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A Historical Overview of the Development of Collegiate and Professional Tuba Euphonium Ensembles in the United States Christopher Lair

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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 A Historical Overview of the Development of Collegiate and Professional Tuba Euphonium Ensembles in the United States Christopher Lair Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A HISTORICAL OVERVIEW OF THE DEVELOPMENT OF COLLEGIATE AND PROFESSIONAL TUBA EUPHONIUM ENSEMBLES IN THE UNITED STATES By CHRISTOPHER LAIR A Treatise su mitted to the College of Music in partial fulfillment of the requirements for the degree Doctor of Music Degree A,arded- Spring Semester. 2010 The mem ers of the committee appro2e the treatise of Christopher Lair defended on Octo er 23. 2003. __________________________________ 6ohn Dre, Professor Co7Directing Treatise __________________________________ Paul E ers Professor Co7Directing Treatise __________________________________ Charles Bre,er Uni2ersity Representati2e __________________________________ Eric Ohlsson Committee Mem er The Graduate School has 2erified and appro2ed the a o2e7named committee mem ers. ii AC8NOWLEDGEMENTS During the preparation of this document. I recei2ed assistance from a 2ariety of generous indi2iduals and organi9ations. I am deeply inde ted to all of them. I ,ould li:e to offer my than:s to professors R. Winston Morris. Scott Watson. 6erry Young. Har2ey Phillips. 6ohn Ste2ens. 6oe S:illen. Demondrae Thurman. and S:ip Gray. ,ho generously donated their time and expertise for inter2ie,s. Special than:s to R. Winston Morris for pro2iding decades of recital and concert programs. and for a ,ealth of in2alua le information in a 2ariety of forms. I ,ould li:e to offer my gratitude to The Florida State Uni2ersity and to my doctoral committee. Dr. 6ohn Dre,. Dr. Eric Ohlsson. and Dr. Charles Bre,er for their time and guidance through the degree process. I ,ould especially li:e to than: Professor Paul E ers for his un,a2ering assistance and mentorship. This document ,ould not ha2e een possi le ,ithout the lo2e. support. and generous sacrifices of my family. Special than:s to my parents Dr. Wiliferd and Charlotte Lair. my parents7in7la, Don and Linda Marshall. my rother Dale. my sister Re ecca. and my aunt Dr. Wanda Pip:in. for their support and encouragement. I could ne2er offer enough than:s to my ,ife Sharla. ,hose patience and understanding seem to e ,ithout end. iii TABLE OF CONTENTS Ac:no,ledgements ............................................................................................................iii Ta le of Contents ............................................................................................................... i2 List of Figures ..................................................................................................................... 2 1. INTRODUCTION.......................................................................................................... 1 Purpose................................................................................................................<...1 Definitions<<<<<<<<<<<<<<<<<<..<<<<........................2 Inter2ie, Questions<<<<<<<<...<<..<.<<<<<<<<.................2 Re2ie, of Literature<<<<<<<...<<..<.<<<<<<<<<<<<<3 2. THE EARLY YEARS..................................................................................................... 6 3. NEW ENSEMBLES. STANDARDS. AND TRADITIONS........................................ 22 4. GROWTH AND EAPANSION.................................................................................... 36 5. APPENDICES............................................................................................................... 4C A. R. Winston Morris................................................................................................. 4C B. Scott Watson ......................................................................................................... C2 C. Har2ey Phillips...................................................................................................... 80 D. Dr. 6erry Young..................................................................................................... 83 E. Dr. 6ohn Ste2ens.................................................................................................... 8C F. Dr. 6oseph S:illen ................................................................................................. 31 G. Demondrae Thurman............................................................................................. 33 H. Dr. S:ip Gray ...................................................................................................... 