Analytical Research of Wind Band Core Repertoire Timothy D

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

ANALYTICAL RESEARCH OF WIND BAND CORE REPERTOIRE

TIMOTHY D. WIGGINS

A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy

Degree Awarded: Summer Semester, 2013

Timothy D. Wiggins defended this dissertation on May 16, 2013. The members of the supervisory committee were:

Richard Clary Professor Directing Dissertation

Alexander Jimenez University Representative

Patrick Dunnigan Committee Member

Clifford Madsen Committee Member

The graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university reuirements.

To Christine, my beautiful wife, I could not have done this without you. I love you more every day.

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ACKNOWLEDGEMENTS

This project would not have been possible without the help of many people. I would like to thank Professor Richard Clary for his guidance, as well as the rest of my committee members:

Dr. Patrick Dunnigan, Dr. Alex Jimenez, and Dr. Clifford Madsen. Additionally, thank you Dr.

Steve Kelly and Dr. Andre Thomas for your consultation and guidance.

Above all, to my beautiful wife, Christine, to whom I am forever in debt as she gave up a life and job to follow and support me in this journey, working to support us, and giving us two beautiful daughters.

TABLE OF CONTENTS

List of Tables ...... vii

List of Figures ...... ix

Abstract ...... x

1. INTRODUCTION ...... 1 Limits of Study ...... 2 Definitions ...... 3

2. REVIEW OF LITERATURE ...... 4 Brief History of the American Wind Band ...... 4 Legitimacy ...... 5 Instrumentation ...... 6 Emerging Repertoire ...... 7 Searching for Quality Repertoire ...... 8 Creating Lists ...... 8 Defining and Developing Criteria ...... 12 Empirical Scholarship on Determining Quality Repertoire ...... 15 Artistic Merit Research ...... 15 Programming Research ...... 18 Analytical Research ...... 19 Bibliographic Research ...... 21 Thesis ...... 22

3. METHOD ...... 24 Source Materials: Repertoire of Serious Artistic Merit ...... 24 Search Parameters ...... 24 Collecting Data ...... 25 Developing a Taxonomy, Classifying Research ...... 26 Annotating Tier One Research ...... 29 Pilots ...... 29

4. RESULTS ...... 31 Source Materials: Core Repertoire ...... 31 Summary of Findings ...... 33 Formats ...... 34 Tier Classifications ...... 39 Composers and Compositions ...... 41

5. DISCUSSION ...... 46 Purpose and Results Summary ...... 46 General Discussion ...... 47 Authorship ...... 48 Print Sources ...... 48 Taxonomy ...... 49 Composers ...... 50 Compositions ...... 50 Relationship to Literature ...... 51 Limitations ...... 53 Implications for Practice ...... 55 Resource ...... 55 Taxonomy ...... 56 Future Research ...... 56 Availability ...... 56 Suggestions for Further Research ...... 57 Conclusion ...... 58

APPENDICES ...... 59 A. JOURNALS PUBLISHING ANALYTICAL RESEARCH OF CORE REPERTOIRE ...... 59 B. CORE REPERTOIRE: ALPHABETICAL LISTING BY COMPOSER ...... 62 C. COLLEGES AND UNIVERSITIES OVERSEEING ANALYTICAL RESEARCH OF CORE REPERTOIRE ...... 66 D. PRINT SOURCES PUBLISHING ANALYTICAL RESEARCH OF CORE REPERTOIRE ...... 70 E. QUANTITY OF CITATIONS AS A FUNCTION OF COMPOSER AND TIER CATEGORY ...... 76 F. QUANTITY OF CITATIONS AS A FUNCTION OF COMPOSITIONS AND TIER CATEGORY ...... 79 G. TAXONOMY: CATEGORIES OF ANALYTICAL RESEARCH OF CORE REPERTOIRE ...... 86 H. ANALYTICAL RESEARCH OF WIND BAND CORE REPERTOIRE ...... 88

REFERENCES ...... 247

BIOGRAPHICAL SKETCH ...... 255

LIST OF TABLES

1. Summary of Expert Opinions of “Highly Regarded Research Journals” ...... 28

2. Composer Contributions to Wind Band Core Repertoire ...... 31

3. Wind Band Core Repertoire as a Function of Decade and Quarter Century ...... 32

4. Sources Revealing Data on Wind Band Core Repertoire ...... 33

5. Quantity of Citations as a Function of Format ...... 34

6. Quantity of University-based Research Citations as a Function of School (>8 citations) ...... 35

7. Quantity of Edited-source Research Citations (>1 citation) ...... 36

8. Quantity of Annotation-level Research Citations (>1 citation) ...... 37

9. Quantity of Available Citations as a Function of Format ...... 37

10. Quantity of Citations as a Function of Decade and Format ...... 38

11. Quantity of Citations as a Function of Tier ...... 39

12. Quantity of Available Citations as a Function of Tier Category ...... 40

13. Quantity of Citations as a Function of Decade and Tier Category ...... 40

14. Quantity of Citations as a Function of Composer and Tier Category (>20 citations) ...... 41

15. Quantity of Tier One Citations as a Function of Composer (>7 citations) ...... 42

16. Quantity of Citations as a Function of Composition and Tier (>20 citations) ...... 43

17. Quantity of Tier One Citations as a Function of Composition (>5 citations) ...... 44

18. Core Repertoire without Tier One Research ...... 45

19. Journals Publishing Analytical Research of Core Repertoire ...... 59

20. Core Repertoire: Alphabetical listing by composer ...... 62

21. Colleges and Universities Overseeing Analytical Research of Core Repertoire ...... 66

22. Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books ...... 70

vii

23. Print Sources Publishing Analytical Research of Core Repertoire: Collections of Annotations ...... 73

24. Print Sources Publishing Analytical Research of Core Repertoire: Complete Books ...... 74

25. Quantity of Citations as a Function of Composer and Tier Category ...... 76

26. Quantity of Citations as a Function of Compositions and Tier Category ...... 79

viii

LIST OF FIGURES

1. Percentage of Citations as a Function of Tiers ...... 47

2. Quantity of Core Repertoire as a Function of Quarter Century ...... 51

3. Quantity of Citations as a Function of Decade ...... 52

4. Quantity of Citations as a Function of Tier and Decade ...... 53

5. Taxonomy: Categories of Analytical Research of Core Repertoire ...... 86

ABSTRACT

Acton Ostling was a pioneer in providing empirical evidence that certain compositions are worth consideration due to their acceptance, skill and degree of serious artistic merit. His research allowed band directors to sort through a relatively young band repertoire, but did not provide them with a method for facing a much more difficult task: to discover and utilize resources for the preparation and performance of quality wind works. A review of related literature suggested a need to discover, catalog and describe what research is available on works that the profession considers its canon. The purpose of this project was to identify relevant analytical research on wind band core repertoire. This project sought to answer the following research questions. 1)

How much research is available on compositions that our profession has deemed to be of serious artistic merit? 2) What taxonomy can be developed to analyze the depth of a research article? 3)

What type and to what depth are the analyses on each work? 4) What compositions have been inadequately addressed through research? The core repertoire, for the purposes of this study, was defined as those compositions deemed to be of serious artistic merit in two of three studies based on Acton Ostling’s research (N=107). Analytical research was found for each of the compositions utilizing online database search engines and print resources. Based on the initial search parameters, 963 citations were found regarding core repertoire. The data were categorized using a five-tiered taxonomy. Tier one research was further analyzed and annotated for future reference. Results indicate a growing body of analytical research regarding the selected compositions. The depth of the individual analytical studies varies greatly, from annotations to full dissertation-length documents focusing on one composition. A percentage (19%) of this selected core repertoire has no or little known in-depth research associated with it. Results

suggest a need for further scholarship not only with regards to analyzing under-represented works, but also with making such analysis research available to a larger population of the profession via inclusion in standard database search engines and print sources. Additionally, such research may provide a method with which to catalog and categorize other research, analytical and otherwise, and could provide a starting point in programming and preparing works of value.

CHAPTER 1

INTRODUCTION

Ostling (1978), Gilbert (1993) and Towner (2011), provided evidence that certain compositions are worth consideration due to their acceptance, skill and degree of serious artistic merit. Because the body of wind band repertoire was relatively young compared to orchestral and choral repertoire, there was relatively little research performed on wind works. William

Tarwater (1958) suggested that there had been no formal analytical study of wind literature prior to 1956. Elizabeth Green (1969) agreed:

Only in the twentieth century has the band come into its own. Certain of the leading present-day composers have recognized it as a serious musical medium and some excellent compositions have been forthcoming… Since this is true, the repertoire is obviously, to a large extent, a twentieth-century product. (p. 183)

Holvick and Whitwell (1976) considered this same problem: “How long did it take for the symphony orchestra to gather its considerable repertory? … A period of nearly 400 years.

How long has the concert band been a thing of reality? Less than 100 years” (p. 55). As compared to orchestral and choral genres, there has been comparably little research done regarding the analysis of band repertoire.

Band directors have faced a daunting task to discover and utilize analytical resources of quality wind works. Frederick Fennell (1975) summarized the issue facing band conductors:

There are many aids available to the orchestra conductor… There are marvelous

printed materials, like Felix Weingartner’s 1908 book, On the Performance of

Beethoven’s Symphonies – a conductor’s handbook that is still valid today. Although one

might disagree with some things that Weingartner had to say, the publication is a

hallmark because this extremely experienced man had distilled a lifetime of thought

about these monumental works into a printed reference work that is available to every

conductor. But in the band field, there are practically no materials of this sort. With the

exception of a few recordings and an occasional article, the bulk of thought on the

performance of the band’s literature has been spoken from podiums by inspired

conductors through the years … and is now totally lost to the profession as a whole,

remaining only in the fond--but often dim memories of those who had the good fortune to

be present (p. 29).

A review of related literature suggested a need to discover, catalog and describe what research is available on works that the profession considers its canon. The purpose of this project was to identify relevant analytical research on wind band core repertoire. This project sought to answer the following research questions: 1) How much research is available on compositions that our profession has deemed to be of serious artistic merit? 2) What taxonomy can be developed to analyze the depth of a research article? 3) What type and to what depth are the analyses on each work? 4) What compositions have been inadequately addressed through research?

Limits of Study

For the purposes of this study, searching analytical resources for repertoire was limited to the 107 compositions labeled “core repertoire.” Citation inclusion was limited to published research that referred to the specific title of the composition. Citations on particular genres, biographies of composers, or of other general nature were excluded. Citations of program notes

and CD liner notes were excluded. Citations in foreign languages were included as part of the overall count, but excluded a priori from the tiered taxonomy.

Definitions

• Core Repertoire – Repertoire that met the criteria of “serious artistic merit” in two of the

three studies by Ostling, Gilbert and Towner.

• Highly Regarded Research Journals – Journals that are labeled as the most respected in

the field of instrumental conducting and music education, as determined by a panel of

experts with at least ten years of experience in the field.

• Tier (1, 2, 3, or 4) – Categories into which citations of analytical research are placed.

• Tier F – Category into which foreign language citations of analytical research are placed.

• Monographs – Collections of essays of research that may have been collected from a

symposium, conference or special occasion

CHAPTER 2

REVIEW OF RELATED LITERATURE

Brief History of the American Wind Band

The history of wind music and wind performance has been rich and diverse, yet the wind band in its modern configuration as an artistic collegiate ensemble is a relatively young concept.

Acording to Cardanay (2006), a professional band director’s primary goal in the late nineteenth and early twentieth centuries was to entertain audiences. Patrick S. Gilmore, perhaps the first major figure in the professional band movement, inspired John Philip Sousa. Sousa asserted that the professional band was to give the public entertainment, not to educate. During the second decade of the twentieth century, the professional bands’ popularity began to fade as wind bands became more popular in colleges and public schools. Schools during the American School Band

Movement performed literature for entertainment similar to that of the professional bands. This movement did not have an influence on the growth of original wind repertoire as much as its influence on the standardization of instrumentation (Leitzel, 2006). During the mid-twentieth century, college wind band programs substantially increased in number and size. Toss (1964),

Wahl (1977), and Milburn (1982) found indications of considerable growth and acceptance of the wind band by a majority of collegiate conductors. The purpose of the collegiate wind band shifted from entertainment and ceremony toward education and developing an artistic performing ensemble (Hunt, 1949; Wilson, 1950). By 1982, concert wind bands outnumbered marching bands in the College Band Directors National Association. Milburn (1982) suggested that this shift in ensemble types indicated a de-emphasis of the entertainment image in favor of a more serious performance medium, or perhaps a segmentation of the two philosophies.

