... 27 Criteria used by high school band conductors to select music literature for large ensembles...... 29 Conclusion...... 33
3. Methodology Population and Sample...... 34 Telephone Interview...... 35 Mail Survey...... 39 Development of the Repertoire Evaluation Inventory...... 47
Vll 4. Analysis Description of the population and sample...... 53 Repertoire performed by high school bands ...... 56 Quality of repertoire being performed by high school bands ...... 70 Resources utilized in the choosing of literature...... 73 Criteria for choosing literature...... 84 The relationship between quality of repertoire and the resources and criteria used to choose literature...... 93
5. Summary and conclusions...... 95 Quality of Repertoires...... 97 Resources...... 107 Criteria...... I l l Implications...... 113 Suggestions for future research...... 114
References...... 116
A ppendices A. Telephone Survey Script...... 121 B. Cover Letter...... 122 C Written Survey Instrument...... 124 D. An examination of quality repertoire available to the high school wind band...... 127 E. Compositions Performed by Only One Band ...... 171 F. REI: Exceptional Quality Literature...... 185 G. REI: High Quality Literature...... 187 H. REI: Good Quality Literature...... 193 I. Compositions Performed by the Repertoire Respondents Which Were U nknow n to the Entire REI Jury...... 200 J. Comparison Between the Gaines (1996) and the Number of Performances on the Present Study...... 203
Vlll LIST OF TABLES
Table Page
1 Resources utilized by conductors for choosing literature...... 40
2 Criteria used by conductors to choose literature...... 42
3 Response rate by state ...... 46
4 Composers represented by marches and the number of performances received...... 58
5 Compositions other than marches, fanfares, and pieces for soloist and band that were performed multiple times, and the number of performances received...... 60
6 Number of performances and compositions by composer 69
7 Performed compositions compared to REI by inclusion in contests or festivals...... 72
8 Primary, secondary, and combined resources used for locating literature for use in the high school band as investigated through the telephone survev...... 74
9 Primary, secondary, and combined resources used for locating literature for use in the high school band as investigated through the written survey...... 76
10 Combined primary and secondary resources used by contest participants and contest non-participants...... 78
11 Mean ratings and standard deviation of each resource...... 81
IX 12 Differences in the utilization of resources by contest participants and contest non-participants...... 82
13 Average of the resource rankings from the three measurements taken in the telephone and written surveys ...... 83
14 Primary, secondary, and combined criteria used by- conductors for determining what literature to use with their large high school ensembles as investigated through the telephone survey...... 85
15 Primary, secondary, and combined criteria used by conductors for determining what literature to use with their large high school ensembles as investigated through the written survev...... 87
16 Ratings of each criteria by median and standard deviation 91
17 Average of the criteria rankings from the three measurements taken in the telephone and written surveys ...... 92
18 Compositions included in the "Exceptional Quality Literature" category of the REI that were not performed by any of the bands surveyed ...... 100
19 Example of a high quality repertoire...... 104
20 Example of a medium quality repertoire...... 105
21 Example of a low quality repertoire...... 106 LIST OF FIGURES
Figure Page
1 Box plot for years of teaching experience of the survey response group...... 56
XI CHAPTER 1
[NTRODUCnON
Quality artistic experiences are essential to develop the well-rounded individual (Music Educators National Conference, 1994). While this may appear to be self-evident to many educational scholars and those within the arts education community, music and the other arts continue to struggle to keep a foothold in the establishment of the core curricula within an educational environment bent on standardization and outcome-based evaluation. Even with the inclusion of music in the Goals 2000 curriculum (Music Educators National Conference, 1994), the music education profession continues to find it necessary to account for its presence in the general education of all students. Justifying the existence of music and the arts in the curricula is difficult for several reasons. One of these reasons is that any justification, at least those not of a utilitarian nature, are difficult to comprehend for anyone who has not been engaged or deeply affected by the arts. As Aspin (1982) explains, music is a language developed over the entire history of humankind, and this language has a certain logic that produces a "literature" that can only be received, comprehended, and appraised by those who are educated in this language. As the language of music is not of a discursive nature, those not capable of discerning this language cannot comprehend the importance of music and the arts within the curricula. Another reason is that the existence of quality, excellence, and greatness in music and the arts is very difficult to pinpoint, even for those highly educated in the arts. While a certain standard of excellence may be generally agreed upon, there is inevitably disagreement about the degree that any particular work of art or performance contains these ideals. As Youngblood (1983) points out, people learned in the arts "disagree primarily because they are not talking about the same thing .... They are talking about different aspects of music, different kinds of values, different levels of response to those values"
(p. 193). This difficulty with the definition of these ideals, because of their abstractness and, to a large degree, subjective nature, has made the pursuit of these ideals almost an individualistic proposition when considering the curricula to be used within the schools. This has contributed to teachers of the arts largely possessing the ability to use whatever resources, literature, and curricula that they like, and for whatever purpose they desire, without the need to defend the level of quality that is being disseminated to their students. In fact, it seems often to be the case that the wishes of the community for "entertainment" plays a greater role in the development of the music curricula then the need for students to be "educated" in the language of the arts.^
^The publication "K-12 Arts Education in the US: Present Context, Future Needs" addresses the need for a distinction between entertainment and art: "While all art has elements of entertainment, all entertainment is not art. If we lose the concept of distinction between the two, we lose the basis for discrimination about the relative purposes and values of aesthetic materials. At its extreme, such a condition creates an impossible context for providing rationales in support of serious arts education programs at the K-12 level" (p. 6). However, since the degree to which the human experience is enhanced by an education in the arts is directly determined by the degree to which the artistic experiences are ones of quality, the artistic education profession is forced to concern itself with establishing standards of quality. These standards are of great importance, according to Virgil Thomson (1948),
because being a professional involves, by definition, the assumption of a responsible attitude both toward the material with which the profession deals, and toward society, in general, which the profession unquestionably serves. That service, indeed, is the price of any profession's toleration by society. And the acceptance of money for professional services rendered is the criterion by which professionalism is determined in our society. This transaction is no guarantee of quality delivered, but it is a symbol of responsibility accepted. And once that responsibility is accepted, the workman must be at least morally worthy of his hire, however limited his skill or mental powers may be (p. 3).
These standards of quality may not be universal for all arts education professionals. However, as Thomson explained, all of these professionals do have a responsibility to establish some standards and at least attempt to disseminate these standards among their students and communities. While the level of quality in curricula will always vary due to each teacher's individual difference in experience and ability to perceive quality, the criteria used to develop a curriculum based on quality should be roughly consistent within the artistic communities. As a result, it follows that teachers concerned with quality of artistic experiences would be utilizing similar criteria and resources to locate literature with a similar level of quality. What these criteria and resources are, and what literature is being located, are the subjects of this study. Statement of the Problem
The wind band serves as the sole artistic experience for a large percentage of students in today's American high schools. Although other artistic courses are usually offered, students often find it difficult to allocate enough time to participate in one artistic activity, let alone multiple ones. This actuality places a great amount of responsibility on each artistic teacher to provide the entire range of experiences necessary to bring about an understanding and appreciation for the arts. The genre of the wind band, which includes such diverse offerings as the concert band, jazz band, marching and pep band, and chamber wind ensemble, can unquestionably fulfill this important role if a curriculum based on sufficient quality is utilized. This curriculum is highly dependent upon the literature chosen by the teacher and, although other variables within the classroom setting, such as teaching quality, environment of the teaching situation, and the receptivity of the students may have a negative impact upon the artistic experience, a high quality experience is not possible without high quality literature.
An examination into the history of the wind band within the public schools, however, reveals a tradition to choose music for the classrooms which does not contain the highest quality ideals. During the first quarter of the twentieth century, when bands had yet to establish themselves within the school curricula, the professional bands, including the band founded by John Philip Sousa, held a considerable amount of influence over the culture of a young America. These bands, by presenting mostly transcriptions of the orchestral classics, both light and serious, entertained and educated millions of people who would not have otherwise had the opportunity to hear great
4 music, thus clearing the path for the tremendous growth in the number of
American orchestras presenting serious works of art (Rehrig, 1991). In addition, these professional bands also performed many popular pieces written specifically for the band medium, including marches, that were presented in combination with the more serious works.
During the 1920s and 1930s, while the professional bands were disappearing due to the increased access to entertainment that the invention of the phonograph and radio provided, people raised in the band tradition were promoting the formulation of bands within the schools. This resulted in a tremendous growth in the number of bands throughout the United States. Although the professional and school ensembles were founded for entirely different reasons, with professional ensembles existing for entertainment and school ensembles for education, the school bands nevertheless attached themselves to the lighter entertainment-oriented transcriptions and popular pieces that the professional bands performed rather than to the more serious works (Whitwell, 1965). As a result, while such composers as Holst, Piston, Copland, Milhaud, Schoenberg, Stravinsky,
Hindemith, and Vaughan Williams were composing major pieces for the wind band, the school bands were performing well-worn works intended mainly for entertainment.
An improvement in the repertoire specifically written for the wind band became an important crusade by some leaders in the field of bands and education during the 1950s. Fennell, in an article written in 1952, discloses the feelings of those attempting to establish the wind band as a viable artistic m edium : Those who aspire to conduct bands must know how black is the past and much of the present history of bands in America. The decades of charlatanism, the decades of perhaps inspired but incompetent leadership, the often vulgar and usually unmusical direction that has dogged the band since its inception, have left their brands (p. 23).
In a different article, Fennell (1954) cites a major reason for the difficulty in establishing a quality repertoire;
The reaction of the significant composer to the development of the concert band in America has been cautious indeed. Those who have not ignored it altogether have been few in number, and the music which they do contribute is not always their best. But there has been a notable increase in the last few years in the number of composers both here and abroad who have displayed more than a pecuniary interest in the concert band medium. It can only be hoped that the activity by the composers of the past ten years will be sustained by the interest of those who conduct (p. 46).
While the concert band repertoire was improving greatly during the 1950s, with quality works written specifically for the wind band by talented composers excited about the possibility of multitudinous ensembles performing their music, the school bands continued to perform mainly orchestral transcriptions (Whitwell, 1965).
The end of the 1950s marked a change for all music education. Coming out of a period when the general education philosophy was in a turmoil due to such events as the cold war, the failure of the American space program to beat the Soviet Union into space, and the Korean conflict, music education organizations, lead by the Music Educators National Conference, took advantage of this period of great philosophical uncertainty to solidify music's place in the educational curricula (Mark, 1996). Two years after the Ford
Foundation began exploring the connection of the arts to American society, a grant was awarded in 1957 to establish the Young Composers Project, headed by Norman Dello Joio, which placed aspiring composers directly into the schools to compose works appropriate for the secondary school ensembles. This program, expanded in 1963 to include seminars and workshops for music teachers, became known as the Contemporary Music Project for Creativity in Music Education (CMP). While a few quality works were contributed to the wind band repertoire during this period, the most important aspect of these programs was that the profession, as a whole, began to concentrate on the literature that was being used in the school music curricula. On a recommendation by the National Science Foundation Panel, which concluded that science students would benefit from the "view of human experience as seen through the arts," (Mark, 1996, p. 34), 31 music educators, scholars, and performers met for 11 days at Yale University in 1963 to discuss the performance standards and materials that were being used in the schools, as well as to make recommendations for future improvement. While the performance standards were found to be adequate, the literature that was being used was determined to need improvement (Palisca, 1964).- "If the goal of elementary and secondary music education is to awaken, increase, and refine the child's natural musicality, then the repertory used in most school system s in the United States is ill-chosen" (Palisca, 1964, p. 11). The following problems concerning the existing literature were cited:
1. It is of appalling quality, representing little of the heritage of significant music.
^As Ernst (1954) stated, "Someone has referred to a school concert as a mountain-like performance with mouse-like music" (p. 20). 2. It is constricted in scope. 3. It is rarely sufficiently interesting to enchant or involve a child to whom it is presumed to be accessible. Children's potential is constantly underestimated. 4. It is corrupted by arrangements, touched-up editions, erroneous transcriptions, and tasteless parodies to such an extent that authentic work is rare. To the extent that artificial music is taught to children, to that extent are they invited to hate it. There is no reason or need to use artificial or pseudomusic in any of its forms (p. 11). The panel concluded that the "types of groups most worthy of support as part of a music education program are those possessing an authentic, wide ranging repertory of the highest musical quality" (p. 26). While the Yale Symposium panel did not have any direct influence over music education policy, it did provide the impetus for serious discussion on the literature being used within the schools. As for the wind band medium, original compositions increased significantly during the sixties, including major works by Copland, Persichetti, Schuller, and Dahl, as more conductors, particularly those in the collegiate ranks, took up the torch for a better quality repertoire. Commissioning projects, which had been initiated by Edwin
Franko Goldman in the 1920s for the Goldman Band, came to a pinnacle of activity during the late 50s and early 60s. The works produced by these commissioning projects, while frequently being written specifically for professional and collegiate ensembles, were usually accessible to talented high school ensembles as well. A few other commissioning projects, including those by high school bands in Ithaca, New York, Greensboro, North Carolina, and North Hills, Pennsylvania, concentrated on producing works that would be most appropriate for high school ensembles, but which were still of exemplary quality (Battisti, 1995).
8 However, as Battisti explains:
Beginning in the 1960s (and continuing to the present time), many of the pieces commissioned and/or performed by the best university and college wind bands/ensembles were beyond the technical capabilities, instrumental resources, and musical maturity found in school bands. Today the repertoire performed by outstanding college and university wind groups has become entirely separate from that performed by most high school bands (pp. 36-37).
This separation of the repertoires has further disconnected the ideals of quality from the concept of "educational use," as composers writing exclusively for high school ensembles have become more and more interested in what would teach certain musical concepts or make school bands "sound" good rather than producing great music. While a considerable amount of literature is being written today for the high school band, the quality of most of the music composed for this level is highly suspect:
Much of the music produced for high school bands by commissions and otherwise is unimaginative, with the trend being to imitate current, best selling works. In the 1950s and 1960s, such composers as Howard Hanson, Vincent Persichetti, William Schuman, Warren Benson, Karel Hu$a, Gunther Schuller, and Leslie Bassett regularly wrote pieces for the high school band. Bands of that era commissioned and performed these works; thus, music publishers printed and sold the compositions (Battisti, 1995, p. 77). It cannot be denied that the publishers need to be able to sell what is printed, as no music publishing company can survive without selling music. This puts the burden squarely on the conductors to purchase quality literature so that the publishers will continue to print it. As one publisher puts it:
There's a lot of music that I'd like to publish, but 1 know that it's going to be very hard to sell: it may be too difficult (taking some hard work to prepare); it may be scored too thinly (this scares many directors away from a piece); it may not be fast enough and loud enough or it may not use the percussion enough (we must keep everybody busy!). For every piece like this, I have to publish at least two safer pieces to pay for it. For this I'm ashamed, but I must stay in business! It's very disheartening, as a publisher, to take chances by publishing something out of the ordinary, only to find that directors aren't willing to take some chances, too, by perform ing it ("Friendly Advice," 1990, p. 20).
A combination of the publisher's need to sell new music and the conductors' need to feel on the forefront of music literature has produced what McBeth (1989) terms a "paper-plate approach" to the band repertoire.
This approach, which McBeth asserts has existed since the literature surge of the 1960s, is signified by conductors purchasing new literature every year, but discovering, whether consciously or not, that this music does not have much to offer the students, audience, or themselves in the way of true artistic substance. It is then "discarded" or dismissed, being condemned to spend eternity sealed in the band library. Generally the conductors consider this literature to be worthy of the time being spent during the rehearsal and performance process, since it is usually "catchy" and contains popular rhythmic and harmonic elements, but it will never be carefully considered thereafter due to its inability to withstand the test of time. There is a concern that too many of our students in the secondary schools have graduated from our instrumental ensembles without the comprehension of what quality music is or the importance that quality music can play in the enhancement of their lives. However, it must also be remembered that some educators within the field of secondary instrumental music have found a way to educate and enlighten thousands of young people who presently make up the membership of the finest ensembles and audiences all over the world. This makes it evident that the knowledge
10 needed to enlighten our students through quality music exists within the profession, and we must discover what this knowledge is and disseminate it to the entire profession in order to improve the quality of our educational
institutions and the lives of all students.
Need for the Study
The quality of experience in any music class is highly dependent upon the literature that is chosen by the teacher. The literature available to the concert
band conductor, while not historically containing the number of quality compositions that the orchestral repertoire comprises, has steadily improved
during the twentieth century, and now includes some of the great works
composed in the modern era. While a band at the turn of the twentieth
century was fated to perform mostly orchestral transcriptions, today's
repertoire consists of original wind instrumental works by such major
composers as Shoenberg, Hindemith, Copland, Stravinsky, Schuman,
Vaughan Williams, Hanson, and Holst. Major compositions contributed in the recent decades by composers such as Zwilich, Corigliano, Harbison, and
Husa, as well as chamber pieces composed in past centuries by such composers as Beethoven, Dvorak, Handel, and Mozart enlarge the wind band
repertoire to include significant works from every era of music. While not all
of this music is accessible to the high school ensemble, a great deal of it is
quite appropriate for the skill and perception level of the younger performer. However, it has been assumed over the past years that a large percentage
of high school band conductors throughout the United States are not selecting
music of high quality for use in their classrooms. While this assertion has
11 been supported by only a limited amount of empirical data, it seems evident from the discussion above that there is some history and tradition within the school band movement which influences the use of this inferior music. Since it can be considered self-evident that the use of low quality literature in the curricula relinquishes students to a low quality musical experience, it is important to find methods that will improve the health of the high school ensemble curricula by increasing the quality of the literature performed and experienced by the students.
Purpose of the Study
The purpose of this study was: (a) to investigate what literature was being performed by wind bands in a sample of large secondary schools in the United
States in the academic years of 1994-95 through 1996-97, (b) to evaluate the level of quality of this literature, (c) to investigate the resources utilized by secondary school band conductors in order to locate literature, (d) to investigate the criteria used by these band conductors when deciding what compositions to perform, and (e) to ascertain whether any relationship can be found between the resources and criteria used by these band conductors and the quality of the literature that they chose. Other categorical variables, such as years of teaching experience and highest degree attained by the band conductor, number of concert bands within each school, number of concerts performed, and whether contests or festivals were attended, were also investigated.
12 Specific questions that were researched were:
1. What literature was chosen by band conductors teaching in large high schools in the academic years from 1994-95 through 1996-97? 2. Does this literature match what is considered quality repertoire throughout
the wind band field? 3. What were the resources utilized by these conductors for choosing this literature?
4. What set of criteria were used by these conductors when making literature selections for their large concert ensembles?
5. To what degree do those conductors utilizing high quality literature in the classroom differ in their resources, criteria, and categorical variables than
those conductors using low quality literature?
Limitations
While this study used a randomized national sample of high school band conductors, generalizations beyond the sample itself must be restricted due to
the limited sample size.
No attempt was made to determine the performance level of the ensembles or the musical ability of the individual conductors. Rather, the
repertoire that was performed was used only as an indication of the conductors' knowledge and preferences of the wind band literature.
Marches, fanfares, and compositions for soloist and band were excluded from the repertoire portion of the study since there was a lack of expert opinion on these types of composition throughout the literature. This does not indicate that consideration of the quality of these compositional types
13 should not be carefully considered, but only that sufficient information was not available to judge them at this time.
The development of the Repertoire Evaluation Inventory (REI) used the opinions of many experts in the field of wind literature through published writings, unpublished lists, and a juried panel. However, while a large number, and presumably, a large percentage of the works composed for the wind band were represented by the inclusion or exclusion by these experts, there was no method available that would assure that every composition was represented. Therefore, it is possible that a few compositions which contained the level of quality that was represented by the REI were excluded. Also, since the REI used experts in the field of wind band literature, the presence of transcriptions presented a slight dilemma in that, while the relative excellence of compositions may have been generally agreed upon, there seems to have been a general disagreement concerning the appropriateness of transcriptions within the wind band repertoire. Therefore, although some of the original works represented by transcriptions may have been placed in a certain quality group, the fact that it was a transcription may have lowered it in the estimation of several of the experts, thus placing it in a lower quality grouping than if the quality of composition was considered solely.
D efinition
For purposes of this study, quality music was defined as a composition which was included in the Repertoire Evaluation Inventory (REI).
14 CHAPTER 2
RELATED LITERATURE
While the possible relationships between criteria, methods of selection, and the quality of the literature chosen have yet to be researched, each of the individual elements has received some attention. The following review of the related literature, which mainly includes research studies (except where noted), will be organized according to the subsequent categories; 1. Quality in music and the judgment of this quality;
2. The quality inherent in wind band literature and the wind band literature that is actually being performed in the secondary schools; 3. Resources used by secondary school music educators to locate desired music literature for large ensembles; 4. Criteria used by secondary school music educators to select music literature for large ensembles;
Quality in music and the judgment of this quality
Quality is difficult to quantify. What may be considered high quality to one person could be nothing more than mediocrity to another, as differences in personal experiences give each person a unique perspective on quality.
15 The ability to perceive quality, at any level, is determined by many different independent factors, such as mental ability or level of attention given to the stimulus. However, some agreement must be found in matters of quality in order for educators to possess the ability to judge what should be included in any curriculum. In order to better understand the concept of quality, some philosophical writings on the subject are included in this section.
While value and quality are unmistakably intertwined, the presence of value does not necessarily constitute a level of quality. As Youngblood (1983) reveals, there are two different types of value: terminal and instrumental.
Instrumental value is present when a work of art leads to some other positive outcome which can be measured objectively, such as the funds brought in by the performance of a certain composition. Terminal value is present when something is good in and of itself, and is often referred to as "aesthetic" value. This type of value cannot be measured altogether objectively, as it is prone to individual differences, and it is this type of value that is considered most highly when judging the quality present in a work of art. Too much emphasis on instrumental value produces utilitarianism, according to Youngblood, but an absolute preoccupation with terminal values can produce formalism. A balance is needed, as the utilitarian benefits of music are not unique and could be fulfilled by many extra-curricular activities, but strict formalism places music in a realm that does not speak to those not fully versed in the art.^
^Youngblood (1983) further discusses instrumental value: "With regard to works of art, considerations of instrumental values can be reduced to two aspects: economic and propaganda. Compositions and their performance support, to varying degrees, composers, publishers, performers, their managers, even their critics. Although one cannot be certain whether music would advance very quickly if this were the only consideration, one doubts whether a composition that engages no one - that no one will buy, no one will play, and no one will listen to (footnote continues on next page) 16 Consequently, it is with terminal, or aesthetic, value that is of greatest concern to the discussion at hand. As with any values, there are varying degrees of aesthetical value present at any given moment of any given composition. As Parker (1920) poses, even a single tone from a guitar has an aesthetic value, since it contains a sensuous medium, a life expressed (a feeling aroused in us), and "unity and variety and orderly structure in the dominance of the fundamental among the overtones and the fusion of all in the total" (p. 157). Nevertheless, the value of one tone is very slight, since a single tone needs
the contrast or the agreement in consonance with other tones in order to awaken much feeling; they must be members of a wider whole; observe how, when sounded after other tones, they become enriched through the contrasting or consonant memory of these tones (p. 157). Therefore, an entire work possesses greater value than any of its individual parts. Chancellor, in a 1974 philosophical dissertation, developed a Mode of
Value Determination which concluded that "music which increases our sensitivity to sound has a higher aesthetic value than music which produces indifference, apathy, or de-sensitizes our response to sound" (p. 159). This sensitivity is enhanced, according to Meyer (1967), when a musical "style" establishes certain tendencies and expectations that are not fulfilled in the
- IS likely to have much effect on the future course of the art. It has been suggested that music would be purer if the composer and performer could be freed from the pressure of pleasing a patron or pleasing the public. But what influential composer was either independently wealthy or supported by a totally uncritical patron? Monteverdi? Haydn? Wagner? Prokofiev? The modem university has come about a close as anything to providing this risk free environment, and 1 cannot say that it has resulted in a flood of masterpieces. Nor am 1 so sanguine as to think that governmental support would be any better. 1 am not encouraged by the results of the benevolent patronage of Sibelius or Grieg, but 1 am discouraged by the repertoire of the service bands" (p. 198).
17 most obvious manner. One must be knowledgeable in the style in order to comprehend the tendencies that should be expected,'^ but no meaning is present when these expectations, considered as the "norm," are arrived at without something happening which causes one to take notice.- "Value has something to do with the activation of a musical impulse having tendencies toward a more or less definite goal,and with temporary resistance or inhibition of these tendencies" (Reimer, 1962, p. 89).
The fundamental difference between sophisticated art music and primitive music (and "primitive music" does not include the highly sophisticated music which some so-called "primitives" plav) lies in the speed of tendency gratification (Meyer, 1967, p. 91): The three varieties of deviation which cause meaning, according to Meyer
(1967), are: a delay of gratification, an ambiguous antecedent, both of which vary the norm and enlarge the set of possible consequences, or a consequence that is unexpected. Meyer postulates three premises for the presence or absence of value:
1. [T|hat a melody or work which establishes no tendencies, if such can be imagined, would be of no value; 2. [Tlhat if the most probable goal is reached in the most immediate and direct manner, assuming a consistent stylistic context, the music event will have little value; 3. (l|f the goal is never reached, or if the tendencies which have been activated dissolve in the press of irrelevant and over complex diversions, then value will tend to be limited (p. 26).
lack of this knowledge is termed by Meyer as "cultural noise," since the listener is not attuned enough to the style to even understand the expectations. ^This has been equated to one's daily trip to work. If nothing occurs on the way to work that makes one take notice, the arrival at work can give the feeling that the trip almost did not exist, since no information (or value) was gathered.
18 Two terms, complexity and irrelevance, must be examined a little more in order to further understand Meyer's rationale. While complexity can
contribute to the amount of information that is received, and hence, the
value of the music, the presence of complexity does not automatically give music any type of value. Complexity must be used in such a way as to make
the tendencies uncertain, which alters expectations and sets up a greater number of possibilities for the consequences. However, there is a difference
between uncertainty and vagueness, as uncertainty enhances the gratification
that comes after the delay while vagueness, by weakening the tendencies,
causes the complexity to become irrelevant. According to Meyer, a certain amount of maturity is necessary for one to
pass up on instant gratification. This willingness to wait is one's acceptance of
"suffering" in the present in order to attain higher fulfillment in the future:
[Sluffering may ultimately be good. For though, like medical treatment, it is painful, suffering may lead to a higher level of consciousness and a more sensitive, realistic awareness of the nature and meaning of existence. Indeed all maturation, all self- discovery is in the last analysis more or less painful. And the wonder of great art is this: that through it we can approach this highest level of consciousness and understanding without paying the painful price exacted in real life and without risking the dissolution of the self which real suffering might bring (p. 39). However, syntactical considerations are not enough to judge quality in a
composition, according to Reimer (1970). The degree to which a composition
reveals insights to the listener, which Reimer considers as a measure of a composition's "greatness," must be considered as well. "Greatness occurs
when the sense of feelingfulness is so striking, so 'true,' so revealing of the
nature of the subjective human condition, that one who experiences the
19 work's impact feels changed in the direction of a deeper understanding of w hat it is like to be hum an" (p. 103).
In the second edition of A Philosophy of Music Education, Reimer (1989) lists what he considers as the "four criteria for assessing the quality of an art work and, in the case of the performing arts, its performances. These four are
(1) craftsm anship, (2) sensitivity, (3) imagination, and (4) authenticity" (p.
134). Authenticity, which is closely related to morality, according to Reimer, is defined as "the genuiness of the artist's interaction with his materials, in which the control by the artist includes a giving way to the demands of the material. As much as an artist shapes his material his material shapes him" (p. 138). The level of interaction between these four criteria determine the truthfulness and, hence, the quality of any art work or performance.
Thomson (1948) discusses what he refers to as the three "clinical" signs of quality: "1) the ability to hold one's attention, 2) one's ability to remember it vividly, and 3) a certain strangeness in the musical texture, that is to say, the presence of technical invention such as novelty of rhythm, of contrapuntal, harmonic, melodic, or instrumental device" (p. 7). The third of these is similar to Meyers' tendency theory of musical value. Fjeld (1959), Ostling
(1978), and Fiese (1991) developed lists of criteria for the evaluation of quality.
While the lists were similar, Fjeld (1959) included two criteria not included in the other two studies:
1. "Composition will stand up under prolonged and meticulous rehearsal," and; 2. "Piece gives listener an emotional experience, a feeling of completeness, satisfaction. Emotional implications are understandable to the hearer" (p. 60).
20 Fjeld does not explain how these emotional implications could be understandable to all levels of listeners or what constitutes a composition "standing up" to the rehearsal process. Nevertheless, the remaining criteria that Fjeld developed can be found in the other two studies. Listed below is the criteria developed by Ostling through the study of Meyer (1967), as well as basic texts on theory and orchestration and personal discussions with prominent conductors.
1. The composition has form - not "a form" but form - and reflects a proper balance between repetition and contrast.
2. The composition reflects shape and design, and creates the impression of conscious choice and judicious arrangement on the part of the composer.
3. The composition reflects craftsmanship in orchestration, demonstrating a proper balance between transparent and tutti scoring, and also between solo and group colors.
4. The composition is sufficiently unpredictable to preclude an immediate grasp of its musical meaning.
5. The route through which the composition travels in initiating its musical tendencies and probable musical goals is not completely direct and obvious.
6. The composition is consistent in its quality throughout its length and in its various sections.
7. The composition is consistent in its style, reflecting a complete grasp of technical details, clearly conceived ideas, and avoids lapses into trivial, futile, or unsuitable passages.
8. The composition reflects ingenuity in its development, given the stylistic context in which it exists.
9. The composition is genuine in idiom, and is not pretentious. Ostling states that there is a great deal of wind band literature which is "permeated with melodic, and particularly harmonic
21 clichés, exuding the sound of commercial music while attempting to parade under the banner of artistic respectability as a work of serious artistic merit" (p. 30).
10. The composition reflects a musical validity which transcends factors of historical importance, or factors of pedagogical usefulness. Ostling goes on to explain that just because a composition suits the band medium well does not mean that the piece contains a level of quality that "could withstand close scrutiny by musicians in general" (p. 30).
Thomson (1948) asserts that one's judgment of quality in a work of music consists of four different operations. The first operation is the introduction to the piece, which Thomson divides into three additional stages: listening to the piece or reading a score, the process of one's attention being held, and the aftertaste. This first operation is of utmost importance since it is taken up without prejudice and is implemented without a direct attempt to qualify it:
Any musician faced with a new piece will listen. He may not listen long, but he will submit himself to it, if only for a moment. He will listen, in fact, as long as he can, as long as it holds his attention.
The second operation is a fuller acquaintance with the piece, either by listening or reading, whichever was not used for the initial operation. The initiation of this operation depends upon the success of the first operation, and, like the first operation, is spontaneous according to the feelings one has about the piece at that time. The third operation consists of being removed from the piece for a period of time, with the fourth operation being a return to it in order to determine whether the elements that the listener was drawn to during the initial operations had enough substance to warrant a continued
22 relationship with the piece. "As in reading old love letters or reviving an old quarrel, one's former association is now an element to be dealt with" (p. 6).^
The results that arise from qualitative decision-making have been the subject of several studies. While Fjeld (1959) concluded that most experts agree on the majority of criteria that should be used to select quality music,
Fiese (1993) found that high school conductors do not agree on the importance that each criteria holds in the evaluation of quality. Fiese further investigated whether the use of these criteria would bring about consistent rankings of wind band compositions by college (1991) and high school band conductors (1993). Using three unknown works by prominent composers of the wind band genre in both studies, it was concluded that there was almost zero agreement among either group of conductors. However, the 1993 study did find that those high school conductors who did agree on the general importance of each criteria within the list also agreed to a significant extent on the rankings of the three scores. There were not any significant differences found in relation to any characteristic variables in either study. In another relevant study by Fiese (1990), it was found that undergraduate conducting students at the University of Miami utilized nonmusical cues to a greater extent than characteristics inherent in the music when making qualitative decisions.
*’This further supports the existence of what McBeth (1989) terms the "paper-plate approach." Conductors are drawn to a recently-published piece and immediately immersed in it during the rehearsal/performance process. However, when the piece is considered at a later time, it has lost all of its "glitz" and is not determined to contain enough substance to support further study.
23 The quality inherent in wind band literature and the wind band literature that is actually being performed in the secondary schools
A number of studies have been done during the 1990s that attempted to measure the quality of the wind band repertoire. This flurry of activity followed a 1979 landm ark study done by Ostling. This study was a breakthrough in the measurement of repertoire, utilizing a panel of twenty of the most prominent band conductors in the United States^ in order to come to a conclusion as to the works which represent the highest artistic merit of the wind band repertoire. The panel of twenty conductors was chosen through a survey of 188 members of the College Band Directors National
Association (CBDNA), who were asked to list "ten wind-band conductors who, in their judgment, most diligently sought and most consistently programmed music of serious artistic merit" (p. 37). These conductors were then given the task of measuring 1481 compositions according to the criteria listed in the previous section. In the end, 314 compositions were found to have met the criteria to be considered as containing serious artistic merit.
Categories were also developed according to how many of the judges were familiar enough with each of the compositions to accurately measure the presence of the criteria. In 1993, Gilbert replicated the Ostling (1979) study to update the list of works, as many new compositions had been written and many of the older works had fallen out of favor in the previous fourteen years. As with the
^The Ostling panel included Frank Battisti, Harry Begian, Frank Bencriscutto, Paul Bryan, Frederick Ebbs, Frederick Fennell, Charles Gallagher, Robert Gray, Donald Hunsberger, Donald McGinnis, James Matthews, Kenneth Moore, James Neilson, John Paynter, William D. Revelli, H. Robert Reynolds, Richard Strange, Robert Vagner, David Whitwell, and Keith Wilson.
24 Ostling, 213 members of CBDNA chose the panel of 20 prominent conductors,^ and these conductors rated 1261 works according to the predetermined criteria. Only 191 of these works met the criteria for serious artistic merit in this study, including 21 compositions that did not meet the criteria in the Ostling study. In addition, 152 works which were determined to contain serious artistic merit in the Ostling study did not meet the criteria in the Gilbert study. Peterson (1986) surveyed both college and high school conductors to determine the needs of the undergraduate students as related to the knowledge of repertoire. A listing of 25 works was found to constitute the works that the respondents felt every student should know from their collegiate music education experience. A similar study was done with high school conductors in Iowa (Hughes, 1990), who also indicated their familiarity with a list of 50 standard wind works. Woike (1990) developed a listing of 64 works that the 38 respondents, all members of CBDNA, felt were the most significant wind band compositions. Grant (1993), through a survey of 210 Missouri high school conductors, developed a list of what the respondents felt best represented music of the highest quality in the wind band repertoire.
