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ProQuest Information and Learning 300 IW h Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI'

THE QUALITY AND TECHNICAL DIFFICULTY OF REPERTOIRE

PERFORMED BY NON-AUDITlONED, SMALL COLLEGE BANDS AND

THE CRITERIA CONSIDERED IN THE SELECTION OF THIS

LITERATURE

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree of Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Ronda E. King, B.S.Ed., M.Ed.

*****

The Ohio State University 2001

Dissertation Committee: Approved by Professor Jon Woods, Adviser

Professor Patricia Flowers ^ , Adviser Professor Russell Mikkelson School of Music UMI Number 3022512

Copyright2001 by King, Ronda Ellen

All rights reserved.

UMI’

UMI Microform 3022512 Copyright 2001 by Bell & Howell Information and Learning Company. Ail rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.

Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by Ronda Ellen King 2001 ABSTRACT

The purpose of this study was: (1) to survey conductors of non-auditioned, small college bands to determine the literature that was being performed during the academic years of 1997-2000, (2) to evaluate the level of quality of this literature, (3) to evaluate the level of difficulty of this literature and, (4) to examine the criteria that guide these conductors in the selection of this literature.

A written survey was administered to 45 conductors of non-auditioned, small college bands in order to discover the resources and criteria utilized when selecting literature for concert band. Respondents were also asked to return programs from concerts performed during the academic years 1997-2000. The Repertoire Evaluation

Inventory (REX), developed by Craig Young, was used to determine the quality of the repertoires. Technical difficulty was determined by use of various

u publications and experts in the field. Results were

derived via the use of descriptive statistics, chi-squares,

and t-tests.

A majority (61.18%) of the compositions performed by

the respondents were regarded as quality compositions. The

mean quality score for all compositions was 1.15 (on a

scale of 0-3), with a mean difficulty score of 4.22 (on a

scale of I-VI). The ten most-performed compositions had an

average difficulty score of 4.3, with an average quality

score of 2.4, indicating that quality pieces were being

performed at moderate degrees of difficulty.

When respondents were grouped by the quality of their

repertoires, it was discovered that those in the high

quality group strive to expose their students to music and

composers of quality. Respondents in the low quality group

are more concerned with audience/student approval than the

need to expose students to quality composers or

compositions. In addition, respondents in the low quality

group value student input above a contest/festival list as

a resource for locating music for performance. This

demonstrates an obvious disregard for an important resource

for quality literature.

Ill Ranking of criteria by the overall sample suggests more concern for performance-related criteria than for quality of music. Publisher materials did not rate highly as a resource overall.

IV With love to Johnda, who brings out the best in me. ACKNOWLEDGMENTS

First and foremost I must acknowledge my best friend and life companion, Johnda, who never wavered in her support and encouragement. There were times during this eight-year process when her love for me, and belief in me, were the only things that kept me going. Her help with the formatting and editing of this document were invaluable. I could never have completed this project without her.

I must also acknowledge Jon Woods, who agreed to be my adviser at the "eleventh hour" and then proceeded to convince me that I had plenty of time to "get this thing done". His encouragement and positive attitude were contagious as well as inspiring.

A special thank-you goes to Craig Young, who developed the REI, and then so willingly allowed me to use it. He also gave me several suggestions that proved to be quite valuable.

I am extremely grateful to Rick Blatti, Jim Cochran,

Russell Mikkelson and Jon Woods, who participated with the update of the EtEI. Without their time and effort, this vi study would not have been as effective. Jim Cochran deserves a special thank you, since he also gave his expert opinion on technical difficulty.

I must express my appreciation to Patricia Flowers and

Russell Mikkelson for taking the time to serve on my committee. They gave their time graciously and answered my

E-mails quickly.

I would certainly be remiss if I did not acknowledge the strong, independent women on both sides of my family who have nurtured and encouraged me. A big thank you to

"the girls", my mother's sisters; Alice Ramsey Bruner,

Dorothy Ramsey McCarty, Norma Ramsey Barnhart, Elizabeth

Ramsey Walpole, Aileen Ramsey Warden and Betty Ramsey

Willoughby. Each of these talented women has served as a

role model at some point in my life and continue to do so

to this day. To Maxine King Darnell, my father's sister,

who knew I wanted to attempt this degree before I did. She

helped set the idea in motion and has encouraged me every

step of the way.

Finally, a big thank you to my mother, Virginia Ramsey

King. She bought instruments and paid for band camps at

times when we didn't have the money to spare. Over the

years she has sewn uniforms and flags for my students,

vii concert attire for me, and she even made a cover for my marimba. Every week for the past five years she has asked

"Have you finished writing that book yet?", and until very

recently I have had to answer "no". Well Ma, find your

reading glasses, have a seat in your rocking chair, and put

your feet up. The "book" is finally finished, and I want

you to read every word.

vui VITA

March 29, 1956 Born - Poplar Bluff, Missouri

1978 Bachelor of Science in Education - Music University of Missouri Columbia, Missouri

1979., Master of Education in Music University of Missouri Columbia, Missouri

1978-1984. Associate Director of Bands Poplar Bluff R-I School District Poplar Bluff, Missouri

1984-1988. Director of Bands Willard R-II Schools Willard, Missouri

1993-1997 Graduate Teaching Associate, The Ohio State University

1997-1998. Director of Bands Mesa State College Grand Junction, Colorado

2000-present.. Director of Bands Marietta College Marietta, Ohio

IX FIELDS OF STUDY

Major Field: Music

Studies in Music Education: Professors Judith. Delzell, Patricia Flowers, Timothy Gerber, Jan McCrary and Jon Woods

Studies in Conducting and Band Repertoire: Professors Gary Lewis and Jon Woods TABLE OF CONTENTS

Page Abstract., ... ii

Dedication----- ******* •••*••****• »****#*»**#**'.. V

Acknowledgments., ****************** ... V I

^1...... M...... M... Vlll

List of Tables.... ********************** XIV

Chapters :

1 # Xnt roduict xon.....M...... H.i I *•••••••••••*•••••*••*••**•*•

1.1 Need for the Study--»*»#»****#»****»*»*******»*#* »»**#*****»*»********* I 3

1.2 Statement of the Problem,I********************************************************************* 5 1.3 Purpose of the Study______6 1.4 Specific Questions______7

1.5 Limitations. ************** ... 8 1.6 Definition of Terms.. ... 9

Review Of Literature------11

2.1 Wind band repertoire at the high school level...12 2.2 Wind band repertoire at the collegiate level— 16 2.3 Repertoire for the non-auditioned or small college band______21

Methodology.. 25

3.1 Population and Sample------25 3.2 Telephone Interview______26 3.3 Mail Survey.______29 3.4 Treatment of the Data______34 3.5 Assessment of Technical Difficulty.------34 3.6 Assessment of Quality.------36 xi 4. Analysis and Results------43

4.1 Description of the sample------43 4.2 Performed Repertoire------48 4.3 Exception to quality and difficulty assessment______65 4.4 Quality of performed repertoire______66 4.5 Technical difficulty of performed repertoire... 69 4.6 The relationship between presence of quality and degree of technical difficulty of performed repertoire------71 4.7 Criteria considered in the selection of literature------75 4.8 Resources used in the selection of 1 3^ SL tU3C H...... ».H...... H.H.H.»a. 8 3 4.9 The relationship between quality and difficulty of repertoire and the resources and criteria used to select literature --- 89 4 . 9 . 1 1 ^3Xil ...... M...... M...... 89 4.9.2 Quality------90

5 . ^2^)^l^%lu S I^S ..M.M....M...... M...... W.M.W...... M.M...... M.M.. 96

5.1 Summary of the study------96 5.2 Conclusions------98 5.2.1 Quality of Repertoires------98 5.2.2 Difficulty of Repertoires------101

5 . . 3 ^23^^ ^3...... H....».».M...... »....M...... M. 103 5.2.4 Resources______106 5.2.5 Implications------109 5.2.6 Suggestions for future research 111

List of References------113

Appendices A. Telephone Survey Script------117 B. Cover Letter______119 C. Su3Tvey Instrument------122 D. Quality assessment of compositions not included in the original REI------130 E. REI: Exceptional Quality Literature------165 F. REI: High Quality Literature------168 G. REI: Good Quality Literature______174 H. Compositions Perf03nned by Only One Band______185