Legitimacy

As bands developed into a more serious performance ensemble, several scholars documented a concern for legitimacy. Goldman (1938, 1946, 1961) addressed the “modern” dilemma facing professional, collegiate and school bands as quality repertoire and instrumentation. Goldman believed the band to be less legitimate as compared to the symphony orchestra based on its established repertoire and instrumentation (Goldman, 1961; Henderson,

1962).

Legitimacy may be directly related to the transition in popularity from professional to college bands. Sousa’s style of programming greatly affected the programming of collegiate bands. Sousa’s programs usually consisted of a variety of short pieces in a wide range of styles, such as marches, solos, orchestral transcriptions, and novelty works. This programming concept did not encourage longer or more serious original works to be composed for the medium

(Cardanay, 2006). Frank Prindl (1956) noted a lack of extended works for the medium prior to

1950, while Frederick Fennell (1954) asserted that quality literature does exist for the medium from antiquity.

During the first half of the twentieth century, composers had an interest in writing for wind band, as can be seen by important works of Stravinsky, Holst, Vaughan Williams and

Grainger. Goldman (1938) explained his theory of the problem as follows:

There is the … problem presented by the difficulty an orchestral composer experiences in

obtaining a performance of his work. New works must compete with the huge repertory

of standard music, which is the orchestra's heritage. The band should be more accessible

to composers. It should be more eager to give the new composer a hearing, and it should

likewise be less bound by a mass of tradition. This requires, of course, an interest on the

part of the bandmasters, and a willingness and ability to give good performances of new

works, performances which will in every way meet the demands of the composer and

realize his intentions. (p. 65)

David Whitwell (1972) described three “crisis periods” in the development of the wind band repertoire. During the first two time periods, band directors discouraged composers’ continued output by not programming new works. It was not until the third period in the 1950’s that band directors took advantage and began to encourage further output. Ostling (1978) contended that the commission of Paul Hindemith’s Symphony in B-flat in 1951 marked a change in attitude and a turning point in attracting composers and conductors to the wind band. Its literature became a medium for performing and composing works of serious artistic merit.

When studying the history of the college band movement, McCarrell (1971) came to a similar conclusion. Bryan (1972) asserted that movement towards programming more artistic works was in its infancy, placing the wind band in an advantageous position to attract new composers to write for the emerging medium. Perhaps this change in attitude by composers and the professional musical world came in part due to the development of a different concept of wind band instrumentation.

Instrumentation

Instrumentation may have been one hindrance to the development of the wind band.

Dyson (1921) cited a history of non-standard instrumentation in British military bands causing a difficulty for composers. In the early twentieth century, Albert Austin Harding and Mark H.

Hindsley at the University of Illinois had developed large symphonic band instrumentation with multiple doublings that set the standard for collegiate and public schools bands for much of the early twentieth century (Cardanay, 2006). “University and college bands in the early 1950’s still

were modeled after Albert Austin Harding’s University of Illinois Band” (Battisti, 2002, 66). The standardization of the large symphonic band and a standardized sound perhaps discouraged quality composers from writing for the medium.

A defining moment in the development of artistic repertoire for the wind band perhaps came with the inception of the Eastman Wind Ensemble in 1952. In Time and the Winds (1954),

Frederick Fennell explained the founding and philosophy of the Eastman Wind Ensemble and how its flexible instrumentation concept served as a means for enticing composers to write for the group. The Eastman Wind Ensemble spurred a movement across the collegiate band world. It enabled an expansion of possibilities for the wind band and sources of repertoire have become much more diverse because of it (Vagner, 1970). The wind ensemble encouraged composers to focus on attractive aspects of wind ensemble performance: a specified instrumentation, one player to a part, an orchestral performance concept, and developing individual instrument tone colors (Hunsberger, 1972). Billingsley (1975) championed the wind ensemble’s flexible instrumentation because it allowed the composer more creative freedom. This freedom encouraged composers to experiment with new instrumentations and tone colors, writing for ensembles willing to program them.

Emerging Repertoire

Through the work of the wind ensemble movement, composers were given attractive opportunities to create extended works for a flexible medium of winds and percussion that embraced new works, instrumentations, and performed at a high level. The College Band

Directors National Association (1967) published the proceedings from a panel discussion regarding the emergence of a serious artistic band repertoire, including the repertoire from the military and professional band era, the emerging repertoire from a historical perspective, and the

repertoire more recently developed over the past 25 years. Paul Bryan (1972) also looked at the emerging repertoire in the wind band field as compared to the orchestral world. He noted that the wind band medium has a larger body of programmed twentieth century works that, by 1972, placed bands in an advantageous position to attract new, young and established composers to the medium. Today, the literature includes a wide breadth of repertoire, and many organizations and scholars have attempted to identify quality repertoire suggestions for various performance situations.

Searching for Quality Repertoire

Creating Lists

What is good music? Frederick Fennell (1975) offered this definition: “Good music – indestructible masterpieces for band that have survived the ravages of time and many an inept conductor, as well as newer works of quality that seem destined for longevity” (p. 29). Lists of

“good music” have been created by individuals, committees, state and professional organizations, and through empirical scholarship. Several publications endeavor for a more bibliographic or comprehensive list of repertoire for the wind band medium. The Band Music Guide was one of the first published attempts at a comprehensive list of published music, started by Kenneth

Berger in the 1950’s. A later edition was published and disseminated to a much wider population via the Instrumentalist Company. The list included 15,000 titles in print. Through the 1960’s and

1970’s, it was revised and amended to include music reviewed and graded in the “New Music

Reviews” feature in The Instrumentalist. The Heritage Encyclopedia of Band Music attempted to document every piece of music written for concert and military bands (Reherig, 1991). David

Whitwell (1984) published a list of over 30,000 compositions for wind instruments in more than

450 libraries around the world. While such lists have been useful to locate materials, they lack the specificity of any measurement of purpose or quality.

Since the early thirties, many states have developed suggested lists of repertoire for school music ensembles to use for competitions and festivals. These and additional national organization lists seem to follow a model established in New York in 1938, which included selective music in six grade-levels of difficulty based primarily on criteria of finding music appropriate to the amount of rehearsal time (Ostling, 1978). Two early examples included the work of the New York State School Music Association and the Virginia Band and Orchestra

Directors Association (Berg, 1976; Lansing, 1975). The Prescribed Music List in Texas (1991) showed more evidence as to how a committee of experts pared down 2,000 compositions to 500 based on a set of criteria that focused on the educational merits of each work. Auxiliary organizations also have published lists of repertoire for similar purposes, such as the National

School Band Orchestra and Vocal Association (1952) and the National Band Association (1987)

(Wright, 1976). As work of committees, each list offered some validity, however, many did not come with established guidelines. Most of these lists also had a specific audience in mind with regards to the appropriateness of performance for a school ensemble in festival or competition

(Ostling, 1978). Lists of repertoire have also been important at the collegiate and professional level.

Collegiate and professional band organizations have encouraged their members to develop lists and published them to provide access to their membership. “The establishment and classification of a standard repertoire for wind band is a matter which has long occupied such organizations as the American Bandmasters Association, the American School Band Director's

Association, and the College Band Directors National Association” (Bruning, 1980, 8). The

College Band Directors National Association once maintained lists of literature through their

Books of Proceedings in the following areas: solos with band accompaniment in manuscript, music available on rental, and published band music (Ostling, 1978). As early as the 1950’s, the

CBDNA Published Band Music Committee had been concerned with a biannual selective list of literature. Every member of the committee identified and voted on works believed worthy of inclusion (Holvick, 1962). Hunsberger (1977) collected several selective music lists, compiled and distributed them at the eighth National Symphonic Wind Ensemble Conference for evaluation. He published the results at the Eastman Wind Ensemble Festival Symposium later that year. The World Association of Symphonic Bands and Ensembles (WASBE) published a report that included 373 wind band compositions as contributed by each of the member countries in 1987. This report included a representative sample of compositions from each member country (Everett & Rowell, 1987). Similar to secondary programs, the committee work of collegiate and professional organizations provide resources for their constituents, however, due to the nature of the audience, they lack some validity. Another source of repertoire lists exist in the form of published books.

A number of books published on the topic include repertoire collections derived from individuals and committees, and written for various audiences. A major source of materials for the Ostling (1978) and Gilbert (1993) dissertations came from the work of H. Robert Reynolds

(1975), and the subsequent update by Corporon and Wallace (1984). Gilbert also used the New

Grove Dictionary of Music and Musicians and the New Grove Dictionary of American Music,

Baker’s Biographical Dictionary of Music and Musicians, Contemporary American Composers:

A Biographical Dictionary, The Dictionary of Composers and Their Music, Recorded Concert

Band Music 1947-1987 and Band Music Guide, Eighth Edition to help discover new works to

add to Ostling’s master list. Perhaps the most recent and visible catalog of modern band works has been the series: Teaching Music through Performance in Band (Miles, 1997-2010). Thomas

Dvorak has also authored several books that identify repertoire in the context of the best music for high school, young and beginning bands. Because of its focus on school bands, these books leave out some wind band masterworks that are too technically difficult for that level of student

(Dvorak, 2005; Dvorak & Floyd, 2000; Dvorak, Schmalz & Taggart, 1986/2005; Dvorak,

Grechestky & Ciepluch, 1993). Rodney Winther (2004) produced an annotated catalog of works for chamber ensembles between six and eighteen players. Felix Hauswirth authored eight editions of a list of selected quality works for wind band, listing over 1,000 works (Hauswirth,

2010). Rather than trying to identify works according to some criteria of merit, other attempts have come from book series that profile individual composers. Timothy Salzman (2003-2009) and Mark Camphouse (2002-2006) each published such in four volume series. Each of these publications has taken a unique look at the repertoire. Empirical resources via peer-reviewed journals have been another reference for identifying quality repertoire.

Peer-reviewed publications and dissertations have also included lists as a way of sorting through the extensive repertoire. As early as 1958, The Instrumentalist published a series entitled

“The Best in Band Music.” This series included an index of works voted on by a select number of current band directors. Both Donald Hunsberger (1977) and Arnold Gabriel (1984) have also published catalogs of important repertoire for band in The Instrumentalist. Similarly, the journal for the National Association for Music Education: Music Educators Journal has published itemized repertoire. One such example is Grashel (1989), who published a record specifically geared to disseminating names of quality repertoire for young bands. Other lists have been created, analyzed and researched as part of dissertation projects. Some scholars created a

repertoire directory as recommendations based on the results of their empirical research involving school aged ensembles (Christianson, 1982; Trimborn, 1984). Researchers have also outlined lists of works within specific subsets of wind band music. Ayoob (1988) discussed in detail eight of the 48 works written for the Massachusetts Institute of Technology (MIT) as worthy of consideration for wind band programming. Maloney (1986) researched 140 Canadian wind ensemble compositions and discussed seven works in detail as representative of the body of literature. Halseth (1987) explained the history of the commissioning projects and concert premieres of CBDNA. Tarwater (1958) explored the opinions of the CBDNA membership, and asked them to submit their best ten original works for band. The Instrumentalist (1979) took a similar path by polling band directors for “recommendations of the compositions that should be in every school band or orchestra library in the country and studied at least once during a student’s time in the organization.” Whether for secondary, professional, or through publications or empirical research, repertoire lists are all created based on some type of criteria, whether that is implied or stated.