Caines (1996) surveyed 437 active instrumental music educators, who were members of the Music Educators National Convention (MENC), and developed a listing of 106 compositions that were considered to be "core repertoire" for the high school band. The term "core repertoire" was defined
^The Gilbert (1993) panel consisted of Frank Battisti, Eugene Corporon, Ray Cramer, James Croft, Stanley DeRusha, Howard Dunn, Richard Floyd, Donald Hunsberger, Jerry Junkin, Mark Kelly, Craig Kirchhoff, Allan McMurray, John Paynter, Larry Rachleff, H. Robert Reynolds, James Smith, Richard Strange, Myron Welch, David Whitwell, and Frank Wickes.
25 by Gaines as 'The repertoire that high school band directors found consensus on as a basis of the high school band's repertoire" (p. 9). Three additional writings are important to the present study. Negro (1994) examined the contest lists of fifteen different states^ to develop a listing of 317 works that were felt to be worthy of study and programming by school bands.
A composition was included on the listing if it was included on eight or more of these lists. It was considered that this study "can be viewed as a compilation and extension of the efforts of the many individuals responsible
for the original state contest lists examined in this thesis" (p. 52). Also, Dvorak, Grechesky, & Ciepluch (1993) and Miles (1997) emphasize the need of
the high school conductor to use quality music in the classroom, and provide
listings of works that represent what these two groups of prominent music educators!^ consider to be quality works for the school band. Several studies have been done on the repertoire being performed at the collegiate (Berry, 1973; Holvik, 1970; Homyak, 1982/85; Odegard, 1955; Olsen,
1982; Woike, 1993) and high school levels (Berry, 1973; Fjeld, 1959; Grant, 1993;
Hughes, 1990, Odegard, 1955; Slagley, 1992). None of the high school surveys
were completed on a national level, but in the individual regions surveyed, including Missouri, Texas, Iowa, Indiana, and Nebraska, it was determined
that quality music was not being performed to an acceptable degree. Hughes
(1990) and Woike (1993) both found a large contrast between what the
^State lists included in the study were from Alabama, Arkansas, California, Florida, Georgia, Indiana, Kansas, Kentucky, Louisiana, Maryland, Michigan, Minnesota, Missouri, New Mexico, and New York. ^ ^ h is six contributors of the Miles (1997) are Larry Blocher, Ray Cramer, Eugene Corporon, Tim Lautzenheiser, Edward Lisk, and Richard Miles.
26 conductors felt were important wind works and what they were actually performing.
Resources used by high school band conductors to locate desired music literature for large ensembles
Few studies have investigated what resources conductors use to locate literature for their ensembles. The only such study found using high school band conductors was by Bauer (1996), who utilized 65 respondents (66% response rate) from Ohio to conclude that the most favored method of locating literature for large ensembles was to listen to publishers' promotional recordings. This is a problematic resource, according to Bauer, since publishers traditionally put only their most recent compositions on these recordings. In relationship to the discussion from Chapter 1, this could be a contributing factor to the "paper-plate approach" to literature described by
McBeth (1989). The entire list of resources found to be used by the conductors, in rank order, were; 1. Listen to publishers' promotional recordings;
2. Browse at the music store; 3. Consult the Ohio Music Education Association contest list;
4. Listen to performances by bands other than own;
5. Attend workshops, clinics, and conventions;
6. Read new music reviews in professional journals;
7. Seek recommendations from colleagues; 8. Seek recommendations from music store personnel;
9. Solicit student input;
27 10. Consult published literature lists, such as the National Band Association's list of literature; 11. Consult lists of music festivals other than OMEA. The top six resources are predominantly swayed toward the newer published material, since music stores typically have large displays of the same works that are on the publishers' recordings, the OMEA contest list is highly subject to new works,^^ and it appears that a large percentage of the compositions generally presented at workshops and clinics have been recently published.
Of particular interest in Bauer's study is the low usage of published literature lists, which falls even below "solicit student input." While these lists could be important resources for locating literature that has been determined, over time, to contain quality, this study indicates that many conductors must either not be aware of these lists or choose not to consult them.
Other similar studies have been completed in the choral area. Blinde (1969), Bolt (1983), Davis (1970), and Devore (1989) all found that attendance at live performances of other choral groups and at new music workshops or clinics were resources often utilized by high school choral conductors in selecting music for their ensembles. Davis (1970) and Blinde (1969) found that the materials received by publishers and the perusal of scores at music stores were also helpful, but Devore (1989) determined this resource to be only of moderate benefit. On the other hand, Devore found that materials from Music Educators National Conference (MENC) were moderately useful, while
Davis and Bolt found them to be almost unused. This may be due to the fact that many more materials were available through MENC when Devore was
^ 1 Twenty-nine percent of the 1998 list for the top two classifications have been published in the past year.
28 completing her study than when Davis and Bolt did theirs. While Devore determined that the recommendation of fellow choral conductors was utilized most often, Davis discovered that this resource was used the least of all of the investigated resources. It was unanimous that published lists were not put to use in the selection of music for choral ensembles. Davis (1970) concluded that choral music educators are highly reliant on publishers to provide high quality materials that are suitable for high school ensembles, published lists are practically useless in the selection of choral literature, and professional music organizations are not assisting the choral conductors enough in the selection of music. Overall, it appears that there is a high reliance upon the literature and recordings that is disseminated by the publishers, and a moderate reliance on the perusal of scores at a music store, on contest lists, and on attendance at workshops or clinics. It remains questionable how much reliance is placed upon other colleagues within the profession, but it is clear that there is little dependence on other published lists from organizations or individuals and student input.
Criteria used by high school band conductors to select music literature for their large ensembles
While the criteria used by conductors to choose their literature have been the subject of several studies, generalization from these studies is difficult due to the lack of standardized terms used for the investigations. For example,
Davis (1970) determined that the most important non-musical criteria used by choral conductors to select the literature to rehearse and perform was the
"ability of the students," while Bauer (1996), who did not distinguish between
29 musical and non-musical criteria, found that the top two criteria for band conductors were "technical demand" and "musical demand." In addition, the results and samples were so divergent that generalization is further complicated. Therefore, some examination into each individual study is necessary. Grant, in a 1993 survey of Missouri high school band conductors, did not find any statistically significant differences in the rankings of the criteria that were selected for a number of independent variables, such as experience of conductor or size of ensemble. However, when taken as a whole. Grant did identify clusters of criteria that were found to hold similar importance in the choosing of literature; Gluster 1: musical quality, difficulty, instrumentation, craft of
composition, teaching goals;
Cluster 2: Conductor appeal, contest suitability, student appeal, recommended literature;
Cluster 3: Audience appeal, programming, historical significance, composer/arranger, group/solo features;
Cluster 4: Transcription (exposure to other mediums);
Cluster 5: Grade level, original work, cost;
Cluster 6: Publisher. The overall use of this study is questionable, however, since the response rate was rather low (40.1%) due to the lack of any follow-up procedures. Bauer (1996), in the only other study found on the criteria used by high school band conductors, came up with a ranking of the 23 criteria that he investigated. The criteria were concluded to be in the following order of importance: technical demands, musical demands, performance concepts,
30 stylistic concepts, technical concepts, type of composition, teaching of elements, standard repertoire, aesthetic response, programming, conductor appeal, composer, curriculum, theoretical/historical concepts, audience appeal, historical era, genre, composer’s style, cost, student appeal, world culture, works previously performed, works previously conducted. Although
Bauer asserted that the pieces chosen determined the curricula rather than the curricula determining the music chosen (as Bauer felt it should), it was also concluded that:
When selecting concert band music, high school band directors seemed to place the most emphasis on curricular issues dealing with the technical aspects of performance, followed by curricular issues of a cognitive and affective nature that leads to musical understanding (p. 8).
The other study completed with band conductors was done at the collegiate level. Woike (1990) asked a random sample of 38 members of the CBDNA to list five factors that contributed to the selection of music for study in the concert band program. In contrast to the other studies mentioned, a listing of possible criteria was not provided for the conductors in the survey.
Woike then produced a list of criteria generalized from those given. This list of criteria given by college-level conductors was almost completely music- oriented, with "educational and artistic needs of students, audience, and conductor" and "integrity and artistic validity of the composition within the medium" being the top two criteria given. The only utilitarian criteria given multiple times was a consideration as to whether the piece had been performed in the past five years. This lack of concern for technical and utilitarian criteria may be the result of conductors at the collegiate ranks not having to be as concerned about the technical proficiency of their ensemble
31 members as their colleagues in the high schools since the students participating in the collegiate programs are more likely to have the technical
proficiency needed to play the majority of literature available to them.
In three studies done with high school choral conductors, Cerow (1961),
Davis (1970), and Devore (1989) found that musical quality was of the utmost
importance in the choosing of choral literature. However, generalizations cannot be made any further. Davis (1970) discovered that choral conductors
rate musical criteria more important than extra-musical criteria. Musical criteria include raising the standards of musical taste, worthiness of the music
for use in allotted rehearsal time, and the range of the vocal parts. The
highest-ranking extra-musical criteria included the ability of the students, the
number of programs that were presented, and the amount of rehearsal time available. Cerow (1961) found that musical quality, the quality and suitability of the text, the inclusion of a selection of a humorous or light nature, and student appeal were the criteria most important to choral conductors. Devore (1989), in a similar study to Bauer (1996), identified the order of
importance of 19 criteria that could be utilized by a choral conductor searching
for music that would be suitable for competition. Those criteria, in order of importance, are as follows: Musical quality, educational value, number of voice parts, conductor appeal, style and mood, student appeal, chance of contest success, meaning of text, rehearsal time needed, language of text, accompaniment type, availability, historical style periods, standard repertoire, accompaniment difficulty, composer, length, editor/arranger, and cost. "It is concluded that Ohio choral directors tend to select music for contest
participation on the basis of musical quality and educational value" (p. 2820).
32 Since an examination of these studies makes it clear that there is not any unification in the definition of what constitutes the important criteria for the selection of literature, some additional investigation into and clarification of these criteria is warranted.
Conclusion
It has become evident that, while there has been some research which investigated the literature that has been performed, and should be performed, by high school and college wind bands, as well as both the resources and criteria used by high school conductors to choose the literature for their large ensembles, little of this research has been done on a national level. In addition, research does not exist that measures the quality inherent in a repertoire in order to discover any relationships between this repertoire and other variables. Investigation into the relationships between the quality level of a repertoire and the resources and criteria used to choose this repertoire could provide some insights into better methods of instructing professional educators in the ways of providing a quality musical experience for their students.
33 CHAPTER 3
METHODOLOGY
Population and Sample
The population for this study was composed of band conductors in at least their sixth year of teaching at an American public high school with an enrollment of 1000 students or more and a minimum of 250 students per grade. The rationalizations for choosing this particular population are various. The larger high schools in the United States typically have a larger talent base from which to develop ensembles, which means that they are more likely to have multiple concert bands to serve the needs of a wider range of skills. The most advanced ensembles in these schools, with members usually chosen through audition, are more likely to have the ability to perform the greatest range of literature available to the wind band, including most of the compositions for large wind band considered to be the masterpieces of the genre.
Once a conductor accepts a new position, it is generally accepted within the profession that a period of approximately three years is required for a conductor to mold the program into the desired shape. The specification for the conductors to be in at least their sixth year of teaching at their current school was intended to provide information as to the literature performed after the period of orientation and development had passed. By not including
34 teachers who were new to their particular school, a better measurement of the literature that was actually being performed during "normal" situations could be obtained.
Therefore, the sample for the current study consisted of 150 high school band conductors in at least their sixth year of teaching at their current high school of 1000 students or more. While this planned sample size is not large enough to be representative of the entire high school population at the 95 percent level of confidence (Isaac & Michael, 1995), it is assumed that a sample of 150 subjects could provide some valuable insights into the repertoire choices, resources, and criteria utilized by the population, yet small enough to be executed with limited resources. The acquisition of the sample was initiated by the purchase of a randomized listing of 999 American high schools with an enrollment of 1000 students or more. This listing was obtained from Market Data Retrieval
(Chicago, Illinois) and included the names, addresses, and telephone numbers of each school. A random number table was then used to select the order that the schools were contacted from this list.
Telephone Interview
It was determined that, since this study required a higher degree of subject participation than is normally needed in a written survey, direct contact by use of the telephone was optimal for building a rapport with the conductors prior to requesting their participation. In addition, the use of this method was needed to secure the name of each conductor and the number of years that each conductor had taught at each particular school.
35 A pilot testing of the telephone portion of the study was performed with high school conductors in the Canton, Ohio area to establish the clarity of the questions that were asked, as well as to receive recommendations about delivery and script, and to find out the plausibility of conductors locating three years of concert band programs.
Beginning with the first school randomly chosen from the list, each school was called in order. Upon reaching each school, the researcher introduced himself and made an attempt to obtain the name of the head band conductor and the number of years that the conductor had been at the school. The information gathered from anyone but the conductor as to the number of years that the conductor had been at the school was assumed to be accurate within only a couple of years. For example, an estimate from an office personnel that the conductor had been there for at least four years was considered to be valid in order to contact the conductor directly. Other information that was requested included the direct office number of the conductor, if any, and an estimate as to a time that the conductor might be available for an interview.
The head band conductors who were considered as candidates for meeting the six-year requirement were then contacted directly. As per Dillman (1978), the introduction of the telephone interview consisted of giving the researcher's name, the institution and city from which the researcher was calling, some information about how this particular conductor had been chosen for participation, and an estimate of how long the telephone interview would last. It was then explained that this study was designed to
"find out what music high school concert bands from across the country are performing." The complete script can be found in Appendix A.
36 The conductors were then asked question 1 to determine the number of years that they had been at their particular high school. Questions 2 through
7 were then asked to the conductors even if the requirement of six years at the current high school was not met. Additional information that was obtained with these questions included the number of concert bands at each school, the method of separating the students into multiple concert bands (if applicable), the time period within the school year that the most advanced concert bands rehearsed, how many concerts were presented a year, whether any "special" types of concerts were performed, and whether the most advanced concert band attended a large group contest or festival at any time throughout the year. For those not meeting the six-year requirement, no data was recorded, and the researcher thanked the conductors for their time following
Question 7. For those who did meet the requirement, it was then explained that the study required the availability of three years of concert programs from the most advanced wind band in their school. If these programs were available, or if the conductor was willing to write down the pieces that were played from these programs, the conductor was then asked to participate in the study. In order to obtain some spontaneous reactions prior to filling out the written survey, those conductors who were willing to participate were asked two additional questions: "When thinking back over the past three years, what means did you use to find most of the music that you performed with your (top) concert band?" and, "When deciding what pieces to perform with your (top) concert band, what was the most important consideration for choosing a particular piece?" A second consideration was also obtained for each question. The word "means" and "consideration" were used instead of
37 "resource" and "criteria" since these words were found to be more easily understood without the need of further explanation by the conductors who participated in the pilot study.
Responses to these questions were then matched and coded according to the resources and criteria found on the written survey. For example, a response of "talk to other high school directors" was coded as "Sought advice from other colleagues in the high school band profession," while "it has to be great music" was matched with "It was a piece of music that the students should know since it was one of quality." Any ambiguous responses were followed by additional questions. The most common clarification occurred on such statements as "they have to be able to play it" or "to make the students better musicians." These responses were followed by additional questions aimed at ascertaining whether the respondent was referring to a technical or musical criteria. While the vast majority of the answers were easily matched to those on the written survey, one common answer had to be interpreted. A response of "Pepper Catalog" was interpreted as materials from a publisher rather than as a recommended repertoire listing since the sale of music is the main purpose of this publication. This process continued until 150 conductors who met the criteria had agreed to participate. The entire process took approximately 15 days of calling, spread over four weeks, and required 1009 telephone calls. A total of 307 schools were eventually contacted before the requirement of 150 conductors was completed. Eight schools were excluded from the list due to an enrollment of under 250 pupils per grade level. Three schools contacted did not have a band. All conductors who were eligible for the study agreed to participate, although two conductors who fulfilled the criteria did not feel
38 that they could reasonably reconstruct any of their concerts over the past three years, nor did they keep any copies of their programs. Hence, these two conductors were excluded from the study.
Mail Survey
The written portion of this study was examined by experts in the field of music education to establish face validity. It was then piloted with an intact class of graduate students at The Ohio State University as well as with high school band conductors in the Canton, Ohio area.
A cover letter, short survey instrument, and a 6x9 self-addressed stamped envelope were sent to each of the conductors during the month of February. The cover letter included a short introduction, a section which thanked the conductor for participating and explained the importance of the study, and an explanation as to how to handle the survey instrument and the collected concert programs. Also included was an instruction to place a star or check mark beside those compositions performed at any large group contest or festival. The cover letter can be found in Appendix B. The survey instrument contained only six items. The first item asked the number of years of experience that the conductor had in the teaching field, while the second item asked the highest academic degree attained by the conductor. The third item was a question concerning the conductor's utilization of resources: "Considering the list below, rate each item according to how often you have used the resource over the past three years to choose music for your concert band. Circle the number that is appropriate for each resource, with "5" being a resource that you have used very often and "V
39 being a resource rarely or never used. Please utilize the entire scale (using all five numbers)." The list of resources offered, which can be found in Table 1, was developed through the use of studies by Bauer (1996), Blinde (1969), Bolt
(1983), Davis (1970), and Devore (1989). The entire survey can be found in -Appendix C.
A. Festival/Contest list. B. Used recommended repertoire lists from publications or other conductors (lists other than contest lists). ______C. Sought advice from other colleagues in the high school band profession. D ■ Sought advice from music store personnel. ______E. Sought advice from University/ College band conductors. F. Looked at scores in the music store. G. Listened to publisher tapes/Looked at publisher material mailed to you. H . Attended workshops, clinics, and/or conventions. ______1. Listened to other bands perform outside of a clinic/ convention/ workshop situation. J. Works previously known. K. Student input.
Table I: Resources utilized by conductors for choosing literature
The fifth item was a question concerning the criteria used by the conductors to choose their literature: "Considering the music that you have
40 chosen for your ensemble during the past three years, rate the importance that each of the reasons listed below played in your decision to perform those particular pieces. Circle the number that is appropriate for each reason, with
"5" indicating a very important reason, and "1" indicating a reason rarely or never considered. Please utilize the entire scale (using all five numbers)."
Unlike Davis (1970), the listing was not divided into categories of musical and non-musical criteria, since information as to the importance placed on each of these categories was desired. The listing of criteria that was developed through the use of studies done by Bauer (1996), Devore (1989), Cerow (1961), Grant (1993), and Woike (1990) can be found in Table 2.
41 A. The students could handle the technical demands in the amount of rehearsal time that was available. B. The students could comprehend and execute the musical demands in the amount of available rehearsal time. C. It would challenge/improve the students' technical abilities. D. It would challenge/improve the students' understanding of quality music and musical style. E. 1 already knew the piece. F. It was a piece of music that the students should know since it was one of quality. ______G. It was a composer that the students should know. H. It would fit the concert program nicely. I. 1 liked it. J. The students would like it. K. The audience would like it. L. It would teach about a certain historical period. M. It would teach about a certain theoretical concept. ^^^^l^iMh^nsemble^^nstrumentatior^n
Table 2: Criteria used by conductors to choose literature
42 Items 4 and 6 asked the conductors to look back over the lists of resources and criteria, respectively, in order to examine the selections that they designated with a rating of "5." They were then asked to list the two selections that they would rank as the highest and second-highest in each category. Two weeks following the mailing, the first follow-up telephone calls were made to the conductors who had not yet responded. Before the study was completed, four more rounds of follow-up calls were completed, each following two to three weeks after the last and taking two to three days to complete. A total of 582 telephone calls were made during the five follow-up rounds. Except for two conductors who removed themselves from the study after the second call, each conductor that, in the end, did not respond had been contacted personally at least twice, with messages being left with secretaries or on voice mail systems at the other times.
The methodology proved to be effective for the survey portion of the study. A total of 117 surveys were returned, which figured as a response rate of 78.00%. All of those mailings returned contained completed survey forms, but sixteen of those returned did not include any programs. Within the group that returned both the survey and programs, various degrees of completeness were encountered, from those conductors who returned all of the required programs to those who only returned one or two programs. Therefore, it became necessary to use two sets of response figures in the data analysis; one that represented those conductors who only returned the survey, and one for those who returned a significant enough percentage of their programs to be included in the repertoire portion of the study. There were several possible justifications for a conductor not returning all of the
43 programs from the three years requested. These include programs not being printed for informal holiday concerts, the conductors not feeling the need to include programs which repeated other literature, or an overestimation by the conductors on the telephone survey of the number of formal concerts that were performed in a year. The absence of holiday programs and programs which repeated literature performed at prior concerts were not significant to the study since these compositions would have been omitted from the respective repertoires in any case. A few exceptions to this rule included pieces such as Alfred Reed's Russian Christmas Music and arrangements of
Tchaikovsky's hiutcracker Suite. It was therefore decided that a respondent should be included in the repertoire portion of the study if two-thirds of the programs that were indicated on the telephone survey to have been performed by the most advanced concert bands were returned. The number used to include a respondent into the repertoire portion was determined by taking the number of concerts that the respondent indicated on the telephone survey was played by his or her band every year, multiplying it by three years, and then multiplying that figure by .67. A total of 48.0% (72) of the conductors returned at least two-thirds of their programs and were included in this group that will be referred to hereafter as
"repertoire respondents." Those conductors who returned at least a survey will be referred to hereafter as "survey respondents" (A/=117). There were eight conductors who indicated during a follow-up call that they had already returned the materials a considerable time prior to the call, although the researcher had not yet received them. At least a portion of those not received were determined to be due to insufficient postage and a lack of a return address. Information from the U. S. Postal Service indicated that any