XU I. Compositions Performed by the Repertoire Respondents Which Were Unknown to the Panel 202 J. Published Resources Used by Respondents for Locating Literature______203

xiu LIST OF TABLES

Table Page

1 Response by state______33

2 Additions to Repertoire Evaluation Inventory (REI) by category------39

3 March composers by number of performances received______50

4 Compositions performed multiple times and the number of performances received______54

5 Number of performances and compositions by

6 Presence of quality compared to level of technical difficulty of the 1167 compositions performed by the sample*„»«##**«#—, ##*»—»*##«*#*#——* 71

7 Number of respondents appearing in each level of quality and technical difficulty.------74

8 Three primary criteria and combined criteria considered by respondents when selecting

9 Ratings of each criteria by mean and standard deviation______80

10 Primary criteria, Likert scale ratings, and combined ranking of criteria utilized in selection of literature.^..* . * . * . 8 2

11 Three primary resources and combined resources considered by respondents when selecting literature______84 xiv 12 Ratings of each resource by mean and standard deviation______86

13 Primary resources, Likert scale ratings, and combined ranking of resources considered when I r t c r L u r #*##*##*####*##*#»#«##*#«*#*#—*#»»**#*#***»#**#**—*###—$**#**##»«*####—* 8 8

14 Differences in the utilization of criteria and resources by HQL and LQL groups------94

XV CHAPTER 1

INTRODUCTION

Within a wind band setting, one of the best and most

obvious ways to provide students with high quality musical

experiences is by selecting music that is both appropriate

to the skill level of the ensemble and of high musical merit. Even as we consider such criteria as variety,

style, technical difficulty, educational value and audience

appeal, none of these will be well served if the quality of

the music is found lacking (Del Borgo, 1988).

Certainly, concern for and advocacy of the use of

quality music with performing ensembles has been well

documented in the literature (Doran, 1956; Kohut, 1963;

Thomas, 1970; Leonhard & House, 1972; Rosene, 1981; Abeles,

Hoffer, & Klotman, 1984; Hoffer, 1986; Reimer, 1989; Music

Educators National Conference, 1994; Platt, 1999; Berz,

2000; Brashier, 2000; Fonder, 2000). This documented

history of support for the use of quality music is hardly a

surprise, since "to be in favor of 'good' music is about as startling and controversial as being in favor of safe driving and the prevention of forest fires" (Abeles,

Hoffer,& Klotman,1984, p.66).

The quest, then, is for music of quality, but the question is how to determine if a piece of music meets this

rather vague and difficult to quantify criterion. Experts

in the wind band field seem to agree that the quality of

the music available to the wind band medium does vary

considerably, with some compositions being noticeably

superior to others. According to Leonhard and House

(1972), "This assumption is borne out by the fact that some musical compositions have gained and maintained a place in

the permanent repertory while others, although they may

achieve singular popularity for a time, are soon

forgotten..." (p.89).

Assuming the quality of a composition can be

established, it must then be determined if the piece is

appropriate for the ensemble. An abundance of graded

listings (both published and unpublished) exist which can

be consulted in order to determine the difficulty level of

a composition. Some of these listings focus on high school

band repertoire (Hughes, 1990; Begian, 1991; Gaines, 1996;

Young, 1998; Cochran, 1999), while others specifically

address college band literature (Holvik, 1970; Olsen, 1982;

Neidig, 1987; Fiese, 1987; Hemberger, 1988; Woike, 1990),

with many compositions deemed suitable for both.

2 Likewise, there exists a small body of literature that seeks to establish or suggest a "core" repertoire or curriculum for either high school or college band (Olsen,

1982; Neidig, 1987; Woike, 1987). Some of these studies generate lists of wind band music that are based on the quality of the composition as judged by a panel of experts and/or on the technical difficulty of the composition.

Other studies focus more on the frequency of performance of a particular composition and/or composer. The assumption is that although frequency of performance is not the sole criteria on which to judge a piece of music, certainly those pieces that are performed frequently have earned a place of prominence in the repertoire.

NEED FOR THE STUDY

The obvious concern over quality literature for wind band highlights the fact that programming issues are evident for junior high school band directors as well as for conductors of the most prestigious university wind ensembles. Somewhere within these parameters, there exists the conductor of the non-auditioned, small college band whose unique situation often deems it necessary to consider music for performance from both ends of this rather wide spectrum. The conductor of the non-auditioned, small college band is often presented with myriad problems that most directors of collegiate ensembles at larger institutions rarely encounter. These problems can include lack of adequate

rehearsal time, poor rehearsal facilities, inadec[uate

funding for music, and instruments that are poorly maintained or simply in need of replacement. Since there is

often no other band available, obligations to marching

and/or pep band performances often prevent the concert

ensemble from performing as a "concert band" on a year-

round basis. This situation can exist for a considerable

portion of the academic year.

By definition, the non-auditioned, small college

concert band is open to any musician who plays a wind or

percussion instrument. Consequently, the conductors of

these ensembles find that they are faced with performers

whose technical and musical skills cover a wide range of

ability. Predictably, this situation results in the

formation of a concert band that is lacking in the ability

to perform literature that would typically be performed at

the collegiate level. The conductor is then placed in the

position of searching for music that will challenge the

best performers in the ensemble, without overwhelming those

with lesser skills. At the same time this literature must

be music of quality that is appropriate for performance by

a collegiate wind band. Consequently, a study is needed to

4 survey conductors of non-auditioned, small college bands, in order to determine present practices in selection of music to be studied and performed.

STATEMENT OF THE PROBLEM

More than half a century ago Righter (1945) wrote,

"When Diogenes took his lantern in hand and set forth in quest of an honest man, he faced no more difficult task than does the conductor of a school band or orchestra when he searches for material suitable for concert performance"

(pp. 73-74). This statement bemoaning the lack of

literature available to conductors of school ensembles

seems to speak more to the issue of accessibility, rather

than quality, of this literature. Certainly, lack of

quality repertoire for orchestra was not as significant an

issue as it was for wind band. The lack of quality

literature that was available and playable by musicians at

the "school band or orchestra" level was indeed a major

concern.

The issue of accessibility of quality literature at the

appropriate level of difficulty is at the heart of the

problem faced by conductors of the non-auditioned, small

college band. Although there is always a need for quality

music, the specific need is for this literature to be

available at a grade IV or lower level of difficulty. To

5 be sure, quality music can be found at all levels of difficulty for "the harmonies and phrasing of simple chorales can be more musically rewarding than the technical lines of some more difficult compositions" (Tacke, 1992, p.

55). Likewise, a technically challenging composition does not automatically earn a judgment as quality literature and is not, therefore, considered more worthy of study than a piece of lesser difficulty (Tacke, 1992). The problem thus becomes one of locating and identifying quality repertoire that is playable by the non-auditioned small college band.

In addition, this music must also be considered appropriate

for performance by a collegiate wind ensemble.

PURPOSE OF THE STUDY

The purpose of this study is: (1) to survey conductors

of non-auditioned, small college bands to determine the

literature that was being performed during the academic

years of 1997-2000. The selected institutions have a total

student population of 5,000 or less, (2) to evaluate the

level of quality of this literature, (3) to evaluate the

level of difficulty of this literature and, (4) to examine

the criteria that guide these conductors in the selection

of literature to be performed. other categorical variables will also be examined to determine to what degree they may influence the literature selected for performance. These variables will include demographic information pertaining to the performing ensemble, as well as information about the institution.

Information about the educational and professional background of the conductor will also be included.

SPECIFIC QUESTIONS

1. What literature was programmed by conductors of non­ auditioned, small college bands, at institutions where the total student population is 5,000 or less. The specified time period will be the academic years from 1997-98 through

1999-2000.

2. Is this literature considered high quality repertoire by experts in the collegiate wind band field?

3. Is this literature considered to be of an appropriate

level of difficulty for performance by a collegiate wind band?

4. What are the primary criteria that guide conductors of

non-auditioned, small college bands in the selection of

quality literature?

5. To what degree do other variables impact the selection

of literature to be performed? LIMITATIONS

This study will involve a randomized national sample of band conductors of small, non-auditioned college bands.

Due to the limited size of the sample, generalizations beyond the sample itself should be restricted.

Performance levels and musical abilities of the bands and their conductors cannot be determined via a survey format and therefore will not be considered in this study.

The quality and difficulty levels of the compositions chosen for performance, and the criteria leading to the selection of these compositions, is the primary concern of this study.

Due to a lack of expert opinion on concert marches,

fanfares, compositions for soloist and band, and compositions for chamber winds, these pieces will be excluded from the study. Unpublished compositions and arrangements will also be excluded from the study.