Defining and Developing Criteria

Every list of repertoire is assembled based on some criteria. Personal preference, committee vote, and audience influence each criterion. The latter perhaps has the largest influence on the exclusivity of a published list, whether the publication is intended for the professional, collegiate or school band purposes. A list’s audience affects inclusion based on compositional craft, educational objectives or aesthetic guidelines. While many state lists do not publish their criteria, inclusion seemed to be primarily centered around perceived educational value. Many state lists were built from the 1938 New York State School Music Association

Manual, where criteria encouraged finding compositions appropriate to the amount of rehearsal

time required and within the six level classifications for competition or festival. The Texas

Prescribed Music List (1991) clarified its criteria further:

1) To provide concert band literature that would enable any ensemble in a particular

conference to experience musical and educational growth in the preparation and

performance of the music. 2) To include both transcriptions and original band works in

each classification that would be within the reach of less technically and musically

mature organizations, yet also include selections that would significantly challenge the

most mature ensemble in that same class. Special emphasis was placed upon upgrading

the quality of music on the Grade I, II and III lists.

The National Band Association (1987) stated similar goals to the state lists. NBA included the following as criteria for inclusion:

All music on the list was deemed worthy of being placed on a concert with sound

educational goals by at least one member of this or the original committee. Some of the

older transcriptions were left on the list because of their historical value; even through

they are out of date in terms of current scoring practices.

Committee-based decisions and audience consideration provide a level of validity to lists, however, these catalogs lacked validity by leaving out detailed and specific criteria as to which components make a composition worthy of inclusion.

Many of the available published resources, while still geared to specific audiences, included more specific descriptions of criteria for inclusion. Thomas Dvorak (1993) included criteria focused around the development of young musicians:

1) Compositions must exhibit a high degree of compositional craft. 2) Compositions must

contain important musical constructs necessary for the development of musicianship. 3)

Compositions must exhibit an orchestration that, within the restrictions associated with a

particular grade level, encourage musical independence both of individuals and sections.

(p. 10)

Rodney Winther (2004) designed his survey of chamber music with criteria based more on aesthetic constructs, rather than towards educational values. His criteria included:

1) Intrinsic musical value, 2) An effort to include a representative sampling of works by

historical period, 3) An effort to include a representative sampling of works by

instrumentation, 4) An effort to include a representative sampling of works by country, 5)

An effort to include works of which he had first hand knowledge through performance, 6)

An effort to include works that have been professionally recorded, and 7) An effort to

include works for which complete information was available. (p. v)

Criteria for inclusion in publication were necessary to increase the validity of the author’s opinion. Another body of research sought out reasons behind individual programming decisions.

A body of recent research outlined criteria used by music teachers to choose repertoire for their ensembles. In an article in the first volume of the Teaching Music through Performance in Band series, Ray Cramer (2010) suggested criteria for finding quality band literature:

Does the music have: 1) a well-conceived formal structure? 2) Creative melodies and

counter lines? 3) Harmonic imagination? 4) Rhythmic vitality? 5) Contrast in all musical

elements? 6) Scoring which best represents the full potential of the wind ensemble? 7) An

emotional impact? If we are going to teach about music and through music while

performing music, then we must incorporate all of these elements into our rehearsal

planning as we prepare our students for performance. (p. 18)

Crochet (2006) found that experienced directors chose music for its quality and educational content above other factors. Carney (2005) identified twelve criteria of quality and suitability that influence a director’s selection of literature. Carney found that the elements of suitability, experience level, instrumentation and available rehearsal time ranked higher than those of quality.

In similar findings with choral directors, Canfield (2009) found that directors looked at educational and external factors more often than repertoire quality. Dean (2011) attempted to collate such research into a methodology for evaluating choral literature. Dean created a pedagogical merit criteria based on choral specific pedagogy, and aesthetic merit criteria based on textual integrity, craftsmanship, predictability, consistency, originality and validity. While each of these studies looked at criteria for finding quality literature, the inclusion of environmental factors created an overwhelming bias towared finding appropriate music as opposed to exploring great music for its artistic value.

Empirical Scholarship on Determining Quality Repertoire

Artistic merit research

Another area of research examined repertoire quality from solely an aesthetic or artistic standpoint. Acton Ostling’s dissertation (1978) identified respected wind conductors through a national survey of college band directors. Each evaluator was nominated and elected as being a well-respected expert. Ostling then developed a list of over 1,400 wind band compositions. He defined the compositions, and therefore the audience, as 1) scored for at least ten wind instruments, exclusive of percussion requirement, 2) a mixed rather than a homogenous ensemble, and 3) the use of a conductor in performing the composition. The list was sent to each of twenty evaluators to be judged based on a researched list of ten criteria of serious artistic merit.

Ostling’s criteria for serious artistic merit included:

1) The composition has form--proper balance between repetition and contrast.

2) The composition reflects shape and design, conscious choice and judicious

arrangement on the part of the composer.

3) The composition reflects craftsmanship in orchestration.

4) The composition is sufficiently unpredictable to preclude an immediate grasp of its

musical meaning.

5) The compositional development is not completely direct and obvious.

6) The composition is consistent in quality throughout.

7) The composition is consistent in its style.

8) The composition reflects ingenuity in its development--within stylistic context.

9) The composition is genuine in idiom--is not pretentious.

10) The validity of composition transcends factors of historical importance or

pedagogical usefulness.

A Likert-type scale was designed where zero indicated the evaluator was not familiar with the work, and a scale of one to five where one indicated strong disagreement, three indicated undecided, and five indicated strong agreement. Ostling determined a sliding scale that was initially based on an 80% score, where each evaluator familiar with a work would have to rate the composition a four or better. He found 314 works to meet these criteria. Garofalo (1980) praised Ostling’s research asserting that his was the first systematic evaluation the quality of wind band literature. He concluded that Ostling’s research was done successfully, and of great value to the profession. Such valuable research has been replicated and modified in subsequent years.

Ostling’s research has been replicated twice. Gilbert (1993) replicated the Ostling study, and of the twenty evaluators used, six of them were evaluators on the original panel. Gilbert’s source list of compositions (N=1,158) included 111 new works composed since the Ostling study.

Gilbert found a total of 192 compositions that met the same criteria benchmark for serious artistic merit, 162 of which were compositions listed in both studies. Clifford Towner replicated the Ostling and Gilbert studies in 2011. Of the eighteen evaluators who agreed to participate, four had participated in the Gilbert replication, two of whom also participated in the original study. Towner added several hundred works to the source list (N=1,680). Results indicated 305 works that met the criteria of serious artistic merit, 89 of which were in both the Ostling and

Gilbert studies. A total of 107 works met the criteria for serious artistic merit in two of the three studies. While these three studies form the basis of artistic merit research, other studies have utilized the methodology and made modifications for different audiences.

Other replications with modifications of the studies regarding serious artistic merit exist.

Some reserach explored different source materials based on similar criteria to the Ostling research. Thomas (1998) used eight of the ten criteria from the Ostling study with slight modifications, eliminating criteria 5 and 7, and replacing them with criteria referring to grade levels and educational benefits. Rhea (1999) produced a similar study, utilizing the Texas state list as source material for the compositions. Rhea used the criteria from the Teaching Music through Performance in Band (1997-2010) series and the methodology and rating scale from the

Ostling study. Kenneth Honas (1996) replicated the methodology and criteria of the Ostling study, but with mixed chamber winds repertoire utilizing six to nine players. Olfert (1992) used the methodology of the Ostling studies with a limited amount of repertoire commissioned by the

American Wind Symphony Orchestra. Other research has been loosely based on the results of the artistic merit studies, but with extensions for other purposes.

A body of scholarship extended the scope of the artistic merit research. Gaines (1996),

Hayward (2004), Peterson (1986) and Howard (2001) took similar approaches in asking band directors at the collegiate, high school, or middle school levels which compositions were most important to learn. While evaluating the programming practices of high school band directors,

Young (1998) attempted to correlate the repertoire lists of renowned educators such as Frank

Battisti, Thomas Dvorak, Richard Miles and H. Robert Reynolds, with the artistic merit studies of Ostling (1978) and Gilbert (1993), and the programming studies of Woike (1990), Negro

(1994) and Gaines (1996). Young created a Repertoire Evaluations Inventory (REI) numeric system where 530 works were determined to contain a notable level of quality. Jones (2005) summarized research over the past fifty years. He discussed methodology and results of Wilson

(1950), Ostling (1978), Gilbert (1993), Woike (1991), Casey (1993), Gelpi (1984), Peterson

(1986), Gaines (1996), and Jones (1997). Jones explained the different approaches that have been taken in analyzing wind band repertoire: Ostling and Gilbert analyzed expert opinion, Woike and

Casey investigated programming at collegiate level, Gelpi and Peterson asserted that band repertoire needs to serve curricular purposes, not just artistic, and Gaines explored core repertoire for high school level bands. The research of Young and Jones suggest other approaches for determining quality in wind repertoire beyond artistic merit.

Programming Research

Another area of research in determining valued wind band literature examined programming practices. Some of the earliest programming research has been done in the book series by Richard Franko Goldman (1938-1961). Since then, numerous studies have been

published regarding the performance and programming practices of college band directors, including Holvik (1966), Hornyak (1985), Battisti (1989), Woike (1990), Hopwood (1998), Kish

(2005), and Powell (2009). Other researchers looked as specific subsets of programming.

Odegard (1955) examined repertoire of bands at his time, and the prominence of certain composers in the medium. Paul Bryan (1972) compared programmed repertoire in the band field to that of the orchestral genre, finding the wind band medium to have programmed more twentieth century works. Hash (2005) looked at the programming practices of Illinois young bands at concert festivals. King (2001) looked at the programming practices of small non- auditioned college ensembles. Moore (2001) examined wind works appropriate to religious contexts in the collegiate setting. Programming research has been limited due to the availability and completeness of submissions across a varied sample of groups. Perhaps another definition of quality literature could include those compositions with published analytical research.

Analytical Research

Another area of scholarship in determining valued wind band literature involved determining which literature has been researched. Ostling (1978) found some early wind band analysis research in some scholarly music journals, including Music and Letters and Musical

Quarterly. Some early examples included Gustav Holst (Cantrick, 1956), the life and work of

Karel Husa (Hartzell, 1976), the wind music of J. C. Bach (Sadie, 1956), and the work of Percy

Grainger (Scott, 1916). With the establishment of the Journal of Band Research in 1964, the wind band field had a dedicated, peer-reviewed publication to promote further scholarship in the genre. Hubert Henderson’s editorial in the first issue (1966) of the Journal outlined its mission:

… [to] invite individuals to submit papers on subjects within four broad categories

related to either the history or the literature of the wind band: 1) analytical discussions of

band music; 2) scholarly biographical studies of composers who have written for the

band; 3) serious considerations of aesthetic matters related to the performance of the

band; and 4) first-hand, factual accounts of outstanding personalities or events within the

domain of the band.

One of the more visible research sources in the wind band field has been the Teaching

Music through Performance in Band series (Miles, 1997-2010). This series offers a standardized format of scholarly articles on selected wind band works. Each research contribution was sorted into nine units:

1) Composer – a basic biography, 2) Composition – a basic overview of the piece and the

historical significance as to how it was written, 3) Historical Perspective – background on

the compositional technique and history of the composer, the piece and/or genre, 4)

Technical Considerations – addressing ranges, difficult passages and other issues that

may challenge a school band player, 5) Stylistic Considerations – Suggesting methods of

performing and rehearsing style[s] of articulation, rhythm and dynamics, 6) Musical

Elements – describes harmonic and melodic, harmonic, rhythmic, and [timbral] elements

in some detail, 7) Form and Structure – outline of the form and architecture, 8) Suggested

Listening – list of similar works, styles and composers, and 9) Additional References and

Resources.

In addition to these sources, a substantial amount of analytical scholarship exists as dissertation and thesis work of conductors in the field. This scholarship has grown immensely since the charge from David Whitwell in 1972, encouraging college band directors to pursue scholarship from a historical perspective, with “intuitive vision, aesthetic logic and didactic

integrity.” The breadth of research is such that it is necessary to find ways to locate and categorize such scholarship.

Bibliographic Research

Summarizing and reviewing analytical research has been an area of scholarship pursued across all music genres. Harold Diamond (1991) defined analysis to include general remarks on style, comparison of sketches, descriptive commentary, record reviews and general remarks and performance notes. He published a resource of music analyses from looking at more than 750 books, including the Master Musician series, the New Oxford History of Music, the Norton music history series, the Penguin surveys of musical genres, the BBC Music Guilds, numerous biographies, more than a hundred periodicals and more than 400 dissertations. The book includes

4,655 entries, arranged by composer, including citations of a general nature, entries regarding genres, and analyses of specific works. Wenk (1992) concluded that Diamond’s work served as a valuable resource and a good example of informative annotations, compete citations and clear layout, for the music world as a whole. Bibliographic research has also been pursued in the wind band genre.