44 envelope that contained more programs than could be sent via a 55 Forty-two of the 50 states were represented in the final sample of 150 conductors, with 38 states being represented in the "survey respondent" group and 31 states being represented in the "repertoire respondent" group. Table 3 illustrates the number of schools in each state that were included in the sample, that were included as a survey respondent, and that were included as a repertoire respondent. 45 Survey Repertoire Survey Repertoire State Sam ple State Sample Respondent Respondent Respondent Respondent AK 1 I 1 MT 2 2 2 AL 1 I 0 NC 1 1 0 AR 1 1 0 ND 0 0 0 AZ 2 1 1 NE 1 1 1 CA 17 11 5 NH 0 0 0 CO 2 2 1 NJ 4 4 3 c r 1 1 1 NM 0 0 0 DE 1 1 1 NV 1 1 1 FL 8 5 2 N Y 5 2 0 GA 5 4 3 OH 9 8 6 HI 2 2 1 OK 1 1 0 lA 2 2 2 OR 4 3 1 ID 1 1 0 PA 9 8 7 IL 6 4 3 RI 1 0 0 IN 4 3 2 SC 6 6 3 KS 0 0 0 SD 0 0 0 KY 2 1 0 TN 1 0 Ü LA 2 2 2 TX 18 12 6 MA 3 3 1 UT 3 3 2 MD 2 0 0 VA 3 3 2 ME 0 0 0 VT 0 0 0 MI 5 3 3 W A 3 3 2 M N 1 1 1 WI 4 4 3 MO 2 2 1 W V 1 0 0 MS 1 1 0 WY 1 1 1 Table 3: Response rate by state 46 Development of the Repertoire Evaluation Inventory Since the measurement of quality within the conductors' performed repertoire is of central importance to this study, every effort was made to develop a complete inventory of wind band compositions that are considered to be of notable quality. As it was determined that no single person should hold undue influence over such a listing, the Repertoire Evaluation Inventory (REI) was developed with the use of several studies done on the quality of the wind band repertoire, a compilation of writings of individual experts, including published books and unpublished repertoire lists, and a jury of experts within the field of wind band literature.No study or listing completed prior to 1990, with the exception of Ostling (1979), was used to avoid penalizing any work published recently. It was also determined that, due to the vast array of quality compositions available to the high school wind band, an attempt to delineate between different levels of quality among these compositions would be useful in better measuring the degree of quality inherent in the repertoires of the high school bands. To this end, a rating system was developed to give each composition a value of one to three points, with a higher number signifying a composition with a higher level of quality. The first step to this process was to develop three different groupings of compositions. The initial quality designation for each composition was determined by adding up the points awarded for inclusion in each group. Each of these groups were created by use of multiple studies or opinions, and ^ ^Richard Blatti, Gary Lewis, Bruce Moss, and Stephen Peterson. 47 points were only awarded to those compositions in which multiple sources within each group agreed that it contained a sufficient degree of quality. The first group included the Gilbert (1993) and Ostling (1979) studies. The Gilbert study was a replication of the Ostling study, with the exact same methods being used both for choosing the jury to evaluate the pieces and for determining which pieces contained "serious artistic merit." Any work which was deemed to contain serious artistic merit by over half of the jury in either of these studies was included in the first group. In addition, since these studies were unquestionably the most rigorous evaluations of the wind band repertoire available, with each utilizing 20 of the top band conductors in the United States as the jurors, any piece included in this first group was given two points. Group two was determined by inclusion in the findings of studies done by Gaines (1996), Negro (1994), and Woike (1990). While these three studies were dissimilar in their goals, the combination provided a good overall look at the repertoire deemed to contain quality by high school and college band conductors. Inclusion in two of the three lists was necessary for any composition to receive a point towards inclusion in the REI from this group. Group three utilized lists of important compositions for use in the high school band curricula that were developed by multiple renowned educators (Dvorak, Grechesky, & Ciepluch, 1993; Miles, 1997), as well as by individuals known for their expertise in the area of wind literature (Battisti, 1995; Reynolds, 1995; University of Northern Colorado, 1992). Inclusion on two or more of these lists was necessary for any composition to receive a point towards inclusion in the REI from this group. 48 A composition that received a total of three or four points was placed in Category 1 in the REI, with those receiving two points being placed in Category 2 and those receiving one point being placed in Category 3, Category I was defined as "representing the highest quality compositions available and accessible to the large high school wind band. These are pieces that every high school conductor shouldknoiv and should perform on a regular basis (assuming the band is capable)." Category 2 was defined as "representing compositions with a very high level of quality, onlyslightly below the highest level. These are pieces that every high school conductor shouldbe aware of and should perform periodically (assuming the band is capable)." Category 3 was defined as "representing compositions with a notable level of quality,yet below the highest tivo levels. These are pieces that warrant inclusion into the high school wind band curricula and will stand up to repeated playings throughout the years." Marches, fanfares, and compositions for soloist and band were excluded from the repertoire portion of the study since there was a lack of expert opinion on these types of composition throughout the literature. Exceptions to this rule were a few marches that are considered larger works, such as Grainger's Children's March "Over the Hills and Far Away.” This does not indicate that consideration of the quality of these compositional types should not be carefully considered, but only that sufficient information was not available to judge them at this time. The goal of the fourth group of the REI was to create a category of compositions that may have been included in the other groupings except for being overlooked through the methods used in forming the groups. No points were awarded for inclusion in this group. The largest source of this 49 group was compositions that were included in the repertoires returned by the high school conductors that were recently published. A second source was compositions included in the above lists that did not receive any agreement from any other list. These were included in order to give the jury the opportunity to be the agreeing party. The second step for the development of the REI was to send these four categories to the jury members for adjustment. The jury members were asked to examine the compositions in each category and remove the compositions that they felt did not belong, either placing these compositions in a higher or lower category, or removing them altogether. The lists and instructions sent to the jury, entitled "An examination of quality repertoire available to the high school wind band" can be found in Appendix D. Upon receiving the RE Is from the jurors, each juror's final categories were compiled and compared to the groups of the other jurors. Each composition was then placed in a final quality category based on this information. Disagreement among the jurors was resolved using an averaging method. Any composition that was placed in the same group by three jurors was designated with that group no matter where the fourth juror placed the composition. Any split decisions were placed in the higher of the two groupings in order to give the benefit of the doubt. For example, a composition that received two Group 2 ratings and two Group 1 ratings would be included in Group 1. Pieces which had little agreement were averaged and rounded up. An example of this would be a composition which was designated by two jurors as Group 3 and one each as Groups 2 and 1 being placed in Group 2. Compositions that were not familiar to a juror were placed according to those jurors who were familiar with them. A 50 composition that was unfamiliar to all of the jurors was removed from the REI and the repertoires of the conductors and reported separately. When the survey instrument and programs were received from the sample of high school conductors, each conductor's entire repertoire, minus the marches, fanfares and compositions for soloist and band, was compiled. Any piece that was performed more than once by the same band was only included once in that particular repertoire. Exceptions to this were instances where a single movement of a larger work was performed one time, while a different movement was performed at a different time. These compositions were counted twice. Those performances that included only a part or parts of a larger work were listed as the whole work, although the parts performed were noted for reporting purposes. The repertoires of each individual respondent were then compared to the REI. The Total Quality Points (TQP) was figured by adding up the points received by all of the compositions from the three-year repertoire of each conductor. Three points was given to a composition that appeared in Group 1 of the REI, with two points given to a composition in Group 2 and one point given to a composition in Group 3. The TQP was then divided by the number of compositions that were judged to arrive at the Average Quality Points (AQP). Based on the AQP, the conductors were divided into three equal groups consisting of those whose who utilized high quality literature (HQL), those in the middle (MQL), and those who utilized low quality literature (LQL). T-tests and chi-squares were then performed on the HQL and LQL groups to determine whether there were any significant differences in their criteria, resources, or demographic factors. 51 Other descriptive statistics that were figured were a general analysis of the methods, criteria, and literature used by all of the subjects, as well as the percentage of quality points received due to contest or festival required lists as compared to those compositions not performed at a contest or festival. 52 CHAPTER 4 ANALYSIS The purpose of this study was: (a) to investigate what literature was being performed by wind bands in a sample of large secondary schools in the United States in the academic years of 1994-95 through 1996-97, (b) to evaluate the level of quality of this literature, (c) to investigate the resources utilized by secondary school band conductors in order to locate literature, (d) to investigate the criteria used by these band conductors when deciding what compositions to perform, and (e) to ascertain whether any relationship can be found between the resources and criteria used by these band conductors and the quality of the literature that they chose. The data were collected through the use of both a telephone survey and a written survey administered to 150 band conductors in American high schools of more than 1000 students who have been at their present school for six or more years. Description of the population and sample In order to obtain the sample of 150, information about the conductors at 304 different high schools was obtained over the telephone. The only statistics accessible from all of the schools contacted came from the telephone survey. Since some estimations by secretaries from schools in which the 53 conductors were not directly contacted may not have been completely accurate, indepth analysis is not possible. However, one piece of data that is assured of being accurate is that 41 of these conductors were in the first year of teaching at his or her particular school, representing the largest group (13.49%) of all of the schools contacted. In addition, 44.74% (136) of the conductors from all of the schools contacted had been at that particular school 4 years or fewer. There were 31 females (10.20%) and 273 males (89.80%) represented in the entire group. The final sample used into the study, which consisted of conductors who had been at their particular school for six or more years (N =150), had a mean of 13.99 years (SD=6.59) at the same school. 13 of the conductors had been at their particular school over the 90th percentile mark of 23 years. The maximum number of years at the same school was 39. The sample was made up of 12 females (8.00%) and 138 males (92.00%). Fortv-one schools within the sample had only one concert band in the high school (27.33%), with 69 (46.00%) of the schools reportedly having two, 35 (23.33%) having three, and 4 (2.67%) having four. Only one school reported having 5 concert bands. Of the 109 schools with multiple concert bands, 95 (87.16%) of them utilized the audition process in order to determine the division of the bands, with 11 (10.09%) using the grade level of the students as the determining factor. Two schools (1.84%) determined the separation of the concert bands by those students who wanted to participate in marching band, and one school used the period within the school day for which the students signed up. The conductor of this latter group stated that, although he attempts to get all of the better musicians into the same period, this is often not possible due to the arrangement of the schedule. 54 Eighty-five schools (56.67%) within the sample began concert band after the termination of the marching season, while 65 of them (43.33%) rehearsed the concert band the entire school year. While data were not collected on the ending dates of the marching band seasons, geographic location seemed to have the greatest impact, with those schools in the colder climates, such as Minnesota and Wisconsin, terminating their marching band season in October, and those in the warmer climates running well into November. The average number of concerts performed annually by the top concert bands among the sample was 3.02, with 49.33% (74) performing three concerts and 24.00% performing two. Four of the conductors reported performing only one concert a year, and 3 conductors stated that their top concert bands perform six formal concerts a year, not including any competitions or festivals. A large group contest or festival was attended at least once over the past three years by 115 of the conductors within the sample (76.67%). The survey response group did not differ noticeably from the total sample group in any of the above respects. From the written surveys, it was found that the survey response group (N=117) had a mean of 21.72 years (SD=7A9) and a mode of 19 years (/z=14) of experience teaching in the schools. The most experienced teacher had taught for 41 years. Eleven conductors (9.40%) had taught more than the 90th percentile range of 31 years, and only 10 conductors (8.55%) from the response group had 10 years or less of experience. Figure 1 is a box plot demonstrating the balance of the response group in respect to the number of years of teaching experience. 55 4 5 40- 20 - 15- 10- Figure 1: Box plot for years of teaching experience of the survey response group A master's degree was the highest degree attained by 74.78% (86) of the response group, w ith 19.13% (22) at the bachelor's level and 6.09% (7) at the doctoral level. Repertoire performed by high school bands A total of 1891 performances of compositions by 329 different composers were submitted by the 72 respondents who sent back at least two-thirds of their programs from the academic years of 1994 through 1997. Included in the 472 programs returned were 314 marches (16.60%), 103 compositions with soloist (5.45%), and 21 fanfares (1.11%). Since marches, solo compositions. 56 and fanfares were not included in this study, this left 1453 performances of 793 different compositions to be utilized in the determination of the quality of literature being played by high school wind bands. While marches were not catalogued by title, the composers were recorded. A total of 69 composers were represented among the 314 marches performed by the respondents, with 38 of these composers having marches that were performed multiple times. John Philip Sousa had the most performances at 79, followed by H enry Fillmore (30) and Karl L. King (19). Table 4 lists all of the march composers and the number of performances that their marches received. 57 # of It of Composer Composer PÉS Pfs Agapkin, Vasilij Ivanovitz 2 Joplin, Scott 1 Alexander, Russell 2 Jordan, Herberte 1 Alford, Kenneth J. 8 Karrick, Cecil 1 Allen, Tom 1 King, Karl L. 19 Bagley, E. E. 9 Klohr, John 2 Barber, Samuel 3 Latham, William 3 Bamhouse, C. L. 1 Leemans, Pierre 7 Berlioz, Hector 3 Lithgow, Alex 1 Bernstein, Leonard 3 Lope, Santiago 2 Bilik, Jerry 1 Losey, F. H. 1 Bonelli, Eugene 1 Lowden (Arr.) 2 Boyer, Louis 1 Maltby, Richard 1 Bruckner, Anton 1 Newman, Alfred 2 Cese, D. Delle 2 Osterling, Eric 4 Chambers, W. Paris 3 Padilla, José 4 Coates, Eric 2 Piersol, Frank 1 DeLuca, Joseph 2 Prokofiev, Serge 1 Dostal, Hermann 1 Richards, J. J. 2 Duble, Charles E. 2 Rimmer, William 1 Elgar, Edward 2 Rodgers, Richard 1 Elliot, Zo 3 Saint-Saëns, Camille 3 Farrar, O. R. 1 Seitz, Roland 1 Fillmore, Henry 30 Smith, Claude T. 1 Fucik, Julius 4 Sousa, John Philip 79 Goldman, Edwin Franko 4 Spisa 1 Grafulla, Claudio S. 4 Strauss, Johann Sr. 4 Grainger, Percy Aldridge 2 Tchaikovsky, Peter Ilyich 1 Guild 1 Teike, Carl 1 Hanssen, Johannes 5 Texidor, Jaime 8 Heed, J. C. 1 Velke, John Arthur II 1 Huffine, Getty Herschel 1 Wagner, J. F. 1 Ives, Charles 1 Whitcomb, Kenneth 1 Jager, Robert 11 Williams, John 7 Jewell, Fred 7 Wood, Hayden 1 Zimmerman, Charles 2 Table 4: Composers represented by marches and the number of performances (Pfs) received 58 Of the 793 different compositions that were performed by the respondents in the academic years from 1994 to 1997, 545 (68.72%) of these compositions were performed by only 1 of the 72 bands represented by the respondents. Another 119 (15.01%) of these compositions were performed by only 2 of the bands, leaving 128 (16.14%) compositions that had been performed by three or more of the bands. Only 1.64% (13) of the compositions listed on the repertoires were performed by 10 or more of the bands. However, these 13 works represented 12.86% of all of the compositions performed by all of the bands, not including marches, solo pieces, and fanfares. Gustav Holst'sFirst Suite in Eb for Military Band received the most performances (33), with John Barnes Chance's Variations on a Korean Folk Song being second with 20. A relatively new work, Johan de Meij's Symphony No. 7 "The Lord of the Rings" received 15 performances, with Percy Aldridge Grainger's/ris/i Tune from County Derry and Alfred Reed's arrangement of the traditional tune Creensleeves each receiving 14. It is important to note that 12 of the 15 performances of the de Meij composition were of single movements, while the other three performances were of no more than three of the movements from the five-movement work. John Zdechlik's Chorale and Shaker Dance and Ralph Vaughan Williams' Folk Song Suite rounded out the top seven most-performed works with 13 performances each. The entire listing of the 248 compositions that received multiple performances by the bands of the respondents can be found in Table 5. Those compositions only performed by one of the bands can be found in Appendix E. 59 # of Composer Composition Arr./Trans. PÉ5 Hoist, Gustav First Suite in Eb for Military Band 33 Chance, John Barnes Variations on a Korean Folk Song 20 de Meij, Johan Symphony No. 1 'The Lord of the 15 Rings" Grainger, Percy Aldridge Irish Tune from County Derry 14 T raditional Greensleeves arr. Reed 14 Vaughan Williams, Ralph Folk Song Suite 13 Zdechlik, John Chorale and Shaker Dance 13 Ticheli, Frank Amazing Grace 12 Tschesnekoff, Pavel Salvation is Created arr. Houseknecht 12 Williams, Clifton Dedicatory Overture 12 Grainger, Percy Aldridge Shephard’s Hey 10 Reed, Alfred A Festival Prelude 10 Wagner, Richard Elsa’s Procession to the Cathedral arr. Cailliet 10 Schuman, William Chester Overture for Band 9 Arnold, Malcolm Prelude, Siciliano, and Rondo arr. Paynter 8 Bernstein, Leonard Overture to ’Candide ” arr. Beeler 8 Grainger, Percy Aldridge Lincolnshire Posy 8 Holst, Gustav Second Suite in F for Military Band 8 John, Elton Highlights from ’The Lion King ’ arr. Custer 8 Smith, Robert W. The Divine Comedy 8 Bukvich, Daniel Symphony No. 1: In Memoriam 7 Dresden arr. Erickson Grainger, Percy Aldridge Children’s March "Over the Hills 7 and Far Away ” McBeth, W. Francis Chant and Jubilo 7 McBeth, W. Francis Of Sailors and Whales 7 Melillo, Stephen Stormvvorks 7 Reed, Alfred Russian Christmas Music 7 Rossini, Gioacchino Italian in Algiers Overture arr. Cailliet 7 Smith, Claude T. Emperata Overture 7 Vaughan Williams, Ralph Flourish for Wind Band 7 Vaughan Williams, Ralph Sea Songs 7 Table 5: Compositions other than marches, fanfares, and pieces for soloist and band that were performed multiple times, and the number of performances (Pfs) received* * Table continued 60 # of Composer Arr./Trans. Composition Pfe* Bach, PDQ Grand Serenade for an Awful Lot of 6 Winds and Percussion Bennett, Robert Russell Suite of Old American Dances 6 Chance, John Barnes Incantation and Dance 6 Frescobaldi, Girolamo Toccata arr. Slocum 6 Holsinger, David R. Havendance 6 Holsinger, David R. On a Hymnsong of Phillip Bliss 6 Reed, Alfred Armenian Dances, Part 1 6 Rimsky-Korsakov, Nicolai Procession of the Nobles arr. Leidzen 6 Ward, Samuel America the Beautiful arr. Dragon 6 Wood, Hadyn Mannin Veen 6 Arnold, Malcolm Four Scottish Dances arr. Paynter 5 Bilik, Jerry American Civil War Fantasy 5 Copland, Aaron A Copland Tribute arr. Grundman 5 Cumow, James Where Never Lark or Eagle Flew 5 Dello Joio, Norman Satiric Dances 5 Dello Joio, Norman Scenes from ’The Louvre" 5 Giovannini, Caesar Overture in B Flat 5 Grainger, Percy Aldridge Ye Banks and Braes O' Bonnie Doon 5 Grundman, Clare Concord 5 Jager, Robert Third Suite for Band 5 Jenkins, Joseph Wilcox American Overture for Band 5 Kalinnikov, Vassili Finale from Symphony No. 1 arr. Bainum 5 Kamen, Michael An American Symphony arr. Lavender 5 Lloyd Webber, Andrew Selections from ’The Phantom of the arr. Barker 5 Opera" Orff, Carl Carmina Burana 5 Shostakovich, Dmitri Festive Overture, Op. 96 arr. Hunsberger 5 Suppé, Franz von Morning, Noon, and Night in Vienna 5 Verdi, Giuseppi La Forza Del Destino Overture arr. Lake 5 Bach, Johann Sebastian Jesu, Joy of Man’s Desiring arr. Leidzen 4 Bach, Johann Sebastian Sleepers Awake arr. Reed 4 Bernstein, Leonard Overture to ’Candide ” arr. Grundman 4 Holst, Gustav Jupiter from The Planets ” arr. Cumow 4 Holst, Gustav Mars from The Planets" arr. Sayre 4 Jacob,Gordon William Byrd Suite 4 Lloyd Webber, Andrew The Magic of Andrew Lloyd Webber arr. Bocook 4 Mozart, Wolfgang Amadeus The Marriage of Figaro Overture arr. Slocum 4 Persichetti, Vincent Pageant 4 Persichetti, Vincent Symphony No. 6 for Band 4 Reed, Alfred A Jubilant Overture 4 * Pfs=performances Table continued 61 9 of Composer Composition Arr./Trans. Pfe* Reed, Alfred The Hounds of Spring 4 Shostakovich, Dmitri Finale from Symphony No. 5 arr. Righter 4 Smith, Robert W. Into the Storm 4 Suppé, Franz von Light Cavalry Overture 4 Tchaikovsky, Peter Ilyich Nutcracker Suite arr. Johnson 4 Tchaikovsky, Peter Ilyich Overture, 1812 arr. Lake 4 Anderson, Leroy The Irish Washerwoman 3 Bach, Johann Sebastian Prelude and Fugue in Bb Major arr. Moehlmann 3 Bach, Johann Sebastian Toccata and Fugue in D Minor arr. Leidzen 3 Berlin, Irving Irving Berlin Showstoppers arr. Higgins 3 Bernstein, Leonard Danzon from "Fancy Free" arr. Krance 3 Bernstein, Leonard Selections from "West Side Story" arr. Duthoit 3 Bizet, George L'Arlesienne Suite arr. Longfield 3 (Only "Farandole") Boy sen, Andrew Jr. 1 Am 3 Brahms, Johannes A Child's Lullaby arr. Swearingen 3 Brahms, Johannes Blessed Are They arr. Buehlman 3 Bulla, Stephen Firestorm 3 Copland, Aaron A Copland Portrait arr. Grundman 3 Cumow, James Fanfare and Flourishes 3 de Meij, Johan Aquanum 3 Del Borgo, Elliot Do Not Go Gentle Into That Good 3 N ig h t Downing, Joseph H. Symphony for Winds and Percussion "Dancing Day" 3 Only Dvorak, Antonin Finale from The New World arr. Hindsley 3 Symphony Gershwin, George The Symphonic Gershwin arr. Barker 3 Grainger, Percy Aldridge Molly on the Shore 3 Grainger, Percy Aldridge The Sussex Mummer's Christmas 3 Carol Grundman, Clare An Irish Rhapsody 3 Holsinger, David R. Consider the Uncommon Man 3 Holsinger, David R. On an American Spiritual 3 Holsinger, David R. The Gathering of the Ranks at 3 Hebron Huckeby, Ed Accolada 3 Ives, Charles Variations on America arr. Schuman 3 Jacob, Gordon An Original Suite 3 Kabalevsky, Dmitri Overture to "Colas Breugnon " arr. Hunsberger 3 Kamen, Michael Robin Hood Prince of Thieves arr. Lavender 3 Lecuona, Ernesto Malaguena arr. Nestico 3 Pfs=performances T able continued 62 # o f Composer Composition Arr./Trans. Pfe* Lloyd Webber, Andrew Selections from "Sunset Boulevard" arr. Bocook 3 Lo Presti, Ronald Elegy for a Young American 3 McBeth, W. Francis K addish 3 Menken, Alan The Hunchback of Notre Dame arr. Moss 3 Milhaud, Darius Suite Française 3 Reed, Alfred Othello (after Shakespeare) 3 Schonberg, Claude-Michael Selections from "Les Misérables" arr. Barker 3 Smith, Claude T. Sonus V entorum 3 Smith, Robert W. Africa: Ceremony, Song and Ritual 3 Suppé, Franz von Poet and Peasant Overture arr. Fillmore 3 Tchaikovsky, Peter Ilyich Nutcracker Suite arr. Cumow 3 Tchaikovsky, Peter Ilyich Nutcracker Suite arr. Lake 3 Ticheli, Frank Cajun Folk Songs 3 Vaughan Williams, Ralph Toccata Marziale 3 Washburn, Robert Kilimanjaro. . . .-\n African Portrait 3 Williams, Clifton Symphonic Dance No. 3 ("Fiesta") 3 Williams, John John Williams in Concert arr. Lavender 3 Williams, John Jurassic Park arr. Lavender 3 Williams, John Music from "Jurassic Park" arr. Bocook 3 Williams, John Symphonic Marches of John arr. Higgins 3 W illiam s Williams, John Theme from "Shindier's List" arr. Cumow 3 Zdechlik, John Celebrations 3 Dixieland Jam! arr. Lowden 3 Akey, Douglas Cascade River Overture 2 Arlen, Harold The Wizard of Oz arr. Barnes 2 Bach, Johann Sebastian Come, Sweet Death arr. Reed 2 Bach, Johann Sebastian Jesus, Jesus Rest Your Head arr. Wallace 2 Bach, Johann Sebastian Little Fugue in G Minor arr. Boyd 2 Bach, Johann Sebastian Prelude and Fugue in G Minor arr. Moelmann 2 Barnes, James Invocation and Toccata 2 Barnes, James Legend 2 Bames, James Variants on a Moravian Hymn 2 Beethoven, Ludwig van Egmont Overture arr. Hindsley 2 Benson, Warren Solitary Dancer 2 Brahms, Johannes Hungarian Dance No. 5 arr. Longfield 2 Bukvich, Daniel Cowboys 2 Carter, Charles Overture for Winds 2 Chattaway, Jay Parade of the Tall Ships 2 Copland, Aaron A Lincoln Portrait arr. Beeler 2 Copland, Aaron An Outdoor Overture 2 Copland, Aaron Down a Country Lane arr. Patterson 2 Pfs=performances Table continued 63 # of Conqxxser Composition Arr./Trans. Pfe* Cumow, James Rejouissance 2 Dawson, Jay Gettysburg: The Third Day 2 Del Borgo, Elliot Chant Rituals 2 Del Borgo, Elliot Festa! 2 Del Borgo, Elliot Lux Aetema 2 Del Borgo, Elliot Music for Winds and Percussion 2 Dello Joio, Norman Variants on a Mediaeval Tune 2 Duffy, Thomas Crystals 2 Dvorak, Antonin Coin' Home arr. Villaneuva 2 Elgar, Edward March of the Mogul Emperors arr. Longfield 2 Erickson, Frank Overture Jubiloso 2 Ewazen, Eric Celtic Hymns and Dances 2 Gillingham, David Heroes, Lost and Fallen 2 Gliére Reinhold Russian Sailor's Dance arr. Leidzen 2 Gould, Morton American Salute arr. Lang 2 Gregson, Edward Festivo 2 Grundman, Clare The Blue and the Gray 2 Herold, Ferdinand Zampa Overture arr. Safranek 2 Hindemith, Paul March from "Symphonic arr. Wilson 2 Metamorphosis ■' Holsinger, David R. American Faces 2 Holsinger, David R. Hopak Raskolniki 2 Holsinger, David R. Liturgical Dances 2 Holsinger, David R. Sinfonia Voci 2 Holsinger, David R. To Tame the Perilous Skies 2 Huckeby, Ed Prelude and Primal Danse 2 Husa, Karel Al Fresco 2 Jager, Robert Lord, Guard and Guide (The Men 2 Who Fly) Jager, Robert Variations on a Theme by Robert 2 Schumann John, Elton The Lion King arr. Higgins 2 Kabalevsky, Dmitri Overture to "Colas Breugnon" arr. Beeler 2 Kamen, Michael Mr. Holland’s Opus arr. Bocook 2 Knox, Thomas American Pageant 2 Kopetz, Barry The Raven 2 Kozhevnikov, Boris Symphony No. 3 "Slavyanskaya" arr. Bourgeois 2 Lloyd Webber, Andrew Andrew Lloyd Webber: A Concert arr. Custer 2 Celebration Lloyd Webber, Andrew Selections from "Cats " 2 Margolis, Bob Renaissance Fair 2 Marquina, Pascual La Gitana Del Albaicin 2 Maslanka, David Rollo Takes a Walk 2 Pfs=performances Table continued 64 «of Conyoser Composition Arr./Trans. Pfe* McBeth, W. Francis Caccia 2 McBeth, W. Francis Masque 2 McBeth, W. Francis They Hung Their Harps in the 2 W illow s McBeth, W. Francis Through Countless Halls of Air 2 Menken, Alan Highlights from Pocahontas arr. Moss 2 Mennin, Peter Canzona 2 Meyer The Ayres of Agincourt 2 Mussorgsky, Modeste Night on Bald Mountain arr. Hindsley 2 Nixon, Roger Pacific Celebration Suite 2 Osterling, Eric Tropical Twilight 2 Perkins, Frank S. Fandango arr. Werle 2 Persichetti, Vincent Psalm for Band 2 Reed, Alfred A Symphonic Prelude on "Black is 2 the Color" Reed, Alfred First Suite for Band 2 Reed, Alfred Punchinello 2 Rossini, Gioacchino La Gazza Ladra arr. Tangen 2 Rossini, Gioacchino William Tell Overture arr. W illiams 2 Schonberg, Claude-Michael Highlights from "Miss Saigon" arr. Barker 2 Schuman, William When Jesus Wept 2 Sheldon, Robert Appalachian Legacy 2 Sheldon, Robert Four Winds Overture 2 Shostakovich, Dmitri Folk Dances arr. Hunsberger 2 Shostakovich, Dmitri Prelude, Op. 34, No. 14 arr. Reynolds 2 Smetana, Bedrich Three Revolutionary Marches arr. Nelhybel 2 Smith, Claude T. Anthem for Winds and Percussion 2 Smith, Claude T. Chorale Prelude on God of Our 2 Fathers Smith, Claude T. Concert Variations 2 Smith, Claude T. God of Our Fathers (Chorale 2 Prelude) Smith, Claude T. Incidental Suite 2 Smith, Robert W. Encanto 2 Smith, Robert W. To Dance in the Secret Garden 2 Smith, Robert W. Where the Black Hawk Soars 2 Sousa, John Philip Songs of Grace and Songs of Glory arr. 2 Brion/Schissel Spears, Jared At a Dixieland Jazz Funeral 2 Stuart, Hugh Rio Con Brio 2 Stuart, Hugh Three Ayres from Gloucester 2 Sullivan, Arthur Pineapple Poll arr. Mackerras 2 Swearingen, James Celebration and Dance 2 * Pfs=performances Table continued 65 9 of Composer Arr./Trans. Composition Pfe' Swearingen, James Of Pride and Celebration 2 Swearingen, James Seagate Overture 2 Swearingen, James The Light Eternal 2 Tchaikovsky, Peter Ilyich Marche Slave arr. Lake 2 Thomas, Ambroise Overture to "Raymond" arr. Safranuek 2 Tull, Fisher A Passing Fantasy 2 Tull, Fisher Sketches on a Tudor Psalm 2 Vaughan Williams, Ralph Linden Lea arr. Stout 2 Wagner, Richard Siegfried's Funeral Music from "Die arr. Whear 2 Gotterdammerung" Wagner, Richard Trauersinfonie arr. Leidzen 2 Walters, Harold Instant Concert 2 Whitacre, Eric Ghost Train 2 Williams, Clifton The Sinfonians 2 Williams, Clifton Variation Overture 2 Williams, John Return of the Jedi arr. Bocook 2 Williams, John Return of the Jedi arr. Lavender 2 Williams, John Star Wars Medley arr. Tagenhorst 2 Williams, John The Cowboys arr. Cumow 2 Williams, John Theme from "Schindler's List" arr. Custer 2 Zdechlik, John Chorale and Shaker Dance Q 2 Zdechlik, John Psalm 46 2 Best Broadway Marches arr. Christensen 2 Big Band Signatures arr. Higgins 2 Deir' In Deon arr. Barker 2 Music of the Beatles arr. Sweeney 2 Pfs=performances 66 Of the 329 composers represented on the respondents' programs, 278 of them were represented by compositions other than marches, pieces for soloist and band, and fanfares. A total of 159 (57.19%) of this group of composers were represented by only a single composition, with 131 (47.12%) of the compositions by these composers only being performed by one of the wind bands. Some notable composers represented by only one performance were H. Owen Reed (Ui Fiesta Mexicana), Walter Piston (Tunbridge Fair), and Vittorio Giannini (Dedication Overture). Another notable composer, Warren Benson, only had a single composition played by the respondents (Solitary Dancer). Table 6 illustrates the number of performances and compositions received by the 147 composers who received multiple performances. It is important to note that 55 of the compositions performed by the bands, with such titles as Best Broadwaxj Marches and Big Band Signatures, were not attributed to any composer because of the medley-like nature that incorporated multiple composers. 67 Composer Pfs Cps Composer Pfs Cps Grainger, Percy Aldridge 58 15 Kamen, Michael 11 2 Holst, Gustav 54 6 Melillo, Stephen 11 5 Reed, Alfred 53 21 Anderson, Leroy 10 8 Holsinger, David R. 38 19 Brahms, Johannes 10 5 Vaughan Williams, Ralph 33 6 John, Elton 10 1 McBeth, W. Francis 31 13 Persichetti, Vincent 10 3 Williams, John 31 8 Rimsky-Korsakov, Nicolai 10 5 Smith, Claude T. 29 16 Sheldon, Robert 10 8 Chance, John Bames 27 3 Erickson, Frank 9 8 Bach, Johann Sebastian 26 12 Gershwin, George 9 7 Smith, Robert W. 25 10 Giovannini, Caesar 8 4 Zdechlik, John 22 5 Jenkins, Joseph Wilcox 8 4 Bernstein, Leonard 21 6 Bennett, Robert Russell 7 2 Del Borgo, Elliot 21 15 Dvorak, Antonin 7 4 Williams, Clifton 21 6 Huckeby, Ed 7 4 Lloyd Webber, Andrew 20 8 Mozart, Wolfgang Amadeus 7 4 Wagner, Richard 20 9 Rodgers, Richard 7 7 Cumow, James 19 12 Sousa, John Philip 7 6 de Meij, Johan 19 3 Van der Roost, Jan 7 7 Tchaikovsky, Peter Ilyich 19 5 Verdi, Giuseppi 7 3 Copland, Aaron 18 9 Bach, PDQ 6 1 Swearingen, James 17 13 Frescobaldi, Girolamo 6 1 Bames, James 15 12 Kabalevsky, Dmitri 6 3 Grundman, Clare 15 8 Maslanka, David 6 5 Rossini, Gioacchino 15 7 Osterling, Eric 6 5 Shostakovich, Dmitri 15 6 Schonberg, Claude-Michael 6 2 Ticheli, Frank 15 2 Tull, Fisher 6 4 Amold, Malcolm 14 2 Ward, Samuel 6 1 Schuman, William 13 4 Wood, Hayden 6 1 Dello Joio, Norman 12 3 Bilik, Jerry 5 1 Jager, Robert 12 7 Boy sen, Andrew Jr. 5 3 Menken, Alan 12 4 Carter, Charles 5 4 Suppé, Franz von 12 3 Chattaway, Jay 5 4 Tschesnekoff, Pavel 12 1 Husa, Karel 5 4 Bukvich, Daniel 11 4 Kalinnikov, Vassili 5 1 Table 6: Number of performances (PFS) and compositions (CPS) by composer* ‘Table continued 68 Composer Pfs' Cps Composer Pfs Cps Mussorgsky, Modeste 5 4 Williams, Mark 3 3 Nelhybel, Vaclav 5 5 Akey, Douglas 2 1 Orff, Carl 5 1 Barrett, Roger 2 2 Stuart, Hugh 5 3 Benson, Warren 2 1 Washburn, Robert 5 3 Bock, Jerry 2 2 Bizet, George 4 2 Broege, Timothy 2 2 Bulla, Stephen 4 2 Buchtel, Forest 2 2 Dawson, Jay 4 3 Camphouse, Mark 2 2 Gliére, Reinhold 4 3 Daehn, Larry 2 2 Gould, Morton 4 3 de Haan, Jan 2 2 Ives, Charles 4 2 Elgar, Edward 2 2 Lecuona, Ernesto 4 2 Ewazen, Eric 2 1 Mendelssohn, Felix 4 2 Freund, Don 2 2 Bartholdy Giroux 2 2 Nixon, Roger 4 3 Hamlisch, Marvin 2 2 Offenbach, Jacques 4 4 Handel, George Frederick 2 2 Shaffer, David 4 4 Hanson, Howard 2 2 Spears, Jared 4 3 Herold, Ferdinand 2 1 Stamp, Jack 4 4 Khachaturian, Aram 2 2 Arlen, Harold 3 2 Knox, Thomas 2 1 Beethoven, Ludwig van 3 2 Kozhevnikov, Boris 2 1 Berlin, Irving 3 1 Margolis, Bob 2 1 Berlioz, Hector 3 3 Marquina, Pascual 2 1 Bocook, Jay 3 3 Mennin, Peter 2 1 Downing, Joseph H. 3 1 Meyer 2 1 Duffy, Thomas 3 2 Nelson, Ron 2 2 Gillingham, David 3 2 Nestico, Sammy 2 2 Gregson, Edward 3 2 Perkins, Frank S. 2 1 Hermann, Ralph 3 3 Root, Thomas 2 2 Higgins, John 3 3 Saint-Saëns, Camille 2 2 Hindemith, Paul 3 2 Smetana, Bedrich 2 1 Homer, James 3 3 Sparke, Philip 2 2 Jacob,Gordon 3 2 Strauss, Johann Jr. 2 2 Kopetz, Barry 3 2 Sullivan, Arthur 2 1 Lo Presti, Ronald 3 1 Thomas, Ambroise 2 1 Mahr, Timothy 3 3 Walters, Harold 2 1 McGinty, Anne 3 3 Weber, Carl Maria von 2 2 Milhaud, Darius 3 3 Whitacre, Eric 2 1 Respighi, Ottorino 3 3 Yoder, Paul 2 2 Pfs=performances and Cps=Compositions 69 Quality of repertoire being performed by high school bands The Repertoire Evaluation Inventory (REI) was developed to evaluate the repertoire performed in the academic years from 1994-95 to 1996-97 by the sample of 72 repertoire respondents. Split into three quality groupings, the final list of 530 compositions was developed through the use of several research studies, multiple-expert lists, and lists by individual experts, and then modified by a panel of experts in the field of wind band literature. A total of 67 compositions were placed in the top group, designated as "Exceptional Quality Literature," with 191 being designated as "High Quality Literature" and 272 being designated as "Good Quality Literature." These three quality groups of literature can be found in Appendices F, C, and H. A total of 1459 compositions that were performed by the bands of the 72 repertoire respondents were compared to the REI and given a quality rating of 0 to 3 according to the group in which the composition appeared on the REI. Twenty-one of the works performed were removed due to unfamiliarity to any of the REI jury. A listing of these compositions may be found in A ppendix 1. A total of 47.77% (697) of the com positions received a score of "0," indicating that these pieces were not on the REI, with 20.36% (297) receiving a "1" (Good Quality Literature), 18.16% (265) receiving a "2" (High Quality Literature), and 13.71% (200) receiving a "3" (Exceptional Quality Literature). The mean score for all of the rated compositions came out to .98, with a standard deviation of 1.1. Examined in a different way, 55.22% (37) of the 67 compositions found on the "exceptional quality literature" list of the REI were performed by at least one of the repertoire respondents, while 40.84% (78) of the "high" list and 70 47.43% (129) of the "good" list were found on at least one program. Of the total 530 compositions on the REI, 46.04% (244) of them could be found on at least one program. While pieces performed for a contest or festival made up only 21.04% (307) of the compositions rated, these pieces consisted of 37.00% of the pieces that were listed in the top group of the REI, and only 11.91% of the those compositions not appearing on the REI. The mean of the compositions performed at a contest or festival was 1.47 (SD=1.13), while those compositions not played for festival or contest had a mean of .85 (SD=1.05). Table 7 illustrates the comparison between those compositions performed at contests or festivals and those that were not. 71 Compositions Compositions performed at not performed at contest/festival contest/festival % of %of % of % of N N Group REI REI Croup Group REI (column) Cat. (column) Cat. (row) (row) Not on List 83 27.04 11.91 614 53.30 88.09 “Good Quality Literature" 72 23.45 24.24 225 19.53 75.75 "High Quality Literature" 78 25.41 29.43 187 16.23 70.57 "Exceptional Quality Literature" 74 24.10 37.00 126 10.94 63.00 307 100.00 Totals 1152 100.00 Table 7: Performed compositions compared to REI by inclusion in contests or festivals The repertoire of each individual repertoire respondent was compared to the REI. The Average Quality Points (AQP) was figured by adding up the points given to each of the compositions in the respective repertoires and dividing it by the number of compositions considered. The mean of all of the AQPs (N =72) was .97, with a standard deviation of .41. Eleven (15.28%) of the repertoire respondents had an AQP at or below .5, with the lowest two scores being .08 and 0. Eight of the scores (1.11%) were at or above 1.5, with the top score being 1.94. 