There are inherent problems with any attempt to

determine precisely the level of difficulty and quality of

a piece of music. The use of an evaluation instrument,

such as the Repertoire Evaluation Inventory (REI), will

help determine the quality of the literature. Publications

such as Best Music for High School Band (Dvorak,

Grechevsky, & Ciepluch, 1993) and Teaching Music Through

Performance in Band (Blocher et al., 1997) will help

8 identify and evaluate the level of difficulty of these compositions. This information is the result of opinions collected by many experts in the field of wind band literature.

DEFINITION OF TERMS

Wind Band (Concert Band). A concert instrumental music ensemble comprised of brass, woodwind, and percussion instruments.

Non-Auditioned. This term refers to a situation where any concert band student who plays a brass, woodwind or percussion instrument may participate, regardless of ability level. Auditions that may be held for seating and/or part assignments have no bearing on this study.

Music of Quality (Quality Music). Compositions that are included in the Repertoire Evaluation Inventory (REI) will be considered to be music of quality. The following levels are defined as part of a nationally recognized and commonly used six level scale for grading the technical and musical difficulty of compositions. These definitions are based on publications by Tacke (1992) and Ciepluch, Dvorak and Grechesky (1993).

Grade I. Technically playable by and suitable forbands in elementary, middle or junior high schools.

Grade II. Technically playable by and suitable for bands in the second year of instruction such as advanced grade school, middle school or junior high bands.

Grade III. Technically playable by and suitable for mature bands in the third year of instruction such as upper middle

school, junior high or early high school.

Grade IV. Technically playable by and suitable for more

advanced high school bands and by most college bands.

Grade V. Technically playable by and suitable for

experienced college bands and the finest high school bands.

Grade VI. Technically playable by and suitable for

advanced college and professional bands.

10 CHAPTER 2

REVIEW OF LITERATURE

Literature pertaining to the quality and/or the difficulty level of the repertoire performed by the non-

auditioned, small college band does not exist. There is a

significant body of work that addresses wind band

repertoire at both the high school and college levels.

These studies focus on frequency of performance, core

repertoire, or quality/and or difficulty issues. Because

this literature offers some useful insight into the

repertoire that is being performed at the collegiate and

high school level, it has been included in this review.

In addition, there are a few studies that consider the

repertoire of either the small college band, or the non-

auditioned college band. These studies can be useful for

purposes of comparison and provide the closest examples to

the population considered for this study. Therefore, this

review of literature is organized into three broad

categories :

1. Literature focusing on wind band repertoire at the

high school level.

11 2. Literature focusing on wind band repertoire at the collegiate level.

3. Literature that specifically addresses repertoire for the non-auditioned or small college wind band.

Wind Band Repertoire at the High School Level

In order to determine exposure to and familiarity with a variety of wind band compositions, Brian Hughes (1990) devised a survey for Iowa high school band directors. This survey offered a diverse list of 50 original works for wind band. The respondents were to indicate the degree to which they were familiar with each composition by responding in the affirmative to any or all of the following statements:

1. Familiar (F). I know this work, either because I have performed or heard it.

2. Performance (P). I have performed this work with an ensemble.

3. Study (S). I have not performed the work but I have studied the score.

4. Score (Sc). I own a score to this work.

5. Recording (R). I own a recording of this work. (p. 61).

12 It was discovered that the following four wind band compositions were familiar to all respondents.

Incantation and Dance (Chance)

Lincolnshire Posy (Grainger)

Suite in Eb (Holst)

Russian Christmas Music (A.Reed)

The five most performed pieces included the Holst and

Reed pieces listed above along with the following:

Liberty Bell (Sousa)

Kaddish (W. Francis McBeth)

Suite of Old American Dances (Bennett)

Hughes also (1990) reported that one third of the

conductors articulated a "core repertoire", with the

following compositions cited by a majority of those

respondents :

Suite in Eb (Holst)

Suite in F (Holst)

English Folk Song Suite (Vaughn Williams)

Lincolnshire Posy (Grainger)

Irish Tune From County Derry (Grainger)

Russian Christmas Music (A. Reed)

Stars and Stripes Forever (Sousa)

Chorale and Shaker Dance (Zdechlik)

It is also interesting to note that forty percent (20)

of the fifty compositions presented were totally unknown to

over half of the respondents. Only thirty percent (15) of

13 the fifty compositions were familiar to more than seventy- five percent of the respondents. Contemporary compositions were found to be the least familiar to the respondents.

In a 1991 article, Harry Begian presented a selected, graded listing of approximately 130 pieces for concert band. A seven-member music review panel including Thomas

Dvorak, Charles Hills, Myron Welch, Frank Wickes, Victor

Zajec, and Begian himself pronounced these pieces (grade levels III, IV and V) as worthy and playable by public school bands. Though not an exhaustive listing by any means, the author sought only to compile a list of outstanding band repertoire based on the evaluations of conductors who are recognized as experts in the wind band

field.

Interestingly, all but two of the compositions cited as

"core repertoire" by the respondents in the Hughes (1990)

study were also included in this listing. Grainger's

Lincolnshire Posy was excluded because it is a grade VI

piece, a level of difficulty not included in this

particular listing. This listing also excludes marches,

which explains the absence of Sousa's Stars and Stripes

Forever.

The studies cited have focused on the presentation of

lists meant to represent the best of wind band compositions

and composers that are accessible to high school bands.

Although these lists do present a number of wind band

14 compositions considered to be quality literature, little had been recorded about the repertoire that conductors were actually programming. In his 1998 study, Craig Young sought to discover not only what literature was actually being performed by high school bands, but also the quality of that literature, and the criteria considered in the selection of that literature. By utilizing studies and opinions of various experts in the wind band field, Young

(1998) developed the Repertoire Evaluation Inventory (REI).

This survey consisted of 530 compositions judged to be literature of some degree of quality. Three levels of quality were then established; Exceptional Quality, High

Quality, and Good Quality. Of the 150 high school conductors surveyed it was discovered that "only 24 of the

530 compositions included on the REI were performed by 10%

(7) or more of the bands" (p.ii). In addition, almost half of the compositions performed by the respondents were not present on the ElEI, and therefore were considered to contain no notable level of quality. Therefore, Young concluded that "the overall quality level of the repertoires did not seem to be at a very high level"

(p.98) .

15 The top five criteria cited by the respondents when selecting music for performance were as follows:

1. It would challenge/improve the students' understanding of quality music and musical style.

2. It fit the ensemble's instrumentation and strengths.

3. The students could handle the technical demands in the amount of rehearsal time that was available.

4. It would challenge/improve the students' technical abilities.

5. The students could comprehend and execute the musical demands in the amount of available rehearsal time (p.111).

Considering these findings, one could conclude that although the respondents listed their students' exposure to quality music as the highest priority, in reality the criteria most important to the selection of literature was whether or not the music was playable by the ensemble.

Wind Band Repertoire at the Collegiate Level

In a 1987 study by Neidig, a panel of six highly

respected conductors in the wind band profession were given

the task of suggesting a basic band curriculum. Selective

lists were provided by Frederick Fennell, Donald

Hunsberger, Frank Battisti, H. Robert Reynolds, John

16 Paynter and Jack Williamson, resulting in a list of 48 compositions. Three grade levels (Grades IV, V, and VI) were represented, with 16 pieces in each grade level.

These pieces were then divided into a four-year cycle, with a total of twelve compositions for each year of the cycle, four from each grade level.

Although it is never stated specifically, it can be assumed that this suggested curriculum is not only designed for a collegiate ensemble, but for one that is highly accomplished. The inclusion of so many grade VI pieces, and the exclusion of anything below a grade IV level of difficulty would pose a problem for most small college bands, particularly for the non-auditioned band.

Soliciting idealized lists from experts in concert band repertoire is one way to start a quest for quality music, but it does not offer a complete picture. Recent studies on college and university wind band repertoire are helpful in discovering not only which pieces are being performed with frequency, but also what type of ensemble (wind ensemble, symphonic band, or concert band) is performing them. The implication is not that literature performed less frequently is of questionable quality. However, it could be concluded that compositions that are frequently and widely performed have made a greater impact in the field of wind band literature.

17 In 1987, Richard Fiese conducted just such a frequency study. Fiese reported the performed repertoire of 325 college and university band programs throughout the United

States and Canada for the years 1980 through 1985. The resulting list identified composers and compositions in decreasing order of performance frequency, as well as the type of ensemble that performed each piece. Unfortunately, the classifications of ensembles (Wind Ensemble, Symphonic

Band, and Other) are not defined. Consequently, this study shed no light on the audition status and personnel make-up of each type of ensemble.