Early bibliographical research was needed in order to disseminate where and how research could be found at a time when finding such was much more difficult than today. Cipolla

(1979) looked at a broad sampling of research in the band field, and included early documented analytical research. The author also explained the difficulty of finding research in keyword databases in 1979 (as well as today), as many titles do not include the composer or specific work being analyzed. In a follow up article, Cipolla (1980) included one important resource to find band research: Bibliography of Masters and Doctoral Dissertations in Music Completed at Texas

Colleges and Universities. While the Cipolla study had a broad focus of band related literature,

Good (1983) published two bibliographic lists that focused on just band repertoire. Good’s resource contained more references to locate repertoire analyses than Cipolla’s research.

Utilizing Cipolla’s study in the Journal of Band Research, Good used the Dissertations and

Abstracts International database (DAI), Band Music Notes by Smith and Stoutamire, The

Instrumentalist, and the School Musician publications, although the latter focused more on performance reviews to locate literature resources for band repertoire analyses. Gary Sousa

(1985) looked at doctoral dissertations analyzing wind band music. Mark Fonder (1998) provided a valuable update to Sousa by including the CBDNA Journal, The Instrumentalist, The

Journal of Band Research, Winds, and the UMI database as resources. Allen (2006) created an updated index of analytical research on wind band pieces similar to Fonder and Sousa. Allen found a wide breadth of research on a large number of wind works. His was a recent study that attempted a comprehensive look at existing wind band repertoire research. The study was limited to specific online database searches, did not utilize print sources, and excluded important journals in the field, such as the WASBE Journal and Winds (published by British Association of

Symphonic Bands and Wind Ensembles). Allen did outline a specific research method for working through relevant databases and his choice of search engines was researched and brought a depth of results. The study provided a starting point for discovering research on specific compositions considered relevant to conductors practicing in the wind band field. Sousa, Fonder, and Allen provided only bibliographic listings of resources for colleagues to find research on wind literature, without any attempt at judging the quality or depth of such research.

Thesis

The literature suggests a need to discover, catalog and describe the research available on works that the profession is beginning to consider as its canon. The purpose of this project is to

identify relevant analytical research on wind band core repertoire. This project seeks to answer the following research questions. 1) How much research is available on compositions that our profession has deemed to be of serious artistic merit? 2) What taxonomy can be developed to analyze the depth of a research article? 3) What type and to what depth are the analyses on each work? 4) What compositions have been inadequately addressed through research?

CHAPTER 3

METHOD

Source Materials: Repertoire of Serious Artistic Merit

Core repertoire, for the purposes of this study, was defined as those compositions deemed to be of serious artistic merit in two of three related studies: Ostling (1978), Gilbert (1993) and

Towner (2011) (N=107). Compositions for wind band that met the criteria of serious artistic merit in the Ostling and Gilbert or Ostling and Towner studies were identified (n=87). An additional twenty compositions were not included in the Ostling study, but met the criteria in both the Towner and Gilbert replications. As suggested by the literature, these compositions were labeled as “Core Repertoire” for nomenclature purposes in this study.

Search Parameters

Based on the research of Allen (2006), a systematic method was designed for identifying relevant analytical research. Allen utilized search terms “wind” and ‘”analysis” to locate reference citations in four online databases: RILM, Music Index, IIMP and DAI (now ProQuest).

He based his methodology on a “Pro-Forma Bibliographic Checklist” used in a music research course at the Ohio State University. The current project seeks to replicate and extend Allen’s research. It uses specific composition titles and/or composers as search terms, and utilizes online and print sources to identify relevant research regarding each individual composition.

Online database engines were selected to provide the broadest spectrum of results.

Databases were initially chosen based on their listings of included journals when referenced to relevant research. Allen (2006) and Bruning (1980) referenced wind band analyses in varied journals, including: Music Educators Journal, Journal of Band Research, The Instrumentalist,

The Musical Quarterly, The School Musician Director and Teacher, Journal of Research in

Music Education, and Music Index. As in the Allen study, ProQuest Database of Dissertations and Theses (formerly DAI) and RILM were again searched. Music Education Search System

(MESS) and Google Scholar were added as recently developed search engines. Worldcat was utilized to provide a broader search base and to include theses, foreign language items and books.

Music Index, IIMP, JSTOR and Academic Search Complete are examples of databases not included for various reasons, including a lack of library subscription (Music Index) and another database offered a broader and more inclusive search parameter (Worldcat over Academic

Search Complete or JSTOR).

Results from other bibliographic and analytical research were used as sources for the compilation. Included were results from peer-reviewed research: the Allen (2006) dissertation, the Fonder (1998) article in the CBDNA Journal, and the old issues of the Journal of Band

Research (available electronically from the University of North Carolina, Greensboro). Print sources were also identified as sources for this research. Included were articles and references from the Teaching Music Through Performance in Band series (Miles, 1997-2010), annotation in

Rodney Winther’s book on chamber music (2004), and two bibliographic source books of analytical research of repertoire: Hoek (2007) and Diamond (1991). Using these resources, relevant research was identified, and bibliographic information was cataloged.

Collecting Data

The citations and associated research were then reviewed to ensure the inclusion of relevant analytical information. Research was included if it was published and contained specific analytical material on the composition. Background material specific to the composition was included as this information could conceivably be used for analysis of the work. Periodicals or

journal articles, book chapters, dissertations, theses, and published annotations were included when they referenced the specific composition. Material was excluded if it was unpublished research, a music review, composer background, manuscript, compact disc liner notes, or collections of program notes. While a majority of the research was available for analysis (70%), some citations were only available as a citation or with a published abstract. Categorization was made with the information available and citations were logged as “Text Available, “Abstract

Only Available” or “Title Only Available.” After initial sorting, unavailable dissertations categorized as Tier One were further investigated via Interlibrary Loan.

Developing a Taxonomy, Classifying Research

The literature contains two sources that have made quality judgments of a large number of analytical resources. Bruning (1980) developed a taxonomy of references regarding a limited number of compositions. Each reference was based on its presentation format and includes the following categories: Conference or meeting reference, music review, composer background, background material, periodical, journal article, dissertation and thesis, manuscript, and interview. Bruning analyzed the quality of each reference, and commented on its accuracy and level of detail. While discerning quality of writing, accuracy or quality of analysis was beyond the scope of this study, a taxonomy was created to categorize the depth of discovered research.

Diamond (1991) annotated 4,655 sources of analytical information, describing the content and level of detail. A percentage of Diamond’s annotations were analyzed for common themes, as a starting point from which taxonomy could be developed to categorize the research found in this project.

As each reference in this project was cataloged, it was sorted based on format and content.

Five categories, or tiers, of treatment were created (Taxonomy is summarized in Appendix G).

1) Tier One research is peer-reviewed and is primary research where the analysis of the composition is the primary or major topic of the research document. Formats may include a doctoral-level dissertation or thesis, or an article in a highly regarded research journal. An assumption was made that a doctoral-level document would provide a more in-depth treatment than that of a Master or undergraduate honors thesis. A highly regarded research journal is defined as a journal most respected in the instrumental conducting and music education fields as determined by a panel of experts with at least a decade of experience (a methodology for determining highly regarded journals follows).

2) Tier Two research is also peer-reviewed and is primary research where the analysis of the composition is the primary or major topic of the research document. Formats distinguish this level from Tier One. Formats may include a master or baccalaureate thesis, or a journal article not labeled as a “highly regarded research journal.” An assumption is made that a master or baccalaureate document may not provide as much in-depth treatment compared to a doctoral dissertation or thesis. Likewise, a journal article published in a journal not as “highly regarded” may not address the topic as completely as those in the most respected journals.

3) Tier Three research may be reviewed and edited, but not necessarily by a panel of experts as would be seen in a peer-reviewed journal or for collegiate thesis research. The analysis of the composition is the primary or major topic of the research document. Formats may include chapters in edited books, entire books, or essays in monographs. Monographs are defined as collections of essays of research that may have been collected from a symposium, conference, or other special occasion.

4) Tier Four research contains peripheral or truncated treatment of the composition. The document may include some analysis, but it is not the primary topic of the research, or it may

include very little analysis, as seen in an annotation or program note. Formats may include sections in books, dissertations or theses, journal articles, or essays in monographs.

5) Sources found in foreign languages were cited and included in the full bibliography, but not included in the statistical analysis due to the difficulty of verifying its content. These citations were labeled “Tier F” in Appendix H. Formats may include sections in books, dissertations or theses, journal articles, or essays in monographs.

After data were collected, journal titles were cataloged and presented to experts for determination as to their status in the field. Participants (N=5) were selected experts in music education and instrumental conducting at a large university in the Southeastern United States.

Each expert was presented with an alphabetical list of journals (n=74) that included the number of citations found in the data collection phase (Appendix A). The panel was then asked to identify which journals they believed to be most respected or “highly regarded” in their field.

Those journals receiving two such indications were labeled as “highly regarded research journal” for the purposes of this study (Table 1). These included CBDNA Journal, The Instrumentalist,

Journal of Band Research, Journal of the Conductors Guild, NACWPI Journal, Studies in Music and the WASBE Journal. A justification was made for The Instrumentalist. Although it was seen as a trade-level journal, it was included due to its disproportionally large number of analytical articles (n=49) relating to this research, and the respected rank of the authors, such as Frederick

Fennell.

Table 1 Summary of Expert Opinions of “Highly Regarded Research Journals” Journal N of Citations N of Votes CBDNA Journal 10 2 Instrumentalist 48 2

Table 1 (continued) Summary of Expert Opinions of “Highly Regarded Research Journals” Journal N of Citations N of Votes Journal of Band Research 51 5 Journal of the Conductors Guild 6 2 NACWPI Journal 1 2 Studies in Music 1 2 WASBE Journal 2 3

Annotating Tier One Research

Citations were analyzed regarding the number of research documents found for each of the given compositions from the perspective of differing sources and formats. Research labeled as Tier One was then reevaluated and annotated in order to provide sumamaries of the most- respected research and to increase the validity and usefulness of this project.

Pilots

Two pilots were performed for this project. The first identified citations for each of the

107 core repertoire compositions from a limited number of sources: the ProQuest search engine, the Allen (2006) dissertation, and the Teaching Music through Performance in Band series.

Keyword search parameters were utilized to locate the greatest number of citations. Allen used limited terms (such as “band and analysis”) to locate a breadth of results. This pilot specifically used search terms identifying the composer and/or key words of the composition title. Results from the pilot indicated a need to look further than Allen’s published research. Additional sources of research were found that were not included in Allen’s study. The pilot also indicated a disparity in the length and depth of various analyses, suggesting a need to develop a taxonomy that could categorize the depth and treatment of a research document.

A second pilot was completed on a portion of the list of compositions (n=10) created by random assignment utilizing a random integer set generator at Random.org. This pilot searched the complete list of database and print sources and attempted to categorize the research based on the example of Harold Diamond (1991). Diamond annotated 4,655 sources of analytical information, describing the content and level of detail. A percentage of Diamond’s annotations were analyzed for common themes, as a starting point from which taxonomy could be developed to categorize the research found in this project. Results of this pilot determined an inadequate taxonomy for categorization. Specifically, finding a method for fairly categorizing quality among such a large breadth of research was difficult to achieve or justify and determined to be beyond the scope of the project. From this determination, the content and format method was developed as taxonomy for this research.

CHAPTER 4

RESULTS

Source Materials: Core Repertoire

The complete list of core repertoire included compositions (N=107) by 57 composers

(Appendix B). Of these, 36 composers each contributed one work, seven composers each contributed two or three works; two composers each contributed four or five works, and three composers each contributed six works (Table 2). The latter composers were Warren Benson,

Karel Husa and Igor Stravinsky. In this case, both versions of Stravinsky’s Symphonies of Wind

Instruments were considered separately.