72 Resources utilized in the choosing of literature During the telephone survey, the sample of conductors was asked, "When thinking back over the past three years, what means did you use to find most of the music that you performed with your (top) concert band?" A secondary item was also obtained. The results indicate that the respondents, when not presented with any listing of possible resources, utilized "works previously known" (21.37%), "listened to other bands perform outside of a clinic/convention/workshop situation" (20.51%), and "listened to publisher tapes/looked at publisher material mailed to you" (17.95%) most often. When examining the second choices, publisher material was cited most often (20.69%), with listening to other bands (19.83%), and "sought advice from other colleagues in the high school band profession" (17.24%) also being cited often. When the two choices were grouped, listening to other bands outside of a clinic or convention situation was one of the top two resources used by 40.34% (n=47) of the high school conductors, with publisher materials being one of the top resources for 38.63% (/i =45). The results of both choices and the two choices combined are presented in Table 8. 73 Primary and Primary Secondary secondary resource resource resources combined %of % of % of Resources Total N Total N Total N Listened to other bands perform outside of a cli rue / conven tion / workshop 20.51 19.83 40.34 situation Listened to publisher tapes/Looked at 17.95 20.69 38.63 publisher material mailed to you Works previously known 21.37 10.34 31.76 Attended workshops, clinics, and/or 13.68 12.93 26.61 conventions Festival/Contest list 16.24 6.03 22.32 Sought advice from other colleagues in 4.27 17.24 21.46 the high school band profession Used recommended repertoire lists from publications or other conductors (lists 1.71 6.03 7.72 other than contest lists) Looked at scores in the music store 1.71 4.31 6.01 Sought advice from university/ college 2.56 1.72 4.29 band conductors Sought advice from music store personnel 0 .86 .86 Student input 0 0 0 Totals 100.00 99.98 200.00 Table 8: Primary, secondary, and combined resources used for locating literature for use in the high school band as investigated through the telephone survey 74 When examining the primary and secondary resources reported on the written survey, however, some notable differences can be observed. When asked to indicate the resource that the conductor utilized most often from the listing provided (see Table 1), the resource most often chosen as a primary resource in the written survey was "festival/contest list," which was chosen by 24.07% (26) of the respondents, followed by publisher information, which was cited by 20.37% (22). "Attended workshops, clinics, and/or conventions" came next w ith 13.89% (15) of the respondents citing this resource. For a second resource, "works previously known" was chosen by 17.82% (18) of the respondents, with both attendance at workshops or clinics and festivals or contest lists being cited by 13.86% (14) of the respondents. Being similar to the order of the primary resource responses, "festival/contest list" was chosen most often when the two answers were combined (38.38%), followed by publisher information (32.54%) and workshops or clinics (27.75%). The final results can be seen in Table 9. 75 Primary and Primary Secondary secondary resource resource resources combined % of % of % of Resources Total N Total iV Total M Festival/Contest list 24.07 13.86 38.28 Listened to publisher tapes/Looked at 20.37 11.88 32.54 publisher material mailed to you Attended workshops, clinics, and/or 13.89 13.86 27.75 conventions Works previously known 9.26 17.82 26.79 Used recommended repertoire lists from publications or other conductors (lists 8.33 9.90 18.18 other than contest lists) Sought advice from other colleagues in 4.63 12.87 17.23 the high school band profession Looked at scores in the music store 9.26 6.93 16.27 Listened to other bands perform outside of a clinic/convention/ workshop 4.63 5.94 10.53 situation Sought advice from university / college 4.63 4.95 9.57 band cond uctors Sought advice from music store personnel .93 .99 1.91 Student input 0 .99 .96 Totals 100.00 99.99 200.01 Table 9: Primary, secondary, and combined resources used for locating literature for use in the high school band as investigated through the written survey 76 Since "festival/ contest list" was chosen in the written survey as the top resource used by the respondents to locate literature, a brief examination of the resources used by those who attend contests or festivals versus those who do not seems warranted. While the small number of respondents who indicated that they do not attend a festival or contest («=28) does not afford a great deal of indepth analysis, it is interesting to note that this group overwhelming chose publisher material (48.89%), perusal of scores at a music store (40.00%), and works previously known (35.56%). The order of resources chosen by the group consisting of those who do attend contests or festivals appears quite similar to the results from the entire group. This result was expected due to this group consisting of 76.07% of the total respondent group. However, aside from choosing contest lists, which was cited by 45.12% of this group, utilization of workshops, conventions, and clinics also appears to be more important to this group than the non-contest respondents, as 32.93% of contest participants cited this as one of their top two resources, compared to only 8.89% of the non competition group. Using chi-square analysis (df=\, /i=108), it is apparent that the significant differences between these two groups in their resources that they cite as being used most often are of music store perusing (X^ = 11.02, p= .0009), contest lists (X- = 7.97, p= .005), and clinics or conventions (X^ = 5.39,p= .020). While not significant, the difference in their choosing of publisher material is notable (X2 = 2.95, p - .086). Table 10 illustrates the difference in rankings between these two groups. 77 Contest participants %of Contest non-participants %of Total N Total N Festival/Contest list 45.12 Listened to publisher 48.89 Attended workshops, clinics, 32.93 tapes/Looked at publisher and/or conventions material mailed to you Listened to publisher 28.05 Looked at scores in the music store 40.00 tapes/ Looked at publisher Works previously known 35.56 material mailed to you Sought advice from other 22.22 Works previously known 24.39 colleagues in the high school Used recommended repertoire 19.51 band profession lists from publications or other Festival/Contest list 13.33 conductors (lists other than Used recommended repertoire 13.33 contest lists) lists from publications or other Sought advice from other 15.85 conductors (lists other than colleagues in the high school contest lists) band profession Listened to other bands perform 13.33 Sought advice from University/ 10.98 outside of a clinic/convention/ College band conductors workshop situation Looked at scores in the music store 9.76 Attended workshops, clinics, 8.89 Listened to other bands perform 9.76 and / or conventions outside of a clinic/convention/ Sought advice from University/ 4.44 workshop situation College band conductors Sought advice from music store 2.44 Sought advice from music store 0 personnel personnel Student input 1.22 Student input 0 Totals 200.01 Totals 199.99 Table 70: Combined primary and secondary resources used by contest participants and contest non-participants 78 The purpose of asking the same question on both the telephone and written surveys was to, first of all, get some idea as to what the respondents felt were the resources that they utilized most often without the assistance of an established list, and then to compare those answers to the answers they provided when they had a list of resources from which to choose. It was reasoned that the respondents would be less likely to choose a perceived "correct" answer when they did not have a listing to peruse, but the listing would allow them the opportunity to think more deeply about the resources that they actually utilized. Therefore, some investigation into how well the answers to the two surveys agreed is necessary. Overall, it is clear that the variety of answers was more spread among all of the choices when a listing of possible resources was provided, as there was a large difference between the top six answers and the rest of the answers in the telephone survey, but not in the written survey. When examining rankings of the resources, it is interesting to note that "listened to other bands perform outside of a clinic/convention/workshop situation" was the top answer on the telephone survey (40.34%), but placed eighth on the written survey (10.53%). Inversely, "festival/contest list" ended up fifth on the telephone survey (22.32%), but first on the written survey (38.28%). All other rankings were similar between the two surveys. However, only 12.73% of those respondents who filled out the answers on the written survey agreed completely with their choices and order from the telephone survey. 36.11% of the primary answers given on the telephone were also given as the primary answers on the written survey, while only 22.00% of the second answers matched. When both answers from each 79 survey were grouped and compared to the other survey group, 47.27% of the choices from the telephone survey also appeared on the written survey. Chi-square analyses were completed on the resources chosen as most important by the respondents on the telephone and written surveys using the number of bands in each school and the highest degree obtained by the conductor. The number of bands was found to be significantly related to the resource of college or university conductors (X^\Q.5A, = df= A, A/=108, p= .032). The conductors in schools with three of more bands were more likely to utilize college or university conductors in repertoire selection. The respondents gave each of the individual resources a rating from 1 to 5 (Question 3), with a "V' indicating a resource that was rarely or never utilized, and a "5" indicating a resource that was utilized often. When examining the mean scores of these ratings, a slightly different picture emerges when compared to the primary resource question. "Attended workshops, clinics, and/or conventions" had the highest mean of 4.10 on the Likert-type scale, with "works previously known" being next at 4.06. Both of these top answers had small standard deviations of .99 and .88, respectively. Table 11 shows the mean and standard deviation of each resource. 80 Resources Mean SD Attended workshops, dinics, and/or conventions 4.10 .99 Works previously known 4.06 .88 Listened to publisher tapes/Looked at publisher material 3.91 1.09 mailed to you Sought advice from other colleagues in the high school 3.80 1.02 band profession Festival/Contest list 3.74 1.35 Used recommended repertoire lists from publications or 3.59 1.16 other conductors (lists other than contest lists) Listened to other bands perform outside of a 3.55 1.11 clinic/convention/workshop situation Looked at scores in the music store 3.37 1.43 Sought advice from University/ College band conductors 3.27 1.30 Student input 2.26 .96 Sought advice from music store personnel 2.10 1.19 Table 11: Mean ratings and standard deviation of each resource The largest standard deviation is seen in "looked at scores in the music store" (1.43), indicating that there is wide variation in the use of this resource among high school conductors. The range on this resource varies from 29.57% of the respondents using it "very often" to 14.78% using it "rarely or never." When examining the bottom of the list, it is apparent that, while seeking advice from employees at music stores ended up at the bottom of the list, there is some disagreement among the respondents as to how often this resource was utilized (SD=1.19). There was less disagreement about the number of times that student input is sought (SD=.96). 81 When comparing those respondents who did or did not participate in contests or festivals in their ratings of the resources by use of f-tests, it becomes apparent that, as in the prior examination of these two groups, those conductors who did participate in contest or festivals indicated that they utilized clinics and conventions (f=3.41, p= .0009, £//=114) and contest lists (f=3.44, p= .0008, df^ll5) more often than those who did not participate, and publisher materials (f=-2.10,p= .038, d/=114) less often. The agreement as to the amount that publisher materials are utilized by non-contest participants (SD=.76) is the highest agreement among any of the resources. Unlike what was found in the primary and secondary resources question, utilization of college or university conductors seemed to be utilized more often by contest/festival participants (f=2.31, p= .023, d/=115), and the perusal at music stores was not found to be used significantly more often by those non participants (f=-1.06,/?= .290, £i/=113). Table 12 illustrates the resources which were found to differ between the two groups. Contest Contest non participant SD participant SD Resources mean mean Attended workshops, dinics, and/or conventions 4.24 .96 3.54 .92 Festival/Contest list 3.97 1.30 3.00 1.28 Sought advice from University/ College band 3.43 1.27 2.79 1.32 conductors Listened to publisher tapes/ Looked at publisher 3.80 1.16 4.29 .76 material mailed to you Table 12: Differences in the utilization of resources by contest participants and contest non-participants 82 Three different measurements, including rankings of resources from both the telephone and written surveys and a rating of resources from the written survey, were used to ascertain the importance that each resource held in the estimation of the sample. In order to arrive at a composite assessment of how often these resources were utilized, the rankings of each resource from the three different measurements were averaged. Table 13 illustrates the average of all of these rankings as well as how each resource was ranked on the individual measurements. Telephone Written Final Ratings Resources Survey Survey Ranking Listened to publisher tapes/Looked at 2 2 3 1 publisher material mailed to you Attended workshops, clinics, and/or 4 3 1 2 conventions Works previously known 3 4 2 3 Festival/Contest list 5 1 5 4 Listened to other bands perform outside of 1 8 7 5 a clinic/convention/ workshop situation Sought advice from other colleagues in the 6 6 4 5 high school band profession Used recommended repertoire lists from publications or other conductors (lists 7 5 6 7 other than contest lists) Looked at scores in the music store 8 7 8 8 Sought advice from University / College 9 9 9 9 band conductors Sought advice from music store personnel 10 10 11 11 Student input 11 11 10 10 Table 13: Average of the resource rankings from the three measurements taken in the telephone and written surveys 83 Criteria for choosing literature During the telephone interview, the high school conductors in the sample were asked, "When deciding what pieces to perform with your band, what was the most important consideration for choosing a particular piece?" A secondary consideration was also requested. The results indicate that the respondents, when not presented with any listing of possible criteria, indicated overwhelmingly that "it fit the ensemble's instrumentation and strengths" was the most important consideration for choosing the literature for use with their large ensembles. This criterion was chosen as the primary consideration by 44.44% of the respondents, followed by "it would challenge/improve the students' understanding of quality music and musical style" (18.80%) and "the students could handle the technical demands in the amount of rehearsal time that was available" (14.53%). No other consideration was chosen any more than 6 times (5.13%). The secondary considerations were more spread out, with technical demand being chosen most often (22.61%), followed by improving musical understanding (14.78%), "the students would like it" (13.91%), ensemble instrumentation and strengths (11.30%), and "it would fit the concert program nicely" (9.57%). While "the audience would like it" was not chosen by any respondent as a primary choice, 7 conductors (6.03%) stated that this criterion was of secondary importance. When the primary and secondary choices were grouped together, 56.03% of the conductors indicated that ensemble instrumentation and strengths was one of the top two criteria, while 37.07% chose technical demand and 33.62% chose musical understanding. The results of the individual and combined choices are presented in Table 14. 84 Primary and Primary Secondary secondary criteria criteria criteria combined % of % of %of Criteria Total N Total N Total N It fit the ensemble's instrumentation and 44.44 11.30 56.03 strengths The students could handle the technical demands in the amount of rehearsal time 14.53 22.61 37.07 that was available It would challenge/improve the students' understanding of quality music 18.80 14.78 33.62 and musical style The students would like it 4.27 13.91 18.10 It would challenge/improve the 5.13 7.83 12.93 students' technical abilities It would fit the concert program nicely 3.42 9.57 12.93 1 liked it 3.42 6.09 9.48 It was a piece of music that the students 2.56 4.35 6.90 should know since it was one of quality The audience would like it 0 6.09 6.03 The students could comprehend and execute the musical demands in the .86 2.61 3.45 amount of available rehearsal time It would teach about a certain historical 1.71 0 1.72 period 1 already knew the piece .86 0 .86 It would teach about a certain 0 .87 .86 theoretical concept It was a composer that the students 0 0 0 should know Totals 100.00 100.01 199.98 Table 24: Primary, secondary, and combined criteria used by conductors for determining what literature to use with their large high school ensembles as investigated through the telephone survey 85 When asked to indicate the top two criteria from a listing provided on the written survey, the musical criteria eclipsed the technical criteria, as "it would challenge/improve the students' understanding of quality music and musical style" was the prim ary choice with 30.09%. "It fit the ensem ble's instrumentation and strengths" was next with 22.12%, followed by another musical criterion, musical demand, with 13.27%. Two technical criteria, "it would challenge/improve the students' technical abilities" and technical demands received 10.62% and 9.74%, respectively, followed by the other musical criterion, "it was a piece of music that the students should know since it was one of quality" (7.97%). The order of the secondary choices was similar, with musical demand and improved musical understanding on top, with 19.27% and 17.43%, respectively, followed by three technical criteria, instrumentation strengths (15.60%), technical demand (14.68%), and improved technical ability (13.76%). Table 15 shows the two choices, as well as the final ranking with both choices combined. 86 Primary and Primary Secondary secondary criteria criteria criteria combined % of %of %of Criteria Total IV Total IV Total IV It would challenge/improve the students' understanding of quality music 30.09 17.43 47.75 and musical style It fit the ensemble's instrumentation and 22.12 15.60 37.84 strengths The students could comprehend and execute the musical demands in the 13.27 19.27 32.43 amount of available rehearsal time It would challenge/improve the 10.62 13.76 24.32 students' technical abilities The students could handle the technical demands in the amount of rehearsal time 9.74 14.68 24.32 that was available It was a piece of music that the students 7.97 7.34 15.32 should know since it was one of quality 1 liked it 3.54 2.75 6.31 It was a composer that the students .89 2.75 3.60 should know The students would like it .89 2.75 3.60 It would fit the concert program nicely 0 1.84 1.80 It would teach about a certain historical period 0 1.84 1.80 It would teach about a certain .89 0 .90 theoretical concept The audience would like it 0 0 0 1 already knew the piece 0 0 0 Totals 100.02 100.01 199.99 Table 15: Primary, secondary, and combined criteria used by conductors for determining what literature to use with their large high school ensembles as investigated through the written survey 87 When making comparisons between the two surveys, it is evident that, while the technical criteria were foremost on the minds of the conductors surveyed when they had to answer without the help of an established list, musical criteria were placed above the technical when they had had a chance to consider their answers more carefully. While the two purely technical criteria, technical demand and the improvement of technical ability, only fell from being chosen by 50.00% of the respondents on the telephone survey to 46.85% on the written survey, the combination of the two musical criteria, musical demand and the improvement of musical understanding, increased from 37.07%) of the conductors choosing these as one of their top two criteria in the telephone survey to 80.18% in the written survey. The criterion of "it fit the ensemble's instrumentation and strengths," while able to be interpreted as either technical or musical, moved in a manner similar to the technical criteria by falling in importance from the telephone survey (56.03%) to the written survey (37.84%). Musical demand showed the largest positive gain in position between the two surveys, moving from 3.35% (10th) of the respondents giving this answer on the telephone survey to 32.43% (3rd) on the written survey. The improvement of technical ability, being the only technical criteria to gain in ranking and percentage, tied the falling technical demands criteria at 24.32% (4th). It is also interesting to note that, while the criterion of "it was a composer that the students should know" did not receive any responses in the telephone survey, 4 conductors stated that this was one of their most important criteria in the written survey. Examining the ratio of agreement between the two surveys, it was found that only 1 conductor (.88%) chose the same criteria and put them in the same order in both the telephone and written surveys. 24.78% of the respondents 88 matched their top choice, while only 14.29% matched their second. A total of 36.73% of the responses given on the telephone survey also appeared as one of the top two choices on the written survey. Considering the notable lack of agreement when compared to the resources questions, analysis into the agreement of a few of the individual criteria was done. For the most popular answer in the telephone survey, "it fit the ensemble's instrumentation and strengths," 51.67% of the conductors who chose this criterion in the telephone survey also chose it in the written survey. The criterion of technical ability had a similar rate of agreement at 53.85%, while "it would challenge/improve the students' understanding of quality music and musical style" had the top agreement rate of 68.57%. A much lower rate of agreement was seen with technical demand (29.27%) and "the students would like it" (5.00%), in which only 1 out of the 20 respondents who gave this as a top criterion in the telephone survey also listed it in the written survey. Chi-square analyses were completed on the data from the written and telephone surveys using the number of bands in each school, the highest degree obtained by the conductor, and whether a contest or festival was attended. There were no significant findings when related to the telephone survey or with the variable of attendance at contest or festival. When these variables were analyzed with the criteria chosen on the written survey, two criteria were found to have a significant relationship to the number of bands that a respondent had in his or her respective high school on the written survey. Both of these, "it fit the ensemble's instrumentation and strengths" (X^ = 11.85, df^4,N =113, p= .019) and "it w ould challenge/im prove the students' technical abilities" (X^ - 10.60, df= 4, N =113, p= .032), seem to 89 indicate that these considerations are more important for those conductors whose ensembles were taken from a smaller pool of instrumentalists. When examining the mean ratings given to each of the individual criteria, it is immediately evident that there is more agreement among conductors in this area than for the resources question. In relationship to the primary criteria question discussed above, a similar pattern is found to exist, as the top six criteria from the primary and secondary criteria listing were the same as the six criteria that received the highest overall rating. "It would challenge/improve the students' understanding of quality music and musical style" was once again the highest criterion with a mean of 4.68 (SD=.55). As Table 16 illustrates, other than ensemble instrumentation and strengths moving from second to fifth, there was little difference found between the order of the individual ratings of the criteria and the order of the top criteria discussed above. 90 Criteria Mean SD It would challenge/improve the students' understanding of 4.65 .55 quality music and musical style The students could handle the technical demands in the 4.58 .70 amount of rehearsal time that was available The students could comprehend and execute the musical 4.58 .66 demands in the amount of available rehearsal time It would challenge/improve the students' technical 4.51 .69 ab ilities It fit the ensemble's instrumentation and strengths 4.40 .85 It was a piece of music that the students should know since 3.87 1.05 it was one of quality I liked it 3.75 .95 The students would like it 3.53 .93 It was a composer that the students should know 3.40 1.07 It would fit the concert program nicely 3.31 1.11 The audience would like it 3.26 1.00 It would teach about a certain historical period 2.98 1.12 It would teach about a certain theoretical concept 2.95 1.07 I already knew the piece 2.68 1.07 Table 76; Ratings of each criteria by mean and standard deviation As with the resources, three different measurements were used to ascertain the importance that each criteria held in the estimation of the sample. In order to arrive at a composite assessment of the importance of these criteria, the rankings of each criterion from the three different measurements were averaged. Table 17 illustrates the average of all of these rankings as well as how each criterion was ranked on the individual measurements. 91 Telephone W ritten Final Ratings Criteria Survey Survey Ranking It would challenge/ improve the students' understanding of quality music and musical 3 1 1 1 style It fit the ensemble's instrumentation and 1 2 5 2 strengths The students could handle the technical demands in the amount of rehearsal time 2 4 2 2 that was available It would challenge/ improve the students' 5 4 4 4 technical abilities The students could comprehend and execute the musical demands in the amount of 10 3 3 5 available rehearsal time It was a piece of music that the students 8 6 6 6 should know since it was one of quality The students would like it 4 8 8 6 1 liked it 7 7 7 8 It would fit the concert program nicely 5 10 10 9 It was a composer that the students should 14 8 9 10 know The audience would like it 9 13 11 10 It would teach about a certain historical 11 10 12 12 period It would teach about a certain theoretical 12 12 13 13 concept 1 already knew the piece 12 13 14 14 Table 17: Average of the criteria rankings from the three measurements taken in the telephone and written surveys 92 The relationship between quality of repertoire and the resources and criteria used to choose literature The AQPs of all of the repertoire respondents were compiled and divided into three groups. Those respondents with a score in the top third (n= 24), which included all scores between 1.12 and 1.94, were placed in the High Quality Literature group (HQL). Those with scores in the bottom third (fz -24), which included all scores between 0 and .77, were placed in the Low Quality Literature group (LQL). The mean of the LQL group was figured at .52, while the HQL group had a mean of 1.42. To determine whether there were any significant differences between the HQL and LQL groups in their primary and secondary resources and criteria chosen, 2X 2 chi-squares (df=\, N =48) were calculated. When the repertoire respondents were asked on the written survey to choose the resource that they utilized most often from the list provided, "listened to publisher tapes/looked at publisher material mailed to you" was chosen as one of the top two responses by only 14.25% (3) of those in the HQL group, while 40.90% (9) of those in the LQL group chose this resource (X^ = 4.00,p= .045). The difference between these two groups on this resource was further evidenced through the telephone survey, as only 8.33% (4) of the HQL group chose this resource, com pared to 25.00% of the LQL group (X- = 6.00,p= .014). W hen asked to choose the criterion that was most important for choosing literature from the established list on the written survey, 68.09% (16) of the HQL group chose "it would challenge/improve the students' understanding of quality music and musical style," while only 34.78% (8) of the LQL group chose this answ er (X^ = 5.33, p= .021). No other significant chi-squares were found. 93 Subsequently, t-tests were completed using the resources and criteria rated for their frequency of use or importance, respectively, by the respondents in the HQL and LQL groups. When all of the resources and criteria were analyzed, three resources and two criteria were found to differ between the quality groups. The resources "sought advice from university/ college band conductors" was used significantly more often by the HQL group than the LQL (f=3.14, df=46, p= .003), as was "listened to other bands perform outside of a clinic/convention/workshop situation" (f=2.02, d/=46, p= .049). The resource "listened to publisher tapes/looked at publisher material" was utilized significantly more often by the conductors in the LQL group than the HQL group (f=-2.35,df=45, p= .023). The criterion of "it was a composer that the students should know" was significantly more important to the HQL group than the LQL group (f=2.88, df=45, p= .006), as was "it would challenge/improve the students' understanding of quality music and musical style" (f=2.25, df=46, p= .029). The criterion of "it was a piece of music that the students should know since it was one of quality" received a higher rating by the HQL group than the LQL group, although the difference was not significant at the .05 level (t=l.98, p=.054, df=46). When tests were run on the number of bands and degree of the conductors in the HQL and LQL groups, it was found that there were significantly more bands in the schools of the HQL group than the LQL group (t=2.88, df=46, p= .006). The high schools of the conductors within the HQL group had a mean of 2.62 bands (SD=.77), while the high schools of the LQL group had a mean of 1.71 bands (SD=.62). 94 CHAPTER 5 SUMMARY AND CONCLUSIONS The purpose of this study was: (a) to investigate what literature was being performed by wind bands in a sample of large secondary schools in the United States in the academ ic years of 1994-95 through 1996-97, (b) to evaluate the level of quality of this literature, (c) to investigate the resources utilized by secondary school band conductors in order to locate literature, (d) to investigate the criteria used by these band conductors when deciding what compositions to perform, and (e) to ascertain whether any relationship can be found between the resources and criteria used by these band conductors and the quality of the literature that they chose. Other characteristic variables that were investigated were the years of experience and highest degree obtained by the conductor, the number of concert bands in each school, the length of each concert band season, the method of delineation among multiple concert bands, and whether contests or festivals were attended. The need for this study was evidenced by the fact that, although the repertoire available to the high school concert band contains an ample amount of high quality literature, it has widely been believed that many high school band conductors throughout the United States are not selecting music of high quality for use in their classrooms. Since the literature that is chosen by any music teacher is a major determinant of the potential quality inherent 95 in any musical experience, it is of utmost importance that quality music be used in the high school band curricula. Determining how high school conductors go about choosing the literature for use in their classrooms and what the quality level of that literature is can help in better educating the future music education professionals in these most important decisions. Both a telephone survey and a written survey were used in this research study in order to build a rapport with the band conductors and to obtain information from two different perspectives. The telephone was also used to establish the sample group of 150 band conductors from high schools of 1000 students or more who have been at their present school for six or more years. Once the conductors were accepted into the sample group, questions were asked regarding the resources and criteria used for choosing the literature that they performed with their large concert ensembles, as well as several questions concerning the number of concert bands in the school, the method of delineation between the bands in those schools which have multiple concert bands, the length of the concert band season, the number and type of concerts presented by the most advanced concert band every year, and whether large group contest or festival was attended annually. The written survey inquired about the years of teaching experience and most recent degree acquired by the conductor, repeated the questions concerning resources and criteria that had been asked on the telephone survey, only this time with a listing of items provided from which they could choose, and then asked the conductors to rate listings of resources and criteria according to how often they were utilized or how important they were in choosing literature, respectively. 