It is interesting to note that institutions offering a four-year baccalaureate degree in music were the most widely represented, with 48% of the respondents. In addition, 64% of the respondents' institutions had only one concert band. Considering this information, it is possible to conclude that a number of the respondents were conductors of non-auditioned bands at institutions that offered a baccalaureate degree in music.

Results indicated "no single repertoire common to all of the colleges and universities surveyed emerged from the data" (Fiese, 1987. p. 39). However, a pattern of performance of certain composers did seem evident in that

"57% of all reported performances were of works by only 4%

(22) of all reported composers" (p.37). In fact, every respondent reported at least one performance of the music

18 of each of these twenty-two composers. Obviously, this indicates a strong influence by these twenty-two composers on the college and university band repertoire. These composers in decreasing order of performance frequency from

(left to right) were:

John Philip Sousa, Percy Grainger, Gustav Holst, Alfred Reed, Ralph Vaughan Williams, Henry Fillmore, John Barnes Chance, Johann Sebastian Bach, Aaron Copland, Norman Dello Joio, Clifton Williams, Leonard Bernstein, Vincent Persichetti, Claude T. Smith, Gordon Jacob, Dmitri Shostakovich, Richard Wagner, Malcolm Arnold, Vaclav Nelhybel, Robert Russell Bennett, Francis McBeth, and Charles Ives (p.37).

It is interesting to note that two of the top five most frequently performed composers, John Philip Sousa and Henry

Fillmore, are from what is considered to be the American

March Tradition. Combined, these two composers accounted for 9% of all performances reported.

A more limited study by David Woike (1987) examined the performed repertoire of the Big Ten Conference band programs from 1983 through 1987. In this study it was discovered that "a relatively small number of works were performed with cyclical regularity" (p.14). Another result of this study was a list of the ten most frequently

19 performed works at those institutions during that time period. The list, in descending order, is as follows:

First Suite in Eb (Holst)

Second Suite in F (Holst)

Festive Overture (Shostakovich/Hunsberger)

Irish Tune from County Derry (Grainger)

English Folk Song Suite (Vaughan Williams)

Incantation and Dance (Chance)

His Honor March (Fillmore/Fennell)

Suite of Old American Dances (Bennett)

Four Scottish Dances (Arnold/Paynter)

It is interesting to note that only one piece.

Incantation and Dance by John Barnes Chance, was performed

at all schools in that conference during that four year

period.

A similar study conducted by Hemberger in 1988 reported

compositions performed by eight leading music schools over

a five year period, 1982-1987. Two lists were compiled:

one for symphonic band/wind ensemble repertoire and another

for march repertoire. The ten most frequently performed

pieces for symphonic band/wind ensemble are as follows:

First Suite in Eb (Holst)

Second Suite in F (Holst)

English Folk Song Suite (Vaughan Williams)

2 0 Irish Tune from County Derry (Grainger)

Lincolnshire Posy (Grainger)

Serenade in Eb, Op. 7 (Strauss)

Serenade, Op. 44 (Dvorak)

Suite Française (Milhaud)

Sinfonietta (Dahl)

Suite in Bb, Op. 4 (Strauss)

Only two pieces, Dahl's Sinfonietta and William

Schuman's George Washington Bridge were performed by all eight schools. In addition, two pieces of long respected notoriety, Schoenberg's Theme and Variations, Op. 43a and

Grainger's Hill Song Wo. 2, did not figure prominently in the compilation.

Repertoire for the Non-Auditioned or Small College Band

A review of literature focusing specifically on the repertoire of small college wind ensembles yields only one study (Tacke, 1992). In this study, Tacke examined band programs performed by seven small liberal arts college wind ensembles in two academic years, 1985-86 and 1987-88. Only the level of technical difficulty of the compositions performed was determined. The difficulty level was then averaged for each academic year, with an average score then assigned to each repertoire for each band for both academic years.

21 The results indicated that the repertoire of each ensemble experienced an increase in overall difficulty from one academic year to the next. It was also discovered that

in the 1987-88 academic year, all of the ensembles had performed literature with an average level of difficulty

between IV and V. (The levels of difficulty for that year

ranged from II to VI).

Because this study focused solely on the difficulty

level of the music performed, the quality of the literature

was never addressed and the audition status of these

ensembles was never reported. Therefore, even though this

study does specifically focus on the small college band, it

does not completely address the issues that are being

proposed by the current study.

One study that touches briefly on the non-auditioned

aspect of college wind ensembles was conducted by David

Woike in 1990. In his survey of 38 college and university

wind band conductors, Woike asked the participants to

consider a four-tiered model for classification of wind

band literature at the collegiate level. He then requested

that each director suggest two compositions that he/she

considered to be worthy repertoire for collegiate wind

ensembles for each of these four levels.

Level I (the lowest level) of the four-tiered

classification was identified as the "university band"

level. This level was defined as "undergraduate, non-music

2 2 majors, general university student, not selected by audition. May include music majors studying secondary instruments." (Woike, 1990 P. 114). This definition closely describes the typical membership in the non- auditioned, small college band. However, the few music majors who would participate in the small college band would undoubtedly perform on their primary instrument. In addition, local community members are very often present in the small college band. The participation of these non­ student personnel is a means of gaining instrumentation and perhaps more experienced musicians. This situation is not addressed in the above definition.

It is interesting, however, to study the list of compositions suggested as appropriate for the Level I category and compare them to the list of "most significant wind band compositions, as identified by the respondents"

(Woike, 1990, p.70). By definition, the latter list would

contain what these conductors of collegiate bands consider

to be quality repertoire. This comparison reveals that only

four of the twenty-two compositions deemed appropriate for

the Level I band, are also considered to be among the most

significant repertoire for wind band. It is also noteworthy

that these same four compositions also appear on lists for

the Level II and Level III bands. These compositions are

23 listed as follows, preceded by the graded level of difficulty assigned to each by Ciepluch, Dvorak, &

Grechesky (1993).

IV Variations on a Korean Folk Song (Chance)

IV First Suite in Eb (Holst)

IV Second Suite in F (Holst)

IV English Folk Song Suite (Vaughan Williams)

This review of literature indicates that, currently,

there are no studies of collegiate band literature

specifically focused upon the quality and difficulty level

of repertoire performed by small, non-auditioned college

bands. In addition, research focused on revealing any

relationship that may exist between the inherent quality of

the literature performed by these non-auditioned college

bands and other variables is non-existent. There is a need

to investigate the relationships between the quality and

difficulty levels of music selected by conductors of these

bands and the criteria considered in the selection of this

repertoire. Such a study could prove helpful in providing

insight, which could lead to a better quality musical

experience for students.

24 CHAPTER 3

METHODOLOGY

Population and Sample

The population for this study was composed of conductors of non-auditioned college bands in at least their fourth year of teaching at an American public or private institution. The student population of these schools was limited to 5,000 or less. The size of this population was chosen for several reasons. The smaller colleges in the United States typically have a smaller pool from which to develop ensembles. This population

limitation means that they are less likely to have more than one concert band. With only one concert band available, it is more likely that this band would be open to any and all students who play the appropriate

instruments, without the requirement of an audition.

Consequently, this band would be comprised of musicians of

various levels of skills and abilities.

An important criterion in the college selection process

was that the concert band conductors be in at least their

fourth year of teaching at their current institution. This

25 requirement of longevity was included to permit a comprehensive view of the chosen literature and of the selection process for that literature. Since the study encompasses the three previous academic years, it was determined that the best way to collect valid data was if the conductor who responds to the survey was also the conductor for all three of those academic years.

The sample for the current study consists of 45 conductors of non-auditioned, small college bands who were in at least their fourth year of teaching at their institution, which met the stated population criteria. In order to obtain the sample, a list of colleges that met the student population and degree criteria was purchased from

Market Data Retrieval {Chicago, Illinois). A random number table was used to determine the order in which the schools were contacted from that list.

Telephone Interview

It was decided that initial contact with each of the schools should be made by telephone. This method allowed the researcher to secure the name of each conductor and the number of years she/he had taught at that particular institution. This procedure allowed the researcher to screen out the conductors who had not begun their fourth year at that position.

26 Beginning with the first college randomly chosen from the list, each selected music department was called. Once contact was made, the researcher introduced herself and requested the name of the band conductor, and the number of years that conductor had been in that position.

Information given by anyone other than the conductor was considered to be accurate within one year only. An estimate that the conductor was in her/his third year of

teaching at that institution was considered close enough to warrant direct contact with that person. The conductor's

office telephone number and her/his office hours were also

requested.

