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Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMÏ A STUDY OF THE WIND-BAND MUSIC OF FRANK TICHELI WITH AN ANALYSIS OF FORTRESS. POSTCARD. AND VESUVIUS DOCUMENT Presented m Partial Fulfillment o f the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By John A. Darling, B.A., M.M. ***** The Ohio State University 2001 Dissertation Committee: Professor Russel Mikkelson, Advisor Approved by Professor Hilary Apfelstadt Professor Richard Blatti Advisor Professor h^fershaH Haddock UMI Number 3011013 Copyright 2001 by Darling, John Arthur All rights reserved. UMI* UMI Microform 3011013 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by John Arthur Darling 2001 ABSTRACT Selection of repertoire is an important task for any conductor. One of the ways to approach th6 challenge is to look at the works o f composers whose compositions have proven to be durable over the years. There are certain composers who consistent^ provide quality literature without becoming repetitious or predictable. One such composer is Dr. Frank TichelL The quality of Ticheli’s work has already risen to a level where many of his wmd- band compositions are now referred to as core literature. Eleven of his fifteen compositions for wmd band or wind ensemble are on state contest lists. Seven of his con^x>sitions are included m the prestigious series Teaching Music Through Performance in Band. Volumes 1,2, and 3. Cafun Folk Songs. Fortress, flaian Visions, and Postcard are included m Best Music For High School Band. The purpose of this study is to identify what distinguishes Ticheli’s music as qualify literature by means of an anafysis o f three of his conçositions for band. Each piece has been selected ffom a different time finme and represents different technical performance levels: Fortress. Postcard and Vesuvius. Two of these conçositions are recognized as exceptional works o f Ticheli: Fortress and Postcard. ^Adnfe the third work, Vesuvius, is one of his more recent releases. Each of the pieces chosen is ^ipropriate for n either high school or college programmmg. Each piece has unique elements incorporated into the structure that can be used as the basis 6 r conçrehensive teaching. To gam a better understandmg of each work, and to provide a common anafytkal basis o f examining TicheE*s conqmshional language, the author analyzed each piece usmg an abri(%ed “Step 3 Score Analysis” as outlined by Frank Battisti and Robert Garo&lo in Guide to Score Study for the Wind Band Conductor. For the purposes of this study, onfy the areas of melody, form, rhythm, and orchestration were examined in detail Harmony, texture, dynamics, and stylistic articulations & e^qpressive terms have been included as elements o f the flow chart. m Dedicated to my wife, Nancy IV ACKNOWLEDGMENTS I wûh to thank Dr. Russel Mikkelson, ny advisor, and Professor Richard Blatti fer their intellectual support, encour%ement, and enthusiasm the past three years which made this document possible. I would also like to thank Dr. HOaiy Apfelstadt fer her patience with the editmg of this document at all stages, and Professor Marshall Haddock fer his methodical persistence. I am grateful to Bob Margolis and Manhattan Beach Music fer their support and permission to reproduce the musical examples throughout this document. I would like to acknowledge Meredith Music Publications fer their permission to reproduce portions o f the “Score Anafysis Guide.” I would be remiss if I did not acknowledge the generous support and âq>ut of Dr. Frank Ticheli throughout the course of writmg this document. He entrusted his life wodc into the hands of an unknown person and provided me with the latitude and feeedom to «ramme his music with a critical eye. His timefy advice and patient guidance helped enormously with the quality of the findmgs o f this study. Finalfy, I need to thank my wife, Nancy, who has had to endured three years of late night rehearsals, waiting at home during endless hours of research, and the countless number o f spelling and gram m ar checks made to a mountain o f projects. VI VITA January 11,1957 ..............................3om - Schenectady, New York 1981-1986 ....................................... Theory and Ear Training Instructor, Armed Forces School o f Music, Norfolk, Virginia 1986-1998 ....................................... Warrant Officer, United States Army 282*^ Army Band, Fort Jackson, South Carolina 2*^ Infontry Division Band, South Korea “The Fort Lee Army Band,” Fort Lee, Virginia 25“* In&ntry Division Band, Schofield Barracks, Hawaii 1991 .................................................. A ^ Liberal Arts The University of the State of New York 1994 ..................................................BA. Liberal Arts The University o f the State of New York 1996 ..................................................MM. Conducting, Virginia Commonwealth University 1998 - 2001 ......................................Doctor of Musical Arts, The Ohio State University FIELDS OF STUDY Major Field: Music vn TABLE OF CONTENTS Abstract...............................................................................................................................ii Dedication ..........................................................................................................................iv Acknowledgments .............................................................................................................. v V ita................................................................................................................................... vii List o f Tables..................................................................................................................... x List of Charts ......................................................................................................................xi List of Figures...................................................................................................................xii Chapters: 1. Introduction.................................................................................................................1 1.1 Background........................................................................................................ 1 1 2 Biography ..........................................................................................................4 13 Relevant research ------------------------------------------------ 7 1.4 Procedures.........................................................................................................9 1.5 Appendices .......................................................................................... 12 2. Analysis ofFortress. ................................................................................................. 14 2.1 Form ..................................................................................................... 16 2 2 Melodic analysis ----------------------------------------------------------------------- 21 23.1 Main idea .......................................................................................... 21 233 Can motif_________________________________ 27 233 Legato theme ___________________________________ 31 23 Ibrmonic analysis ______________________________________________ 38 2.4 Rhythm elements -----------------------------------------------------------------------42 23 Orchestration --------------------------------------------------------------------------- 43 2.6 Rehearsal suggestions ___________________________________________ 50 viii 3. Analysis of Postcard -------------------------------------------------------------------------- 55 3.1 Form ....... ................................................................................................ 57 3.2 MeIo(fy — ...................................................................................................... 61 3.2.1 Theme 1 _____________________________________________ 63 3.2.2 Useofthetritone