96 The band conductors included in the sample were also asked to return programs from their concerts performed in the academic years of 1994-95 through 1996-97. Only those conductors who returned at least two-thirds of their programs performed during these three academic years were accepted into the repertoire portion of the study(N=72). All of the repertoires of those respondents who did qualify to be included in this portion of the study were compiled and reported according to the number of times each composition and composer were cited on the programs. In addition, the Repertoire Evaluation Inventory (REI) was developed through the use of prior research studies, writings and listings compiled by multiple experts, as well as lists compiled by single experts, and then modified by a jury of experts within the field of wind band literature in order to determine the quality of these repertoires. The repertoire of each individual respondent was compared to the REI and given a rating according to the average score (AQP) of each piece found in their repertoire. The AQPs of all of the conductors were then divided into three groups in order to test for significant differences in resources, criteria, and characteristic variables among those conductors who use high quality literature and those who use low quality literature. Conclusions Quality of Repertoires It bears restating that, due to the limited sample size, the results of this study must necessarily pertain only to the sample itself, and any generalizations beyond this sample should be made with caution. 97 Concerning the sample, it was found that, while there existed a high variability in the quality of repertoires among the conductors surveyed, the overall quality level of the repertoires did not seem to be at a very high level. This is in agreement with the studies done by Berry (1973), Fjeld (1959), Grant (1993), H ughes (1990), O degard (1955), and Slagley (1992). Almost half (47.77%) of the compositions rehearsed and performed by the bands of the conductors surveyed, which consisted of bands from the larger high schools in the United States with experienced conductors, did not contain the level of quality required to appear on a list of 530 compositions developed through the opinions of many experts within the field of wind band literature. Since the REI was developed to include as great of a percentage as possible of the wind band compositions that contain a notable level of quality, the conclusion must be that approximately one-half of the compositions performed by these bands did not contain a notable level of quality. In addition, a notable percentage of the compositions that were considered to be of quality were performed by few, or none, of the respondents. While there were 697 performances of works that did not, according to the REI jury, contain a level of quality notable enough to appear on the REI, there were 244 compositions (46.04%) that appeared on the REI that did not receive any performances. For example, only 37 of the 67 (55.22%) compositions from the "exceptional quality" category of the REI were performed by any of the bands in the survey, and six compositions, including Copland's Variations on a Shaker Melody, Grainger's Colonial Song, H andel's Water Music, Husa's Music for Prague, H. Owen Reed's La Fiesta Mexicana, and Schuman's George Washington Bridge, received only one performance. Table 18 lists the 98 compositions found in the exceptional quality category that were not performed by any of the respondents. 99 Arranger or Composer Composition Transcriber Bach, Johann Sebastian Fantasia in G Major Goldman and Leist Bassett, Leslie Designs, Images and Textures Bassett, Leslie Fantasy for Clarinet Bassett, Leslie Sounds, Shapes and Symbols Benson, Warren The Leaves are Falling Benson, Warren The Passing Bell Bernstein, Leonard "Profanation” from Jeremiah Bencnscutto Symphony Chance, John Bames Elegy Copland, Aaron Emblems Copland, Aaron Lincoln Portrait Beeler Corigliano, John Gazebo Dances Creston, Paul Celebration Overture, Op. 61 Dahl, Ingolf Concerto for Alto Saxophone and Wind Orchestra Dahl, Ingolf Sinfonietta for Band Dello Joio, Norman Fantasies on a Theme by Haydn Druckman, Jacob "Engram" from Prism Could, Morton Symphony No. 4 Hanson, Howard Chorale and Alleluia, Op. 42 Hindemith, Paul Konzertmusik, Op. 41 Hindemith, Paul Symphony in Bb Holst, Gustav Hammersmith, Op. 52 Husa, Karel Apotheosis of this Earth Husa, Karel Concerto for Alto Saxophone and Concert Band Husa, Karel Concerto for Wind Ensemble Persichetti, Vincent Divertimento for Band, Op. 42 Persichetti, Vincent Masquerade for Band, Op. 102 Schoenberg, Arnold Theme and Variations, Op. 43a Schuller, Gunther M editation Schuller, Gunther Symphony No. 3, In Praise of Winds Table 18: Compositions included in the "Exceptional Quality Literature" category of the REI that were not performed by any of the bands surveyed 100 Furthermore, the six most frequently performed compositions from the "exceptional quality literature" category, which represented only 8.96% of the compositions on the list, made up over half of the total performances of works from this list. Those six compositions, Bernstein'sOverture to Candide, Chance's Variations on a Korean Folk Song, Grainger's Irish Tune from County Deiry and Shepherd's Hey, Holst's First Suite in Eb, and Vaughan Williams' Folk Song Suite, received 102 (51.00%) of the 200 total performances from the exceptional quality list, averaging 17.00 performances per composition. The other 31 compositions received an average of 3.16 performances per composition over a three-year period, and there were 30 additional compositions on this list that did not receive any performances. It was anticipated that the compositions on the REI would have received more performances. Explanations for the lack of performances may include the following; (a) the conductors were not aware of these compositions; (b) the conductors felt the difficulty level of these compositions was too high for themselves and/or their ensembles; (c) the conductors did not feel these compositions were worth performing, or; (d) the conductors did not like these compositions. A comparison of these findings to a recent study done by Gaines (1996), which developed a listing of what high school band conductors considered as the "core repertoire" for the high school band, can further substantiate this conclusion. Of the 106 works on the Gaines core repertoire list, 18.87% (20) of them did not receive any performances by the respondents in the present study, and 59.43% (63) of them received 3 performances or fewer. The average number of performances per composition from this list was 3.87. Gaines ranked each composition according to the ratio of agreement that it received 101 when the respondents were considering whether each should be included in the core repertoire. The top-rated composition on the Gaines list, as well as the composition with the most performances on the present study (33), was Holst's First Suite in Eb. The top 52 compositions on the list, labeled by Caines as the "select repertoire," received an average of 5.77 performances per composition, while the top 17, the "essential repertoire," received 9.88 performances per composition. While it is clear that the respondents of the present study performed the works on Gaines' essential repertoire list most often, it does not appear as if these compositions were "essential" to the respondents' curricula, as the compositions on this list received an average of fewer than 10 performances over a three year period by the 72 bands included in the survey. A piece-by-piece comparison between the findings in the Gaines study and the number of performances represented on the present study can be found in Appendix J. When the repertoires of each of the individual respondents were examined, a great variety of quality levels were found. While the determination of a target number that would indicate a satisfactory level of quality in any repertoire is not the aim of this study, such a number, if it was possible to determine, would presumably be higher than the .97 found to be the average score in this study. For illustrative purposes, let us consider a hypothetical balanced repertoire: (a) one out of every nine compositions is from the "exceptional" category; (b) two out of every nine compositions are from the "high" category; (c) three out of every nine compositions are from the "good" category, and; (d) three out of every nine compositions are not found on the REI. 102 This repertoire, in which one-third of the compositions were not of the quality represented by the REI w ould have received a score of 1.11. It is surprising that only 34.72% of the repertoires in this study were at least equivalent in quality to this hypothetical repertoire. Since discussion of numbers is not as concrete as actual repertoires, three hypothetical repertoires with varying quality levels are presented on the following pages. The repertoire in Table 19 is equal in quality level to the top- ranked repertoire in the study, which received a score of 1.94. Table 20 shows a medium-quality repertoire which would have received a score of 1.00, while Table 21 shows a low-quality repertoire which would have been equal in quality level to the lowest-ranked repertoire, which received a score of 0. Marches, fanfares, and compositions for soloist and band, though important to any band repertoire, were not added since they did not count towards the repertoire score. 103 Com poser Composition N o tes Bach, Johann Sebastian My Heart is Filled With Longing arr. Reed Bames, James Fantasy Variations on a Theme of Nicolo Paganini Berlioz, Hector Beatrice and Benedict Overture arr. Henning Bernstein, Leonard Overture to "Candide" arr. Beeler Chance, John Bames Incantation and Dance Copland, Aaron A Lincoln Portrait arr. Beeler de Meij, Johan Symphony Mo. 1 The Lord of the I, rv, and V Rings" Grainger, Percy Aldridge Molly on the Shore Grainger, Percy Aldridge Lincolnshire Posy Entire Holst, Gustav First Suite in Eb for Military Band Jacob, Gordon An Original Suite Offenbach, Jacques La Belle Helene arr. Odom Reed, Alfred Armenian Dances, Part 1 Reed, H. Owen La Fiesta Mexicana Ticheli, Frank Amazing Grace Tull, Fisher Sketches on a Tudor Psalm Wood, Haydn Mannin Veen Table 19: Example of a high quality repertoire 104 Com poser Composition N o tes Bach, PDQ Grand Serenade for an Awful Lot of Winds and Percussion Fillmore, Henry March Gershwin, George Porgy and Bess arr. Bennett Holst, Gustav Second Suite in F for Military Band Jenkins, Joseph Wilcox American Overture for Band Kalinnikov, Vassili Finale from Symphony No. 1 arr. Bainum La Plante, Pierre American Riversongs Lennon, John and Paul Let It Be McCartney Lloyd Webber, Andrew The Magic of Andrew Lloyd Webber arr. Barker McBeth, W. Francis Of Sailors and Whales Shaffer, David Pageant of Light Shostakovich, Dmitri Folk Dances arr. Hunsberger Smith, Claude T. Emparata Overture Sousa, John Philip March Swearingen, James Exaltation Swearingen, James Seagate Overture Ticheli, Frank Cajun Folk Songs Vaughan Williams, Ralph Flourish for Wind Band Vaughan Williams, Ralph Folk Song Suite Williams, John Return of the Jedi arr. Lavender Table 20: Example of a medium quality repertoire 105 Composer Composition Notes Akey, Douglas Cascade River Overture Chattaway, Jay Parade of the Tall Ships John, Elton The Lion King arr. Higgins Kamen, Michael Mr. Holland's Opus arr. Bocook Lloyd Webber, Andrew Selections from "Cats" Lloyd Webber, Andrew Selections from The Phantom of the arr. Barker Opera" Osterling, Eric Fire Brand Rodgers, Richard Themes from "Victory at Sea" arr. Maltby Smith, Robert W. Where the Black Hawk Soars Sousa, John Philip Sousa! arr. Barker Spears, Jared At a Dixieland Jazz Funeral Stuart, Hugh Rio Con Brio Williams, John Music from "Jurassic Park " arr. Bocook o r Blue Eyes arr. Brubaker Rock and Roll Hall of Fame Table 21: Example of a low quality repertoire While there is little question that it would be undesirable for every composition performed by a high school band to be of the quality level represented by the REI,^^ as the occasional novelty piece or theatrical medley can provide variety and audience appeal to programs, it seems reasonable that any repertoire being presented to and by students of music should be grounded in high quality music. In addition, it is important to note that the ^ ^Reimer (1970) says that “to insist on studying nothing but the monuments of music literature, to rule out that large segment of music which, while well made and genuinely expressive is not of the crème de la crème, is to deprive a great many people of any musical satisfaction at all and to expect that all musical experience should be at the deepest level of involvement. This is certainly unnecessary" (p. 104). 106 repertoires submitted by the respondents came from bands within large high schools that had experienced conductors. Since these schools, which presumably possess the best likelihood of having the finest programs with the finest conductors, did not have overall repertoires of a high quality, it could be surmised that other band programs from smaller schools and/or with less experienced conductors would not have fared even as well as the schools that were surveyed. Resources Three different measurements were taken of the resources utilized by the respondents in order to obtain information from different perspectives. When making comparisons between the telephone and written surveys as to the resources that the conductors indicated were utilized most often, it was found that the agreement between these two answers was only moderately related. Whether this was an indication of the respondents not being able to think of the resources that they actually utilized without seeing a list or them choosing answers from the list that they felt were more "correct" is not clear. Nonetheless, by using an average of the three measurements, the following was concluded to be the general order of the resources, from most to least utilized: 1. Listened to publisher tapes/Looked at publisher material mailed to you. 2. Attended workshops, clinics, and/or conventions. 3. Works previously known. 4. Festival/Contest list. 107 5. (tie) Listened to other bands perform outside of a clinic/convention/ workshop situation. 5. (tie) Sought advice from other colleagues in the high school band profession. 7. Used recommended repertoire lists from publications or other conductors (lists other than contest lists). 8. Looked at scores in the music store. 9. Sought advice from university/ college band conductors. 10. Sought advice from music store personnel. 11. Student input. Sim ilar to the Bauer (1996), Blinde (1969) and Davis (1970) studies, but in opposition to Devore (1989), publisher materials was the resource utilized most often by the respondents. Attendance at workshops and clinics was found to be utilized more often in this study than was indicated in the past studies, and the perusal of scores at a music store was used less often than indicated in past studies. The utilization of recommended repertoire lists (other than contest or festival lists), which was unanimously at the bottom of every prior study, was found to be utilized more often in this study than the perusal at music stores, which was previously ranked second in the only prior study which surveyed high school band conductors (Bauer, 1996). As recommended repertoire lists like those used to develop the REI can be good resources for identifying quality literature, the improvement in the ranking of this resource among high school band conductors, although still not very high, may be the signal of a positive trend. The most unanimous indication came at the bottom of the list, as input from students and music store personnel were consistently last on all three 108 measurements. This finding is in agreement with the findings in past research literature. While the low ranking for student input is understandable, the reason for the complete disregard for music store personnel is not so evident, as many personnel in music stores are knowledgeable and can be good resources for both old and new literature. As an interesting note, the only respondent to choose student input as an often- used resource also had the lowest-rated repertoire in the study. Those conductors who indicated that they attended contests or festivals with their concert bands were determined to have utilized workshops, clinics, and conventions, along with contest or festival lists, more often than those who did not attend these events, and publisher materials less often. Whether this group was more reliant upon clinics and conventions because the literature used at these functions was mainly the same as those compositions that were on the contest lists was not clear. As for publisher materials, it could be surmised that this group's reduced reliance on these materials could be due to the decreased need of finding literature that was not already prescribed by the contest lists. When the respondent group was separated by the quality of their performed repertoires, it became apparent that three resources were utilized to a significantly different degree by those who performed high quality literature than by those who performed low quality literature. Those conductors who were in the "low quality" group utilized the materials sent to them by a publisher to a significantly greater degree than those from the "high quality" group. This resource has long been assumed to be problematic, at best, since it is highly biased towards the literature that was most recently published and does not generally assist the conductor in determining which 109 compositions contain a sufficient level of quality. The findings in this study support this assumption. The utilization of publisher materials promotes what McBeth (1989) termed as the "paper-plate" approach, in which the music is purchased because it contains musical elements that catch the attention of the conductor, but is then discarded because it did not contain the quality necessary to stand up against the test of time. Those conductors whose repertoires were deemed as "high quality" were found to have utilized university or college band conductors and the listening of other bands outside of a clinic or convention situation more often than the low-quality group. These "other bands" could be professional bands or collegiate ensembles performing in recordings or at live concerts, as well as other high school bands. This can be a positive resource for locating quality literature, since it places the conductor in the identical situation in which his or her audience will eventually be, thus allowing the conductor to experience the composition on a more personal level than could otherwise be achieved. University-level conductors can be good resources for finding quality literature, as they are largely responsible for the dissemination and further development of this wind band repertoire. .Another point that should be made is that, besides better promoting the finding of high quality literature than publisher materials, both of these resources also require extra effort on the part of the conductors. It could be that those conductors who were successful at finding quality literature for their students were willing to put forth the extra effort that was needed to find this literature. 110 Criteria As with the resources, three different measurements were taken for the criteria that respondents used to choose their literature. A comparison of the criteria cited on both the telephone and written surveys as being most important to the respondents showed that there was little agreement between the two answers. While this agreement between the surveys was less than with the resources, a greater degree of agreement was found among the conductors as to which criteria were important then in their utilization of resources. An averaging of the three measurements gives an indication as to the criteria generally used by the respondents: 1. It would challenge/improve the students' understanding of quality music and musical style. 2. (tie) It fit the ensemble's instrumentation and strengths. 2. (tie) The students could handle the technical demands in the amount of rehearsal time that was available. 4. It would challenge/improve the students' technical abilities. 5. The students could comprehend and execute the musical demands in the amount of available rehearsal time. 6. (tie) It was a piece of music that the students should know since it was one of quality. 6. (tie) The students w ould like it. 8. I liked it. 9. It would fit the concert program nicely. 10. (tie) It was a composer that the students should know. 10. (tie) The audience would like it. Ill 12. It would teach about a certain historical period. 13. It would teach about a certain theoretical concept. 14. 1 already knew the piece. As found in the Davis (1970), Devore (1989), Grant (1993), and Cerow (1961) studies, the improvement of students' understanding of musical quality was cited as the most important criterion for choosing a composition. Bauer (1996), who did not include any item concerning quality, found that technical demands was the top-cited criterion, which was found to be second on this study. As in the Bauer study, a previous knowledge of the composition was found to be at the bottom of the list. While it would unquestionably be undesirable for a conductor to only perform works that were already familiar, a composition which has already been performed by a conductor, besides taking less time to prepare, can also be taught with deeper understanding, as quality music requires repeated encounters for real comprehension and appreciation. This may be a result of the "paper-plate" approach, since conductors may feel a pressure to learn the newest pieces available in order to be on what they consider as the "cutting edge" of the repertoire. Also peculiar in these findings is the separation between the rankings of quality music as compared to historical concepts, theoretical concepts, and knowledge of composers. It would seem that a dissemination of these concepts would be important for the understanding of what quality music is. When comparing this finding to the quality of the repertoire being performed by the bands of the respondents, it appears that the conductors may be relying on criteria which does not promote the location of quality music while still 112 professing to value the improvement of students' understanding of quality m usic. However, when the conductors were separated by quality groups, those conductors who used the higher quality literature were found to value the criteria of musical quality even more than the lower group, as well as putting a greater value on the need of their students to know important composers. Implications Quality artistic experiences are essential to develop the well-rounded individual, and these experiences require the use of quality materials. \ student who graduates from an instrumental music program that does not use quality music is more likely to lack the tools necessary to fully participate in future artistic activities since he or she most likely does not have a good understanding as to how quality music can be a positive force in one's life. According to the findings of this study, which included the finding that quality literature is not being used to a high degree in many high school band rooms, too many students who participate in band programs across the United States do not have a sufficient understanding of, or the ability to identify, quality music . As discussed in previous chapters, the recognition of quality in music requires experience, focus, and the ability to recognize the interaction of the different elements of music. In order to become experienced in deciphering quality in music, one must first be exposed to quality music. While the ways in which someone can become exposed to quality music are various, some guidance as to what is considered as quality music is essential. In higher 113 education, this guidance includes theoretical and historical training, overall development of musicianship, information concerning repertoire, and experiences with quality music, and is undoubtedly one of the more important functions of music education and the education of future music teachers. However, it seems that too many our high school band conductors are not developing the knowledge, attitudes, skills, and values necessary to make quality decisions about literature during their professional teacher education. This includes the dissemination of such information as the repertoire considered to be of value in the wind band genre and the resources and criteria used in the locating of quality literature. Nevertheless, findings also indicate that those conductors who have succeeded in exposing their students to quality literature differ from those who have not been successful in their utilization of resources and criteria. While many conductors may not be aware of, or do not feel it important to use the information that could help them locate higher quality literature, the knowledge necessary to find this literature undoubtedly exists within the profession. What needs to happen now is for high school band conductors to acquire and use this knowledge in the locating of quality literature for use in their classrooms. Suggestions for future research Several recommendations can be made for future research. 1. Additional research is needed on the reasons for the lack of quality literature being used in the classrooms. Do the conductors think their students are unable to comprehend or perform the higher quality works to a 114 satisfactory level? Are they familiar with the higher quality literature? What other factors are involved when the conductors are deciding on the quality level of their repertoires? While this topic has been touched on in the present study, more and different types of research is needed to ascertain whether the results of this study match what is actually happening in the high school band rooms across the country. 2. Research is needed to determine where and how high school band conductors have learned about the resources and criteria for choosing literature. What percentage of the high school band conductor population has received direct training in college through repertoire classes at the undergraduate or graduate levels, and have these classes resulted in better literature choices? 3. Replication of the repertoire portion of this study, including the REl, would provide more and better information as to the literature being performed in the high schools over a period of time, and the quality level of this repertoire. Does the actual literature that is being performed change while the quality level remains the same, or is there movement towards choosing better or lesser quality literature throughout the years? 4. Research into how the choosing of high-quality versus low-quality literature affects the students in their future artistic endeavors could bring about a greater understanding of the impact that quality music can have in the lives of all students. 115 References Battisti, F. J. (1995). The Twentieth-Centiiry American wind band/ensemble. Fort Lauderdale, FL: Meredith Music Publications. Bauer, W. I. (1996). The selection of concert band music by high school band directors. Update, 15(1), 4-9. Bennett, W. J. (1986). First lessons. A report on elementary education in America. Washington, DC: U.S. Dept, of Education. Berry, L. Jr. (1973). A survey of band literature performed by the high schools and colleges of Iowa and Nebraska from 1968 to 1972 (Doctoral Dissertation, University of Iowa, 1973). Dissertation Abstracts International, 34, 6017A. Blinde, A. A. R. (1969). Analysis of the choral music program in selected public high schools of Nebraska with particular reference to the music literature used (Doctoral Dissertation, University of Nebraska-Lincoln, 1969). Dissertation Abstracts International, 30, 3966A. Bolt, G. R. (1983). Choral repertoire selection competency development in undergraduate music education curricula (Doctoral Dissertation, Arizona State University, 1983). Dissertation Abstracts International, 44, 0697A. Chancellor, G. R. (1974). Aesthetic value in music: Implications for music education from the classic literature of the field (Doctoral Dissertation, N orthw estern University, 1974). Dissertation Abstracts International, 35, 6493A. (University Microfilms No. 75-7886) Davis, J. L. (1970). A study of choral repertoire in selected high schools and factors affecting its selection (Doctoral Dissertation, Columbia University, 1970). Dissertation Abstracts International, 31, 1830A. Devore, D. M. (1989). Choral music repertoire selection in the Ohio music education association large group high school contests (Doctoral Dissertation, Kent State University, 1989). Dissertation Abstracts International, 10, 2820A. 116 Dunaway, J. S. (1986). Administrative and organizational characteristics of successful high school choral music programs in the western United States (Doctoral Dissertation, University of Utah, 1986). Dissertation Abstracts International, 47, 4315A. Dvorak, T. L., Grechevsky, R., & Ciepluch, G. M. (1993). Best music for high school band. New York: Manhattan Beach Music. Ernst, K. D. (1954). Where do we go from here? Music Educators Journal, 40 (3), 17-20. Fennell, F. (1952). The band as a medium of musical expression. In A. Ostling & D. Whitwell (Eds.), The college and universitxj band: An anthologi/ of papers from the conferences of the College Band Directors National Association, 1941-1975 (pp. 19-24). Reston, VA: Music Educators National Conference. Fennell, F. (1954). Time and the winds; A short histori/ of the use of wind instruments in the orchestra, band and the wind ensemble. Kenosha, Wl, G. Leblanc. Fiese, R. K. (1990). The effects of nonmusical cues on the rankings of music scores by undergraduate conducting students based on judgments of quality. Journal of Band Research, 25 (2), 13-21. Fiese, R. K. (1991). The relationship among conductors’ rankings of three unfamiliar wind band scores. Journal of Research in Music Education, 39, 239-47. Fiese, R. K. (1993). An examination of public secondary school band directors' qualitative judgments. Journal of Band Research, 28 (2), 27-36. Fjeld, M. W. (1959). A survey and evaluation of music performed in public concert by Indiana high school bands (Doctoral Dissertation, Indiana University, 1959). Dissertation Abstracts, 20, 3570. (University Microfilms No. 59-6578) "Friendly advice from directors and industry." (1990). The Instrumentalist, 44, 20-28+. Gaines, D. A. (1996). A core repertoire of concert music for high school band: A descriptive study (Doctoral Dissertation, Columbia University Teachers College, 1996). Dissertation Abstracts International, 57, 2930A. 117 Gerow, M. (1961). A study of the relation between the criteria used for choral concert program building at the college level and an analysis of the elements of the music structure found in choral music (Doctoral Dissertation, M ichigan State University, 1961). Dissertation Abstracts, 22,3689. Gilbert, J. W. (1993). An evaluation of compositions for wind band according to specific criteria of serious artistic merit: a replication and update (Doctoral Dissertation, Northwestern University, 1993). Dissertation Abstracts International, 54, 2787A. Grant, G. S. (1993). An evaluation by Missouri high school band directors of criteria used to select concert band music (Doctoral Dissertation, University of Missouri, 1993). Dissertation Abstracts International, 55, 0899A. Holvik, K. M. (1970). An emerging band repertory. A survey of the members of the College Band Directors National Association,[oiirnal of Band Research, 6 (1), 19-24. Homyak, R. (1982/1985). The repertoire of the college and university band 1975-1982, parts I, II,III. Unpublished manuscripts. College-Conservatory of Music, University of Cincinnati, Cincinnati. Hughes, B. (1990). Survey of band repertoire (for high school wind conductors). Instrumentalist, 45 (4), 60-65. Isaac, S. & Michael, W. B. (1995). Handbook in research and evaluation. San Diego, California: Educational and Industrial Testing Services. Mark, M. L. (1996). Contemporary music education. New York: Schirmer Books. McBeth, F. W. (1989). The band - artistic viability through literature. The Instrumentalist, 43 (6), 92+. Meyer, L. B. (1967). Music, the arts, and ideas: patterns and predictions in Twentieth-Century culture. Chicago: University of Chicago Press. Music Educators National Convention. (1994). National standards for arts education: What every young American should know and be able to do in the arts. Reston, VA: Music Educators National Conference. 118 Negro, R. A. (1994). Selected recommended repertoire lists for concert band: a content analysis. Unpublished master's thesis: Bowling Green State University, Bowling Green, Ohio. Odegard, E. A. (1955). The current status of the symphony band: the medium and its music (Doctoral Dissertation, University of Iowa, 1955). Dissertation Abstracts, 15, 2235. Ogdin, P. K. (1981). An analysis of criteria by which secondary choral teachers select course content (Doctoral Dissertation, Northern Arizona University, 1981). Dissertation Abstracts International, 41, 4323A. Olson, R. H. (1982). A core repertoire for the wind ensemble, journal of Band Research, 18, 11-35. Ostling, A. E. (1979). An evaluation of compositions for wind band according to specific criteria of serious artistic merit (Doctoral Dissertation, University of Iowa, 1978). Dissertation Abstracts International, 39, 3215A. Palisca, C. V. (1964). Music in our schools: A search for improvement. W ashington: U. S. G overnm ent Printing Office. Parker, D. H. (1920). The principles of aesthetics. New York: Silver, Burdett, and Co. Peterson, D. L. (1986). The university band: Its repertoire and the prospective music educator (Doctoral Dissertation, Arizona State University, 1986). Dissertation Abstracts International, 47, 3606A. Reimer, B. (1962). Leonard Meyer's theory of value and greatness in music, journal of Research in Music Education, 10,87-99. Reimer, B. (1970). .4 philosophi/ of music education. Engelwood Cliffs, Nj: Prentice-Hall Inc. Reimer, B. (1989). A philosophy of music education (2nd edition). Engelwood Cliffs, NJ: Prentice-Hall Inc. Rehrig, W. H. (1991). The Heritage encyclopedia of band music. Westerville, OH: Integrity Press. (P. E. Bierley, Ed.). Reynolds, H. R. (1995). Core repertoire. Unpublished. 