The conductors who met the fourth year requirement were

then contacted directly by telephone. The researcher

introduced herself and the institution and city from which

she was calling. Information about how that particular

conductor had been selected for participation and an

estimate of how long the telephone interview would take was

related, along with the purpose of the study.

The conductors were then asked if they had been

director of the concert band at that institution for the

past three years. They were then asked if there was only

one non-auditioned band offered during those three years.

Those who answered both questions in the affirmative were

then advised that the study required the availability of

concert band programs for the past three years. If this

27 information was available and if the conductor expressed a willingness to provide it to the researcher, the conductor was then asked to participate in the study. The complete script for the telephone interview is included in Appendix

A.

Once the conductor had agreed to participate, her/his office telephone number and mailing address were confirmed.

The conductor was then advised that she/he would receive a packet in the mail that would include a self-addressed stamped envelope along with a seven-page survey instrument.

Each conductor was also asked to provide an E-mail address, so that the researcher could easily contact each participant. In order to accommodate conductors who might

keep repertoire lists in a computer file, each participant was given the option of E-mailing a list of pieces performed, rather than sending programs. Three conductors opted to provide their performance lists in this manner.

This process continued until 45 conductors who met the

criteria had agreed to participate. A total of 185

colleges were contacted, 84(45.4%) of which did not have a

concert band. Of the remaining 101 colleges that did have

a concert band, 38 (37.62%) were excluded because the

conductor had not been in that position for the required 4

years, 12 (11.88%) were excluded because there were

multiple concert bands available at that institution, and 6

(5.94%) were excluded due to a selective audition

28 requirement. The entire process took 7 days of calling during a two-week period, resulting in 856 telephone calls.

All conductors who were deemed eligible for the study agreed to participate.

Mail Survey

In order to establish face validity, the survey instrument was examined by experts in the field of music education. It was then pilot tested with members of the

Ohio Private College Instrumental Conductors Association

(0.P.C.I.C.A.), in January of 2001.

The survey instrument, a cover letter, and a 9x12 self- addressed stamped envelope were sent to each of the conductors during the last week of February, 2001. The cover letter included instructions about the inclusion of the concert band programs for the past three years, as well as information concerning the completion of the survey form. Another section of the letter thanked the conductor

for participating and included an explanation of the

importance of the study. The researcher's home address and

telephone number, as well as E-mail addresses for both home

and office were also included. The cover letter can be

found in Appendix B.

The written portion of this study was a two-part survey

questionnaire. The first part of the survey instrument was

29 developed to gather demographic information about the institution, the ensemble, and the conductor. This information was necessary to establish the circumstances and conditions that could potentially have an effect on the repertoire selection process.

The second part of the survey instrument utilized a five-point Likert scale. This section consisted of multi­ part questions concerning the criteria and resources used by the conductors when selecting the literature they performed. The listings of criteria and resources were developed through the use of studies conducted by Woike

(1990) and Young (1998). The survey instrument is included in Appendix C.

Three days after the surveys had been mailed, an E-mail message was sent to the 44 conductors who had provided their E-mail addresses. This message informed the participants that the packet had been mailed. A reminder of the importance of their participation was included, along with instructions to reply to the E-mail as soon as they had completed and returned the survey.

The request for participants to reply to the E-mail message was very helpful in two ways. First, it initiated

two-way communication between the participant and the

researcher, which was meant to provide the participant with

a sense of investment in the study. Second, it helped the

30 researcher track the packets as they were returned. In all, 23 (52.27%) of the 44 conductors responded to the return E-mail request.

Two weeks after the packets were mailed, a follow-up E- mail was sent to 24 conductors who had not yet responded.

One week later another follow-up E-mail was sent to the remaining 16 conductors who had not yet responded, as well as to 6 conductors who had not sent all of their programs.

Thereafter, all contact was made via telephone, with E- mail back up. Two such follow-up rounds took place, each

at two- week intervals. In the end, 5 rounds of E-mails,

and two rounds of telephone calls were completed, covering

a total of 7 weeks. The entire process, from the day the

packets were mailed to the receipt of the last packet from

a respondent, took approximately 9 weeks.

This methodology proved to be quite effective for both

portions of the study. A total of 44 of the 45 surveys

were returned, indicating a response rate of almost 98%.

All of the returned packets contained completed survey

forms. However, two of the respondents provided only 50%

of their programs and one of the respondents failed to

provide any programs. Following the Young (1998) study, it

was decided that a respondent must provide at least two-

thirds of their programs in order to be included in the

repertoire portion of the study. Therefore, only 41 (92%)

31 of the conductors returned a significant enough portion of their programs to be included in the repertoire portion of the study.

Because there were two sets of response rates, it became necessary to use two sets of response figures for the purpose of data analysis. Those conductors who returned a survey will hereafter be referred to as "survey respondents" (N=44) and those conductors who returned at least two-thirds of their programs will be referred to hereafter as "repertoire respondents" (N=41).

The sample population of 45 conductors represented 31 of the 50 states. Thirty states were represented in the

"survey respondent" group and 28 states were represented in the "repertoire respondent" group. The number of institutions from each state that were included in the sample, along with the number of "survey respondents" and

"repertoire respondents" per state can be found in Table 1.

32 Stata S a ^ l a Suxvay Rapaxtoira Stata Saqpla Suzvay Rapartoira AK 0 0 0 MI 0 0 0 A L 1 1 1 NO I 1 0 AR 1 1 1 MD 0 0 0 AZ 0 0 0 NX 1 1 1 C A 1 1 1 NH 1 1 1 CO 0 0 0 NJ 0 0 0 CT 0 0 0 MM 0 0 0 DB 0 0 0 NV 0 0 0 El. 1 1 1 MY 0 0 0 G A 3 3 3 OH 2 2 2 HI 0 0 0 OK 2 2 2 L A 1 1 1 OR 1 1 1 ID 1 1 1 PA 3 3 3 IL 2 2 2 RI 0 0 0 IN 1 1 1 SC 1 1 1 KS 1 1 1 SD 1 1 1 KY 1 1 1 TM 4 4 3 LA 1 1 1 IX 3 3 3 M A 2 2 2 01 0 0 0 MD 0 0 0 VA 1 1 1 MB 0 0 0 VT 1 1 1 MI 1 1 1 WA 0 0 0 MN 2 2 2 HI 1 1 1 MO 1 0 0 WV 1 1 0 MS 0 0 0 WY 0 0 0

Table 1: Response by state

33 Treatment of the Data

The programs and completed surveys from each respondent were assigned a code number when they were received. Data from each of the surveys was tabulated and recorded, generating means and percentages for each response. The repertoire from the programs, minus the marches, fanfares, wind ensemble pieces, compositions for soloist and band and unpublished compositions/arrangements was recorded for each ensemble by year of performance. The remaining compositions were each assessed for technical difficulty and for quality. This information was then used to determine overall technical difficulty and quality scores for each band, for each academic year.

Assessment of Technical Difficulty

In order to assess the technical difficulty of the

compositions, a combination of resources was consulted.

Teaching Music Through Performance in Band, Volumes I, II

and III (Blocher et al., 1997, 1998, & 2000), Best Music

For High School Band (Dvorak et al., 1993) and Best Music

for Young Band (Dvorak, 1986) contained difficulty ratings

for most of the pieces included in the REI. Compositions

not included in these publications were assigned the

difficulty rating provided by the publisher.

34 There were 50 compositions (3.08% of the performed repertoire) that were not included in the published resources, nor rated by the publisher. These compositions were assessed by an expert in the field of wind band repertoire^, who then assigned difficulty ratings based on the same criteria implemented in the previously mentioned resources. The six level grading scale utilized in these resources is widely recognized by those in the field as a way to provide a uniform measurement with regards to technical difficulty (Tacke 1992).

The repertoire list for each ensemble was first arranged in chronological order. Each piece was then

assigned the appropriate grade for technical difficulty,

ranging from Grade I to Grade VI. An Average Technical

Difficulty (ATD) score was then computed for each ensemble

for each academic year. This ATD score was produced by

adding the graded numbers assigned to each piece and

dividing it by the number of compositions evaluated. An

ATD was computed for each respondent for each of the

academic years. A combined ATD for all three academic

years was also computed.