104 6. REFERENCES............................................................................................................ 114 C. BIOGRAPHICAL S8ETCH....................................................................................... 116 i2 LIST OF FIGURES Figure 1- The Hoffnung Interplanetary Music Festi2al. 1358 ............................................ 3 Figure 2- Roger Bo o. Tu a Carnegie Recital Hall. 1361............................................. 10 Figure 3- Tennessee Technological Uni2ersity Tu a and Trom one Ensem les. 1368... 14 Figure 4- Tennessee Technological Uni2ersity Tu a Ensem le- Carnegie Recital Hall. 13C6 ............................................................................... 24 Figure 5- Tennessee Technological Uni2ersity Tu a Ensem le- Pierre Gar Ege. 13C6......................................................................................... 2C Figure 6- Tu a Christmas. circa 13C3 ............................................................................... 31 Figure C- Tennessee Technological Uni2ersity Tu a Ensem le- Tour Program. 1382 ........................................................................................... 42 2 CHAPTER 1 INTRODUCTION Purpose The purpose of this document is to pro2ide a historical o2er2ie, of the de2elopment of tu a7euphonium ensem les in the United States. It is a compilation of oth ,ritten and oral history. It includes inter2ie,s ,ith collegiate and professional tu ists and euphoniumists a out the history of tu a7euphonium ensem les in the United States. It also includes reflection and perspecti2e on the pedagogical impact of the tu a7 euphonium ensem le. and the relati2e 2alue of these ensem les in uni2ersity tu a7 euphonium studios. It is the authorFs elief that it is essential to document this history at this time. Without it. much of the information contained in this ,or: ,ill e2entually e lost. Although it did not exist until the latter half of the t,entieth century. the American tu a7euphonium ensem le has de2eloped a rich tradition. First formed at the Uni2ersity of Indiana. the tu a7euphonium ensem le quic:ly found a place in numerous high schools and uni2ersities. Since its inception in the sixties. tu a7euphonium ensem les ha2e appeared in the United States in genres from classical to popular. and are esta lished at e2ery le2el from eginning to professional. They ha2e also ecome an integral part of community e2ents and holidays. Commercial recordings of tu a7 euphonium ensem les are a2aila le through Mar: Records. Golden Crest. and others. This proGect details the esta lishment of instrumentation. repertoire. and important historical figures in the de2elopment of the American tu a7euphonium ensem le. Definitions The term Htu a7euphonium ensem leI refers to a specific type of ensem le comprised of multiple tu a and euphonium players. usually in four or more parts. The tu a7euphonium ensem le can e one to a part in a cham er music approach. as follo,ed y Constance WeldonFs ensem le at The Uni2ersity of Miami or multiple players to a part. as utili9ed y Winston Morris at The Tennessee Technological Uni2ersity. 1 The term Htu a7euphonium quartetI refers to a cham er ensem le consisting of four players. The most common instrumentation includes t,o euphoniums (sometimes referred to as tenor tu a) and t,o tu as. The t,o tu as are usually a ass tu a (pitched in E7flat or F). and a contra ass tu a (pitched in BB7flat or CC). Inter2ie, Questions The follo,ing questions ,ere as:ed of Professors R. Winston Morris. Scott Watson. Har2ey Phillips. 6erry Young. 6ohn Ste2ens, 6oseph S:illen. Demondrae Thurman. and S:ip Gray. These questions ,ere as:ed in order to o tain an oral history of tu a7euphonium ensem les in the United States. Some of these questions ,ere also designed to gain perspecti2e on the rele2ance and necessity of tu a7euphonium ensem les in the uni2ersity tu a curriculum. 1. Can you descri e the history and climate related to tu a ensem les in the 1360sL 2. Can you descri e the history and climate related to tu a ensem les in the 13C0sL 3. Can you descri e the history and climate related to tu a ensem les in the 1380sL 4. Can you descri e the history and climate related to tu a ensem les in the 1330sL 5. Why did you form the Tu a7Euphonium Ensem le ,ith your studioL 6. What has een your o2erriding philosophy for the groupL C. Did you ha2e any special influencesL 8. Do you feel tu a ensem les are important in the uni2ersity curriculumL WhyL 3. Can you descri e the reception the group has recei2ed y the pu lic o2er the yearsL 10. Do you feel professional tu a7euphonium ensem les are important to the de2elopment and continuity of the instrumentL WhyL 11. What ha2e you ,itnessed in the e2olution of tu a7euphonium quartets o2er the decadesL 12. Do you thin: tu a7euphonium quartets
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