119 Slagley, C. L. (1992). A comparative study of the performed repertoire of Texas high school honor bands 1980-1989 (Doctoral Dissertation, University of Houston, 1992). Dissertation Abstracts International, 53, 2288A. University of Northern Colorado Bands. (1992). Standard repertoire. Unpublished. Woike, D. O. (1990). Wind band performance repertoire at the university level: a survey of collegiate wind band curricula and current repertoire selection processes (Doctoral Dissertation, The Ohio State University, 1990). Dissertation Abstracts International, 57, 2309A. Youngblood J. (1983). Why critics disagree. College Music Symposium: lournal of the College Music Society, 23(2), 193-202. 120 APPENDIX A Telephone Survey Script My name's Craig Young, and I'm with The Ohio State University in Columbus, Ohio. I'm conducting a study to find out what music high school concert bands from across the country are performing, and uour school has been randomly selected to be included in this study. Would you have a few minutes right now to speak or would there be a better time for me to call? Answer. 1. How many years have you been at ______? 1. How many concert bands do you have in the high school? Ansioer. 2. Are they determined by audition? Anszver. 3. Do(es) your concert band(s) rehearse the entire school year or only after marching band season? Answer. 4. How many concerts does your (top) concert band present a year? Answer. (If necessary) Could you elaborate ? 5. Are there any special types of concerts that you present? Answer. Were these concerts included in number given in the former question? 6. Do(es) your (top) concert band attend a large group contest or festival every year? Answer. For this study, 1 am attempting to collect programs from your (top) concert band from the past three years, which encompasses the school years of '94-95 through last year? Given some time, do you think that you could locate those programs? Answer. Would you be willing to send me copies of them? Answer. 1 only have a couple more questions. When thinking back over the past three years, what means did you use to find most of the music that you performed with your (top) concert band? Answer. What was a secondary means? Answer. When deciding what pieces to perform with your band, what was the most important consideration for choosing a particular piece? Answer? What was secondary? Answer? That's all the questions I have. I'll be sending you an envelope to return your programs in, as well a very brief additional survey that goes a little more into what we've discussed here today. It should be arriving in a week or so. Do you think a week after you receive it will be enough time to compile your programs and send it all back? Answer. Check address. Thank you so much for your time. You should be expecting an envelope in a week. I really appreciate your willingness to participate in this study. Have a great day. 121 APPENDIX B Cover Letter 122 School of Music 1866 College Road Columbus, Ohio 43210 UNTVERSrrY Conductor Name School Name Address City, State Zip Dear Conductor Name, Thank you for agreeing to participate in this study on the repertoire performed by high school bands throughout the United States. You are one of the few conductors who has been randomly selected to participate in this study. As a result, your participation is critical. Please collect all of the programs of your top concert band from the past three years, encompassing the '94-95, '95-96, and '96-97 school years. Please do not include programs from the current school year. If your concert band has participated in large group contest/festival at any time over the past three years, please indicate which pieces were performed at the contest/festival by placing a star next to these selections in the pertinent concert program. Included with this letter you will find a stamped envelope and a survey which will take only 6-10 minutes to complete. After completing the survey, please place the survey, along with the collected programs, into the envelope and place It in the mail. 1 would like to assure you that all information submitted will be kept completely confidential. The identification number found on your survey is for mailing purposes only . If there are any problems, or if you have any questions about the study, please do not hesitate to call me collect at home or contact me through email. Thank you again for your participation in this important study. Sincerely, Craig S. Young 123 APPENDIX Written Survey Instrument 124 Choosing Band Literature 1. This is your _th year teaching instrumental music on a full-time basis. (W nte in =t 2. The most recent degree that you completed was a . degree. (Associates, Bachelors, Masters, or Doctorate) 3. Considering the list below, rate each item according to how often you have used the resource over the past three years to choose music for your concert band. Circle the number that is appropriate for each resource, with "5" being a resource that you have used very often and "1" being a resource rarely or never used. Please utilize the entire scale (using all five numbers). Rarelv Often 1 2 4 S A. Festival/Contest list. 1 2 4 B. I------h H 1 Used recommended repertoire lists from publications or other conductors (lists other than contest lists). C Sought advice from other colleagues in the high school band profession. D. Sought advice from music store personnel. E. I 1- Sought advice from University/College band conductors. ^ 2 F. I------h Looked at scores in the music store. G. Listened to publisher tapes/Looked at publisher material mailed to you. H. Attended workshops, clinics, and/or conventions. Listened to other bands perform outside of a clinic/convention/ workshop situation. Works previously known. K. Student input. 4. Now review those items which you gave a “5" rating. Which of those resources did you use m ost often? Second-most often? (Write in Letter) (Write in Letter) 125 5. Considenng the music that you have chosen for your ensemble during the past three years, rate the importance that each of the reasons listed below played in your decision to perform those particular pieces. Circle the number that is appropriate for each reason, with "5" indicating a very important reason, and "1" indicating a reason rarely or never considered. Please utilize the entire scale (using all five numbers). Lnimpo riant erv Important s A. 4- The students could handle the technical demands in the amount of rehearsal time that was available. B. The students could comprehend and execute the musical demands in the amount of available rehearsal time. C It would challenge/improve the students' technical abilities. D. It would challenge/improve the students' under standing of quality music and musical style. H 1 already knew the piece. F. 4 It was a piece of music that the students should know since it was one of quality. G. 4 It was a composer that the students should know. 5 H. 4 It would fit the concert program nicely. s 4 1 liked it. 5 J. 4 The students would like it. s K. 4 The audience would like it. 5 L 4 It would teach about a certain historical period. 5 M. 4 It would teach about a certain theoretical concept. 5 N. + 4 It fit the ensemble's instrumentation and strengths. 6. Now review those i ems which you gave a "5" rating. Which of those criteria was the most important? Second-most important? (Write in Lette (Write in Letter) 126 APPENDIX D An examination of quality repertoire available to the high school wind band by Craig S. Young Thank you for agreeing to participate in this study on the repertoire being chosen by high school wind band conductors. Objectives of this study include determining the methods used to find the music that these conductors perform with their large ensembles, the utilitarian criteria for choosing this music, and some determination of the quality of this repertoire. Relationships between these three objectives will also be sought. For the repertoire quality portion of the study, 1 am asking you, along with some other experts in the field of wind literature, to attempt to qualify the repertoire in order to better allow me to make judgments on the quality of literature being rehearsed and performed in the schools. This has become necessary since all efforts to achieve this goal using purely statistical methods have proved artificial at best. Please begin by reading the following page in order to establish some unified concepts of quality among all of the jurors. Then proceed to Instruction Set #1. The entire study should take around 2 hours. The following is a short excerpt from my dissertation. Thomson (1948) discusses what he refers to as the three "clinical" signs ol quality: "1) the ability to hold one's attention, 2) one's ability to remember it vividly, and 3) a certain strangeness in the musical texture, that is to say, the presence of technical invention such as novelty ot rhythm, of contrapuntal, harmonic, melodic, or instrumental device (p. 7)." Fjeld (1959), Ostling (1978), and Fiese (1991) developed lists of criteria tor the evaluation of quality While the lists were very similar, Fjeld (1959) included two criteria not included in the other two studies; 1. "Composition will stand up under prolonged and meticulous rehearsal," and; 2. "Piece gives listener an emotional experience, a feeling of complefeness, satisfaction. Emotional implications are understandable to the hearer Fjeld does not explain how these emotional implications could be understandable to all levels of listeners or what constitutes a composition "standing up" to the rehearsal process. Nevertheless, the remaining criteria that Fjeld developed can be found in the other two studies Listed below is the criteria developed by Ostling through the study of Meyer (1%7), as well as basic texts on theory and orchestration and personal discussions with prominent conductors K 1. The composition fias form not "a torm" but form and reflects a projier balance between repetition and contrast 2. The composition reflects sliape and design, and creates the impression of conscious choice and judicious arrangement on the jrart ot the composer. 3. The composition reflects craftsmanship in orchestration, demonstrating a proper balance between Iransjiareni and lulli scoring, and also between solo and group colors. 4. The composition is sufficiently unpredictable to preclude an immediate grasp of its musical meaning 5. The route through which the composition travels in initiating its musical tendencies and probable musical goals is not completely direct and obvious 6. The composition is consistent in its quality throughout its length and m its various sections 7 The composition is consistent in its style, retlecting a complete grasp ot technical details, clearly conceived ideas, .iiid avoids lapses into trivial, futile, or unsuitable passages 8. The composition reflects ingenuity in its development, given the stylistic context in which it exists 9. The composition is genuine in idiom, and is not pretentious, t^stling states that there is a great deal ot wind band literature which is "permeated with meKxdic, and particularly harmonic clichés, exuding the sound of commercial music while attempting to jiarade under the banner of artistic respectability as a work of serious artistic merit (p 3Ü)." 1Ü. The composition reflects a musical validity which transcends factors of historical importance, or factors of pedagogical usefulness. I Lslhng goes on to explain that just because a composition suits the band medium well does not mean that the piece contains a level ot qualify that "could withstand close scrutiny by musicians in general (p. 30) " Instruction Set #1 1. Flip through the following pages of compositions. Survey each grouping of compositions in order to establish a H-. relative quality level among each group as a whole. Do not mark anything until you have reached Instruction ^ Set #2 (pg. 24). 2. Keep in mind that these groupings are specifically for high school musicians and should be judged in terms of how important these compositions could be to the education of the younger musician. For example, there may be compositions that will be placed in the highest grouping because of its exceptional value specifically for younger musicians, even though it may have missed this top rating when judged solely on quality. 3. Just a word about complexity. Although there are high school bands who can play at a very high level of technical proficiency, a piece may be removed from the list if you deem it to be too complex for the maturity level of the top high school musicians. This should take approximately 10 minutes. Group One Representing the highest quality compositions available and accessible to the large high school wind band These are pieces that every high school conductor should know and should perform on a regular basis (assuming the band is capable) Group One Composer Composition Arr./Trans. 1 2 3 Move To Slay Don't Need This Group Here Know Move Arnold, Malcolm Four Scottish Dances Paynter 2 3 0 Arnold, Malcolm Prelude, Siciliano, and Rondo Pay n ter 2 3 0 Bach, Johann Sebastian Fantasia in G Major Goldman and Leist 2 3 0 Bach, Johann Sebastian Passacaglia and Fugue in C minor trans. Hunsberger 2 3 0 Bach, Johann Sebastian Toccata and Fugue in D minor trans. by Leidzen 2 3 0 Bassett, Leslie Designs, Images and Textures 2 3 0 w Bassett, Leslie Sounds, Shapes and Symbols 2 3 0 Bennett, Robert Russell Suite of Old American Dances 2 3 0 Bennett, Robert Russell Symphonic Songs for Band 2 3 0 Benson, Warren The Leaves are Falling 2 3 0 Benson, Warren The Passing Bell 2 3 0 Benson, Warren The Solitary Dancer 2 3 0 Berlioz, Hector Symphonie Funèbre et 2 3 0 Triomphale, Op. 15 Bernstein, Leonard "Profanation" from Jeremiah Bencriscutto 2 3 0 Symphony Bernstein, Leonard Candide; Overture Beeler 2 3 0 Chance, John Barnes Elegy 2 3 0 Copland, Aaron An Outdoor Overture 2 3 0 Copland, Aaron Emblems 2 3 0 Copland, Aaron Lincoln Portrait trans. by Beeler 2 3 0 Composer Composition Arr./Trans. 1 2 3 Move To Slay Don'l Need This Group Here Know Move Corigliano, John Ga/ebo Dances 2 3 0 Creston, Paul Celebration Overture, Op. 61 2 3 0 Dahl, Ingolf Sinfonietta for Band 2 3 0 Dello Joio, Norman Fantasies on a Theme by Haydn 2 3 0 Dello Joio, Norman Variants on a Medieval Tune 2 3 0 Finney, Ross Lee Skating on the Sheyenne 2 3 0 Giannini, Vittorio Symphony No. 3 2 3 0 Could, Morton Symphony No. 4 2 3 0 Grainger, Percy Colonial Song 2 3 0 Grainger, Percy Hill Song No. 2 2 3 0 Grainger, Percy Irish Tune from County Derry 2 3 0 NJ Grainger, Percy Lincolnshire Posy 2 3 0 Grainger, Percy Molly on the Shore 2 3 0 Grainger, Percy Shepherd's Hey 2 3 0 Handel, G. F. Music for the Royal Fireworks ed. by Baines and 2 3 0 Mackerras Handel, G. F. Water Music American Wind 2 3 0 Symphony Edition Hanson, Howard Chorale and Alleluia, Op. 42 2 3 0 Hindemith, Paul Symphonic Metamorphosis of trans. by Wilson 2 3 0 Themes by Weber Hindemith, Paul Symphony in Bb 2 3 0 Holst, Gustav First Suite in Eb 2 3 0 Holst, Gustav Hammersmith, Op. 52 2 3 0 Holst, Gustav Second Suite in F 2 3 0 Husa, Karel Apotheosis of this Earth 2 3 0 Composer Composition Arr./Trans. 1 2 3 Move To Stay Don'l Need This Group Here Know Move Husa, Karel Concerto for Alto Saxophone and 2 3 0 Concert Band Husa, Karel Concerto for Percussion and Wind 2 3 0 Ensemble Husa, Karel Concerto for Wind Ensemble 2 3 0 Husa, Karel Music for Prague 2 3 0 Husa, Karel Smetana Fanfare 2 3 0 Ives, Charles Variations on America Schuman, trans. by 2 3 0 Rhodes Jacob, Gordon William Byrd Suite 2 3 0 Mendelssohn, Felix Ouverture Fur Harmoniemusik, Boyd 2 3 0 Op. 24 Mennin, Peter Can/.ona 2 3 0 Milhaud, Darius Suite Française, Op. 248 2 3 0 Nelhybel, Vaclav Trittico 2 3 0 Orff, Carl Carmina Burana; Suite trans. by Krance 2 3 0 Persichelti, Vincent Chorale Prelude: So Pure the Star, 2 3 0 Op. 91 Persichetti, Vincent Divertimento for Band, Op. 42 2 3 0 Persichetti, Vincent Masquerade for Band, Op. 102 2 3 0 Persichetti, Vincent Parable IX, Op. 121 2 3 0 Persichetti, Vincent Psalm for Band, Op. 53 2 3 0 Persichetti, Vincent Symphony No. 6, Op. 69 2 3 0 Reed, H. Owen La Fiesta Mexicana 2 3 0 Rogers, Bernard Three Japanese Dances 2 3 0 Composer Composition Arr./Trans. 1 2 3 Move To Slay Don't Need This Group Here Know Move Schoenberg, Arnold Theme and Variations, Op. 43a 2 3 0 Schuller, Gunther Diptych for Brass Quintet and 2 3 0 Concert Band Schuller, Gunther Meditation 2 3 0 Schuman, William Be Glad Then, America 2 3 0 Schuman, William Chester 2 3 0 Schuman, William George Washington Bridge 2 3 0 Schuman, William When Jesus Wept 2 3 0 Schwanlner, Joseph and the mountains rising nowhere 2 3 0 Shostakovich, Dmitri Festive Overture, Op, % trans. by 2 3 0 Hunsberger Vaughan Williams, Folk Song Suite 2 3 0 Ralph Vaughan Williams, Tocatta Mar/iale 2 3 0 Ralph Wagner, Richard Trauersinfonie Leidzen 2 3 0 Group Two Representing compositions w Ln with a very high level of quality, only slightly below the highest level These are pieces that every high school conductor should be aware of and should perform periodically (assuming the band is capable) Group Two Composer Composition Arr./Trans. 1 2 3 Move To Slay Don't Need This Group Here Know Move Arnold, Malcolm Tam O' Shanter Overture Pay n ter 1 3 0 Bach, Johann Sebastian Blithe Bells (Sheep May Safely Grainger 1 3 0 Graze) Bach, Johann Sebastian Fugue a la Gigue Holst 1 3 0 Bach, Johann Sebastian Passacaglia and Fugue in C minor trans. by Falcone 1 3 0 Badings, Henk Concerto for Flute and Wind 1 3 0 Symphony Badings, Henk Double Concerto for Bassoon, 1 3 0 Conlra-bassoon and Wind Symphony Bassett, Leslie Concerto Grosso (for brass quintet, 1 3 0 wind and percussion ensemble) Bassett, Leslie Fantasy for Clarinet 1 3 0 Benson, Warren Concertino (for alto saxophone and 1 3 0 wind ensemble) Benson, Warren Dawn's Early Light 1 3 0 Benson, Warren Helix (solo for tuba) 1 3 0 Benson, Warren Recuerdo (solo for oboe/English 1 3 0 horn and wind ensemble) Benson, Warren Shadow Wood (solo for Soprano) 1 3 0 Benson, Warren Symphony for Drums and Wind 1 3 0 Orchestra Benson, Warren Symphony II, Lost Songs 1 3 0 Composer Composition Arr./Trans. 1 2 Move lo SUy Diin'l Neett 1 his Cii'oup Here KiMtV Move Benson, Warren Wings I .1 0 Brahms, Johannes Blessed Are They Beu hi man I ^ 0 Brant, Henry Angels and Devils 1 .1 0 Cabezon, Antonio de Prelude in the Dorian Mode trans. by Grainger 1 .1 t) Carter, Charles Overture for Winds 1 .1 0 Chance, John Barnes Incantation and Dance 1 .1 0 Chance, John Barnes Symphony No. 2 for Winds and 1 .1 0 Percussion Chance, John Barnes Variations on a Korean Folk Song 1 .1 (1 Colgrass, Michael Dt5jd Vu (for four percussion 1 ^ 0 soloists and wind ensemble) Colgrass, Michael Winds of Nagual 1 ^ 0 Copland, Aaron El Solon Mexico trans. by 1 lindsley 1 .1 1) Copland, Aaron Variations on a Shaker Melody I .1 tt Creston, Paul Concertino for Marimba and Band I 1 <1 Creston, Paul Concerto for Alto Saxophone 1 .1 (1 Dahl, Ingolf Concerto for Alto Saxophone and ! .1 (1 Wind Orchestra Del Borgo, Elliot Do Not Go Gentle Into That Good 1 ^ 0 Njght Dello Joio, Norman Scenes from the 1,ouvre 1 1 () DeLone, Peter Symphony No. 1 1st movement 1 1) "Introduction and Allegro" Druckman, Jacob "Engram" from Prism 1 t tt Epstein, Paul Matinee Concerto (for solo viohn condensed title 1 .1 0 and wind ensemble) Composer Composition Arr./Trans. 1 2 3 Move To Stay Don't Need This Group Here Know Move Erickson, Frank Air for Band 1 3 0 Erickson, Frank Toccata for Band 1 3 0 EHer, Alvin Concerto for Clarinet and Chamber 1 3 0 Ensemble Finney, Ross Lee Concerto for Alto Saxophone 1 3 0 Fischer, Johan Kasper Le Journal du Printemps, Suite 111 trans. by Wilson 1 3 0 Ferdinand Fiser, Lubos Report 1 3 0 Frescobaldi, Girolamo Toccata Slocum 1 3 0 Giannini, Vittorio Praeludium and Allegro 1 3 0 Giannini, Vittorio Variations and Fugue 1 3 0 w Gould, Morton Concertette for Viola and Band oo 1 3 0 Grainger, Percy Ye Banks and Braes O'Bonnie Doon 1 3 0 Grundman, Clare An Irish Rhapsody 1 3 0 Handel, G. F. Royal Fireworks Music trans. by Schaefer 1 3 0 Hartley, Walter Concerto for 23 Wind Instruments 1 3 0 Hartley, Walter Sinfonia No. 4 1 3 0 Hindemith, Paul "Geschwindmarsch" from 1 3 0 Symphony Serena Hindemith, Paul Concerto for Organ and Wind 1 3 0 Instruments; Kammermusik No. 7, Op. 46, No. 2 Hindemith, Paul Konzertmusik, Op. 41 1 3 0 Honegger, Arthur Le Roi David original version 1 3 0 Hovhaness, Alan Symphony No. 4, Op. 165 1 3 0 Hovhaness, Alan Symphony No. 7 "Nanga Parvat," 1 3 0 Op. 175 Composer Composition Arr./Trans. 1 2 3 Move To SUy Don't Need This Group Here Know Move Husa, Karel AI Fresco 1 3 0 Husa, Karel An American Te Deum (for 1 3 0 Baritone voice, chorus, band) Husa, Karel Concerto for Trumpet and Wind 1 3 0 Ensemble Ibert, Jacques Concertino da Camera for Alto trans. by Paynter 1 3 0 Saxophone Ibert, Jacques Concerto for Cello and Winds 1 3 0 Ives, Charles Country Band March James Sinclair 1 3 0 Ives, Charles Overture and March, 1776 James Sinclair 1 3 0 Jacob, Gordon An Original Suite 1 3 0 Jacob, Cordon Music for a Festival 1 3 0 Jacob, Gordon Old Wine in New Bottles 1 3 0 Jager, Robert Third Suite 1 3 0 Jenkins, Joseph American Overture for Band 1 3 0 Kennan, Kent Night Soliloquy (solo for flute) 1 3 0 Kodaly, Zoltan Hary Janos: Suite trans. by Bainum 1 3 0 Krenek, Ernst Kleine Blasmusik, Op. 70A 1 3 0 Krenek, Ernst Symphony No. 4, Op. 34 1 3 Ü Liptak, David Soundings 1 3 0 Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 1 3 0 41 Mailman, Martin For Precious Friends Hid in Death's 1 3 0 Dateless Night Maslanka, David A Child's Garden of Dreams 1 3 0 Maslanka, David Concerto for Piano 1 3 0 Composer Composition Arr./Trans. 1 2 3 Move To SUy Don'l Need This Group Here Know Move McBeth, Francis Chant and Jubilo 1 3 0 McBeth, Francis Kaddish 1 3 0 McBeth, Francis Masque 1 3 0 Mendelssohn, Felix Ouverture Fur Harmoniemusik, Griessle or Johnson 1 3 0 Op. 24 Messiaen, Olivier Et Exspecto Resurrectionem 1 3 0 Mortuorum Nelson, Ron Rocky Point Holiday 1 3 0 Noon, David Sweelinck Variations (I, II, III) 1 3 0 Penderecki, Krzystztof Pittsburgh Overture 1 3 0 Persichetti, Vincent Chorale Prelude; Turn Not Thy 1 3 0 Face, Op. 105 Persichetti, Vincent O Cool is the Valley: Poem for 1 3 0 ê Band, Op. 118 Persichetti, Vincent Pageant 1 3 0 Piston, Walter Tunbridge Fair 1 3 0 Reed, Alfred A Festival Prelude 1 3 0 Reed, Alfred Armenian Dances Part 1 1 3 0 Reed, Alfred Armenian Dances Part 2 1 3 0 Reed, Alfred Russian Christmas Music 1 3 0 Respighi, Ottorino Huntingtower Ballad for Band 1 3 0 Reynolds, Verne Scenes 1 3 0 Reynolds, Verne Scenes Revisited 1 3 0 Rodrigo, Joaquin Adagio 1 3 0 Schmitt, Florent Dionysiaques, Op. 62 1 3 0 Schuller, Gunther On Winged Flight: A Divertimento 1 3 0 for Band Composer Composition Arr./Trans. 1 2 3 Move To Stay Don’t Need This Group Here Know Move Schuller, Gunther Study in Textures 1 3 0 Schuller, Gunther Symphony for Brass and Percussion 1 3 0 Schuller, Gunther Symphony No. 3, In Praise of 1 3 0 Winds Schwantner, Joseph From a Dark Millennium 1 3 0 Shostakovich, Dmitri Folk Dances Reynolds 1 3 0 Stokes, Eric The Continental Harp and Band 1 3 0 Report ("An American Miscellany") Surinach, Carlos Paeans and Dances of Heathen 1 3 0 Iberia Susato, Tielman Suite from the Danserye Michael Waters 1 3 0 Tailleferre, Germaine Ouverture trans. by Paynter 1 3 0 Vaughan Williams, Concerto in F for Tuba 1 3 0 Ralph Vaughan Williams, Flourish for Wind Band 1 3 0 Ralph Vaughan Williams, Scher/o alia Marcia from 1 3 0 Ralph Symphony No. 8 Villa-Lobos, Heitor Fantasy in Three Movements in 1 3 0 Form of a Chorus Wagner, Richard Elsa's Procession to the Cathedral Caillet 1 3 0 Wagner, Richard Tannhauser: Elizabeth's Prayer (for 1 3 0 soprano soloist and wind ensemble) Williams, Clifton Fanfare and Allegro 1 3 0 Williams, Clifton Symphonic Suite 1 3 0 Wood, Hayden Mannin Veen 1 3 0 Group Three Representing compositions g with a significant level of quality, yet below the highest two levels These are pieces that warrant inclusion into the high school wind band curriculum and will stand up to repeated playings throughout the years Group Three Composer Composition Arr./Trans. 1 2 3 Move To Stay Don't Need This Group Here Know Move Adler, Samuel Little Night and Day Music 1 2 0 Applebaum, Slan Irish Suite 1 2 0 Arbeau, Thoinot Belle Qui Tiens Ma Vie Margolis 1 2 0 Arnold, Malcolm English Dances Johnstone 1 2 0 Arnold, Malcolm English Dances Set 1 Paynter 1 2 0 Arnold, Malcolm Four Cornish Dances Marciniak 1 2 Ü Bach, Johann Sebastian Come Sweet Death Reed 1 2 0 Bach, Johann Sebastian Jesu, Joy of Man’s Desiring Leidzen t 1 2 Ü Bach, Johann Sebastian Little Fugue in G Minor 1 2 0 Bach, Johann Sebastian Prelude and Fugue in Bb Major Moohlmann 1 2 0 Bach, Johann Sebastian Prelude and Fugue in G Minor Moehlmann 1 2 0 Barnes, James Yorkshire Ballad 1 2 U Bassett, Leslie Colors and Contours 1 2 Ü Bedford, David Ronde for Isolde 1 2 0 Benson, Warren Ginger Marmalade 1 2 0 Benson, Warren Night Song 1 2 0 Bernstein, Leonard Divertimento Grundman 1 2 0 Bernstein, Leonard Slava! Grundman 1 2 0 Bielawa, Herbert Spectrum I 2 0 Brisman, Heskel Uganda Lullaby 1 2 0 Composer Composition Arr./Trans. 1 2 3 Move To SUy Don't Need This Group Here Know Move Broege, Timothy Sinfonia VI 1 2 0 Broege, Timothy The Headless Horseman 1 2 0 Broege, Timothy Three Pieces for American Band, 1 2 0 Set No. 1 Broege, Timothy Three Pieces for American Band, 1 2 0 Set No. 2 Buckvich, Daniel Symphony No. 1, In Memoriam, 1 2 0 Dresden, Germany Carter, Charles Symphonic Overture 1 2 0 Catel, Charles Simon Overture in C Goldman & Smith 1 2 0 Chobanian, Loris Armenian Dances 1 2 0 Copland, Aaron Copland Tribute, A Grundman 1 2 0 Cowell, Henry Hymn and Fuguing Tune HI 1 2 0 de Meij, Johan Symphony No. 1 "The Lord of the 1 2 0 Rings" Del Borgo, Elliot Adagio for Winds 1 2 0 Dello Joio, Norman Satiric Dances 1 2 0 Dvorak, Antonin Slavonic Dances Curnow 1 2 0 Erb, Donald Stargazing 1 2 0 Erb, Donald Symphony for Winds 1 2 0 Fauchet, Paul Symphony in Bb Campbell, Watson, 1 2 0 & Gillette Finney, Ross Lee Summer in Valley City 1 2 0 Giannini, Vittorio Fanatasia for Band 1 2 0 Giovannini, Caesar Overture in Bb 1 2 0 Gossec, Francois Joseph Military Symphony in F Goldman & Leist 1 2 0 Gossec, Francois Joseph Overture in C 1 2 0 Composer Composition Arr./Trans. 1 2 3 Move To SUy Don't Need This Group Here Know Move Could, Morton American Salute Lang 1 2 0 Gould, Morton Ballad for Band 1 2 0 Could, Morton Mini Suite 1 2 0 Grainger, Percy Australian Up-Country Tune 1 2 0 Grainger, Percy Children's March Erickson 1 2 0 Grainger, Percy Handel in the Strand Goldman 1 2 0 Grainger, Percy Lads of Wamphray 1 2 0 Grainger, Percy The Sussex Mummers' Christmas Goldman 1 2 0 Carol Grainger, Percy Two Grainger Melodies Kreines 1 2 0 Gregson, Edward Festivo 1 2 0 Grundman, Clare A Welsh Rhapsody 1 2 0 Grundman, Clare American Folk Rhapsody No. 1 1 2 0 Grundman, Clare American Folk Rhapsody No. 2 1 2 0 Grundman, Clare American Folk Rhapsody No. 3 1 2 0 Grundman, Clare Fantasy on American Sailing Songs 1 2 0 Grundman, Clare Hebrides Suite 1 2 0 Grundman, Clare Kentucky 1800 1 2 0 Grundman, Clare Little English Suite 1 2 0 Grundman, Clare Little Suite for Band 1 2 0 Hanson, Howard Dies Natalies 1 2 0 Hanson, Howard Laude 1 2 0 Hennagin, Michael jubilee 1 2 0 Hodkinson, Sydney Stone Images 1 2 0 Holsinger, David Liturgical Dances 1 2 0 Composer Composition Arr./Trans. 1 2 3 Move To Stay Don't Need This Group Here Know Move Holst, Gustav Jupiter, from The Planets Smith 1 2 0 Holst, Gustav Mars, from The Planets Smith 1 2 0 Hoist, Gustav Moorside Suite, A Wright 1 2 0 Hovhannes, Alan Three Journeys to a Holy Mountain 1 2 0 lannaccone, Anthony After a Gentle Rain 1 2 0 lannaccone, Anthony Apparitions 1 2 0 lannaconne, Anthony Plymouth Trilogy 1 2 0 Ives, Charles Old Home Days Elkus 1 2 0 Ives, Charles The Alcotts Schuman, arr. by 1 2 0 Thurston Jacob, Gordon Flag of Stars 1 2 0 Jacob, Gordon Giles Farnaby Suite 1 2 0 Jacob, Gordon The Battell (Music of William 1 2 0 Byrd) Jadin, Hyacinthe Overture in F Townsend 1 2 0 Jadin, Louis Symphonie for Band Schaefer 1 2 0 Jager, Robert Colonial Airs and Dances 1 2 0 Kabelvsky, Dimitri Suite in Minor Mode Seikman 1 2 0 Khatchaturian, Aram Armenian Dances Setz 1 2 0 Latham, William Court Festival 1 2 0 Latham, William Three Chorale Preludes 1 2 0 Linn, Robert Propagula 1 2 0 LoPresti, Ronald Elegy for a Young American 1 2 0 Mailman, Martin Exaltations 1 2 0 Mailman, Martin Liturgical Music for Band 1 2 0 Composer Composition Arr./Trans. 1 2 3 Move To Slay Don'l Need This Group Here Know Move Margolis, Bob Color 1 2 0 Margolis, Bob Fanfare, Ode and Festival 1 2 0 Margolis, Bob Terpsichore 1 2 0 Maslanka, David Rollo Takes a Walk 1 2 0 Maslanka, David Symphony No. 2 1 2 0 Moussorgsky, Modeste Night on Bald Mountain Schaeffer 1 2 0 Mozart, W. A. Marriage of Figaro Overture Slocum 1 2 0 Nelhybel, Vaclav Chorale 1 2 0 Nelhybel, Vaclav Festivo 1 2 0 Nelhybel, Vaclav Prelude and Fugue 1 2 0 Nelhybel, Vaclav Suite from Bohemia 1 2 0 Nelhybel, Vaclav Symphonic Movement 1 2 0 Nelson, Ron Medieval Suite 1 2 0 Nelson, Ron Morning Alleluias for the Winter 1 2 0 Solstice Nelson, Ron Passacaglia (Homage to B-A-C-H) 1 2 0 Nixon, Roger Elegy and Fanfare - March 1 2 0 Nixon, Roger Fiesta del Pacifico 1 2 0 Nixon, Roger Reflections 1 2 0 Paulson, John Epinicion 1 2 0 Peck, Russell Cave of the Winds 1 2 0 Persichetti, Vincent Bagatelles for Band 1 2 0 Persichetti, Vincent Chorale Prelude: O Cool is the 1 2 0 Valley Persichetti, Vincent Chorale Prelude: O God Unseen 1 2 0 Composer Composition Arr./Trans. 1 2 3 Move To Slay Don'l Need This Group Here Know Move Persichetti, Vincent Serenade for Band 1 2 0 Reed, Alfred Jubilant Overture, A 1 2 0 Rhodes, Phillip Three Pieces for Band 1 2 0 Riegger, Wallingford Dance Rhythms 1 2 0 Rimsky-Korsakov, Procession of the Nobles Leidzen 1 2 0 Nicolas Root, Thomas Polly Oliver 1 2 0 Rossini, Giacomo An Italian in Algiers Cailliet 1 2 0 Smith, Claude T. Emparata Overture 1 2 0 Smith, Claude T. Incidental Suite 1 2 0 Spears, Jared Meditation and Festival 1 2 0 Stamp, Jack Past the Equinox 1 2 0 Strauss, Richard Allerseelen Davis, Fennell 1 2 0 Stravinsky, Igor Circus Polka 1 2 0 Stuart, Hugh M. Three Ayres from Gloucester 1 2 0 Susato, Tielman Battle Pavane Margolis I 2 0 Thomson, Virgil A Solemn Music 1 2 0 Ticheli, Frank Cajun Folk Songs 1 2 0 Ticheli, Frank Fortress 1 2 0 Ticheli, Frank Gaian Visions 1 2 0 Ticheli, Frank Portrait of a Clown 1 2 0 Ticheli, Frank Postcard 1 2 0 Tull, Fisher Credo 1 2 0 Tull, Fisher Sketches on a Tudor Psalm 1 2 0 Tull, Fisher Toccata 1 2 0 Composer Composition Arr./Trans. 1 2 3 Move To Stay Don't Need This Group Mere Know Move Turina, Jaoquin Five Miniatures Krance 1 2 0 Turina, Jaoquin La Procession du Rocio Reed 1 2 0 Tyra, Thomas Two Gaelic Folk Songs 1 2 0 Vaughan Williams, R Linden Lea Stout 1 2 0 Vaughan Williams, R Rhosymedre Beeler 1 2 0 Vaughan Williams, R Sea Songs 1 2 0 Walton, William Crown Imperial 1 2 0 Williams, Clifton Caccia and Chorale 1 2 0 Williams, Clifton Dedicatory Overture 1 2 0 Williams, Clifton Symphonic Dance No. 3 "Fiesta" 1 2 0 Williams, Clifton Variation Overture 1 2 0 Wilson, Dana Piece of Mind 1 2 0 Wilson, Dana Shakata: Sing the World into 1 2 0 Existence Woolfenden, Guy Illyrian Dances 1 2 0 Youtz, Gregory Scherzo for a Bitter Moon 1 2 0 Zdechlik, John Psalm 46 1 2 0 Instruction Set #2 1. Now turn back to page 4. 2. Mark an "X" (or check mark) in the first box ("Remain in Current Group") of those pieces that should remain in their current group. 3. Mark an "X" (or check mark) in the second box ("Composition Not Known") of those pieces that you do not know well enough to make a judgment. g 4. Mark an "X" (or check mark) in the third box ("Move to Other Group") of those pieces that you do not believe to be representative of the range of quality that the remainder of that particular group represents (whether of greater o r lesser quality). 4. For those pieces that received a marking in the third box ("Move to Other Group"), circle the number in the fourth box ("Move to This Group") which represents the group in which you would place the composition. A rating of "0" would remove the composition from the list. 5. If the composition should not be on the list because it is a march or fanfare, please circle the composition and make a note to that effect. This should take approximately 45 minutes Instruction Set #3 This would be a good time for a break (this last section is rather lengthy) uî 1. Look over the following pages of compositions. 2. Mark an "X" (or check mark) in the first box ("Composition Not Known") of those pieces on which you do not feel you can make a judgment. 3. Mark an "X" (or check mark) in the second box ("Should Be Included") of those pieces that youbelieve to be representative of the range of quality that the prior groups of repertoire represented. 4. For those pieces that receive an marking in the second box, give an indication in the farright box as to the group that you think it best represents in the prior listing. 5. Do not mark anything for any piece that you feel does not represent the level of quality that the prior listing of repertoire represents. This should take approximately 1 hour Composer Composition Arr./Trans. 