* James Cochran, Shattinger Music Co., St. Louis Missouri 35 Assessment of Quality

The method for assessing the quality of the repertoire was developed by Craig Young in his 1998 study of the quality of high school band repertoire. His permission was requested and given for use in the current study. His instrument, the Repertoire Evaluation Inventory (REI), was developed by consulting several studies and lists of wind band repertoire, as well as a panel of experts in the field of wind band literature. This method of measuring the quality of wind band compositions was based on a point system involving the formation of three groupings of multiple studies or opinions. Compositions that appeared in "group one" were awarded two points, those appearing in groups "two" and "three" were awarded one point each. The quality designation for each composition was then determined by adding up the points awarded for inclusion in each group.

Three categories were then determined, based on the point system outlined above. Category 1 was labeled

"Exceptional Quality Literature" and is defined as

"representing the highest quality compositions available"

(Young, 1998, p.49). Category 2 was labeled "High Quality

Literature" and is defined as "representing compositions with a very high level of quality, only slightly below the highest level" (p.49). Category 3, labeled "Good Quality

36 Literature" is defined as "representing compositions with a notable level of quality, yet below the highest two levels"

(p. 49) .

In the current study, the repertoires of each individual respondent were compared to the REI.

Compositions that appeared in Category 1 were awarded three points, those that appeared in Category 2 were awarded two points, and those that appeared in Category 3 were awarded one point. Compositions that did not appear in any category received no points.

Any piece that was performed more than once by the same band was only counted once. Exceptions to this were in cases of multi-movement works where different movement(s) were performed at different times. In this situation, the composition was counted each time a new movement was performed. Multi-movement works that were not performed in

their entirety were noted, and although the exclusion of movements could affect the assessment of technical

difficulty, it did not affect the assessment of quality.

Of the 1190 compositions performed by the respondents

in the current study, there were 297 pieces that had not

been evaluated in the Young (1998) study. Most of these

compositions had been published after 1996, and would not

have been available at the time of that study. These

pieces were presented to a panel of experts in the field of

37 wind band repertoire^ for assessment. The panel members were asked to examine 297 compositions and compare them to the compositions included in each category of the REI. If a panel member believed that a composition was of sufficiant quality to be included in the REI, he was to indicate the appropriate category. The repertoire lists and instructions to the panel can be found in Appendix D.

Once the panel had completed and returned the repertoire lists, each panelist's assessment was compiled and compared to those of the other panelists. Each composition was then placed in the appropriate category of the REI, based on the results of the panel. As per Young

(1998), compositions that were not agreed upon unanimously were placed in the appropriate category using an averaging method.

Of the 297 pieces presented to the panel for consideration, 88 were judged worthy of inclusion in the

REI. Based on these results, 2 pieces were added to

Category 1 (Exceptional Quality Literature) 8 pieces were added to Category 2 (High Quality Literature), and 78 pieces were added to Category 3 (Good Quality Literature).

A list of these compositions, by Category, is presented in

Table 2. The entire REI, including the additions generated from this study, can be found in Appendices E, F and G.

^Rick Blatti, James Cochran, Russ Mikkelson and Jon Woods 38 CAIEGORZ 1

Co^o««r Coi^aition Arr./Trans. Mozart, W.A. Overture, "Cosi fan tutte" Moehlmann Mozart, W.A. Serenade No. 11 Fennell

CATEGORY 2

Coaqpoaat Composition Arr./Trans. Bach, J.S. Chaconne Daehn Barber, Samuel First Essay Levey Barnes, James Third Symphony Brahms, Johannes Hungarian Dances Curnow Gillingham, David Be Thou My Vision Grantham, Donald Southern Harmony Nachman, Yariv The Match of Hope Nelson, Ron Homage to Leonin

CATEGORY 3

Composer Composition Axr./Trans. Akey, Douglas Cascade River Overture Allen, Thomas When the Stars began to Fall

Bach, J.S. Forget Me Not, 0 Dearest Lord Reed Barker, Warren An Irsh Ayre For Winds Barker, Warren Deir in De Fanfare Prelude On "Ode to Beethoven, Ludwig van Joy" Curnow Bilik, Jerry American Civil War Fantasy Bizet, Georges Farandole from L'Arlesienne lasilli Bremer, Carolyn Early Light Broege, Timothy American Verses *continued

Table 2: Additions to Repertoire Evaluation Inventory (REI) by category*

39 *Table 2 continued CoapoMr Co^oaition Arr./Trana. Broege, Timothy Jody Camphouse, Mark Three London Miniatures Divertimento for Winds and Cichy, Roger Percussion Cichy, Roger Fanfare and Salutation Copland, Aaron Hoe Down Rogers Cowell, Henry Celtic Set Four Colonial Country Curnow, James Dances Curnow, James Rej ouissance Del Borgo, Elliot Lux Aeterna The Walk to the Paradise Delius, Frederick Garden Kreines Songs of Abelard for Band Dello Joio, Norman and Voice Erickson, Frank Second Symphony for Band with brightness round about Galbraith, Nancy it George, Thom Ritter First Suite in F Gershwin, George Rhapsody in Blue Verrier Second Prelude from "Three Gershwin, George Preludes" Krance Resting in the Peace of His Gibson, John Hands Gillingham, David Apocalyptic Dreams Gillis, Don Spiritual Godrey, Daniel S . Jig Gorb, Adam Yiddish Dances Grainger, Percy Aldridge Down Longford Way Grainger, Percy Aldridge I'm Seventeen Come Sunday Daehn Grainger, Percy Aldridge Themes From Green Bushes Daehn Grundman, Clare Two Irish Songs Halftery, Frank Carlyle Trilogy Hearshen, Ira After Fairest of the Fair Hilliard, Quincy Furioso Hilliard, Quincy Sundance Holsinger, David R. Prairie Dances Holst, Gustav In The Bleak Midwinter Robert W. Smith ‘■continued

40 ♦Table 2 continued Coaposar Composition Arr. /Trans. Jupiter Hymn (from the Holst, Gustav Planets) De Meij Hovhaness, Alan Suite for Band Knox, Thomas Sea Songs Liszt, Franz Les Preludes Hindsley Mahr, Timothy Soaring Hawk Parade (from Fantasia Nova Margolis, Bob for Concert Band) Intermezzo from "Cavalleria Mascagni, Pietro Rusticana" Kreines Melillo, Stephen Before The Storm Melillo, Stephen The Fountainhead Melillo, Stephen Timestorm Nocturne (from "Midsummer Mendelssohn, Felix Night's Dream") Milhaud, Darius Suite Provençale Nelson Nelhybel, Vaclav Estampie Nelson, Ron Lauds Overture to "The Merry Wives Nicolai, Otto of Windsor" Kreines Ployhar, James Lead On, 0 King Eternal Purcell, Henry Suite from Dido and Aeneas Walker Rachmaninoff, Sergei Italian Polka Leidzen Reed, Alfred A Festive Overture Saint-Saëns, Camille Danse Bacchanale Steiger Scheldt, Samuel Canzona Bergamasca Daehn Sheldon, Robert Chanteys Shostakovich, Dmitri Folk Festival Hunsberger Shostakovich, Dmitri Prelude No. 14 Reynolds Shostakovich, Dmitri Symphony No. 11 Daehn Smith, Claude T. God of Our Fathers By the Light of the Polar Sousa, John Philip Star (Looking Upward Suite) Folksongs for Band, Suite No. Stanhope, David 1 Strauss, Richard Zueignung Davis Thompson, Randall Alleluia Buckley Ticheli, Frank Shenandoah ♦continued

41 * Table 2 continued C o ^ o a a r Coaposition Axx./Txana. Ticheli, Frank Sun Dance Ticheli, Frank Vesuvius Prelude on Three Welsh Hymn Vaughan Williams, Ralph Tunes Curnow

Vaughan Williams, Ralph Well Met, My Own True Love Daehn Wood, Haydn A Manx Overture Brown Yurko, Bruce In Memoriam: Kristina

Total Quality Points (TQP) for each individual

respondent for each academic year were then figured by

adding up the points received by all of the compositions

performed in that academic year. The TQP score was then

divided by the total number of compositions that were

judged in order to arrive at the Average Quality Points

(AQP) score. This resulted in an AQP score for each

respondent for each academic year. A combined AQP score

for all three academic years was also computed.

42 CHAPTER 4

ANALYSIS AND RESULTS

The purpose of this study was: (1) to survey conductors of non-auditioned, small college bands to determine the literature that was being performed during the academic years of 1997-2000, (2) to evaluate the level of quality of this literature, (3) to evaluate the level of difficulty of this literature and, (4) to examine the criteria that guided these conductors in the selection of literature to be performed. The data were collected by the use of a written survey sent to 45 band conductors in colleges with a total student population of 5,000 or less. These conductors had been at their present institution for at least 4 years.

