UMI Number: 3263443

UMI Number: 3263443 Copyright 2007 by Campo, David Wayne All rights reserved. UMI Microform 3263443 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ACKNOWLEDGEMENTS I wish to thank the members of my committee for their continued support throughout this process. They always had the patience to answer all of my questions and provided insight that lent clarity to my research. Special thanks to Dr. William K. Wakefield for asking the questions that sparked my imagination and started me on this journey, and for seeing me through to the finish line. Most importantly, thanks to my wife, Donna, for believing in me and supporting me; I most certainly couldn’t have completed this without you. iv CONTENTS ACKNOWLEDGEMENTS .................................................................................... iv TABLE OF CONTENTS........................................................................................ v TABLES ..............................................................................................................viii CHAPTER 1 INTRODUCTION......................................................................................01 Purpose and Scope of the Study...................................................02 Need for the Study.........................................................................04 Related Literature..........................................................................06 Proposed Outline of Study.............................................................07 CHAPTER 2 A CONCISE HISTORY OF BANDS IN AMERICA FROM 1800 – 1936..................................................................................09 CHAPTER 3 SIGNIFICANT SOCIOLOGICAL INFLUENCES ON THE GROWTH OF THE BAND MOVEMENT ..................................................13 CHAPTER 4 THE INFLUENCE OF EDWIN FRANKO GOLDMAN ON BAND LITERATURE..........................................................................18 CHAPTER 5 THE INFLUENCE OF THE MID-WEST BAND AND ORCHESTRA CLINIC..............................................................................23 CHAPTER 6 THE INFLUENCE OF NEW ENSEMBLE CONCEPTS ............................28 Fred Fennell and the Eastman Wind Ensemble ............................28 v Robert Boudreau and the American Wind Symphony ...................33 The Debate Over Standardized Instrumentation ...........................36 CHAPTER 7 THE EMERGENCE OF THE WIND BAND COMPOSER.........................42 CHAPTER 8 THE INFLUENCE OF COMMISSIONING ON THE EMERGENT LITERATURE......................................................................50 Professional Organizations............................................................50 Professional Bands........................................................................53 High Schools .................................................................................55 Colleges and Universities ..............................................................55 CHAPTER 9 AN INVESTIGATION OF THE LITERATURE OF THE LATTER HALF OF THE DECADE USING “THE BEST IN BAND MUSIC” AND “NEW MUSIC” FROM THE INSTRUMENTALIST MAGAZINE ........................................57 Grade Level Consistency ..............................................................58 Ratio Between Original Compositions and Transcriptions.............59 CHAPTER 10 FURTHUR EVIDENCE OF THE EMERGING LITERATURE...................68 CHAPTER 11 CONCLUSIONS.......................................................................................74 Recommendations for Further Research.......................................75 vi APPENDIX 1 BEST IN BAND MUSIC COLUMNS ORGANIZED BY CONTRIBUTOR .....................................................................................77 APPENDIX 2 BEST IN BAND MUSIC COLUMNS ORGANIZED ALPHABETICALLY BY COMPOSER ...................................................................................101 APPENDIX 3 RELEVANT WORKS PERFORMED AT MID-WEST CLINIC ...............107 APPENDIX 4 BEST IN BAND MUSIC CONTRIBUTOR TABLE.................................112 APPENDIX 5 ALL NEW MUSIC COLUMNS FROM THE INSTRUMENTALIST MAGAZINE – ORIGINAL COMPOSITIONS BY TITLE ..........................140 APPENDIX 6 BEST IN BAND MUSIC COLUMNS BY COMPOSER ...........................145 APPENDIX 7 NEW MUSIC COLUMNS INCLUDING TRANSCRIPTIONS ..................150 BIBLIOGRAPHY ...............................................................................................164 vii TABLES 4.1 Commissions by E. F. Goldman................................................................21 6.1 Selected Eastman Wind Ensemble Mercury Recordings..........................32 6.2 Selected AWSO Concert Season