Table 2 Composer Contributions to Wind Band Core Repertoire Composers Total Compositions N works contributed N % N % 1 36 63% 36 34% 2 7 12% 14 13% 3 7 12% 21 20% 4 2 4% 8 7% 5 2 4% 10 9% 6 3 5% 18 17% Total 57 107

The composition date of each work ranged from 1773 to 1989 (Table 3). Both written in

1773, the earliest works considered to be core repertoire are Mozart’s Divertimento No. 3 in E- flat, K166 and Divertimento No. 4 in B-flat, K186. Most recent works (n=10) considered to be

core repertoire were written in the 1980’s by Leslie Bassett, Warren Benson, Michael Colgrass,

Jacob Druckman, John Harbison, David Maslanka, Gunther Schuller, and Joseph Schwantner.

Table 3 Wind Band Core Repertoire as a Function of Decade and Quarter Century Decade Quarter Century Range N % Range N % 1770‐79 2 2% 1750‐74 2 2% 1780‐89 0 0% 1775‐99 1 1% 1790‐99 1 1% 1800‐24 0 0% 1800‐09 0 0% 1825‐49 3 3% 1810‐19 0 0% 1850‐74 1 1% 1820‐29 1 1% 1875‐99 6 6% 1830‐39 0 0% 1900‐24 20 19% 1840‐49 2 2% 1925‐49 27 25% 1850‐59 1 1% 1950‐74 36 34% 1860‐69 0 0% 1975‐99 14 13% 1870‐79 1 1% 1880‐89 4 4% 1890‐99 1 1% 1900‐09 4 4% 1910‐19 4 4% 1920‐29 17 16% 1930‐39 4 4% 1940‐49 15 14% 1950‐59 11 10% 1960‐69 20 19% 1970‐79 9 8% 1980‐89 10 9%

Summary of Findings

Citations were found referencing analyses of core repertoire (N=963). Twelve different sources were referenced in collecting these data, with varied rates of success (Table 4). The sources revealing data on the fewest compositions include books by Harold Diamond (20%) and

Rodney Winther (25%), along with the Music Education Search System database (27%). The sources revealing data on the most compositions included the Proquest search engine (74%)

Milton Allen’s dissertation (72%), Google Scholar (71%), Worldcat (70%) and RILM (67%).

Table 4 Sources Revealing Data on Wind Band Core Repertoire N of

Source works % ProQuest search engine 78 74% Allen (2006) Dissertation 76 72% Google Scholar search engine 75 71% Worldcat search engine 74 70% RILM (Ebsco) search engine 71 67% Fonder Study (CBDNA Journal) 51 48% Hoek (2007) study 46 43% Teaching Music Through Performance series 41 39% Journal of Band Research back issues 30 28%

References from Teaching Music Through Performance articles 30 28% Music Education Search System search engine 29 27% Winther (2004) reference book 28 26% Diamond (1997) reference book 21 20%

Formats

Analytical research on repertoire appeared in many formats (Table 5). University-based research was found in the form of dissertations or theses. Peer-reviewed journals contained juried articles. Print sources included edited sources in the form of chapters in edited books, essays in monographs (collections of essays of research from a symposium, conference or special occasion), and single-authored sources, such as annotations in books and complete books.

Table 5 Quantity of Citations as a Function of Format N of

Format Citations % University‐based Research 444 46% Peer‐reviewed Journals 255 26% Edited Print Sources (e.g. collections of research) 187 19% Un‐edited Print Sources (e.g. authored) 77 8%

University-based research comprised the largest percentage of core repertoire analysis citations (46%). Of the 444 citations, 301 of them were doctoral level documents and 143 were master or bachelor level documents. These citations were accumulated from one of 121 colleges or universities (Table 6). Overall, two universities have produced more citations and research in this area by a large margin: Florida State University (n=39) and University of Cincinnati (n=31).

Appendix C contains an alphabetical listing of every university producing research found in the study.

Table 6 Quantity of University‐based Research Citations as a Function of School (>8 citations) (>9 citations) Non‐ School Doctoral Doctoral Total Florida State 35 4 39 Cincinnati 31 0 31 Texas 16 1 17 Arizona 15 0 15 Kansas State 0 12 12 Ball State 8 3 11 Illinois 11 0 11 Ohio State 10 1 11 Rochester 8 3 11 Florida 10 0 10 Washington 9 1 10

North Carolina, 9 0 9 Greensboro

Citations from journal articles comprised the next largest percentage of core repertoire analytical research (27%). With 255 citations, articles were found among 74 journals. Sources with the most citations include the Journal of Band Research (n=51) and The Instrumentalist

(n=48). Appendix A contains a complete alphabetical listing of journals publishing research that were included in this study.

Print sources were categorized by their authorship: Edited and single-authored research

(Appendix D). Edited books and monographs comprised 19% of the core repertoire analytical research citations (n=185). Monographs made up the minority (n=42), many from sources outside the United States. The remaining citations (n=143) appeared in the form of chapter

contributions to edited books (Table 7), where the Teaching Music for Performance series authored the most citations (n=69).

Table 7 Quantity of Edited‐source Research Citations (>1 citation) Source N Miles, R. (Ed.) (1997‐2012) Teaching Music Through Performance in Band (Vol. 1‐9). 69 Chicago, GIA Publications. Votta, M. (Ed.) (2003). The Wind Band and Its Repertoire. Warner Brothers 8 Publications. Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith Music 6 Publications. Neidig, K. L. (ed.) (2009). Performance‐Study Guides of Essential Works for Band. 6 Galesville, MD: Meredith Music Publications. Rapp, W. (2005). The wind band masterworks of Holst, Vaughan Williams, and 6 Grainger. Galesville, MD: Meredith Music Publications. Salzman, T. (Ed.) (2003‐2012). A composer's insight: Thoughts, analysis, and 6

commentary on contemporary masterpieces for wind band (Vol. 1‐5). Galesville, MD, Meredith Music. Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band. 3 Galesville, MD: Meredith Music Publications. Fennell, F. (1980). Basic band repertory: British band classics from the conductor's 3 point of view. Evanston, IL: The Instrumentalist. Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive 3 conducting. Silver Spring, MD: Whirlwind Music. Vester, F. & Koenig, R. (1999). W.A. Mozart: On the performance of the works for 3

wind instruments—concertos, divertimentos, serenades, chamber music. Amsterdam, Netherlands: Broekmans en Van Poppel. Hinton, E. L. (2008). Conducting the wind orchestra: Meaning, gesture, and 2 expressive potential. Amherst, NY: Cambria Press. Mitchell, J. C. (2008). Ralph Vaughan Williams' wind works. Galesville, MD: 2 Meredith Music Publications. White, E. W. (1966). Stravinsky: The composer and his works. Berkeley: University 2 of California Press.

Single-authored research was found in the form of complete books dedicated to a single topic (n=12) and books containing annotations of a collection of repertoire (n=12). The greatest proportion of citations in this category (Table 8) were found in Rodney Winther’s An Annotated

Guide to Wind Chamber Music for Six to Eighteen Players (n=25) and Chad Nicholson’s Guide to the Top One Hundred Works in Grades IV, V, VI (n=26).

Table 8 Quantity of Annotation‐level Research Citations (>1 citation) Source N Nicholson, C. (2009). Guide to the top one hundred works in grades IV, V, and VI. 26 Galesville, MD: Meredith Music Publications. Winther, R. (2004). An annotated guide to wind chamber music (p. 264). Miami, FL: 25 Warner Bros. Publications. Green J. D. (2008). A conductor's guide to nineteenth‐century choral‐orchestral 2 works. Lanham, MD: Scarecrow Press.

Some citations discovered in the course of this research were found to be unavailable to the researcher. For example, the RILM database provides citations and abstracts, and the

Worldcat database provides only citations and a short description of the material. Of the 963 citations found, 674 were available for review (70%). Of the various formats (Table 9), dissertations were found to be the most available (95%), and monographs were the least available (0%).

Table 9 Quantity of Available Citations as a Function of Format N N Format Citations Available Percentage Dissertation 301 286 95%

Table 9 (continued) Quantity of Available Citations as a Function of Format N N Format Citations Available Percentage Annotation 65 54 83% Journal 255 200 78% Chapter 143 103 72% Book 12 3 25% Thesis 143 26 18% Monograph 42 0 0% Totals 961 672 70%

Citations ranged in publication year from 1938 to 2012. The oldest citation was an article in the Musical Quarterly about Anton Bruckner’s compositional process. By grouping the data by decade, they were analyzed in reference to their format (Table 10). While dissertations, journal articles and monographs show a steady increase in incidents of publication through time, print sources (in the forms of annotations, entire books and book chapters) have shown a large increase in the recent past. Thesis publications remained fairly steady in their appearance over the last four decades.

Table 10 Quantity of Citations as a Function of Decade and Format Decade Format 1940 1950 1960 1970 1980 1990 2000 2010 Annotation 0 0 3 4 2 1 55 0 Book 0 0 1 0 1 4 4 2 Chapter 0 1 3 6 9 46 50 27 Dissertation 0 8 18 44 66 60 88 16

Table 10 (continued) Quantity of Citations as a Function of Decade and Format Decade Format 1940 1950 1960 1970 1980 1990 2000 2010 Journal 0 3 22 49 64 58 44 8 Monograph 0 0 1 5 6 14 13 3 Thesis 2 5 15 26 31 31 27 4 TOTALS 2 17 63 134 180 214 282 60 Notes: Decade indications are as follows: 1950 = 1950‐1959. The decade 2010 only includes information for 2010 through 2012. The decade 1930 only included one citation (1938) and is not indicated here.

Tier Classifications

Core repertoire analytical research was categorized into one of five categories or “Tiers”

(Table 11). A priori, citations referring to documents in languages other than English were separated from further analysis (n=94) and labeled “Tier F”. Tier four research (truncated or peripheral topics) included the greatest portion of citations (n=297). Tier three research (edited books, chapters, non-“highly regarded” journals) included the fewest number of citations

(n=126).

Table 11 Quantity of Citations as a Function of Tier N of

Source Citations % Tier 1 258 27% Tier 2 186 19% Tier 3 126 13% Tier 5 297 31% Tier F (Citations in language other than English) 94 10%

Some research was not available for review (Table 12). Tier one research was the most available with (94%) and foreign language documents were the least available (17%).

Table 12 Quantity of Available Citations as a Function of Tier Category N N Tier Citations Available % 1 258 243 94% 2 186 84 45% 3 126 94 75% 4 297 235 79% Foreign Language 94 16 17% TOTALS 961 672 70%

Citations ranged in publication year from 1938 to 2012. After grouping the data by decade, the data were analyzed in reference to their tier classification (Table 13). Overall, the data indicated a greater number of citations throughout time. The data indicated tier one and foreign language citations to show steady increases over time, while tier three and four citations showed a spike in publication in recent years. Tier two citations remained fairly level over the past four decades.

Table 13 Quantity of Citations as a Function of Decade and Tier Category Decade Tier 1940 1950 1960 1970 1980 1990 2000 2010 1 0 8 22 44 74 46 52 12 2 2 7 14 36 43 38 35 5 3 0 0 3 3 7 46 39 28

Table 13 (continued) Quantity of Citations as a Function of Decade and Tier Category Decade Tier 1940 1950 1960 1970 1980 1990 2000 2010 4 0 1 21 39 37 62 128 10 Foreign 0 1 3 12 19 22 28 5 TOTALS 2 17 63 134 180 214 282 60

Notes: Decade indications are as follows: 1950 = 1950‐1959. The decade 2010 only includes information for 2010 through 2012. The decade 1930 only included one citation (1938) and is not indicated here.

Composers and Compositions

Core repertoire (N=107) were written by 57 composers. Some composers and compositions are researched more than others. Appendix E contains a complete alphabetical listing of citation quantity per composer. With 153 citations, Igor Stravinsky is the most researched composer. Research of twelve additional composers each included greater than 20 citations (Table 14). A few composers (n=5) have only one citation associated with their name and composition. These include Michael Tippett, Henk Badings, Emile Bernard, Henry Brant and Bernard Gilmore.