1 2 To Group Don't To Number Know Add: Arnold, Malcolm Peterloo Overture Sayre 1 2 3 Bach,Jan Praetorius Suite 1 2 3 Bach, Johann Sebastian Festival Prelude Margolis 1 2 3 Bach, Johann Sebastian Jesus, Jesus Rest Your Head Wallace 1 2 3 Bach, Johann Sebastian My Heart is Filled With Longing Reed 1 2 3 Bach, Johann Sebastian My Jesus, Oh What Anguish Reed 1 2 3 Bach, Johann Sebastian Prelude and Fugue in D Minor Moehlmann 1 2 3 Bach, Johann Sebastian Prelude and Fugue in G Major Moehlmann 1 2 3 Bach, Johann Sebastian Ricecare a 6 McAlister/ Fennell 1 2 3 Bach, Johann Sebastian Who Puts His Trust in God Most Just Croft 1 2 3 Barber, Samuel Overture to the School For Scandal Hudson 1 2 3 Barnes, James Fantasy Variations on a Theme by 1 2 3 Niccolo Paganini Barnes, James Invocation and Toccata 1 2 3 Barnes, James Trail of Tears 1 2 3 Barrett, Roland Of Dark Lord and Ancient Kings 1 2 3 Bartok, Bela Three Hungarian Songs 1 2 3 Bassett, Leslie Lullaby for Kirsten 1 2 3 Bedford, David Sun Paints Rainbows on the Vast 1 2 3 Waves Bennett, Robert Russell Autobiography, Part 1 1 2 3 Benson, Warren Adagietto 1 2 3 Benson, Warren Dan/on Memory 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don'l To Know Add: Number Benson, Warren Mask of Night 1 2 3 Benson, Warren Meditation on "1 am for Peace" 1 2 3 Benson, Warren Remembrance 1 2 3 Benson, Warren Star Edge (Alto Saxophone) 1 2 3 Berlioz, Hector Beatrice and Benedict Overture Henning 1 2 3 Berlioz, Hector Roman Carnival Overture Godfrey 1 2 3 Bernstein, Leonard A Bernstein Tribute Grundman 1 2 3 Bernstein, Leonard Candide Suite Grundman 1 2 3 Bernstein, Leonard Candide; Overture Grundman 1 2 3 Bernstein, Leonard Danzon from Ballet Fancy Free Krance 1 2 3 Bernstein, Leonard Symphonic Dances from West Side Polster 1 2 3 y] Story Bernstein, Leonard Three Dance Episodes Stith 1 2 3 Beversdorf, Thomas Symphony for Band 1 2 3 Bizet, Georges Pearl Fishers Overture Cailliet 1 2 3 Blahnik, Joel Invention No. 1 1 2 3 Blahnik, Joel Invention No. 2 1 2 3 Borodin, Alexander Polovetsian Dances Hindsley 1 2 3 Boysen, Andres Jr. 1 Am 1 2 3 Brahms, Johannes A Child's Lullaby Swearingen 1 2 3 Brahms, Johannes Academic Festival Overture Hindsley 1 2 3 Brahms, Johannes Three Chorale Preludes Fennell 1 2 3 Brahms, Johannes Two Chorale Preludes Guenther 1 2 3 Brant, Henry American Debate 1 2 3 Brisman, Heskel The Spinner's Wedding 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Number Know Add: Britten, Benjamin The Courtly Dances from "Gloriana, Op. Bach 1 2 3 53" Broege, Timothy Dreams and Fancies 1 2 3 Broege, Timothy Peace Song 1 2 3 Broege, Timothy Sinfonia III (Suite for Winds and 1 2 3 Percussion) Broege, Timothy Sinfonia IX; A Concert in the Park 1 2 3 Broege, Timothy Sinfonia V 1 2 3 Broege, Timothy The Diamond Rule, Concert Rag 1 2 3 Bruckner, Anton Three Little Pieces Bishop 1 2 3 Bukvich, Daniel Cowboys 1 2 3 Bukvich, Daniel V oodoo 1 2 3 Bulla, Stephen Firestorm 1 2 3 Cable, Howard Newfoundland Rhapsody 1 2 3 Cacavas, John Symphonic Prelude 1 2 3 Camphouse, Mark A Movement for Rosa 1 2 3 Camphouse, Mark Tribute 1 2 3 Camphouse, Mark Watchman, Tell Us of the Night 1 2 3 Camphouse, Mark Whatsoever Things 1 2 3 Cardona, Charles Three Short Pieces 1 2 3 Carter, Charles Praise Variants 1 2 3 Carter, Charles Sonata for Winds 1 2 3 Catel, Charles Simon Symphonie Militaire Townsend 1 2 3 Chabrier, Emmanuel Espania Rhapsody 1 2 3 Chance, John Barnes Blue Lake Overture 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Know Add: Number Chattaway, jay Parade of the Tall Ships 1 2 3 Chavez, Carlos Sinfonia India Erickson 1 2 3 Clark, Reber Humn of St. James 1 2 3 Coakley, Donald Jubilant Dialogue 1 2 3 Coakley, Donald Lyric Essay 1 2 3 Constantinides, Dinos Dedications for Band 1 2 3 Copland, Aaron Down a Country Lane Patterson 1 2 3 Copland, Aaron Red Pony 1 2 3 Cowell, Henry A Curse and a Blessing 1 2 3 Cowell, Henry Celtic Set 1 2 3 Cramer, Ray E. Fantasy on "Sakura, Sakura" 1 2 3 Creston, Paul Prelude and Dance, Op. 76 1 2 3 Curnow, James American Triptych 1 2 3 Curnow, James Korean Folk Rhapsody 1 2 3 Curnow, James Where Never Lark or Eagle Flew 1 2 3 Custer, Calvin Variations on "Scarborough Fair" 1 2 3 Daehn, Larry D. As Summer Was Just Beginning 1 2 3 Daehn, Larry D. With Quiet Courage 1 2 3 Daugherty, Michael Desi 1 2 3 Davidovsky, Mario Consorts 1 2 3 Davis, Albert Oliver Fantasie on a Danish Theme 1 2 3 Dawson, Jay Gettysburg: The Third Day 1 2 3 de Haan, Jan Overture for a New Age 1 2 3 de Meij, Johan Aquarium 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Number Know A dd: de Meij, Johan Loch Ness 1 2 3 de Meij, Johan Symphony No. 2, The Big Apple 1 2 3 Del Borgo, Elliot Festal 1 2 3 Del Borgo, Elliot Music for Winds and Percussion 1 2 3 Dei Borgo, Elliot Paean 1 2 3 Dello Joio, Norman Caccia 1 2 3 Dello Joio, Norman Concertante 1 2 3 DeNardis, Camille The Universal Judgment Cafarella 1 2 3 Diamond, David Heart's Music 1 2 3 Diamond, David Tantivy 1 2 3 Dollarhide, Theodore Faces at the Blue Front 1 2 3 Dollarhide, Theodore Jungles 1 2 3 Dollarhide, Theodore Music for the Food King 1 2 3 Donizetti, Gaetano March for the Sultan Abdul Medjid Townsend 1 2 3 Downing, Joseph H. Symphony for Winds and Percussion 1 2 3 Druckman, Jacob In Memoriam Vincent Persichetti 1 2 3 Druckman, Jacob Paean 1 2 3 Duffy, Thomas Crystals 1 2 3 Duffy, Thomas Snakes! 1 2 3 Dukas, Paul Sorcerer's Apprentice Curnow 1 2 3 Dvorak, Antonin Finale, New World Symphony 1 2 3 Dvorak, Antonin Coin' Home V illaneuva 1 2 3 Elgar, Sir Edward As Torrents in Summer Davis 1 2 3 Elgar, Sir Edward Enigma Variations Slocum 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don'l To Know Add: Number Elgar, Sir Edward Severn Suite 1 2 3 Ellerby, Martin Paris Sketches 1 2 3 Erb, Donald Cenotaph 1 2 3 Erb, Donald Space Music 1 2 3 Erb, Donald The Purple Roofed Ethical Suicide 1 2 3 Parlor Erickson, Frank Balladair 1 2 3 Erickson, Frank Chroma 1 2 3 Erickson, Frank First Symphony for Band 1 2 3 Erickson, Frank Wind Chimes 1 2 3 Faure, Gabriel Grant Them Rest Buehlm an 1 2 3 U l N Finney, Ross Lee Spaces 1 2 3 Frackenpohl, Arthur American Folk Song Suite 1 2 3 Francis, Michael Dreams of a Psychopath 1 2 3 Franck, César Panis Angelicus Reed 1 2 3 Freund, Don Jug Blues and Fat Pickin' 1 2 3 Freund, Don Perotinilus 1 2 3 Friedmann, Carl Slavonic Rhapsody No. 2 Duthoit 1 2 3 Gershwin, George Porgy and Bess Bennett 1 2 3 Gershwin, George Rhapsody in Blue Grofe 1 2 3 Gillingham, David Heroes Lost and Fallen 1 2 3 Gillis, Don Tulsa Ford 1 2 3 Ginastera, Alberto Dan/a Final John 1 2 3 Giovannini, Caesar jubilance 1 2 3 Gorb, Adam Awayday 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Know A dd: Number Gossec, Francois Joseph Suite for Band Townsend 1 2 3 Gottschaik, Louis Roulades 1 2 3 Moreau Gould, Morton Jericho Rhapsody 1 2 3 Gould, Morton Pavanne 1 2 3 Gould, Morton Prisms 1 2 3 Gounod, Charles Andante and Cantabile for Winds Barr 1 2 3 Grainger, Percy Country Gardens Clark 1 2 3 Grainger, Percy Country Gardens Grainger 1 2 3 Grainger, Percy Feroe Island Dance 1 2 3 Grainger, Percy Harvest Hymn 1 2 3 % Grainger, Percy Immovable Do 1 2 3 Grainger, Percy The Power of Rome and The Christian 1 2 3 Heart Grainger, Percy Walking Tune Daehn 1 2 3 Grainger, Percy Aldridge A Percy Grainger Suite Erickson 1 2 3 Grainger, Percy Aldridge Blithe Bells 1 2 3 Gregson, Edward Celebration : Praeludium for Wind, 1 2 3 Brass, Percussion , Harp, and Piano Gregson, Edward Prelude for an Occasion 1 2 3 Grundman, Clare A Scottish Rhapsody 1 2 3 Grundman, Clare Concord 1 2 3 Grundman, Clare The Blue and The Gray 1 2 3 Grundman, Clare Two Moods Overture 1 2 3 Hailstork American Guernica 1 2 3 Composer Composition Arr./Trans. 1 2 To Group D on'l To Number Know Add: Hailstork, Adolphus Out of the Depths 1 2 3 Handel, G. F. The Gods Go a Begging Beecham/Duthoit 1 2 3 Hanson, Howard Symphony No. 2 "Romantic " 1 2 3 Hanson, Howard Variations on an Ancient Theme 1 2 3 Hanson, Robert Four French Songs 1 2 3 Harbison, John Three City Blocks 1 2 3 Harris, Roy Cimmarron: A Concert Overture 1 2 3 Hartley, Walter Sinfonietta 1 2 3 Hartley, Walter S Bacchanalia 1 2 3 Hearshen, Ira After the Thunderer 1 2 3 Heisinger, Brent Hymn for Band 1 2 3 Heisinger, Brent Statement 1 2 3 Herold, Ferdinand Zampa Overture Safranek 1 2 3 Hidas, Frigyes Merry Music for Wind Band 1 2 3 Higgins, John Regenesis (Song of the Planet) 1 2 3 Hoddinott, Alun Welsh Airs and Dances 1 2 3 Hodkinson, Sydney Tower 1 2 3 Hogg, Brian Llwyn Onn 1 2 3 Holsinger, David R. A Childhood Hymn 1 2 3 Holsinger, David R Ballet Sacra 1 2 3 Holsinger, David R. Havendance 1 2 3 Holsinger, David R. In the Spring, At the Time When Kings 1 2 3 Go Off to War Holsinger, David R. On a Hymnsong of Lowell Mason 1 2 3 Holsinger, David R. On a Hymnsong of Phillip Bliss 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Know A dd: Number Holsinger, David R. On the Grand Prairie Texas 1 2 3 Holsinger, David R. Sinfonia Voci 1 2 3 Holsinger, David R. The Gathering of the Ranks at Hebron 1 2 3 Holst, Gustav Ballet from "The Perfect Fool" 1 2 3 Holst, Gustav J‘8 De Meij 1 2 3 Holst, Gustav Marching Song, op. 22 Reynish 1 2 3 Holst, Gustav Song of the West 1 2 3 Hovhaness, Alan Hymn to Yerevan 1 2 3 Hovhaness, Alan Symphony No. 20 1 2 3 Huckeby, Ed Prelude and Primal Danse 1 2 3 lannaccone, Anthony Images of Song and Dance, No. 2, 1 2 3 g Terpsichore lannaccone, Anthony Of Fire and Ice 1 2 3 lannaccone, Anthony Scherzo 1 2 3 Ireland, John A Downland Suite 1 2 3 Ives, Charles Sympony No 2: Finale Elkus 1 2 3 Ives, Charles Variations on Jerusalem the Golden Brion 1 2 3 Jacob, Gordon Fantasia on an English Folk Song 1 2 3 Jacob, Gordon Tribute to Canterbury 1 2 3 Jager, Robert Carpathian Sketches 1 2 3 Jager, Robert Epilogue; "Lest We Forget" 1 2 3 Jager, Robert Litany "In Tera Pax" 1 2 3 Jager, Robert Sinfonietta 1 2 3 Jager, Robert Testament 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Number Know A dd: Jager, Robert Variations on a Theme of Robert 1 2 3 Schum ann Jenkins, Joseph Wilcox A Jubilant Overture 1 2 3 Jenkins, Joseph Wilcox Toccata for Winds 1 2 3 Johnson, A. Paul Dramatic Overture 1 2 3 Kabalevsky, Dmitri Galop Mitchell 1 2 3 Kabelvsky, Dimitri Colas Breugnon Overture Beeler 1 2 3 Kalinnikov, Vassili Symphony No. 1: Finale Bainum 1 2 3 Knox, Thomas American Pageant 1 2 3 Konagaya, Soichi Japanese Tune 1 2 3 1 2 3 ON Kopetz, Barry Americana Folk Suite Kozhevnikov, Boris Symphony No. 3 "Slavyanskaya" Bourgeois 1 2 3 Krenek, Ernst Dream Sequence 1 2 3 Kubik, Gail Stewball Variations 1 2 3 La Plante, Pierre A Little French Suite 1 2 3 La Plante, Pierre American Riversongs Brion/Schissel 1 2 3 La Plante, Pierre Prospect 1 2 3 Latham, William Drones, Airs, and Games 1 2 3 Leoncavallo, Ruggerio Mattinata Ployar 1 2 3 Liadov, Analol Eight Russian Folk Songs Goldman 1 2 3 Liadov, Anatol Festival in Russia W ilcox 1 2 3 Lijnschooten, Henk Netherlands Suite 1 2 3 MacDowell, Edward Woodland Sketches Winterbottom 1 2 3 Mahler, Gustav Symphony No. 3: Finale Reynolds 1 2 3 Mahr, Timothy Argentum 1 2 3 Composer Composition Arr./Trans. 1 2 To Group D on't To Know Add: Number Mahr, Timothy Daydream 1 2 3 Mahr, Timothy Endurance 1 2 3 Mahr, Timothy Fantasia in G 1 2 3 Mailman, Martin Decorations 1 2 3 Mailman, Martin Geometries No. 1 1 2 3 Mailman, Martin Night Vigil, op. 66 1 2 3 Makris, Andreas Aegean Festival Overture Bader 1 2 3 Margolis, Bob Fantasia Nova 1 2 3 Margolis, Bob Renaissance Fair 1 2 3 Margolis, Bob Soldiers Procession and Sword Dance I 2 3 Marquina, Pascual La Gitana Del Albaicin 1 2 3 Masianka, David Hell's Gate 1 2 3 Masianka, David In Memorium 1 2 3 Maw American Games 1 2 3 Mays, Walter Dreamcatcher 1 2 3 McBeth, Francis Of Sailors and Whales 1 2 3 McGinty, Anne The Red Balloon 1 2 3 McTee, Cindy Circuits I 2 3 McTee, Cindy Soundings 1 2 3 MehuI, Etienne Nicolaus Overture in F 1 2 3 Melillo, Stephen Stormworks 1 2 3 Melillo, Stephen The First and the Last 1 2 3 Mendelssohn, Felix Fingals Cave Overture 1 2 3 Bartholdy Composer Composition Arr./Trans. 1 2 To Group Don't To Know Add: Number Mendelssohn, Felix Trauer-Marsch, op. 103 Leid/en 1 2 3 Bartholdy Miaskovsky, Nicolai Symphony No. 19 1 2 3 Milhaud, Darius Two Marches 1 2 3 Milhaud, Darius West Point Suite 1 2 3 Mohaupt, Robert Town Piper Music 1 2 3 Moussorgsky, Modeste Pictures at an Exhibition Hindsley 1 2 3 Mozart, Wolfgang Trauermusik Osterling 1 2 3 A m adeus Nelhybel, Vaclav Praise to the Lord 1 2 3 Nelson, Ron Aspen Jubilee 1 2 3 Nelson, Ron Courtly Airs and Dances 1 2 3 Nelson, Ron Mayflower Overture 1 2 3 Nelson, Ron Resonances 1 1 2 3 Nelson, Ron Savannah River Holiday 1 2 3 Nielsen, Carl Paraphrase on "Nearer, My God, to 1 2 3 Thee" Nixon, Roger Pacific Celebration Suite 1 2 3 Nott, Douglas The Kalama 1 2 3 Nott, Douglas Volcano 1 2 3 Offenbach, Jacques La Belle Helene Odom 1 2 3 Offenbach, Jacques Overture to Orpheus in the Underworld Odom 1 2 3 Offenbach, Jacques The Drum Major's Daughter Odom 1 2 3 Padilla, José El Relicario Longfield 1 2 3 Pennington, John A pollo 1 2 3 Pool, Marcel Mosaique 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Number Know Add; Rands, Bernard Ceremonial 1 2 3 Ravel, Maurice Bolero Erickson 1 2 3 Ravel, Maurice La Vallee Des Cloches 1 2 3 Reed, Alfred A Symphonic Prelude on "Black is the 1 2 3 Color" Reed, Alfred First Suite for Band 1 2 3 Reed, Alfred O thello 1 2 3 Reed, Alfred Symphony No. 3 1 2 3 Reed, Alfred The Hounds of Spring 1 2 3 Reed, H. Owen For the Unfortunate 1 2 3 Reed, H. Owen Renascence 1 2 3 Reed, H. Owen The Awakening of the Ents 1 2 3 Respighi, Ottorino Feste Romane Schaefer 1 2 3 Respighi, Ottorino Pines of Rome Curnow 1 2 3 Respighi, Ottorino The Pines of Rome Duker 1 2 3 Respighi, Ottorino The Pines of the Appian Way Leid/en 1 2 3 Revueltas, Silvestre Sensemaya Bencriscutto 1 2 3 Reynolds, Verne Concerto for Band 1 2 3 Rhoads, William E. Brazilian Folk Dance Suite 1 2 3 Rieger, Wallingford New Dance 1 2 3 Rimsky-Korsakov, Dubinushka Chidester 1 2 3 Nicolai Rimsky-Korsakov, Russian Easter Overture Erickson 1 2 3 Nicolai Rodgers, Richard Victory at Sea Bennett 1 2 3 Root, Thomas Ben Lomond Portrait 1 2 3 Composer Composition Arr./Trans. 1 2 To Group D on't To Know Add: Number Rossin, Gioacchino Overture to the Barber of Seville Lake 1 2 3 Rossini, Giacomo La G a//a Ladra Cailliet 1 2 3 Rossini, Giacomo March for the Sultan Abdul Medjid Townsend 1 2 3 Rossini, Giacomo Tancredi Overture Falcone 1 2 3 Russell, Armand Theme and Fantasia 1 2 3 Saint-Saëns, Camille Bacchanale from Samson and Delilah Hubbell 1 2 3 Saint-Saëns, Camille Pas Redoble Franckenpohl 1 2 3 Saint-Saëns, Camille Occident et Orient, op. 25 1 2 3 Schuman, William American Hymn 1 2 3 Schuman, William Circus Overture 1 2 3 Schuman, William Dedication Fanfare 1 2 3 Schuman, William Newsreel 1 2 3 Schumann, Robert Little Schumann Set Hart/ell 1 2 3 Schumann, Robert Traumerei Longfield 1 2 3 Scriabin, Alexander Nocturne, Op. 9 No. 2 Reed 1 2 3 Shelton, Melvin Air for Winds 1 2 3 Shostakovich, Dmitri Prelude, Opus 34, No. 14 Reynolds 1 2 3 Shostakovich, Dmitri Finale, Symphony No. 5 Righter 1 2 3 Shostakovich, Dmitri Galop Hunsberger 1 2 3 Sibelius, Jean Finlandia Hindsley 1 2 3 Skalkottas, Nikos Greek Dances Schuller 1 2 3 Smetana, Bed rich Three Revolutionary Marches Nehlybel 1 2 3 Smith, Claude T. Eternal Father, Strong to Save 1 2 3 Smith, Claude T. Festival Variations 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't To Number Know A dd: Smith, Claude T. Symphony No. 1 1 2 3 Smith, Hale Somersault 1 2 3 Smith, Robert W. Africa; Ceremony, Song, and Ritual 1 2 3 Smith, Robert W. In the Moon of Wintertime 1 2 3 Smith, Robert W. Into the Storm 1 2 3 Smith, Robert W. The Divine Comedy 1 2 3 Snoeck, Kenneth Scaramouch, Symphony No. 3 for 1 2 3 Winds and Percussion Sousa, John Philip Fugue on Yankee Doodle Brion/Schissel 1 2 3 Sousa, John Philip Songs of Grace and Songs of Glory Brion/Schissel 1 2 3 Sousa, John Philip Willow Blossoms Bnon/Schissel 1 2 3 Sparke, Philip Dance Movements 1 2 3 Sparke, Philip Music for a Festival 1 2 3 Spears, Jared Canticles I 2 3 Stamp, Jack Antithigram 1 2 3 Stamp, Jack As if Morning Might Arrive 1 2 3 Stamp, Jack Chorale and Toccata 1 2 3 Stamp, Jack Divertimento in F 1 2 3 Stanhope, David Retreat and Pumping Song 1 2 3 Stevens, Halsey Five Pieces for Band 1 2 3 Stevens, Halsey Ukrainian Folk Songs 1 2 3 Stockhausen, Karlheinz Luzifer's Tanz from Samstag aus Licht 1 2 3 Stone, Thomas Shadows of Eternity 1 2 3 Strauss, Johann Jr. A Night in Venice Overture Waters 1 2 3 Strauss, Richard Don Juan Hindsley 1 2 3 Composer Composition Arr./Trans. 1 2 To Group D on'l To Number Know A dd: Stravinsky, Igor Petroushka Suite Schaefer 1 2 3 Stuart, Hugh M. Hymn for Band 1 2 3 Sullivan, Arthur Pineapple Poll Mackerras, Duthoit 1 2 3 Suppe, Franz von Light Cavalry Overture 1 2 3 Suppe, Franz von Morning, Noon, and Night in Vienna Fillm ore 1 2 3 Suppe, Franz von Poet and Peasant Overture Fillm ore 1 2 3 Susato, Tielman Renaissance Suite 1 2 3 Sweelinck, jan P. Variations on "Mein junges Leben hat Ricker 1 2 3 ein End" Sweelinck, Jan P. Ballo Del Cranduca Wallers 1 2 3 ONn Sweeney, Michael Ancient Voices 1 2 3 Tchaikovsky, Peter Dance of the jesters 1 2 3 Tchaikovsky, Peter Marche Slav 1 2 3 Tchaikovsky, Peter Overture, 1812 Lake 1 2 3 Tchaikovsky, Peter Symphony No. 4; Finale Safranek 1 2 3 Tchaikovsky, Peter Ilyich Nutcracker Suite Lake 1 2 3 Tchaikovsky, Peter Ilyich Overture 1812 Lake 1 2 3 Thomas, Ambroise Overture to "Raymond" Safranuek 1 2 3 Thorne, N. Adagio Music 1 2 3 Ticheli, Frank Amazing Grace 1 2 3 Ticheli, Frank Blue Shades 1 2 3 Ticheli, Frank Blue Shades 1 2 3 Ticheli, Frank Cajun Folk Songs 2 1 2 3 Ticheli, Frank Concertino for Trombone 1 2 3 Tippett, Michael Trium ph 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don'l To Know Add; Number Traditional Greensleeves Reed 1 2 3 Tschesnokoff, Pavel Salvation in Created Houseknecht 1 2 3 Tull, Fisher Accolade 1 2 3 Tull, Fisher Introit 1 2 3 Tull, Fisher The Final Covenant 1 2 3 Ung, Chinary Grand Spiral 1 2 3 Ungar, Jay Ashokan Farewell Lavender 1 2 3 Van der Roost, Jan Canterbury Chorale 1 2 3 Van der Roost, Jan Homage 1 2 3 Van der Roost, Jan Olympica 1 2 3 Van der Roost, Jan Pus/ta 1 2 3 & Van der Roost, Jan Rikudim 1 2 3 Verdi, Giuseppi La For/a Del Destino Overture Lake 1 2 3 Verdi, Giuseppi La Traviata; Prelude, Act 1 Falcone 1 2 3 Verdi, Giuseppi Nabucco Overture Tangen 1 2 3 Wagner, Richard An Album Leaf 1 2 3 Wagner, Richard Die Meistersinger Osterling 1 2 3 Wagner, Richard Huldigungsmarsch Schaefer 1 2 3 Wagner, Richard Overture to "The Flying Dutchman" Hindsley 1 2 3 Wagner, Richard Siegfried's Funeral Music W hear 1 2 3 Waignein, Andre A Medieval Suite 1 2 3 Walton, William Miniatures for Wind Band W iggins 1 2 3 Walton, William Orb and Septre 1 2 3 Ward, Robert Prairie Overture 1 2 3 Composer Composition Arr./Trans. 1 2 To Group D on't To Know A dd: Number Ward, Samuel America the Beautiful Dragon 1 2 3 Washburn, Robert Kilimanjaro. , . An African Portrait 1 2 3 Washburn, Robert Symphony for Band 1 2 3 Weber, Cari Maria von Euryanthe Overture Safranek 1 2 3 Weber, Cari Maria von Oberon Overture Hindsley 1 2 3 Weinberger, Jaromir Polka and Fugue from Schwanda Bainum 1 2 3 Welcher, Dan Zion 1 2 3 Whitacre, Eric Ghost Train 1 2 3 White, Donald H. Ambrosian Hymn Variants 1 2 3 White, Gary C. Homage 1 2 3 $ Willan, Healey Royce Hall Suite 1 2 3 Williams, Clifton Arioso 1 2 3 Williams, Clifton Festival 1 2 3 Williams, Clifton Songs of Heritage 1 2 3 Williams, Clifton The Sinfonians 1 2 3 W illiams, Mark Fantasy on "Yankee Doodle" 1 2 3 Williams, Mark Greenwillow Portrait 1 2 3 Williams, Mark Scenes of Wonder 1 2 3 Williams, Mark Variants on a Nautical Hymn I 2 3 Willis, Richard Diversion 1 2 3 Wilson, Dana Dance of the New World 1 2 3 Wilson, Dana Sang 1 2 3 Work, Julian Autumn Walk 1 2 3 Yout/, Gregory Fireworks 1 2 3 Composer Composition Arr./Trans. 1 2 To Group Don't to Number Know A dd Yurko, Bruce In Memoriam 1 2 3 Yurko, Bruce Nighl Dances 1 2 3 Zdechlik, John Celebrations 1 2 3 Zdcchlik, John Chorale and Shaker Dance II 1 2 3 Zdechlik, John Grand Rapids Suite 1 2 3 Zdechlik, John Mother Machree 1 2 3 Zwilich, Ellen Cerem onies 1 2 3 s The End THANK YOU VERY MUCH FOR YOUR PARTICIPATION! Your contribution is greatly appreciated! APPENDIX E Compositions Performed by Only One Band Arranger or Composer Composition Transcriber Allen, Barclay Cumana Anderson, Leroy A Leroy Anderson Portrait Barnes Anderson, Leroy Clarinet Candy Anderson, Leroy Fiddle Paddle Anderson, Leroy The Girl I Left Behind Anderson, Leroy The Phantom Regiment Anderson, Leroy The Rakes of Mallow Anderson, Leroy The Typewriter W erle Arlen, Harold Over the Rainbow Arnold, Malcolm English Dances Johnstone Auken, Zane Van The Blues Bach, Johann Sebastian Jesu, Joy of Man's Desiring Reed Bach, Johann Sebastian My Heart is Filled With Longing Reed Bach, Johann Sebastian Prelude and Fugue in D Minor Moehlmann Bach, Johann Sebastian Thus Do You Fare, My Jesus Reed Barat, J. Ed. Introduction and Dance P h illip s Barber, Samuel Adagio Custer Bames, James Autumn Soliiloquy Bames, James Centennial Celebration Overture Bames, James Fantasy Variations on a Theme of Nicolo Paganini Bames, James Heatherwood Portrait Bames, James Pagan Dances Bames, James Poetic Intermezzo Bames, James Symphonic Overture Bames, James Trail of Tears Bames, James Yorkshire Ballad Barrett, Roger Fanfare and Dance Segments Barrett, Roger Through These Halls Bartok, Bela Romanian Dances Simpson Beethoven, Ludwig van Prometheus Barnes Benjamin, Arthur Jamaican Rhumba Bennett, Robert Russell Symphonic Songs for Band 171 Arranger or Composer Composition Transcriber Berlioz, Hector Beatrice and Benedict Overture Henrung Berlioz, Hector March to the Scaffold Berlioz, Hector Roman Carnival Overture Safranek Bemstein, Leonard A Bernstein Tribute Crundman Bernstein, Leonard Candide Suite Crundman Bemstein, Leonard Four Dance from "West Side Story" Polster Biebl Ave Maria Bizet, George The Pearl Fishers Overture C aillet Bock, jerry Highlights from Fiddler on the Roof Warrington Bock, Jerry Selections from "Fiddler on the R o o f Lowden Bocook, Jay Ascensions Bocook, Jay Into the Light Bocook, Jay Sun Cat Bohm, Karl Perpetual Motion Boone, Oliver & Will Cheraqui Boartfield Borodin, Alexander Polovetsian Dances Hindsley Bowman, Euday L. Twelfth Street Rag Edmundson Boy sen, Andrew Jr. Kinetic Energy Boy sen, Andrew Jr. Song of the Sea Maidens Brahms, Johannes Three Chorale Preludes Fennell (Only First) Brahms, Johannes Two Chorale Preludes Guenther Broege, Timothy Grizzly Bear Rag Broege, Timothy Sinfonia V Brosse, Dirk Music for a Celebration Buchtel, Forest Crimson Dawn Overture Buchtel, Forest Viva Mexico Bukvich, Daniel Freckles Rag Bukvich, Daniel Voodoo Bulla, Stephen TrumpetTune Bullock, Jack A. El Aguila de Oro Caim, James Olympic Fanfare and Theme Camp house. Mark Tribute Camphouse, Mark Watchmen, Tell Us of the Night Carter, Charles Praise Variants Carter, Charles Symphonic Overture Carter, Charles Symphonic Sketch Catel, Charles S Overture in C Goldman/Smith Chabner, Emmanuel Espama Rhapsody Chance, John Bames Symphony No. 2 for Winds and Percussion Charpentier Ballet du Plaisir Fred Chattaway, Jay Odessey 172 Arranger or Composer Composition Transcriber Chattaway, Jay Star Trek - The Inner Light Bocook Chattaway, Jay Stick Figures Coates, Eric In Town Tonight Copland, Aaron El Salon Mexico H indsley Copland, Aaron Letter from Home Patterson Copland, Aaron The Red Pony Copland, Aaron Variations on a Shaker Melody Cox, Michael Variations on a Theme of Wondrous Love Cramer, Ray E. Fantasy on Sakura Sakura Cumow, James American Triptych Cumow, James Canticle of the Creatures Cumow, James Fanfare and Hymn: A Mighty Fortress Cumow, James Festivity Cumow, James J.F.K.: In Memoriam Cumow, James Rhapsody Cumow, James Rhapsody on American Shaped Note Melodies Cumow, James The Lion of Lucerne Curnow, James Welsh Variants Custer, Calvin Nearer My God to Thee Daehn, Larry As Summer Was Just Beginning Daehn, Larry With Quiet Courage Dawson, Jay By Dawn’s Early Light Dawson, Jay Tennessee Salute Day, Tara The Last Year de Haan, Jan A Discovery Fantasy de Haan, Jan Overture for a New Age de Meij, Johan Symphony No. 2 'The Big Apple” 1. Skyline De Nardis, Camille The Universal Judgement De Young, Dennis Grand Illusion Henrung Debussy, Claude Claire de Lune W allace Del Borgo, Elliot Britannia Del Borgo, Elliot Declarations Del Borgo, Elliot Festive Toccata Del Borgo, Elliot Gaelic Rhapsody Del Borgo, Elliot Heraldic Legend Del Borgo, Elliot Legacy Del Borgo, Elliot Overture for a Festival Del Borgo, Elliot Paean World Premiere Del Borgo, Elliot Prelude and Toccata Del Borgo, Elliot Symphonic Paraphrase Delibes, Leo March and Procession of Bacchus Osterling Denza, Luigi Funiculi, Funicula Reed 173 Arranger or Com poser Composition Transcriber Diamond, Neil The Jazz Singer Nowak Duffy, Thomas Michigan Motors Dukas, Paul Sorcerer's Apprentice Cumow Dusman, Linda Solstice Dvorak, Antonin Carnival Overture Dvorak, Antonin Slavonic Dance No. 8 Longfield Dvorak, Robert West Point Symphony Edelman, R. Gettysburg Elgar, Edward Nimrod Bocook Elgar, Edward Nimrod Reed Ellington, Duke Ellington (A Tribute to the Duke) Kerchner Elman, Randy Main Theme from Gettysburg Erickson, Frank Air for Band Erickson, Frank B alladair Erickson, Frank Pillars of the Earth Erickson, Frank Rhythm of the Winds Erickson, Frank The Tide Rises, The Tide Falls Erickson, Frank Toccata for Band Enckson, Frank Wind Chimes Fernandez, Oscar Lorenzo Bataque Wo If son Foster, Robert E. Emmanuel Variants Francis, Michael Dreams of a Psychopath Franck, César Panis Angelicus Reed Freeman, Roy A. The Secret Freund, Don Jug Blues and Fat Pickin' Freund, Don Perotinitus World Premiere Friedmann, Carl Slavonic Rhapsody No. 2 Duthoit Gabrielli, Giovanni Canzona Per Sonare #2 Garland, Joe In the Mood Clark Gershwin, George George Gershwin - A Symphonic C hase Portrait Gershwin, George Gershwin! Barker Gershwin, George Gershwin: Medley for Concert Band Bennett Gershwin, George Highlights from "Porgy and Bess" Gershwin, George Rhapsody in Blue Grofe Gershwin, George Strike Up the Band Barker Giannini, Vittorio Dedication Overture Gillingham, David Prophecy of the Earth Ginastera, Alberto Danza Final John Giovannini, Caesar Alla Borocco Giovannini, Caesar Rock for All Ages Giovannini, Caesar Silver Sleigh Robinson Giroux Space Symphony Giroux The Necromancer 174 Arranger or Composer Composition Transcriber Gliérc Reinhold Russian Sailor s Dance Issac GHére Reinhold Russian Sailor's Dance Story Goldsmith, Jerry Star Trek Gould, Morton Pavanne Gould, Morton Yankee Doodle Lang Gounod, Charles Andante and Cantabile for Winds Barr Grainger, Percy Aldridge A Percy Grainger Suite Erickson Grainger, Percy Aldridge A Scotch Strathspey and Reel Eckel (Director) Grainger, Percy Aldridge Australian Up-Country Tune Bainum Grainger, Percy Aldridge Bellpiece Grainger, Percy Aldridge Colonial Song Grainger, Percy Aldridge Handel in the Strand Goldman Grainger, Percy Aldridge The Hunter in His Career trans. Eckel (director) Grainger, Percy Aldridge Walking Tune Daehn Gregson, Edward Prelude for an Occasion Grundman, Clare American Folk Rhapsody No. 3 Grundman, Clare Dance and Interlude Grundman, Clare Little English Suite Grundman, Clare Norwegian Rhapsody Grundman, Clare The Spirit of '76 Hagen, Earle Harlem Nocturne Hamlisch, Marvin A Chorus Line Cacavas Hamlisch, Marvin .A Chorus Line Kleban Hampton/ Chatman The Blues Roar Handel, George Frederick Suite from "The Messiah" Cumow Handel, George Frederick Suite from "Water Music" Erickson (1,2,4,5) Hansen, Dave Crimphatic Choral World Premiere Hanson, Howard Nordic Symphony Maddy (Mvmt. 2 Only) Hanson, Howard Symphony No. 2 "Romantic" 3rd Mvmt only Hazelman, Herbert A Short Ballet for Awkward Dancers Henderson, Luther The Saint’s Hallelujah Custer Hermann, Ralph Arlington Overture Hermann, Ralph Silent Movie Music Herrman, Ralph Concord Overture Hidas, Frigyes Merry Music for Wind Band Higgins, John Acclamation Higgins, John Fire Storm Higgins, John Regenesis (Song of the Planet) Hindemith, Paul Geshwindmarsch Holcombe, Bill That's Entertainment Gilman Holden, Oliver Great Coronation Hymn Ployhar Holsinger, David R. Graysondance 175 Arranger or Composer Composition Transcriber Holsinger, David R. Helm Tocatta Holsinger, David R. In the Spring, At the Time When Kings Go Off to War Holsinger, David R. Mobbusters Holsinger, David R. Nilesdance Holsinger, David R. On a Hymnsong of Lowell Mason Holsinger, David R. On Ancient Hymns and Festal Dances Holsinger, David R. The Case of the Mysterious Stranger Holsinger, David R. The Childhood Hymn Hoist, Gustav J>g De Meij Holst, Gustav Moorside Suite, A March Only Holst, Gustav Song of the West Holst, Gustav Suite from 'The Planets" Custer Holst, Gustav Uranus from the Planets Cumow Homer, James Field of Dreams Homer, James Music from "Apollo 13" Homer, James Music from "Braveheart" Vinson Huckeby, Ed Evening Portrait Huckeby, Ed Spirit of the Heartland Hull, Grant Variations Mvmts. 1 and 4 Husa, Karel Divertimento for Brass and Percussion Husa, Karel Music for Prague 1968 Husa, Karel Smetana Fanfare Ives, Charles Finale: Symphony No. 2 Elkus Iwai, Naohrio Jungle Fantasy Izzy The Addams Family Jadin, Louis Symphonie for Band Jager, Robert Epilogue: "Lest We Forget" Jager, Robert Litany "In Tera Pax" Jager, Robert Pastorale and Countiy' Dance Jarre, Maurice Theme from "Lawrence of Arabia" Reed Jenkins, Joseph Wilcox A Jubilant Overture Commission Jenkins, Joseph Wilcox Casey jo' (A tiny Tone Poem for a tiny railroader) Jenkins, Joseph Wilcox Toccata for Winds Jennings, Paul The Seventies Lavender Johnson, A. Paul Dramatic Overture Commission Jones, Robert Lauda for Winds and Percussion Jutras Three Folk Miniatures Kabalevsky, Dmitri Galop M itchell Kamen, Michael Mr. Holland's Opus Sweeney Kamen, Michael Robin Hood, Prince of Thieves Bocook Keler-Bela Lustspiel Roberts Kennan, Kent Night Soliloquy 176 Arranger or Composer Composition Transcriber Kemen Jewish Folk Song Suite Khachaturian, Aram Armenian Dances Setz (Mvmt. 1 Only) Khachaturian, Aram Armenian Folk Song and Dance McCallister Klein, John Yellowstone Suite Kopetz, Barry McMorran Suite La Plante, Pierre American Riversongs Brion/Schissel Larson Selections from "Rent” Lavender, Paul Kartoon Kaleidoscope Lawrence, Mike The Road to Redemption Lecuona, Ernesto Malaguena Cacavas Lehar, Franz Jr. Vilia from The Merry Widow" D avis Lejeune, Claude Springtime Madrigal Lennon, John and Paul Let It Be McCartney Leven Cruella De Vil Moss Liadov, Anatol Festival in Russia Wilcox List, George Jugoslav Polka Lloyd Webber, Andrew Andrew Lloyd Webber; A Symphonic Nowak Portrait Lloyd Webber, Andrew Evita Cacavas Lloyd Webber, Andrew Joseph and The Amazing Technicolor Sweeney Dream Coat Lloyd Webber, Andrew You Must Love Me Vinson Loesser, Frank Highlights from "Guys & Dolls" Custer Longfield Excelsior Luigini, Alexandre Ballet Egyptien Mahler, Gustav Symphony No. 3 Reynolds Mahr, Timothy Argentum Mahr, Timothy Endurance Mahr, Timothy Fantasia in G Mancini, Henry Mancini Spectacular Barker Masianka, David Golden Light: A Celebration Piece Masianka, David Hell's Gate World Premiere Masianka, David Morning Star: A New Song for Wind Band Masianka, David Tears Massanet, Jules "Meditation" from Thais Harding McBeth, W. Francis Beowulf McBeth, W. Francis Dayton Hall Espirit McBeth, W. Francis Grace Preludium McBeth, W. Francis Joyant Narrative McBeth, W. Francis The Fifth Trumpeter McBeth, W. Francis The Sea Tread ers McGinty, Anne Canterbury Overture 177 Arranger or Composer Composition Transcriber McGinty, Anne Passacaglia for Band McGinty, Anne Triumphal Overture McKenzie, J. Scott Of Song and Dance (by conductor) Meacham, Frank W. American Patrol Tatgenhorst Melillo, Stephen Escape from Plato’s Cave Melillo, Stephen Into the Light of Day Melillo, Stephen Monty! M elillo, Stephen The First and the Last M endelssohn, Felix Fingals Cave Overture Bartholdy M endelssohn, Felix Overture for Band, op. 24 Boyd B artholdy Mendelssohn, Felix Overture for Band, op. 24 Fred Bartholdy M endelssohn, Felix Overture for Band, op. 24 Greissle Bartholdy Menken, Alan A lladin Bocook Menken, Alan Can You Feel the Love Tonight Bocook Menken, Alan Color of the Wind Lavender Menken, Alan Color of the Wind Osterling Menken, Alan Selections from "Aladdin" Menken, Alan Selections from "Pocahontas” Bocook Menken, Alan The Hunchback of Notre Dame Custer Motered, Bernardo Bautisata Macarena Reed Mozart, Wolfgang Amadeus Air and Alleluia Kinyon Mozart, Wolfgang Amadeus Overture to the Impressario Barnes Mozart, Wolfgang Amadeus T rauermusik Osterling Mussorgsky, Modeste Coronation Scene from Boris Godunov Buehlman Mussoi^sky, Modeste Hopak from "The Fair at Sorochinsk" G oguillet Mussorgsky, Modeste Scherzo Parker Nelhybel, Vaclav Corsican Litany Nelhybel, Vaclav Festive N elhybel, Vaclav Praise to the Lord Nelhybel, Vaclav Songs of Praise Nelhybel, Vaclav Suite from Bohemia Nelson, Ron Epiphanies Nelson, Ron Rocky Point Holiday Nestico, Sammy Apotheosis ("Glorious Example") Nestico, Sammy Cable Car Nixon, Roger Fiesta del Pacifico Nixon, Roger Reflections Offenbach, Jacques Ballet Parisien Isaac Offenbach, Jacques La Belle Helene Odom Offenbach, Jacques Overture to Orpheus in the Underworld Odom 178 Arranger or Composer Composition Transcriber Offenbach, Jacques Themes from Offenbach Johnson Osavva Jungle Fantasy Osmon, Leroy Fanfare, Elegy, and Dance Osser, Glenn Beguine for Band Osterling, Eric Beguine for Flutes Osterling, Eric Fire Brand Osterling, Eric Mazama Osterling, Eric Solaris Ovanin, Nikola H a tik v a h Penn, William Mr. Toad's Wild Adventure World Premiere Fiato, Albert R. Holiday in France Piato, Albert R. Holiday m Greece Piston, Walter Tunbridge Fair Ployhar, James Concerto for Faculty and Band Ployhar, James Fanfare, Promenade, and March Porter, Cole The Music of Cole Porter Moss Prima, Louis Sing, Sing, Sing Prokofiev, Serge Peter and the Wolf Cumow Ravel, Maurice Bolero Erickson Reed, Alfred A Springtime Celebration Reed, Alfred Alleluia! Laudamus Te Reed, Alfred El Camino Real (A Latin Fantasy) Reed, Alfred Fifth Suite for Band: The International I, 11, and IV Suite Reed, Alfred Praise Jerusalem Reed, Alfred Queenston Overture 1. Prelude only Reed, Alfred Russian Christmas Music Cumow Reed, Alfred Slavonic Folk Suite Reed, Alfred Symphony No. 3 I and 11 Reed, Alfred Tarantella Reed, Alfred The Music Makers Reed, Alfred Third Suite for Band Mvmts. 