Description of the sample

In order to obtain the sample, music departments at 185 colleges were contacted by telephone. A total of 101

(54.59%) of these colleges had a concert band program. Of

43 the 101 band programs surveyed, 56 (54.44%) were found to be ineligible, according to stated criteria for inclusion in the study. This left 45 colleges that fell within the guidelines for this study. All 45 conductors, 5 women

(11.11%) and 40 men (88.89%), agreed to participate.

Information from the written survey revealed that the survey response group (N=44) had a mean of 12.66 years

(SD=9.19) and a mode of 6 years (n=6) of teaching at their present position. The maximum number of years at the same institution was 43. Twenty-two (50%) conductors had taught at their current positions at least 10 years and 7 conductors (15.90%) had taught over 20 years at the same institution.

When considering total years of teaching experience a very different picture emerges. The maximum total years of teaching experience is still 43, however the mean is 22.06 years (SD=10.72) with a mode of 20 years (n=5). Only 7

(15.90%) conductors had less than 10 years of teaching experience, 25 conductors (56.81%) had at least 20 years of experience and 12 (27.27%) had 30 years or more.

Obviously, previous teaching experience contributed to the total number of years taught for many of these conductors. For 36 (81.82%) of the respondents, many of

44 those years represented time spent as public school teachers. The mean number of years for public school experience was 7.73 (SD=8.89). Eleven (25%) respondents had over 10 years of public school experience, 6 (13.63%)of whom had 23 years or more at that level. Eight (18.18%) respondents had no previous experience at the public school level and only 1 respondent had the minimum 4 years of experience at the present institution with no previous public school or college experience.

Twenty-four (54.54%) of the survey respondents had completed their doctoral degree, 19 (43.18%) had completed their master's degree and one respondent had attained only the bachelor's degree. Six (13.63%)of the respondents at the master's level indicated that they were currently working on their doctorates.

Music Education was the most prominent major, with 41

(93.18%) of the respondents holding at least one degree in this area of concentration. However, as the level of education increased, the dominance of the music education major decreased. Music education accounted for 84.09% (37) of the bachelor's degrees, 59.09% (26) of the master's degrees, and only 25.00% (11) of the doctoral degrees.

45 Conducting was another popular area of concentration, with

38.63% (17) of the respondents holding at least one degree

in that area.

Thirty-eight (86.36%) of the survey respondents were

employed as full time faculty, 3 (6.82%) were considered

part time faculty, and 1 (2.27%) identified as adjunct.

Two (4.55%) respondents were employed at their respective

colleges as administrative personnel primarily and as band

conductors secondarily and were, therefore, not considered

faculty at all.

The average enrollment for the 44 colleges represented

by the survey respondents was 1,764, ranging from a high of

4,000 to a low of 400. Thirty-six (81.82%) of these

colleges were private institutions, and 8 (18.18%) were

public. Forty-one (93.18%) of these colleges offered a

bachelor's degree in music, 27 (65.85%) of which offered a

degree in music education.

The academic year was divided into semesters for 38

(86.36%) of the respondents. The remaining 6 colleges were

equally split between the trimester and quarter systems, at

3 (6.81%) each.

In order to account for enrollment changes per term,

the number of participants in each concert band was

46 averaged for each academic year. These 3 numbers were then totaled and averaged again to determine an average size for each band for the three-year period considered for this study. The result was an overall average band size of

49.59 (SD=22.77) and a mode of 54 (n=3). The large standard deviation indicates a wide variation in the average band size, as is evidenced by the range in size

from the largest band's average of 142 members to the

smallest band's average of 10. It is also notable that

there were 5 bands at or above the 90^^ percentile range of

70 members and 5 bands below the 10^^ percentile range of

25.

Marching/Pep band obligations were not an issue for 23

(52.27%) of the survey respondents. Eight (18.18%)

respondents indicated that athletic bands met separately

from the concert band, therefore not interfering with

concert band rehearsals. For the remaining 29.55% (13) of

the respondents, athletic bands did impact the concert band

rehearsal. Six (13.64%) respondents indicated that the

concert band shared rehearsal time with the athletic bands

while 7 (15.92%) respondents indicated that concert band

began after marching band obligations were completed.

Three of the concert bands met second semester only.

47 The average amount of time spent in rehearsal per week was 178 minutes (2 hours, 58 minutes) for fall and 190 minutes (3 hours, 10 minutes) in the spring. The amount of

rehearsal time ranged from a low of 2-2 ^ hours per week

(24 bands) to a high of 5-5 h hours per week (4 bands).

This wide range in allotment of rehearsal time is

reflected in the number of concerts performed per year. The

average number of concerts performed annually by the survey

respondents was 3.86 (SD=1.92), with a mode of 4 (n=17).

Thirty-six (81.81%) bands performed at least 4 concerts per

year, with one conductor reporting 11 concerts annually.

Six conductors reported 2 concerts per year (1 per

semester) and 3 conductors reported only one concert

annually. Those reporting only one concert offered concert

band only during second semester.

Performed Repertoire

A total of 1616 performances of compositions by 426

different composers were submitted by the repertoire

respondents for the academic years of 1997-1999. Among

these performances were 272 marches (16.83%), 87

compositions with soloist (5.38%), 46 non-published

48 compositions and arrangements (2.82%) and 21 fanfares

(1.29%). This left 1190 performances of 715 different compositions to be considered in the determination of the quality and difficulty levels of the pieces performed by these non-auditioned, small college bands.

Although marches were not considered as part of this study and were not catalogued by title, the composers were recorded. A total of 89 composers were represented among the 272 marches performed by the repertoire respondents

(N=41). John Philip Sousa had the most performances at 65, which made him, unofficially, the most performed composer

in this study. A total of 24 (58.54%) bands performed at

least one Sousa march during the three-year period

considered in this study, averaging 2.71 performances per band. The second most-performed composer of marches was

Karl L. King (25), performed by 17 (41.46%) of the

respondents, followed by Henry Fillmore (16) performed by

12 (29.27%). In all, 70.73% (29) of the conductors

performed at least one of the top three march composers,

while 29.27% (12) bands performed none of these composers.

Table 3 lists all of the march composers according to the

number of performances their compositions received.

49 # of Coapoaar Porformmno## Sousa, John Philip 65 King, Karl L 25 Fillmore, Henry 16 Goldman, Edwin Franko 9 Holst, Gustav 8 Texidor, Jaime 7 Berlioz, Hector 6 Hanssen, Johannes 6 Leemans, Pierre 6 Fucik, Julius 5 Strauss, Johann 5 Alford, Kenneth 4 Barber, Samuel 4 Grainger, Percy Aldridge 4 Allen, Thomas 3 Bagley, E.E. 3 Elliott, Zo 3 Richards 3 Saint-Saëns, Camille 3 Smith, Robert W. 3 Vaughan Williams, Ralph 3 Williams, John 3 Agapkin, Vasili] 2 Alexander, Russell 2 Alford, Harry 2 Chattaway, Jay 2 Chovi, Pascual Perez 2 Coates, Eric 2 Holsinger, David R. 2 Jager, Robert 2 Klohr, John 2 Prokofieff Serge 2 Schubert, Franz 2 Verdi, Giuseppe 2 Wagner, J.F. 2 Barker, Warren 1 Beethoven, Ludwig van 1 Beisterling, Charles 1 Berlioz, Hector 1 ♦continued

Table 3: March composers by number of performances received*

50 ‘Table 3 continued # of C o i ^ # # r Pozfozaaneos Boyer, T.B. 1 Brooks, Lee 1 Brow 1 Bulla, Stephen 1 Bullock, Jack 1 Byrd, William 1 Christensen 1 Godina, Genaro 1 Creatore, Giuseppe 1 Duble, G.E. 1 Elgar, Edward 1 Farrar, O.R. 1 Foss, Lukas 1 Foster, Robert E. 1 Franco, Jose 1 Gershwin, George 1 Gillis, Don 1 Gottschalk, Louis 1 Haggart, Bob 1 Hall, R.B. 1 Halvosen, Johan 1 Heed, J.C. 1 Herbert, Victor 1 Javaloyes, Alfredo 1 Kenny 1 Lambert, L. 1 Lithgow, Alex 1 Lope, Santiago 1 Maltby, Richard 1 Marquina, Pascual 1 Massenet, Jules 1 Nelhybel, Vaclav 1 Nestico, Sammy 1 Nijs, Johan 1 Oldham/Hale 1 Osterling, Eric 1 Padilla, Jose 1 Panella, Frank 1 Reed, Alfred 1 Rodgers, Richard 1 Seitz, Roland F. 1 ‘continued

51 *Table 3 continued * of C o i ^ s a r Paxfotaanoas Sellenick, Adophe 1 Shaffer 1 Shostakovich, Dmitri 1 Skelton, Red 1 Teike, Carl 1 Tucci 1 Wiley 1 Williams, Clifton 1 Williams, Kenneth 1

Of the 715 different compositions that were performed by the repertoire respondents for the 3 academic years under consideration, 513 (71.75%) were performed only once.