Table 14 Quantity of Citations as a Function of Composer and Tier Category (>20 citations) Tier Composer 1 2 3 4 F Total Stravinsky, Igor 29 53 8 37 26 153 Varese, Edgard 15 20 2 18 18 73 Grainger, Percy 20 7 8 21 0 56 Holst, Gustav 12 9 13 17 1 52

Table 14 (continued) Quantity of Citations as a Function of Composer and Tier Category (>20 citations) Tier Composer 1 2 3 4 F Total Persichetti, Vincent 9 16 10 16 0 51 Husa, Karel 15 11 6 9 1 42 Messiaen, Olivier 6 10 4 8 9 37 Benson, Warren 14 0 4 18 0 36 Hindemith, Paul 13 4 3 11 5 36 Schuman, William 10 6 8 4 0 28 Vaughan Williams, 6 7 7 5 0 25 Weill, Kurt 4 5 2 7 6 24 Honegger, Arthur 1 7 1 6 6 21

When focusing on just Tier One analytical research, research on Stravinsky’s compositions still garnered the most citations (n=29). Research of eleven additional composers each included greater than 7 citations (Table 15). Nine composers have no Tier One wind band research: Emile

Bernard, Johannes Brahms, Charles Gounod, Nikolai Lopatnikoff, Gustav Mahler, Willem van

Otterloo, Francis Poulenc, Joaquin Rodrigo and Michael Tippett.

Table 15 Quantity of Tier One Citations as a Function of Composer (>7 citations) Composer Tier 1 Citations Stravinsky, Igor 29 Grainger, Percy 20 Husa, Karel 15

Table 15 (continued) Quantity of Tier One Citations as a Function of Composer (>7 citations) Composer Tier 1 Citations Varese, Edgard 15 Benson, Warren 14 Hindemith, Paul 13 Holst, Gustav 12 Schuman, William 10 Persichetti, Vincent 9 Schoenberg, Arnold 8 Schwantner, Joseph 8

A similar disparity appears in the amount of research dedicated to individual compositions. Appendix F contains a complete alphabetical listing of citation quantity per composition. The most citations found for one composition (n=60) referenced Igor Stravinsky’s

Symphony of Psalms. Research of eight additional compositions each included greater than 20 citations (Table 16). One work lacked any analytical research as defined by this study: Leslie

Bassett’s Concerto Grosso.

Table 16 Quantity of Citations as a Function of Composition and Tier (>20 citations) Tier Composer Composition 1 2 3 4 F Total Stravinsky, Igor Symphony of Psalms 6 24 3 20 7 60 Varese, Edgard Integrales 7 8 1 9 10 35 Stravinsky, Igor Symphonies of Wind 9 5 4 8 6 32 Instruments (orig/Rev)

Table 16 (continued) Quantity of Citations as a Function of Composition and Tier (>20 citations) Tier Composer Composition 1 2 3 4 F Total Stravinsky, Igor Mass for Chorus and Double 4 15 0 2 9 30 Wind Quintet Persichetti, Symphony No. 6, Op. 69 7 8 4 10 0 29 Vincent Holst, Gustav Suite No. 1 in E‐flat 5 8 5 8 0 26 Grainger, Percy Lincolnshire Posy 11 4 3 7 0 25 Hindemith, Symphony in B‐flat 9 3 2 7 1 22 Paul Honegger, Arthur Le Roi David 1 7 1 6 6 21 (17, soloists, chorus)

Analytical research on individual compositions was also categorized into Tiers. Research refering to Percy Grainger’s Lincolnshire Posy gnered the most citations (n=11). Research of eight additional compositions each included greater than five Tier One citations (Table 17).

Table 17 Quantity of Tier One Citations as a Function of Composition (>5 citations) Tier 1 Composer Composition Citations

Grainger, Percy Lincolnshire Posy 11 Hindemith, Paul Symphony in B‐flat 9 Stravinsky, Igor Symphonies of Wind Instruments (original & 9 revised editions)

Schoenberg, Arnold Theme and Variations, Op. 43a 8 Stravinsky, Igor Concerto for Piano and Wind Instruments 8 Persichetti, Vincent Symphony No. 6, Op. 69 7 Varese, Edgard Integrales 7 Schuman, William New England Triptych 6 Stravinsky, Igor Symphony of Psalms 6

There are twenty compositions with no citations classified as Tier One research (Table 18).

Table 18 Core Repertoire without Tier One Research Composer Composition Bassett, Leslie Concerto Grosso (brass quintet, wind ensemble & percussion) Benson, Warren Concertino (alto sax and wind ensemble) Benson, Warren The Solitary Dancer Bernard, Emile Divertissement pour Instruments a Vent op. 36 Brahms, Johannes Begrabnisgesang, Op. 13 (choir, woodwinds and brass) Copland, Aaron An Outdoor Overture Gounod, Charles Petite Symphonie in B‐flat, "Little Symphony for Winds" (octet and flute) Hindemith, Paul Geschwindmarsch from Symphony Serena Husa, Karel Apotheosis of this Earth Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 41 Mahler, Gustav "Um Mitternacht" from Aus den Ruckert Lieder Messiaen, Olivier Oiseaux Exotiques (piano and wind orchestra) Persichetti, Vincent Masquerade for Band, Op. 102 Poulenc, Francis Suite Francaise (2 harps & 9 winds) Rodrigo, Joaquin Adagio Schmitt, Florent Lied et Scherzo, op. 54 (horn and wind ensemble) Schuller, Gunther Symphony for Brass and Percussion Tippett, Michael Concerto for Orchestra ‐ Mosaic Van Otterloo, Willem Symphonietta for Woodwinds

CHAPTER 5

DISCUSSION

Purpose and Results Summary

The purpose of this project was to identify relevant analytical research on wind band core repertoire. This project sought to answer the following research questions. 1) How much research is available on compositions that our profession has deemed to be of serious artistic merit? 2) What taxonomy can be developed to analyze the depth of a research article? 3) What type and to what depth are the analyses on each work? 4) What compositions have been inadequately addressed through research?

The data indicated a continuing and growing body of analytical literature regarding compositions for wind ensemble. Almost 1,000 citations mention one of 107 works considered as core repertoire. Research appeared in many forms and varying depths, suggesting the need to develop a taxonomy based on format and content. While format primarily determined the classification of research into one of five tiers, the data suggested that content be considered to classify such research directly or peripherally related to a composition. A priori, research discovered in languages other than English were separated as such. Tier one represents peer- reviewed research that is published at the highest respected version of its format (journals or university research). Tier two represents less-established versions of such peer-reviewed research.

Tier three represents non-peer-reviewed research, which may or may not be edited by respected members of the community. Tier four represents research that is peripherally related to the composition, but may appear in any format. Utilizing these four categories, research can then be cataloged and reviewed in regard to each composition.

Based on the tiered taxonomy, it is possible to analyze the depth of research for each work and across the breadth of the core repertoire (Figure 1). While Tier four citations (truncated or peripheral treatment of the composition) are categorically the largest proportion of the research (31%), the next most substantial category (tier one) represents the most respected and in-depth analyses (27%). Over one-fourth of research in the field has been published in the most respected format: doctoral dissertations or top-tier journals.

Figure 1: Percentage of Citations as a Function of Tiers

The amount of analytical research on each composition ranges from nothing at all

(Bassett’s Concerto Grosso) to a substantial amount of literature (n=60) mentioning one work

(Stravinsky’s Symphony of Psalms). There exists a notable percentage (19%) of core repertoire without any Tier One analysis.

General Discussion

There are many ways to identify analytical research on wind repertoire. In order to achieve the most success, the data suggested referencing Allen’s (2006) dissertation, and the

Google Scholar, Worldcat and RILM search engines. Each source identified some research in over half of the referenced compositions. However, the process of this research revealed the usefulness of looking at other sources not linked to such search engines, such as the Teaching

Music Through Performance series and the Journal of Band Research. Both references contained a notable amount of research in one location. The former is more accessible to a larger audience and the latter is a highly regarded research journal. Rodney Winther’s book of chamber music annotations should also be noted, as it has included all of the core repertoire compositions that met his inclusion criteria (6-18 players). From these and other sources, a substantial amount of research exists and is authored by those in the wind band profession.

Authorship

Examining the extensive research on wind band music, data regarding authorship provides evidence for a commitment to continued scholarship in the field. As the genre of artistic wind music has developed through the college wind band tradition, the greatest proportion of research is completed by students at such institutions, through the encouragement of their professors. Likewise, the wind band conducting community authors the large body of journal- published research. A notable addition is seen in those works that cross the traditional boundaries of the wind band genre. Soloists or vocalists will often author research on such repertoire. While university-based authorship provides the single largest base for wind scholarship in journals, dissertation and thesis documents, additional publication formats provide another source for analytical scholarship.

Print Sources

Edited books and book series have made analytical research available to the wider population of wind conductors, especially outside of higher education. While not considered as

in-depth as highly regarded journals or university research, these sources have highlighted compositions that may otherwise be lost to the world. Richard Miles’ (Ed.) Teaching Music through Performance in Band series, Rodney Winther’s An Annotated Guide to Chamber Music and Chad Nicholson’s Guide to the Top One Hundred Works in Grades IV, V, VI are three sources that together exhibit 120 citations of wind band core repertoire analytical research. Print sources, journal articles and university-authored research suggest format to be one legitimate category for developing taxonomy regarding such analytical research.

Taxonomy

Cataloging the breadth of repertoire research is critical to sorting relevant scholarship.

The taxonomy’s five categories enabled research to be sorted by empirical means (Appendix E).

Format first enabled the separation of peer-reviewed (Tier one and two) and non-peer-reviewed

(Tier three) research. Further categorization could be made where a level of respect for some research necessitated a second delineation for peer-reviewed documents (Tier one versus Tier two). Delineation was also needed in examining the content of each published article: deciphering peripheral or truncated treatments (Tier four) from primary treatments of the composition (Tier one, two or three). Many citations referenced annotations or utilized the composition as a means to another topic, and were categorized as such (Tier four). Foreign language articles were separated from analysis a priori (Tier F). The categories not only allow for analyzing the depth of research on a composition, but also for the performer looking for varied depth of analysis of a particular work. Detailed analysis of citation quantity and category as related to the compositions and composers may provide information for students and research supervisors regarding gaps in the literature.

Composers

There is a disparity in the amount of analytical research regarding each composer. Some of the 57 referenced composers are well-researched in the literature. Stravinsky stands out in particular. His works are mentioned in 153 citations, 29 of which are considered to be Tier one.

Other well-researched composers include Edgard Varèse, Percy Grainger, Gustav Holst, Vincent

Persichetti, Karel Husa, Olivier Messiaen, Warren Benson, Paul Hindemith and William

Schuman (Table 12, p. 40). While every composer is mentioned at least once in the literature, several composers are listed with just the one citation: Henk Badings, Emile Bernard, Henry

Brant, Bernard Gilmore and Michael Tippett. When focusing on Tier one research, there are nine composers without such analytical research associated with their wind-specific works. This indicates that only a passing or annotated reference exist for core repertoire works of these composers. This discussion must also take into account that the 57 composers did not contribute equally to the list of core repertoire. When analyzing the data in reference to the number of works each composer contributed, the data indicate a sizeable range of citations per piece. The works of Stravinsky still collect the most references, averaging 25.5 citations per compositions.

However, nearly a fourth of the composers have less than three citations per composition. When looking at Tier one research, half of the compositions have less than two such citations per piece.

More detailed observation of these data include a look at the research for each individual work in the core repertoire.

Compositions

The depth and treatment of core repertoire analytical research crosses a broad spectrum.

Appendix F includes a complete listing of citations found for core repertoire, with annotations for each Tier one reference. By far, the most researched piece of literature is Igor Stravinsky’s

Symphony of Psalms, with 60 separate citations referencing the work. It does not, however, include the most Tier one citations for one work. That honor goes to Percy Grainger’s

Lincolnshire Posy, making this the most in-depth researched work of the wind band core repertoire. On the opposite side of the spectrum, no citations were found for Leslie Bassett’s

Concerto Grosso. Perhaps, this indicates the first piece that should be addressed by future research. Along such lines, 20% of the core repertoire have only been researched two or fewer times. Similarly, there are twenty pieces (19%) that have not been researched at the Tier one level. This evidence provides both hope and concern regarding literature this profession values as the highest artistic caliber.