3 and 5 only Reed, Alfred Viva Musica Reed, H. Owen La Fiesta Mexicana Reineke, Steve River of Life Respighi, Ottorino Pines of Rome Cumow Respighi, Ottorino Pines of Rome Duker Respighi, Ottorino The Pines of the Appian Way Leidzen Rich Yakety Sax Randolph Rieger, Wallingford New Dance Rimsky-Korsakov, Nicolai Dubinushka C hidester Rimsky-Korsakov, Nicolai Flight of the Bumblebee D avis Rimsky-Korsakov, Nicolai Russian Easter Overture Erickson Rimsky-Korsakov, Nicolai Sheherazade Custer 179 Arranger or Composer Composition Transcriber Rizzo, Jacques The Flea Robinson Rodgers, Richard Carousel But! Rodgers, Richard Highlights from Oklahoma Yoder Rodgers, Richard Highlights from The King and I Herfurth Rodgers, Richard Selections from "Carousel " Custer Rodgers, Richard South Pacific Rodgers, Richard Themes from "Victory at Sea" Maltby Rodgers, Richard Victory at Sea Bennett Rodgers, Richard Victory at Sea Moss Root, Thomas Ben Lomond Portrait Root, Thomas Let Us Break Bread Together Rossini, Gioacchino March for the Sultan Adbul Mejid Rossini, Gioacchino Overture to La Cambiale di Matrimonio Hudson Rossini, Gioacchino Overture to the Barber of Seville Lake Rossini, Gioacchino Tancredi Overture Falcone Saint-Saëns, Camille Bacchanale from Samson and Delilah Hubbell Saint-Saëns, Camille Danse Macabre H indsley Sanders Coventry Variant Schaeffer Vortex Schonberg, Claude-Michel The Attack on Rue Plumet Schuman, William George Washington Bridge Schuman, William The Band Song Schumann, Robert T raumerei Longfield Shaffer, David Arabesque Shaffer, David Northridge Shaffer, David Pageant of Light Shaffer, David Princeton Variations Sheldon, Robert A Longford Legend Sheldon, Robert Cape Fear Chronicles Sheldon, Robert Danse Celestiale Sheldon, Robert Images Sheldon, Robert Manatee Lyric Overture Sheldon, Robert Southwest Sage Shelton, Melvin Air for Winds Shostakovich, Dmitri Galop Hunsberger Shostakovich, Dmitri Jazz Suite No. 2 De Meij Sibelius, Jean Finlandia H indsley Simon, Paul The Genius of Paul Simon W allace Smith, Claude T. Canticle: All Creatures Of Our God and Kink Smith, Claude T. Eternal Father Strong to Save Smith, Claude T. Festival Variations Smith, Claude T. Flight Smith, Claude T. Jubilant Prelude 180 Arranger or Composer Composition Transcriber Smith, Claude T. Rejoice in Glorious Hope Smith, Claude T. Rondo from Incidental Suite Smith, Claude T. Santiago Carnival Smith, Claude T. Shenandoah Smith, Robert W. Credo Smith, Robert W. Highlights from "Music Box" Smith, Robert W. In the Moon of Wintertime Smith, Robert W. Through the Vulcan's Eye Sousa, John Philip Fugue on Yankee Doodle Brion/Schissel Sousa, John Philip Sousa! Barker Sousa, John Philip Sousa! Higgins Sousa, John Philip Three Quotations Sousa, John Philip Willow Blossoms Brion/Schissel Sparke, Philip Fanfare, Romance, and Finale Sparke, Philip Music for a Festival Spears, Jared Fallen, Fallen is Babylon Spears, Jared Gathering of Angels Spinney, Charles Richard Of Festive Bells and Ancient Kings Stamp, Jack ■Antithigram Stamp, Jack .As if Morning Might Arrive Stamp, Jack Canticle Stamp, Jack Elegy and Affirmation Steefe Battle Hymn of the Republic Cacavas Steiner/ Komgold Film Score Classic Bocook Strauss, Johann Jr. A Night in Venice Overture Waters Strauss, Johann Jr. Overture to Die Fledermaus Strauss, Richard Allerseelen D avis Stravinsky, Igor Excerts from The Firebird Bocook Strickland, Lance Metrodome conductor/ composer Stuart, Hugh A Hymn for Band Surinach, Carlos Ritmojondo Susato, Tielman The Battle Pavane Margolis Swearingen, James Aventura Swearingen, James Chesford Portrait Swearingen, James Exaltation Swearingen, James Fantasy on an American Classic Swearingen, James In All Its Glory Swearingen, James Invicta Swearingen, James Legacy Swearingen, James Let the Spirit Soar Swearingen, James Where the River Flows Tatgenhorst, John Funky Boogie Tchaikovsky, Peter Ilyich Finale from Symphony No. 2 Erickson Tchaikovsky, Peter Ilyich Pique Dame 181 Arranger or Composer Composition Transcriber Tchaikovsky, Peter Ilyich Selections from the Nutcracker Traditional Ole Scottish Melody Tull, Fisher Centennial Vista Tull, Fisher The Final Covenant Turina, Joaquin La Procession Du Rocio Reed Ungar, Jay Ashokan Farewell Lavender Van der Roost, Jan Canterbury Chorale Van der Roost, Jan Flashing Winds Van der Roost, Jan Olympica Van der Roost, Jan Puszta Van der Roost, Jan Rikudim Van der Roost, Jan Signature Van der Roost, Jan Spartacus Vaughan Williams, Ralph Rhosvmedre Beeler Verdi, Giuseppi La Traviata: Prelude, Act 1 Falcone Verdi, Giuseppe Nabucco Overture Tangen Villa-Lobos, Hector Suite B ilik Vivaldi, Antonio Concerto Grosso in D minor Wagner, Richard An Album Leaf Wagner, Richard Die Meistersinger Osterling Wagner, Richard Huldigunsmarsch Schaefer Wagner, Richard Slane Wagner, Richard The Flying Dutchman H indsley Wagner, Richard The Pilgrim's Chorus from Tannhauser Waignein, Andre A Medieval Suite Warrington, John T. Original Dixieland Concerto Washburn, Robert Impressions of Cairo Washburn, Robert Suite for Band 2nd mvmt. Only Weber, Carl Maria von Euryanthe Overture Safranek Weber, Carl Maria von Oberon Overture H indsley Weinberger, Jaromir Polka and Fugue from Schwanda, the Bainum Bagpiper Welcher, Dan Zion W hite Hopak White, Donald Ambrosian Hymn Variants Williams, Clifton Festival Williams, Clifton The Ramparts Williams, John Far and Away Lavender Williams, John Finale from 'The Empire Strikes Back" Bullock Williams, John Indiana Jones Williams, John Star Wars Custer Williams, John Star Wars Burdan Williams, John The Cowboys Bocook Williams, Mark Fantasy on Yankee Doodle 182 Arranger or Composer Composition Transcriber Williams, Mark Scenes of Wonder Williams, Mark Variants on a Nautical Hymn Wilson, Dana Sang Wilson, Meredith Highlights from The Music Man Wright, S. Prelude on Brother James' Aire Young Yoder, Paul Alpha and Omega Yoder, Paul Pachinko Young, Donald Crown of Laurel Director's Piece Zdechlik, John Grand Rapids Suite Zdechlik, John Rondo Capricio A Disney Spectacular Moss After the Love Has Gone/Fantasy Bocook Beatles Gold Lavender Big Band Showcase Lowden Big Bands in Concert Lowden Birdland Norred Broadway Showstoppers Barker Caissons Yoder El Toro Glenn Miller in Concert Scott Here’s That Rainy Day Lowden Highlights from "Godspell" Russell Highlights from "Popeye " Jennings Highlights from Looney Tunes Hollywood Milestones Higgins Hollywood Milestones Lavender Hollywood! Barker House of Horrors W allace Just a Closer Walk With Thee Gillis/Custer LooneyTunes Music from "Independence Day" Clark or Blue Eyes Brubaker On Broadway Jennings Red, White and Brass Canadian Brass Medley Rock and Roll Hall of Fame Salute to American Jazz Nestico Selections from "Independence Day" Story Shenandoah Swearingen Simply Irresistible Lavender Sinatra in Concert Nowak The Battle Hymn of the Republic Ringwald The Beatles Higgins Theme from "Superman" 183 Arranger or Composer Composition Transcriber Themes from 007 Lowden Things That Go Bump in the Night Bocook Tribute to Jerome Robbins Barker Try to Remember Chase TV Time Machine Dye Walt Disney Overture Christensen When Johnny Comes Marching Home Pearson 184 APPENDIX F Exceptional Quality Literature Arranger or Composer Composition Transcriber Arnold, Malcolm Four Scottish Dances Paynter Bach, Johann Sebastian Come Sweet Death Reed Bach, Johann Sebastian Fantasia in G Major Goldman and Leist Bassett, Leslie Designs, Images and Textures Bassett, Leslie Fantasy for Clarinet Bassett, Leslie Sounds, Shapes and Symbols Bennett, Robert Russell Suite of Old American Dances Benson, Warren The Leaves are Falling Benson, Warren The Passing Bell Benson, Warren The Solitary Dancer Bemstein, Leonard "Profanation" from Jeremiah Bencnscutto Symphony Bemstein, Leonard Candide: Overture Beeler or Grundman Chance, John Barnes Elegy Chance, John Barnes Variations on a Korean Folk Song Copland, Aaron An Outdoor Overture Copland, Aaron Emblems Copland, Aaron Lincoln Portrait Beeler Copland, Aaron Variations on a Shaker Melody Corigliano, John Gazebo Dances Creston, Paul Celebration Overture, Op. 61 Dahl, Ingolf Concerto for Alto Saxophone and Wind Orchestra Dahl, Ingolf Sinfonietta for Band Dello Joio, Norman Fantasies on a Theme by Haydn Dello Joio, Norman Variants on a Medieval Tune Druckman, Jacob "Engram " from Prism Gould, Morton Symphony No. 4 Grainger, Percy Aldridge Colonial Song Grainger, Percy Aldridge Irish Tune from County Derry Grainger, Percy Aldridge Lincolnshire Posy Grainger, Percy Aldridge Molly on the Shore Grainger, Percy Aldridge Shepherd’s Hey Handel, G. F. Music for the Royal Fireworks 185 Arranger or Composer Composition Transcriber Handel, G. F. Water Music Hanson, Howard Chorale and Alleluia, Op. 42 Hindemith, Paul Konzertmusik, Op. 41 Hindemith, Paul Symphonic Metamorphosis of Themes Wilson by Weber Hindemith, Paul Symphony in Bb Holst, Gustav First Suite in Eb Holst, Gustav Hammersmith, Op. 52 Holst, Gustav Second Suite in F Husa, Karel Al Fresco Husa, Karel Apotheosis of this Earth Husa, Karel Concerto for Alto Saxophone and Concert Band Husa, Karel Concerto for Wind Ensemble Husa, Karel Music for Prague Husa, Karel Smetana Fanfare Ives, Charles Variations on America Schuman, trans. by Rhodes ]acob,Gordon William Byrd Suite Mendelssohn, Felix Ouverture Fur Harmoniemusik, Op. 24 Greisle or Boyd Milhaud, Darius Suite Française, Op. 248 Orff, Carl Carmina Burana: Suite Krance Persichetti, Vincent Divertimento for Band, Op. 42 Persichetti, Vincent Masquerade for Band, Op. 102 Persichetti, Vincent Pageant Persichetti, Vincent Psalm for Band, Op. 53 Persichetti, Vincent Symphony No. 6, Op. 69 Reed, H. Owen La Fiesta Mexicana Schoenberg, Arnold Theme and Variations, Op. 43a Schuller, Gunther Meditation Schuller, Gunther Symphony No. 3, In Praise of Winds Schuman, William Chester Schuman, William George Washington Bridge Schuman, William When Jesus Wept Shostakovich, Dmitri Festive Overture, Op. 96 Hunsberger Vaughan W illiam s, Ralph Folk Song Suite Vaughan Williams, Ralph Tocatta Marziale Wagner, Richard Trauersinfonie Leidzen 186 APPENDIX G High Quality Literature Arranger or Composer Composition Transcriber Arnold, Malcolm English Dances Johnstone Arnold, Malcolm Peterloo Overture Sayre Arnold, Malcolm Prelude, Siciliano, and Rondo Paynter Arnold, Malcolm Tam O’ Shanter Overture Paynter Bach, Johann Sebastian Fugue a la Cigue Holst Bach, Johann Sebastian Jesu, Joy of Man's Desiring Leidzen Bach, Johann Sebastian Little Fugue in G Minor Bach, Johann Sebastian My Jesus, Oh What Anguish Reed Bach, Johann Sebastian Passacaglia and Fugue in C minor Hunsberger Bach, Johann Sebastian Prelude and Fugue in Bb Major Moehlmann Bach, Johann Sebastian Prelude and Fugue in D Minor Moehlmann Bach, Johann Sebastian Prelude and Fugue in G Minor Moehlmann Bach, Johann Sebastian Toccata and Fugue in D minor Leidzen Badings, Henk Concerto for Flute and Wind Symphony Bassett, Leslie Colors and Contours Bennett, Robert Russell Autobiography, Part 1 Bennett, Robert Russell Symphonic Songs for Band Benson, Warren Dawn’s Early Light Benson, Warren Symphony for Drums and Wind Orchestra Benson, Warren Symphony II, Lost Songs Berlioz, Hector Symphonie Funèbre et Triomphale, Op. 15 Bernstein, Leonard Divertimento Crundman Bernstein, Leonard Slava! Crundman Bernstein, Leonard Symphonic Dances from West Side Polster Story Bielawa, Herbert Spectrum Borodin, Alexander Polovetsian Dances Hindsley Brahms, Johannes Blessed Are They Beuhlman Brahms, Johannes Two Chorale Preludes Guenther Brisman, Heskel Uganda Lullaby Britten, Benjamin The Courtly Dances from "Cloriana, Bach Op. 53" Broege, Timothy Sinfonia VI 187 Arranger or Composer Composition Transcriber Broege, Timothy Three Pieces for Amencan Band, Set No. I Bukvich, Daniel Symphony No. 1, In Memonam, Dresden, Germany Cabezon, Antonio de Prelude in the Dorian Mode Grainger Carter, Charles Overture for Winds Catel, Charles Simon Overture in C Goldman & Smith Chance, John Bames Incantation and Dance Chance, John Barnes Symphony No. 2 for Winds and Percussion Colgrass, Michael Déjà Vu (for four percussion soloists and wind ensemble) Copland, Aaron El Solon Mexico Hindsley Creston, Paul Concertino for Marimba and Band Creston, Paul Concerto for Alto Saxophone de Meij, Johan Symphony No. 1 ’The Lord of the Rings Del Borgo, Elliot Do Not Go Gentle Into That Good Night Dello Joio, Norman Scenes from the Louyre Diamond, David Heart's Music Elgar, Sir Edward Enigma Variations Slocum Enckson, Frank Air for Band Erickson, Frank Toccata for Band Finney, Ross Lee Concerto for Alto Saxophone Finney, Ross Lee Skating on the Sheyenne Finney, Ross Lee Summer in Valley City Fischer, Johan Kasper Le Journal du Printemps, Suite III Wilson Ferdinand Fiser, Lubos Report Frescobaldi, Girolamo Toccata Slocum Gershwin, George Rhapsody in Blue Grofe Giannini, Vittorio Fanatasia for Band Giannini, Vittorio Praeludium and Allegro Giannini, Vittorio Symphony No. 3 Giannini, Vittorio Variations and Fugue Gillingham, David Heroes Lost and Fallen Cossec, Francois Joseph Military Symphony in F Goldman & Leist Gossec, Francois Joseph Oyerture in C Gould, Morton American Salute Lang Gould, Morton Ballad for Band Grainger, Percy Aldridge Australian Up-Country Tune Grainger, Percy Aldridge Children's March Erickson Grainger, Percy Aldridge Country Gardens ^ la r k Grainger, Percy Aldridge Handel in the Strand Goldman Grainger, Percy Aldridge The Sussex Mummers' Christmas Carol Goldman 188 Arranger or Composer Composition Transcriber Grainger, Percy Aldridge Ye Banks and Braes O'Bonnie Doon Crundman, Clare An Irish Rhapsody Hail stork, Adolphus American Cuemica Hailstork, Adolphus Out of the Depths Hanson, Howard Laude Harbison, John Three City Blocks Hartley, Walter Sinfonia No. 4 Hindemith, Paul "Ceschwindmarsch" from Symphony Serena Hindemith, Paul Concerto for Organ and Wind Instruments: Kammermusik No. 7, Op. 46, No. 2 Holst, Gustav Ballet from The Perfect Fool" Holst, Gustav Jupiter, from The Planets Sm ith Holst, Gustav Moorside Suite, A W right Hovhaness, Alan Symphony No. 4, Op. 165 Husa, Karel An American Te Deum (for Baritone voice, chorus, band) Husa, Karel Concerto for Trumpet and Wind Ensemble lannaccone, Anthony After a Gentle Rain Ives, Charles Country Band March Sinclair Ives, Charles Old Home Days Suite Elkus Ives, Charles Overture and March, 1776 Sinclair Ives, Charles The Alcotts Schuman, arr. by Thurston Jacob,Cordon An Original Suite Jacob, Cordon Music for a Festival Jadin, Louis Overture in F Townsend Jager, Robert Third Suite Jenkins, Joseph American Overture for Band Kerman, Kent Night Soliloquy (solo for flute) Kubik, Gail Stewball Variations Liadov, Anatol Eight Russian Folk Songs Goldman Liptak, David Soundings Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 41 LoPresti, Ronald Elegy fora Young American Mailman, Martin For Precious Friends Hid in Death's Dateless Night Mailman, Martin Liturgical Music for Band Margolis, Bob Fanfare, Ode and Festival Margolis, Bob Terpsichore Maslanka, David A Child's Carden of Dreams Maslanka, David Symphony No. 2 Maw, Nicolas American Games 189 Arranger or Composer Composition Transcriber McBeth, Francis Chant and Jubilo McBeth, Francis Kaddish McBeth, Francis Masque Mehul, Etienne Nicolaus Overture m F Mendelssohn, Felix Fingals Cave Overture B artholdy Mendelssohn, Felix Trauer-Marsch, op. 103 Leidzen Bartholdy Mennin, Peter Canzona Messiaen, Olivier Et Exspecto Resurrectionem Mortuorum Miaskovsky, Nicolai Symphony No. 19 Nelhybel, Vaclav Symphonic Movement Nelhybel, Vaclav Trittico Nelson, Ron Courtly Airs and Dances Nelson, Ron Medieval Suite Nelson, Ron Morning .-Mleluias for the Winter Solstice Nelson, Ron Passacaglia (Homage to B-A-C-H) Nelson, Ron Rocky Point Holiday Nixon, Roger Fiesta del Pacifico Nixon, Roger Pacific Celebration Suite Nixon, Roger Reflections Noon, David Svveelinck Variations (I, II, III) Penderecki, Krzystztof Pittsburgh Overture Persichetti, Vincent Chorale Prelude: O God Unseen Persichetti, Vincent Chorale Prelude: So Pure the Star, Op. 91 Persichetti, Vincent Chorale Prelude: Turn Not Thy Face, Op. 105 Persichetti, Vincent O Cool is the Valley: Poem for Band, Op. 118 Persichetti, Vincent Parable IX, Op. 121 Piston, Walter Tunbridge Fair Reed, Alfred A Festival Prelude Reed, Alfred Armenian Dances Part 1 Reed, Alfred .Armenian Dances Part 2 Reed, Alfred Russian Christmas Music Respighi, Ottorino Huntingtower Ballad for Band Reynolds, Verne Scenes Reynolds, Verne Scenes Revisited Riegger, Wallingford Dance Rhythms Rimsky-Korsakov, Nicolas Procession of the Nobles Leidzen Rogers, Bernard Three Japanese Dances Schuller, Gunther On Winged Flight: A Divertimento for Band 190 Arranger or Composer Composition Transcriber Schuller, Gunther Study in Textures Schuman, William Be Glad Then, America Schwantner, Joseph From a Dark Millennium Shostakovich, Dmitri Folk Dances Reynolds Shostakovich, Dmitri Prelude, Opus 34, No. 14 Reynolds Sibelius, Jean Finland la H indsley Skalkottas, Nikos Greek Dances Schuller Smetana, Bednch Three Revolutionary Marches N ehlybel Stokes, Eric The Continental Harp and Band Report ("An American Miscellany") Strauss, Richard Allerseelen Davis/Fennell Stravinsky, Igor Circus Polka Stuart, Hugh M. Three .Avres from Gloucester Surinach, Carlos Paeans and Dances of Heathen Ibena Susato, Tielman Battle Pavane Margolis Susato, Tielman Suite from the Danserye W aters Svveelinck, Jan P. Variations on "Mein junges Leben hat Ricker ein End" Tailleferre, Germaine Ouverture Paynter Thomson, Virgil A Solemn Music Thorne, Nicolas Adagio Music Ticheli, Frank Cajun Folk Songs Ticheli, Frank Cajun Folk Songs 2 Ticheli, Frank Fortress Ticheli, Frank Gaian Visions Ticheli, Frank Portrait of a Clown Ticheli, Frank Postcard Tschesnokoff, Pavel Salvation in Created Houseknecht Tull, Fisher Sketches on a Tudor Psalm Turina, Jaoquin Five Miniatures Krance Turina, Jaoquin La Procession du Rocio Reed Vaughan Williams, R Rhosymedre Beeler Vaughan Williams, R Sea Songs Vaughan Williams, Ralph Concerto in F for Tuba Vaughan Williams, Ralph Flourish for Wind Band Vaughan Williams, Ralph Scherzo alia Marcia from Symphony No. 8 Villa-Lobos, Heitor Fantasy in Three Movements in Form of a Choros Wagner, Richard Elsa's Procession to the Cathedral C aillet Wagner, Richard Tannhauser; Elizabeth's Prayer (for soprano soloist and wind ensemble) W alton, W illiam Crown Imperial Weinberger, Jaromir Polka and Fugue from Schwanda Bainum 191 Arranger or Composer Composition Transcriber Welcher, Dan Zion Williams, Clifton Fanfare and Allegro Williams, Clifton Symphonic Suite Wilson, Dana Piece of Mind Wood, Hayden Mannin Veen Zdechlik, John Chorale and Shaker Dance 192 APPENDIX H Good Quality Literature Composer Composition Arranger or Transcriber Adler, Samuel Little Night and Day Music Applebaum, Stan Irish Suite Arbeau, Thoinot Belle Qui Tiens Ma Vie Margolis Arnold, Malcolm Four Comish Dances Marciniak Bach, Jan Praetorius Suite Bach, Johann Sebastian Blithe Bells (Sheep May Safely Graze) Grainger Bach, Johann Sebastian Jesus, Jesus Rest Your Head W allace Bach, Johann Sebastian Mv Heart is Filled With Longing Reed Bach, Johann Sebastian Passacaglia and Fugue in C minor Falcone Bach, Johann Sebastian Sleepers Awake Reed Bach, Johann Sebastian Thus Do You Fare, My Jesus Reed Bach, Johann Sebastian Who Puts His Trust in God Most Just Croft Barber, Samuel Overture to the School For Scandal Hudson Bames, James Yorkshire Ballad Bassett, Leslie Concerto Grosso (for brass quintet, wind and percussion ensemble) Benson, Warren Ginger Marmalade Benson, Warren Helix (solo for tuba) Benson, Warren Night Song Benson, Warren Remembrance Berlioz, Hector Beatrice and Benedict Overture Henning Bernstein, Leonard A Bernstein Tribute Crundman Bernstein, Leonard Candide Suite Crundman Bernstein, Leonard Danzon from Ballet Fancy Free Krance Bernstein, Leonard Three Dance Episodes S tith Beversdorf, Thomas Symphony for Band Boy sen, Andres Jr. I Am Brahms, Johannes Three Chorale Preludes Fennell Brant, Henry American Debate Broege, Timothy Dreams and Fancies Broege, Timothy Sinfonia III (Suite for Winds and Percussion) Broege, Timothy Sinfonia V Broege, Timothy The Headless Horseman 193 Arranger or Composer Composition Transcriber Broege, Timothy Three Pieces for American Band, Set No. 2 Bukvich, Daniel Voodoo Bulla, Stephen Firestorm Cable, Howard Newfoundland Rhapsody Camphouse, Mark A Movement for Rosa Camphouse, Mark Tribute Camphouse, Mark Watchman, Tell Us of the Night Camphouse, Mark Whatsoever Things Carter, Charles Symphonic Overture Catel, Charles Simon Symphonie Militaire Townsend Chance, John Barnes Blue Lake Overture Chobanian, Loris Armenian Dances Copland, Aaron A Copland Portrait Crundman Copland, Aaron A Copland Tribute Crundman Copland, Aaron Down a Country Lane Patterson Copland, Aaron Red Pony Cowell, Henry Hymn and FuguingTune #1 Daehn, Larry D. As Summer Was Just Beginning Daehn, Larry D. With Quiet Courage Daugherty, Michael Desi Davidovsky, Mario Consorts Davis, Albert Oliver Fantasie on a Danish Theme de Meij, Johan Aquanum de Meij, Johan Symphony No. 2, The Big Apple Del Borgo, Elliot Adagio for Winds Del Borgo, Elliot Festa! Del Borgo, Elliot Music for Winds and Percussion Dello Joio, Norman Satiric Dances DeNardis, Camille The Universal Judgment C afarella Diamond, David Tantivy Donizetti, Gaetano March for the Sultan Abdul Medjid Townsend Downing, Joseph H. Symphony for Winds and Percussion Druckman, Jacob In Memoriam Vincent Persichetti Duffy, Thomas Crystals Duffy, Thomas Snakes! Dvorak, Antomn Finale, New World Symphony Dvorak, Antomn Slavonic Dances Cumow Elgar, Sir Edward Severn Suite Ellerby, Martin Pans Sketches Erb, Donald Stargazing Erb, Donald Symphony for Winds Erb, Donald The Purple Roofed Ethical Suicide Parlor 194 Arranger or Composer Composition Transcriber Enckson, Frank Balladair Fauchet, Paul Symphony in Bb Campbell, Watson, & Gillette Faure, Gabriel Grant Them Rest Buehlman Franck, César Pams Angelicus Reed Freund, Don Jug Blues and Fat Pickin' Friedmann, Carl Slavonic Rhapsody No. 2 Duthoit Gershwin, George Porgy and Bess Bennett Gershwin, George The Symphonic Gershwin Barker Gillis, Don T ulsa Ford Ginastera, Alberto Danza Final John Giovannini, Caesar Overture in Bb Gorb, Adam .A way day Gould, Morton Jericho Rhapsody Gould, Morton Mini Suite Gounod, Charles Andante and Cantabile for Winds Barr Grainger, Percy Aldridge Country Gardens Grainger Grainger, Percy Aldridge Feroe Island Dance Grainger, Percy Aldridge Harvest Hymn Grainger, Percy Aldridge Immovable Do Grainger, Percy Aldridge Lads of Wamphray Grainger, Percy Aldridge Two Grainger Melodies Kreines Grainger, Percy Aldridge Blithe Bells Gregson, Edward Celebration : Praeludium for Wind, Brass, Percussion , Harp, and Piano Gregson, Edward Festive Grundman, Clare A Scottish Rhapsody Grundman, Clare A Welsh Rhapsody Grundman, Clare American Folk Rhapsody No. 1 Grundman, Clare American Folk Rhapsody No. 2 Grundman, Clare .American Folk Rhapsody No. 3 Grundman, Clare Concord Grundman, Clare Fantasy on American Sailing Songs Grundman, Clare Hebrides Suite Grundman, Clare Kentucky 1800 Grundman, Clare Little English Suite Grundman, Clare Little Suite for Band Grundman, Clare The Blue and The Gray Grundman, Clare Two Moods Overture Hanson, Howard Dies Natalis Hanson, Howard Symphony No. 2 "Romantic" McBeth Hearshen, Ira After the Thunderer Hennagin, Michael Jubilee Hid as, Frigyes Merry Music for Wind Band 195 Arranger or Composer Composition Transcriber Hodkinson, Sydney Stone Images Hogg, Bnan LlwvnOnn Holsinger, David Liturgical Dances Holsinger, David R. On a Hymnsong of Lowell Mason Holsinger, David R. On a Hymnsong of Phillip Bliss Holsinger, David R. Sinfonia Voci Holst, Gustav Mars, from The Planets Sm ith Holst, Gustav Song of the West Hovhaness, Alan Hvmn to Yerevan Hovhaness, Alan Symphony No. 7 "Nanga Parvat," Op, 175 Hovhannes, Alan Three Journeys to a Holy Mountain lannaccone, Anthony Apparitions lannaccone, Anthony Of Fire and Ice lannaconne, Anthony Plymouth Trilogy Ireland, John A Downland Suite Ives, Charles Symphony N o 2: Finale Elkus Ives, Charles Variations on Jerusalem the Golden Brion Jacob, Gordon Fantasia on an English Folk Song Jacob, Gordon Flag of Stars Jacob, Gordon Giles Farnaby Suite Jacob,Gordon The Battell (Music of William Byrd) Jacob, Gordon Tribute to Canterbury Jadin, Louis Symphonie for Band Schaefer Jager, Robert Colonial Airs and Dances Jager, Robert Variations on a Theme of Robert Schumann Kabelvsky, Dimitri Colas Breugnon Overture Beeler Kabelvsky, Dimitri Suite in Minor Mode Seikman Kalinnikov, Vassili Symphony No. 1: Finale Bainum Khatchatunan, Aram Armenian Dances Setz Kodaly, Zoltan Hary Janos; Suite Bainum Kozhevnikov, Boris Symphony No. 3 "Slavyanskaya" Bourgeois Krenek, Ernst Dream Sequence La Plante, Pierre American Riversongs Bnon/Schissel La Plante, Pierre Prospect Latham, William Court Festival Latham, William Three Chorale Preludes Liadov, Anatol Festival in Russia W ilcox Lijnschooten, Henk Netherlands Suite Linn, Robert Propagula MacDowell, Edward Woodland Sketches Winterbottom Mahler, Gustav Symphony No. 3: Finale Reynolds Mahr, Timothy Argentum 196 Arranger or Composer Composition Transcriber Mahr, Timothy Fantasia in G Mailman, Martin Exaltations Makris, Andreas Aegean Festival Overture Bader Margolis, Bob Color Margolis, Bob Renaissance Fair Maslanka, David Concerto for Piano Maslanka, David In Memorium Maslanka, David Rollo Takes a Walk Massanet, Jules "Meditation” from Thais Harding McTee, Cindy Circuits Milhaud, Darius West Point Suite Moussorgsky, Modeste Coronation Scene from Boris GixJunov Buehlman Moussorgsky, Modeste Night on Bald Mountain H indsley Moussorgsky, Modeste Pictures at an Exhibition Hindsley Mozart, Wolfgang Amadeus Marriage of Figaro Overture Sltxaim Mozart, Wolfgang Amadeus Trauermusik Osterling Nelhybel, Vaclav Chorale Nelhybel, Vaclav Festivo Nelhybel, Vaclav Prelude and Fugue Nelhybel, Vaclav Suite from Bohemia Nelson, Ron Aspen Jubilee Nelson, Ron Mayflower Overture Nelson, Ron Resonances I Nelson, Ron Savannah River Floliday Nixon, Roger Elegy and Fanfare - March Offenbach, Jacques La Belle Helene Odom Offenbach, Jacques Overture to Orpheus in the Underworld Odom Offenbach, Jacques The Drum Major's Daughter Odom Paulson, John Epinicion Peck, Russell Cave of the Winds Pennington, John Apollo Persichetti, Vincent Bagatelles for Band Persichetti, Vincent Chorale Prelude: O Cool is the Valley Persichetti, Vincent Serenade for Band Rands, Bernard Ceremonial Reed, Alfred Jubilant Overture, A Reed, Alfred Symphony No. 3 Reed, Alfred The Hounds of Spring Reed, H. Owen For the Unfortunate Respighi, Ottorino The Pines of Rome Duker Respighi, Ottorino The Pines of the Appian Way Leidzen Revueltas, Silvestre Sensemaya Bencriscutto Rhodes, Phillip Three Pieces for Band Rimsky-Korsakov, Nicolai Dubinushka Chidester 197 Arranger or Com poser Composition Transcriber Rimsky-Korsakov, Nicolai Russian Easter Overture Erickson Rodgers, Richard Victory at Sea Bennett Root, Thomas Polly Oliver Rossini, Gioacchino An Italian in Algiers Cai lliet Rossini, Gioacchino La Gazza Ladra C a illiet Rossini, Gioacchino March for the Sultan Abdul Medjid Townsend Rossini, Gioacchino Tancredi Overture Falcone Rossini, Gioacchino Overture to the Barber of Seville Lake Rossini, Gioacchino William Tell Overture W illiam s Saint-Saëns, Camille Pas Redoble Franckenpohl Saint-Saëns, Camille Occident et Orient, op. 25 Schuman, William Newsreel Scnabin, Alexander Nocturne, Op. 9 No. 2 Reed Shostakovich, Dmitri Finale, Symphony No. 5 Righter Shostakovich, Dmitri Galop Hunsberger Smith, Claude T. Emparata Overture Smith, Claude T. Incidental Suite Smith, Robert W. The Divine Comedy Snoeck, Kenneth Scaramouch, Symphony No. 3 for Winds and Percussion Sparke, Philip Dance Movements Sparke, Philip Music for a Festival Spears, Jared Meditation and Festival Stamp, Jack Antithigram Stamp, Jack Chorale and Toccata Stamp, Jack Past the Equinox Stevens, Halsey Ukrainian Folk Songs Stuart, Hugh M. Hymn for Band Sullivan, Arthur Pineapple Poll Mackerras, Duthoit Suppe, Franz von Light Cavalry Overture Suppé, Franz von Morning, Noon, and Night in Vienna Fillmore Suppe, Franz von Poet and Peasant Overture Fillmore Sweeney, Michael Ancient Voices Tchaikovsky, Peter Marche Slav Tchaikovsky, Peter Overture, 1812 Lake Tchaikovsky, Peter Symphony No. 4: Finale Safranek Thomas, Ambroise Overture to "Raymond” Safranuek Ticheli, Frank .Amazing Grace Ticheli, Frank Blue Shades Traditional Creensleeves Reed Tull, Fisher Credo Tull, Fisher The Final Covenant Tull, Fisher Toccata Tyra, Thomas Two Gaelic Folk Songs 198 Arranger or Composer Composition Transcriber Van der Roost, Jan Canterbury Chorale Van der Roost, Jan Puszta Van der Roost, Jan Rikudim Vaughan Williams, R Linden Lea Stout Verdi, Giuseppi La Forza Del Destino Overture Lake Verdi, Giuseppi La Traviata: Prelude, Act 1 Falcone Verdi, Giuseppi Nabucco Overture Tangen Wagner, Richard Huldigungsmarsch Schaefer Wagner, Richard Overture to 'The Flying Dutchman " H indsley Walton, William Orb and Septre Ward, Samuel America the Beautiful Dragon Weber, Carl Maria von Euryanthe Overture Safranek Weber, Carl Maria von Oberon Overture Hindsley Willan, Healey Royce Hall Suite Williams, Clifton Caccia and Chorale Williams, Clifton Dedicatory Overture Williams, Clifton Symphonic Dance No. 3 "Fiesta " Williams, Clifton The Sinfonians Williams, Clifton Variation Overture Wilson, Dana Sang Wilson, Dana Shakata: Sing the World into Existence Woolfenden, Guy Illyrian Dances Youtz, Gregory Fireworks You tz, Gregory Scherzo for a Bitter Moon Yurko, Bruce Night Dances Zdechlik, John Celebrations Zdechlik, John Psalm 46 199 APPENDIX I Compositions Performed by the Repertoire Respondents Which Were Unknown to the Entire REI Jury .Arranger or Composer Composition Transcriber Bukvich, Daniel Cowboys Carter, Charles Praise Variants Erickson, Frank Wind Chimes Francis, Michael Dreams of a Psychopath Freund, Don Perotinitus World Premiere Gould, Morton Pavanne Gregson, Edward Prelude for an Occasion Marquina, Pascual La Gitana Del Albaicin Maslanka, David Hell's Gate World Premiere Rieger, Wallingford New Dance Root, Thomas Ben Lomond Portrait Shelton, Melvin Air for Winds Strauss, Johann Jr. A Night in Venice Overture arr. Waters Ungar, Jay •Ashokan Farewell arr. Lavender Wagner, Richard •An .Album Leaf Waignein, Andre A Medieval Suite Williams, Mark Fantasy on Yankee Doodle Williams, Mark Variants on a Nautical Hymn Williams, Mark Scenes of Wonder 200 APPENDIX f Comparison Between the Gaines (1996) and the Number of Performances on the Present Studv Gaines Composer Composition #ofP fs 1 Holst, Gustav First Suite in Eb 33 2 Holst, Gustav Second Suite in F 8 3 Vaughan Williams, Ralph Folk Song Suite 13 4 Grainger, Percy Irish Tune from County Derry 14 5 Chance, John Barnes Variations on a Korean Folk Song 20 6 Schuman, William Chester 9 7 Zdechlik, John Chorale and Shaker Dance 13 8 Bach, Johann Sebastian Jesu, Joy of Man’s Desinng 1 9 Chance, John Barnes Incantation and Dance 6 10 Shostakovich, Dmitri Festive Overture, Op. 96 5 11 Wagner, Richard Elsa's Procession to the Cathedral 10 12 Erickson, Frank Toccata for Band 1 13 Copland, Aaron Variations on a Shaker Melody I 14 Reed, Alfred Russian Christmas Music 7 15 Grainger, Percy Shepherd's Hey 10 16 Reed, Alfred A Festival Prelude 10 17 McBeth, Francis Chant and Jubilo 7 18 Rimsky-Korsakov, Nicolas Procession of the Nobles 6 19 Grundman, Clare American Folk Rhapsody No. 3 1 20 Grundman, Clare American Folk Rhapsody No. 2 0 21 Grainger, Percy Lincolnshire Posy 8 22 Grundman, Clare American Folk Rhapsody No. 1 0 23 Dvorak, Antonin Finale, New World Symphony 3 24 Vaughan Williams, Ralph Flourish for Wind Band 7 25 Grainger, Percy Ye Banks and Braes O'Bonnie Doon 5 26 Nelhybel, Vaclav Festivo 1 27 Persichetti, Vincent Divertimento for Band, Op. 42 0 28 Bennett, Robert Russell Suite of Old American Dances 6 29 Jacob, Gordon William Byrd Suite 4 30 Hanson, Howard Chorale and Alleluia, Op. 42 0 31 Grundman, Clare An Irish Rhapsody 3 32 Williams, Clifton Dedicatory Overture 12 33 Dello Joio, Norman Scenes from the Louvre 5 201 G aines Com poser Composition # o f Pfe 34 Bernstein, Leonard Candide: Overture 12 35 Frescobaldi, Girolamo Toccata 6 36 Holst, Gustav A Moorside Suite 1 37 Grundman, Clare Fantasy on Amencan Sailing Songs 0 38 Reed, Alfred Armenian Dances Part I 6 39 Dello Joio, Norman Variants on a Medieval Tune 2 40 Handel, G. F. Music for the Royal Fireworks 0 41 Carter, Charles Overture for Winds 2 42 Reed, H. Owen La Fiesta Mexicana 1 43 Bach, Johann Sebastian Prelude and Fugue in G Major 2 44 Holst, Gustav Jupiter, from The Planets 4 45 Giovannini, Caesar Overture in Bb 5 46 Arnold, Malcolm Four Scottish Dances 5 47 Reed, Alfred A Jubilant Overture 4 48 Vaughan Williams, Ralph Tocatta Marziale 3 49 Ives, Charles Variations on America 3 50 Persichetti, Vincent Pageant 4 51 Smith, Claude T. Emparata Overture 7 52 Persichetti, Vincent Svmphony No. 6, Op. 69 4 53 Suppe, Franz von Light Cavalry Overture 4 54 Schuman, William When Jesus Wept 2 55 Williams, Clifton Variation Overture 2 56 Bach, Johann Sebastian Prelude and Fugue in Bb Major 3 57 Bach, Johann Sebastian Tixrcata and Fugue in D minor 1 58 Jenkins, Joseph American Overture for Band 5 59 Persichetti, Vincent Psalm for Band, Op. 53 2 60 Handel, G. F. Water Music 1 61 McBeth, Francis Masque 2 62 Holst, Gustav Mars, from The Planets 4 63 Tchaikovsky, Peter Overture, 1812 4 64 Williams, Clifton Fanfare and Allegro 0 65 Tchaikovsky, Peter Marche Slav 2 66 Copland, Aaron •A Copland Tribute 5 67 Moussorgsky, Modeste Night on Bald Mountain 2 68 Jacob, Gordon An Original Suite 3 69 Del Borgo, Elliot Do Not Go Gentle Into That Good Night 3 70 Jager, Robert Third Suite 5 71 Williams, Clifton Symphonic Dance No. 3 "Fiesta" 3 72 Schuman, William George Washington Bridge 1 73 Williams, Clifton Symphonic Suite 0 74 Del Borgo, Elliot Music for Winds and Percussion 2 75 Grainger, Percy Molly on the Shore 3 76 Grainger, Percy Colonial Song 1 77 Mozart, W. A. Marriage of Figaro Overture 4 78 Smith, Claude T. Eternal Father, Strong to Save 1 202 Gaines Composer Composition 4 of Pfs 79 Dvorak, Antonin Slavonic Dances 1 80 Brahms, Johannes Blessed Are They 3 81 Grundman, Clare Kentucky 1800 0 82 Arnold, Malcolm Prelude, Siciliano, and Rondo 8 83 Reed, Alfred Armenian Dances Part 2 0 84 Milhaud, Darius Suite Française, Op. 248 3 85 Arnold, Malcolm English Dances Set 1 1 86 Nelhybel, Vaclav Trittico 0 87 Copland, Aaron An Outdcxjr Overture 2 88 Dello Joio, Norman Satiric Dances 5 89 Rossini, Giacomo An Italian in Algiers Overture 7 90 Shostakovich, Dmitri Folk Dances 2 91 Grundman, Clare .-\ Welsh Rhapsody 0 92 Bach, Johann Sebastian Fantasia in G Major 0 93 Holst, Gustav Hammersmith, Op. 52 0 94 Williams, Clifton Caccia and Chorale 0 95 Gould, Morton Symphony No. 4 (1 % Wood, Hayden Mannin Veen 6 97 Holsinger, David Liturgical Dances 2 98 Strauss, Richard .Allerseelen 1 99 Grundman, Clare Hebrides Suite 0 100 Chance, John Barnes Elegy 0 101 Carter, Charles Symphonic Overture 1 102 Mendelssohn, Felix Ouverture Fur Harmoniemusik, Op. 24 1 103 McBeth, Francis Kaddish 3 104 Nelson, Ron Rocky Point Holiday 1 105 Creston, Paul Celebration Overture, Op. 61 0 106 Dello Joio, Norman Fantasies on a Theme by Haydn 0 203 IMAGE EVALUATION TEST TARGET (QA-3) Y- % % 1.0 m Li K& 12.2 I: L6 ü: L: 2.0 l.l 1.8 1.25 1.4 1.6 150mm V V /A P P L IE D A IIWIGE . Inc - = 1653 East Main Street • Rochester, NY 14609 USA - = '— Phone: 716/4820300 - = ~- = Fax: 716/288-5989 // O 993. Applied Image. Inc.. Ail nights Reserved < 9 /