Repertoire, 1957 & 1958......................35 7.1 Original Wind Band Compositions by Howard Hanson .............................46 7.2 Selected Original Wind Band Compositions of J. Clifton Williams ............48 8.1 League of Composers Commissions, 1949-1960 .....................................51 8.2 Ostwald Award Winners, 1956-1960.........................................................52 8.3 National Intercollegiate Band Commissions, 1953-1965...........................53 8.4 West Point Sesquicentennial Commissions..............................................54 9.1 BBM Contributors Ratio of Original Compositions and Transcriptions.........................................................................60 9.2 Frequency of Contributor’s Citations ........................................................62 9.3 Compositions Common to Menghini and “New Music” List ......................65 9.4 Compositions Performed at Mid-West and Receiving at Least One Citation in BBM ........................................................66 10.1 Compositions Found in Holvik and Kish Studies ......................................69 10.2 Compositions Found in Holvik, Kish and BBM .........................................71 viii ORIGINAL MUSIC FOR WIND BAND IN THE LATTER HALF OF THE 1950s: A HISTORICAL PERSPECTIVE CHAPTER 1 INTRODUCTION Two of the three most important dates in the modern history of the wind band are easily identified. The first was Bernard Sarrette’s 1789 formation of the Garde Républicaine Band in Paris, an organization Richard Franko Goldman refers to as a “group of 45 players incontestably the first modern wind band, in terms of size, of function, and of repertoire.”1 The second was the creation of the Eastman Wind Ensemble by Frederick Fennell in 1952. The former marks the creation of the first modern wind band, the latter the creation of “another wind instrument organization which combines the appropriate features of the symphony orchestra, military band and concert band with regard to performance, composition and music education.”2 Although prior to the formation of the Eastman Wind Ensemble there had been a marked increase in the number of original pieces written for wind band by such prominent composers as Darius Milhaud, Morton Gould, Robert Russell Bennett, Walter Piston, Paul Hindemith, Gordon Jacob, Arnold Schoenberg and Vincent Persichetti, the latter half of the 1950s qualifies as the next milestone in wind band history due to a significant increase in the amount of original music written for the wind band. Bruce Houseknecht, writing in The Instrumentalist Magazine in 1956, noted “paralleling 1 Richard Franko Goldman, The Wind Band: Its Literature and Technique (Boston, Allyn and Bacon, 1961), 20. 2 Frank L. Battisti, The Twentieth Century American Wind Band/Ensemble: History, Development, and Literature (Fort Lauderdale, Florida: Meredith Music, 1995), 15. 1 the increase in the number of bands of all kinds, there has been a veritable flood of new band music – some good, some bad.”3 While the impact of Fennell and the creation of the Eastman Wind Ensemble in 1952 cannot be overemphasized, it was only one influence among many that began this veritable flood of new band music in the latter half of the 1950s. These multiple influences led to an unprecedented economic opportunity for publishers as well as creative opportunities for composers. The result was a profound impact on the core repertoire of all bands: high school, university, community, and what few professional bands existed at this time. Purpose and Scope of the Study The purpose of this study is to investigate and chronicle the influences that led to the development of new music for wind band in the latter half of the1950s and to assess the impact of this development on the standard repertoire of university and professional bands at that time. The study will exclude training music written for beginning and intermediate level bands, solos with band accompaniment, novelty, and seasonal compositions. Rather, it will focus on music written as concert pieces for the modern wind band considered by leading major university and professional band directors and composers with active careers during this period to possess serious artistic merit. This music will be compiled using lists obtained from The Instrumentalist Magazine columns “The Best in Band Music,” edited by Bruce Houseknecht and “New Music,” edited by the staff of The Instrumentalist Magazine, as well as Charles Menghini’s 3 Bruce Houseknecht. “The Best in Band Music.” The Instrumentalist 10, No. 6 (February 1956): 49. 2 doctoral dissertation.4 Using the

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