Relationship to Literature

The literature asserts that the inception of the Eastman Wind Ensemble was a monumental event in the development of repertoire for the wind band medium (Vagner, 1970;

Hunsberger, 1972 & Billingsley, 1975). Data retrieved from the Towner (2011) may confirm this theory. Of the 107 compositions selected as core repertoire for this study, 50 were composed during the 39 year period between 1950 and 1989 (Figure 1). However, the data also shows a substantial bulk of repertoire composed in the first half of the twentieth century (n=47).

Figure 2: Quantity of Core Repertoire as a Function of Quarter Century

David Whitwell (1972) charged college band directors to pursue scholarship from a

“historical perspective, intuitive vision, aesthetic logic and didactic integrity.” Whether this charge was the cause or an indication of changing attitudes within the profession, the data indicates continued growth in analytical research throughout the last 70 years (Figure 3).

Figure 3: Quantity of Citations as a Function of Decade

Perhaps the profession as a whole has embraced this charge in order to meet Frederick

Fennell’s 1979 concern regarding the study of quality literature: “With the exception of a few recordings and an occasional article, the bulk of thought on the performance of the band’s literature has been spoken from podiums by inspired conductors through the years … and is now totally lost to the profession as a whole, remaining only in the fond--but often dim memories of those who had the good fortune to be present” (p. 29).

Further data examination in terms of the taxonomy indicates a shift in how such research is published. Format and content core repertoire research has shifted in the last twenty years. Tier one and Tier two research (journals and university research) peaked in the 1980’s and has fallen

as the publication of books (collections of analytical research and annotations) has increased

(Figure 4). A possible explanation for this trend may be a reflection of the composition dates, as the most recent work considered core repertoire was published in 1989.

Figure 4: Quantity of Citations as a Function of Tier and Decade

Lack of research on certain pieces could be due to lack of performances and/or lack of access to scores and parts. In Garafolo’s review (1980) of Ostling’s 1978 study, he mentioned that over a third of the compositions was available only for rental, were out of print and/or only in manuscript form at universities.

Limitations

The results of this research should be taken with caution as several limiting factors may affect the outcome. This project was limited to 107 works defined as core repertoire. Towner

(2011) identified an additional list of compositions just below the cutoff for serious artistic merit as works that may deserve further consideration. The scope of this project necessitated searching a limited number of research databases search engines and print sources. While efforts were

made to search with broad parameters, some sources were not searched a priori, such as compact disc liner notes, unpublished sources, compilations of program notes, and composer biographies.

Database key word searching and foreign language spellings may have prevented the identification and inclusion of some scholarship, both in English and internationally.

During the course of the data collection, some sources were reprinted in similar or different formats. Selected articles in the CBDNA Journal were reprinted in The Wind Band and

Its Repertoire, edited by Michael Votta. Some articles in The Instrumentalist were reprinted later in the same journal, and again in a separate book published by the company. The first volume of the Teaching Music Through Performance in Band series was recently published in a second edition, where articles were expanded and attributed to their authors. These reprints were labeled as such, but were treated as separate citations in the course of data analysis, which may have affected the findings.

Other limitations to be considered involve the development of the taxonomy. Primarily, the taxonomy was not designed to make value judgments on the quality of research. Secondly, assumptions were made that in university-based research, doctoral-level documents were more in-depth and comprehensive than that of master- or baccalaureate-level publications. Similarly, journal research was classified into two categories. While experts in the field determined a journal’s category, there was a limited sample size and a limited area of expertise in determining which journals should be included as “highly regarded research journals.” Additionally, an assumption was made that peer-reviewed research is valued differently than edited print publications. Due to the availability of print sources for some audiences, especially those outside of higher education, this assumption may not hold true. Limiting foreign language documents a

priori may have confounded the results. Such documents may represent valuable contributions to the body of research not considered here.

Categorization may also have been clouded by lack of access to complete research documents. While efforts were made to locate and refer to the entirety of a research document, documents could not be located for 30% of the citations found in this research. In such cases, the included abstract or title of the research may have been inadequate to accurately categorize such documents.

Implications for Practice

Several implications have been revealed over the course of this research. While the breadth of research has shown a commitment by the profession to documenting and understanding the repertoire it values, it also indicates possible continuity gaps in how the profession has approached such research. These data may provide a resource for conductors and researchers, an empirically-based taxonomy for classifying and understanding existing research, a source of information guiding future research, and a call to make current research more available to the entire profession of wind band conductors.

Resource

The results of this project include a categorized and annotated resource for locating and discussing relevant research regarding the wind band repertoire that is considered to be of the highest artistic value. This resource may be of value to professors in the field not only as a resource for identifying and utilizing such resource, but as a source for directing their students to pursue future analytical or bibliographic research.

Taxonomy

The provided taxonomy may be used to help categorize research in other genres, including the choral and orchestral fields. The results of the categorizations may help wind conductors locate and utilize relevant literature to program or to study. Additionally, with this addition to the body of research as to what is artistically meritorious band music, perhaps it will introduce unknown compositions by way of access to the research, and encourage future performances of wind works of the highest artistic value.

Future Research

The data also provides empirical evidence as to where additional research can be focused to address those compositions that the wind band profession holds in such a high regard. While there is a growing body of research dedicated to the understanding and performance of wind repertoire, the data indicate a noteworthy gap. These data provide a starting point for directing future analytical research that does not reiterate extant literature, but contributes to understanding the literature the profession holds most worthy.

Availability

The availability statistics indicate a substantial problem in accessing credible research.

This presents two challenges for the profession. First, for those in the collegiate-level system, with access to the databases and sources used in this research, access will be approximately the same as found in this document. However, the lack of ready access to master-level theses (18% of such documents were available) is of particular concern. Many of these may be available via

Interlibrary Loan, however, the acquisition of these documents is not close to the level of access for doctoral-level research. Additionally, older issues of the Journal of Band Research are not linked to any standard database search engine, which requires purchase of the .pdf archives both

to search and read articles. This lack of inclusion limits the accessibility of a large portion of important research in this field. Similarly, while The Instrumentalist is included in database searches, yet online versions of these articles do not exist. These date suggest a second challenge to the profession regarding a lack of accessibility to wind conductors outside of the university system. Recent publication of books on analytical research have made a significant contribution to disseminating information to the profession as a whole. Howeve, a majority of research identified in this document is restricted to databases requiring subscriptions or held in collegiate library collections. This is especially true for Tier one research in the form of doctoral-level dissertations. The average high school band director has access to very little of this research.

Suggestions for Future Research

Addressing a large body of repertoire in any fashion necessitates limitations. Future research in this area could include those compositions that came close to being considered of serious artistic merit in the combination of the Towner, Gilbert and Ostling studies. Such research could not only refine the categorization techniques used in this study, but also provide a larger breadth of information regarding other important compositions to the profession.

Future research could explore additional database search engines, composer biographies, performance reviews, compact disc liner notes and collections of program notes. Harold

Diamond (1991) categorized research on orchestral literature as to general remarks on style, comparison of sketches, descriptive commentary, record reviews and general remarks, and performance notes. Research on the biography and compositional style of each of the 57 composers could be included as an addendum to such a study. Such research could also annotate all the references included in this and future studies, providing a more comprehensive resource in locating relevant research.

Additional research could also cross reference the three current forms of repertoire research; artistic merit, programming, and analytical. The list of works from the Towner study could compare the results of this line of inquiry with results of research detailing programming history at the collegiate wind band level to shed light on the subject of defining a standard repertoire for the genre.

Conclusion

The amount of analytical research that has been completed over the past eighty years on works that the wind band profession considers to be of the highest caliber is substantial. There is a noteworthy amount of care, preparation and discussion on pieces considered be the profession’s core repertoire. Such research can be cataloged and sorted to better understand the depth and breadth of the field of study. Data have shown both a plethora of research on some composers and compositions, and a stark lack of interest for others. This project has attempted to further develop a line of research that will encourage and aid supervising professors and their doctoral students to fill gaps in the extant scholarship.

APPENDIX A

JOURNALS PUBLISHING ANALYTICAL RESEARCH OF CORE REPERTOIRE

Table 19 Journals Publishing Analytical Research of Core Repertoire Journals Language # Citations Highly Regarded Acta Musicologica F 1 Acustica E 1 Amor E 1 Analyse Musicale F 2 Archiv Fur Musikwissenschaft F 5 Australasian Music Research E 1 Band E 2 BDGuide E 8 Canadian Winds F 2 CBDNA Journal E 10 Chant Choral E 1 Choir Magazine F 1 Choral Journal E 4 Chord and Dischord E 1 College Music Symposium E 1 Contemporary Music Review E 1 Danish Yearbook For Music Research F 1 Dutch Journal of Music Theory F 1 Ex Tempore E 2 Gregoriusblad F 1 Hamburger Jahrbuch fur Musikwissenschaft F 1 Hindemith‐Jahrbuch/Annales Hindemith F 1 In Theory Only E 3 Instrumentalist E 48 International Jazz Archives Journal E 1 International Review Of The Aesthetics And E 1 Sociology Of Music Iskusstvo i Obrazovanie F 1 Journal of Band Research E 51 Journal of Music Theory E 1 Journal of the Conductors Guild E 6 Kurt Weill Newsletter E 1

Table 19 Journals Publishing Analytical Research of Core Repertoire Journals Language # Citations Highly Regarded L'education Musicale F 1

Table 19 (continued) Journals Publishing Analytical Research of Core Repertoire Journals Language # Citations Highly Regarded Magazine for Music Theory E 1 Melos F 3 Miscellanea Musicologica E 2 Mitteilungen der Paul Sacher Stiftung F 2 Music Analysis E 2 Music and Korea F 1 Music Educators Journal E 3 Music Review E 5 Music Teacher E 2 Music Theory Pedagogy E 1 Music Theory Spectrum E 4 Musical Quarterly E 6 Musical Times E 3 Musicale Suisse F 2 Musik & Bildung F 1 Musik und Kirche F 4 Musurgia F 2 Muzyka F 1 NACWPI Journal E 1 Nassarre F 1 Neue Zeitschrift fur Musik F 3 Osterreichische Musikzeitscrift F 1 Peabody Essays in Music History E 1 Percussionist E 1 Perspectives of New Music E 10 Revue De Musicologie F 1 Schweizerische Musikzeitung F 1 Sonorum Speculum E 1 Sonus E 1 South African Journal of Art History E 1 Sovetskaâ Muzyka F 1

Table 19 (continued) Journals Publishing Analytical Research of Core Repertoire Journals Language # Citations Highly Regarded Studia Musicologica F 3 Studies in Music E 1 Tempo E 4 The Grainger Society Journal E 1 Theory and Practice E 2 Transfiguration E 1 Violin Society E 1 WASBE Journal E 2 Winds E 5 Winds Quarterly E 2 Yueqi F 1 Note: “E” indicates a publication in English. “F” indicated a publication in a language other than English

APPENDIX B

CORE REPERTOIRE: ALPHABETICAL LIST BY COMPOSER

Table 20 Core Repertoire: Alphabetical List by Composer Composer Composition Amram, David King Lear Variations Badings, Henk Concerto for Flute and Wind Symphony Bassett, Leslie Concerto Grosso (brass quintet, wind ensemble and percussion) Bassett, Leslie Designs, Images and Textures Bassett, Leslie Sounds, Shapes and Symbols Bennett, Robert Russell Suite of Old American Dances Benson, Warren Concertino (alto saxophone and wind ensemble) Benson, Warren Symphony for Drums and Wind Ensemble Benson, Warren Symphony II, Lost Songs Benson, Warren The Leaves are Falling Benson, Warren The Passing Bell Benson, Warren The Solitary Dancer Berg, Alban Chamber Concerto, Op. 8 (piano, violin and 13 winds) Berlioz, Hector Symphonie Funebre et Triomphale Bernard, Emile Divertissement pour Instruments a Vent op. 36 Brahms, Johannes Begrabnisgesang, Op. 13 (choir, woodwinds and brass) Brant, Henry Angels and Devils (flute choir) Bruckner, Anton Mass No. 2 in E Minor Colgrass, Michael déjà vu (4 percussion soloists and wind ensemble) Colgrass, Michael Winds of Nagual Copland, Aaron An Outdoor Overture Copland, Aaron Emblems Corigliano, John Gazebo Dances Dahl, Ingolf Concerto for Alto Saxophone and Wind Ensemble Dahl, Ingolf Sinfonietta for Band Dello Joio, Norman Variants on a Medieval Tune Druckman, Jacob Engram from Prism Dvorak, Antonin Serenade in D minor, Op. 44

Etler, Alvin Concerto for Clarinet and Chamber Ensemble

Table 20 (continued) Core Repertoire: Alphabetical List by Composer Composer Composition Gilmore, Bernard Five Folk Songs for Soprano and Band Gould, Morton Symphony No. 4 (West Point Symphony) Gounod, Charles Petite Symphonie in B‐flat Grainger, Percy Colonial Song Grainger, Percy Hill Song No. 1 (14 instruments) Grainger, Percy Hill song No. 2 Grainger, Percy Irish Tune from County Derry Grainger, Percy Lincolnshire Posy Hahn, Reynaldo Le Bal de Beatrice d'Este Harbison, John Music for 18 Winds Hindemith, Paul Concerto for Organ and Wind Instruments Hindemith, Paul Geschwindmarsch from Symphony Serena Hindemith, Paul Konzertmusik, Op. 41 Hindemith, Paul Symphony in B‐flat Holst, Gustav Hammersmith, op. 52 Holst, Gustav Suite No. 1 in E‐flat Holst, Gustav Suite No. 2 in F Honegger, Arthur Le Roi David Husa, Karel An American Te Deum (voice, choir and band) Husa, Karel Apotheosis of this Earth Husa, Karel Concerto for Alto Saxophone and Concert Band Husa, Karel Concerto for Percussion and Wind Ensemble Husa, Karel Concerto for Trumpet and Wind Ensemble Husa, Karel Music for Prague 1968 Jacob, Gordon William Byrd Suite Kurka, Robert The Good Soldier Schweik Suite, Op. 22 Lopatnikoff, Nikolai Concerto for Wind Orchestra, Op. 41 Mahler, Gustav "Um Mitternacht" from Aus den Ruckert Lieder Maslanka, David A Child's Garden of Dreams Mendelssohn, Felix Ouverture fur Harmoniemusik, Op. 24 Messiaen, Olivier Colors of the Celestial City Messiaen, Olivier Oiseaux Exotiques (piano and wind orchestra) Messiaen, Olivier Resurrectionem Mortuorum Milhaud, Darius Suite Francaise, Op. 248

Table 20 (continued) Core Repertoire: Alphabetical List by Composer Composer Composition Mozart, Wolfgang Divertimento No. 3 in E‐flat, K166 Mozart, Wolfgang Divertimento No. 4 in B‐flat, K186 Mozart, Wolfgang Serenade No. 10 in B‐flat K361 Penderecki, Krzystztof Pittsburgh Overture Persichetti, Vincent Divertimento for Band, Op. 42 Persichetti, Vincent Masquerade for Band, Op. 102 Persichetti, Vincent Symphony No. 6, Op. 69 Poulenc, Francis Suite Francaise (2 harps and 9 winds) Reed, H. Owen La Fiesta Mexicana Reynolds, Verne Scenes Rodrigo, Joaquin Adagio Schmitt, Florent Dionysiaques, Op. 62 Schmitt, Florent Lied et Scherzo, op. 54 (horn and wind ensemble) Schoenberg, Arnold Theme and Variations, Op. 43a Schuller, Gunther On Winged Flight: A Divertimento for Band Schuller, Gunther Symphony for Brass and Percussion Schuller, Gunther Symphony No. 3, In Praise of Winds Schuman, William George Washington Bridge Schuman, William New England Triptych Schwantner, Joseph …and the mountains rising nowhere Schwantner, Joseph From a Dark Millennium Strauss, Richard Festmusik der Stadt Wien, AV 133 (brass & timpani) Strauss, Richard Serenade Op. 7 Strauss, Richard Sonatine in F "Aus der Werkstatt eines invaliden” Strauss, Richard Suite in B‐flat, Op. 4 Strauss, Richard Symphonie for Winds "Frolich Werkstatt" AV 143 Stravinsky, Igor Concerto for Piano and Wind Instruments Stravinsky, Igor Ebony Concerto Stravinsky, Igor Mass for Chorus and Double Wind Quintet Stravinsky, Igor Symphonies of Wind Instruments (Original 1920) Stravinsky, Igor Symphonies of Wind Instruments (Revised 1943) Stravinsky, Igor Symphony of Psalms Tippett, Michael Concerto for Orchestra ‐ Mosaic Van Otterloo, Willem Symphonietta for Woodwinds Varese, Edgard Deserts Varese, Edgard Hyperprism

Table 20 (continued) Core Repertoire: Alphabetical List by Composer Composer Composition Varese, Edgard Integrales Vaughan Williams, Ralph English Folk Song Suite Vaughan Williams, Ralph Toccata Marziale Wagner, Richard Trauersinfonie Weill, Kurt Concerto for Violin, Op. 12 Weill, Kurt Das Berliner Requiem (voice and winds) Weill, Kurt Little Threepenny Music Weill, Kurt Mahagonny Songspiel (6 voices and wind ensemble)

APPENDIX C

COLLEGES AND UNIVERSITIES OVERSEEING ANALYTICAL RESEARCH OF CORE REPERTOIRE

Table 21 Colleges and Universities Overseeing Analytical Research of Core Repertoire Doctoral‐level Non‐Doctoral‐ School Citations level Citations Total Alabama 1 0 1 Arizona 15 0 15 Arizona State 3 0 3 Arkansas State 0 1 1 Ball State 8 3 11 Baylor 0 2 2 Belmont 0 2 2 Bowling Green State 0 4 4 Brandeis 2 0 2 Brigham Young 0 1 1 British Columbia 0 1 1 Butler 0 2 2 California State, Fullerton 0 7 7 California State, Long Beach 2 2 4 California, Berkeley 2 0 2 California, San Diego 2 0 2 California, Santa Barbara 2 0 2 Case Western Reserve 1 0 1 Central Washington 0 4 4 Chinese U., Hong Kong 0 1 1 Cincinnati 31 0 31 City College of New York 0 1 1 Columbia 1 0 1 Connecticut 1 0 1 Cornell 2 2 4 Duquesne 1 0 1 Eastern Illinois 0 1 1 Eastern Kentucky 0 1 1 Eastern Michigan 0 1 1 Florence 0 1 1 Florida 10 0 10 Florida State 35 4 39

Table 21 Colleges and Universities Overseeing Analytical Research of Core Repertoire Doctoral‐level Non‐Doctoral‐ School Citations level Citations Total Frankfurt 1 0 1

Table 21 (continued) Colleges and Universities Overseeing Analytical Research of Core Repertoire Doctoral‐level Non‐Doctoral‐ School Citations level Citations Total Georgia 2 1 3 Georgia State 0 1 1 Harvard 0 2 2 Hawaii 0 2 2 Houghton 0 1 1 Houston 1 0 1 Illinois 11 0 11 Indiana 3 5 8 Indiana State 0 1 1 Indiana U of Pennsylvania 0 2 2 Iowa 7 0 7 John Hopkins 1 0 1 Kansas 3 0 3 Kansas State 0 12 12 Kentucky 1 0 1 Lamar 2 0 2 Laval 0 1 1 London 1 4 5 Louisiana State 2 0 2 Louisville 1 2 3 Manhattan 2 0 2 Mankato State 0 1 1 Maryland 0 1 1 Melbourne 0 1 1 Memphis State 3 0 3 Miami 6 0 6 Michigan 3 3 6 Michigan State 5 0 5 Minnesota State, Mankato 0 2 2 Mississippi 0 1 1 Missouri, Kansas City 1 0 1

Table 21 (continued) Colleges and Universities Overseeing Analytical Research of Core Repertoire Doctoral‐level Non‐Doctoral‐ School Citations level Citations Total Montana 1 0 1 Montreal 0 4 4 Music, Basel 0 1 1 Nan yang Tech 0 2 2 National U of Ireland 0 1 1 New Mexico State 0 2 2 New York 2 0 2 North Carolina, Chapel Hill 3 0 3 North Carolina, Greensboro 9 0 9 North Dakota 0 2 2 North Dakota State 1 0 1 North Texas 6 0 6 North Texas State 3 2 5 Northern Colorado 7 0 7 Northern Illinois 0 1 1 Northwestern 5 0 5 Northwestern State (LA) 0 1 1 Oberlin 0 1 1 Ohio 1 0 1 Ohio State 10 1 11 Oklahoma 4 2 6 Otego 0 1 1 Peabody 6 1 7 Pennsylvania 1 0 1 Pennsylvania State 0 1 1 Philadelphia Musical 0 1 1 Academy Rice 0 2 2 Rochester 8 3 11 Rollins 0 2 2 Rutgers 0 1 1 Salzburg 1 0 1 Sam Houston State 0 2 2 San Francisco State 0 1 1 Sheffield 2 0 2 Shenandoah 1 0 1 South Carolina 1 0 1 Southern California 2 0 2

Table 21 (continued) Colleges and Universities Overseeing Analytical Research of Core Repertoire Doctoral‐level Non‐Doctoral‐ School Citations level Citations Total Southern Maine 0 1 1 Southern Mississippi 2 1 3 Stanford 4 1 5 SUNY, Buffalo 1 0 1 Sussex 3 0 3 Texas 16 1 17 Texas A & M 0 1 1 Texas Tech 2 1 3 Texas, El Paso 0 4 4 Trenton State 0 1 1 UCLA 4 3 7 Ulster 0 1 1 Union Theological 0 2 2 Washington 9 1 10 Washington, St. Louis 1 0 1 Western State C. of Colorado 0 3 3 Wien 1 0 1 Wisconsin, Madison 4 1 5 Wisconsin, Oshkosh 0 1 1 Yale 5 0 5

APPENDIX D

PRINT SOURCES PUBLISHING ANALYTICAL RESEARCH OF CORE REPERTOIRE

Table 22 Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books Source N Alban Berg: Chamber music II (1979). Germany: Kritik Munchen. 1

Berger, A. (1972). Problems of pitch organization in Stravinsky. In Perspectives on 1 Schoenberg and Stravinsky. New York: W. W. Norton.

Bernard, J. W. (1987). The music of Edgard Varese. New Haven, CT: Yale University 1 Press.

Bloom, P. A. (ed.) (2000). The Cambridge Companion to Berlioz. United Kingdom: 1 Cambridge University Press.

Blyth, A. (Ed.) (1991). Choral music on record. Cambridge, England: Cambridge 1 University Press.

Bozarth, G. D. (ed.) (1990). Brahms studies: Analytical and historical perspectives. 1 New York: Oxford University Press.

Carner, M. (1975). Alban Berg: The man and the work. New York: Holmes and 1 Meier.

Eichhorn, A. (2010). Music with solo violin by Kurt Weill: Critical report. New York: 1 Kurt Weill Foundation for Music.

Engelhardt, J. (1984). Gestus und verfremdung: Studien zum musiktheater bei 1 Strawsinsky und Brecht/Weill. Munich: Katzbichler.

Fennell, F. (1980). Basic band repertory: British band classics from the conductor's 3 point of view. Evanston, IL: The Instrumentalist. Fennell, F. (2008). A conductor's interpretive analysis of masterworks for band. 3 Galesville, MD: Meredith Music Publications. Fennell, F., & Neidig, K. L. (1984). The band's music: Study/performance essays. 1 Traverse City, MI: Village Press Publications. Garofalo, R. J. (1992). Guides to band masterworks. Galesville, MD: Meredith Music 6 Publications. Garofalo, R. J. & Battisti, F. L. (2005). Lead and inspire: A guide to expressive 3 conducting. Silver Spring, MD: Whirlwind Music.

Table 22 (continued) Print Sources Publishing Analytical Research of Core Repertoire: Chapters in Edited Books Source N Alban Berg: Chamber music II (1979). Germany: Kritik Munchen. 1