Thirteen of the compositions were performed by at least 20%

(8) of the bands, with these 13 pieces accounting for

11.01% of all performances by all repertoire respondents, excluding marches, solo pieces, unpublished pieces and fanfares.

Ralph Vaughan Williams' Folk Song Suite was the most- performed composition, receiving performances by 16

(39.02%) of the repertoire respondents. Gustav Holst's

First Suite in Eb and Second Suite in F were each performed by 13 (31.70%) bands, to tie for second. Rounding out the top five most-performed compositions were Symphony No.l

"The Lord of the Rings", a composition of more recent

52 vintage, by Johan de Meij, and Caillet's setting of Richard

Wagner's Elsa's Procession to the Cathedral, each receiving performances by 10 (24.39%) of the respondents. The next 5 compositions were performed by 9 (21.95%) of the bands;

Leonard Bernstein's Overture to '^Candide", Percy Aldridge

Grainger's Irish Tune from County Derry, Alfred Reed's

Russian Christmas Music, Frank Ticheil's Amazing Grace, and

Ralph Vaughan Williams's Sea Songs.

Twenty-eight (68.29%) of the repertoire respondents performed at least one of the five most-performed compositions. Although no band performed all five pieces, four (9.75%) bands performed four (80%) of the pieces.

Thirteen bands (31.70%) performed none of the top five compositions. Thirty-five (85.36%) of the repertoire respondents performed at least one of the top ten compositions, with 6 (14.62%) of the bands performing at least 50% of these pieces. Six (14.62%) bands performed none of the ten most-performed compositions.

The complete list of the 202 compositions performed by more than one of the repertoire respondents can be found in

Table 4. Compositions receiving only one performance are listed in Appendix F.

53 Coaposar Co^osition Axr./Trans. « Pfs Vaughan Williams, Ralph English Folk Song Suite 16 Holst, Gustav First Suite in Eb 13 Holst, Gustav Second Suite in F 13 Symphony No. 1 "The Lord of the de Meij, Johan Rings" 10 Elsa's Procession to the Wagner, Richard Cathedral Rogers 10 Bernstein, Leonard Overture to Candide Beeler 9 Grainger, Percy Aldridge Irish Tune from County Derry ed. Rogers 9 Reed, Alfred Russan Christmas Music 9 Ticheli, Frank Amazing Grace 9 Vaughan Williams, Ralph Sea Songs 9 Persichetti, Vincent Pageant 8 Shostakovich, Dmitri Festive Overture, Op. 96 Hunsberger 8 Ticheli, Frank Shenandoah 8 Chance, John Barnes Incantation and Dance 7 Copland, Aaron Down a Country Lane Patterson 7 Dello Joio, Norman Scenes from "The Louvre" 7 Schuman/ Ives, Charles Variations on America Rhoads 7 Milhaud, Darius Suite Française 7 Tschesnokoff, Pavlov Salvation is Created Houseknecht 7 Arnold, Malcolm Prelude, Siciliano, and Rondo Paynter 6 Copland, Aaron An Outdoor Overture 6 Grainger, Percy Aldridge Lincolnshire Posy 6 Holsinger, David R.On A Hymnsong of Philip Bliss 6 Jager, Robert Third Suite 6 Jenkins, Joseph Wilcox American Overture for Band 6 Reed, Alfred Armenian Dances (Part 1) 6 Schuman, William Chester Overture for Band 6 Ticheli, Frank Blue Shades 6 Ticheli, Frank Sun Dance 6 ^continued

Table 4: Compositions performed multiple times and the number of performances (Pfs) received*

54 *Table 4 continued

Coqposttr Coqpoaition Arr./Trans. * Pfs Bennett, Robert Russell Suite of Old American Dances 5 Gould, Morton American Salute Lang 5 Holst, Gustav Jupiter, from the Planets 5 Lo Presti, Ronald Elegy for a Young American 5 Reed, Alfred Alleluia Laudamus Te 5 Reed, H . Owen La Fiesta Mexicana 5 Rims ky-Korsa kov, N Procession of the Nobles Leidzen 5 Ticheli, Frank Cajun Folk Songs 5 Symphonic Dances from "West Side Bernstein, Leonard Story" Polster 4 Chance, John Barnes Variations on a Korean Folk Song 4 Grainger, Percy Aldridge Shepherd's Hey 4 Hanson, Howard Chorale and Alleluia 4 Holsinger, David R. On An American Spiritual 4 Jacob, Gordon William Byrd Suite 4 McBeth, W. Francis Grace Praeludium 4 Mussorgsky, Modest Pictures at an Exhibition Leidzen 4 Persichetti, Vincent Symphony No. 6 4 Schuman, William George Washington Bridge 4 Shostakovich, . Dmitri Folk Dances Reynolds 4 Tchaikovsky, Peter Dance of the Jesters Cramer 4 Traditional Greensleeves Reed 4 Van der Roost, Jan Puszta 4 Vaughan Williams, Ralph Flourish for Wind Band 4 Wagner, Richard Trauersinfonie 4 Williams, Clifton Variation Overture 4 Zdechlik, John Chorale and Shaker Dance 4 Arnold, Malcolm Four Scottish Dances Paynter 3 Bach, J.S. Prelude and Fugue in B-flat Moehlmann 3 Bulla, Stephen All Hail The Power 3 Camphouse, Mark Watchman, Tell Os of the Night 3 Divertimento for Winds and Cichy, Roger Percussion 3 Copland, Aaron Variations on a Shaker Melody 3 Curnow, James Canticle of the Creatures 3 Dvorak, Antonin Finale from "New World Symphony" Leidzen 3 ^continued

55 *Table 4 continued Composer Composition Arr./Ixana. * Pfs Elgar, Edward Enigma Variations (Nimrod) Reed 3 Frescobaldi, Toccata Slocum 3 Girolamo Gershwin, George Second Prelude Krance 3 Giannini, Vittorio Symphony No. 3 3 Ginastera, Alberto Danza Final from Estancia 3 Gossec, Francis Military Symphony in F 3 Joseph Grainger, Percy Children's March Erickson 3 Aldridge Grainger, Percy Colonial Song Rogers 3 Aldridge Grainger, Percy Ye Banks and Braes O'Bonnie Doon 3 Aldridge Hindemith, Paul March from "Symphonic Wilson 3 Metamorphosis" Holsinger, David R. Prelude and Rondo 3 Latham, William Three Chorale Preludes 3 Mahr, Timothy Fantasia in G 3 Giannini, Vittorio Symphony No. 3 3 Ginastera, Alberto Danza Final from Estancia 3 McBeth, W. Francis Chant and Jubilo 3 McBeth, W. Francis Of Sailors and Whales 3 Nelson, Ron Courtly Airs and Dances 3 Nixon, Roger Fiesta Del Pacifico 3 Orff, Carl Carmina Burana 3 Fennell/ Press, Jacques Wedding Dance Johnson 3 Reed, Alfred A Festival Prelude 3 Saint-Saëns, Camille Pas Redouble Frackenpohl 3 Sheldon, Robert A Longford Legend 3 Africa: Ceremony, Song and Smith, Robert W. Ritual 3 The Ascension from "The Divine Smith, Robert W. Comedy" 3 Strauss, Richard Allerseelen Davis 3 Wood, Haydn Mannin Veen 3 Bach, J.S. Come, Sweet Death Reed 2 Bach, J.S. Jesu, Joy of Man's Desiring Reed 2 Bach, J.S. Jesu, Joy of Man's Desiring Leidzen 2 Bach, J.S. Passacaglia and Fugue in C minor Hunsberger 2 ♦continued

56 *Table 4 continued Compommr Coqposition Axr./Trans. « Pfs Gershwin, George An American in Paris Krance 2 Gershwin, George Gershwin Medley Bennett 2 Gershwin, George Strike Dp The Band Barker 2 Giovannini, Caesar Chorale and Capriccio 2 Russian Sailors Dance from "The Gliere, Reinhold Red Poppy" Longfield 2 Grainger, Percy Aldridge Australian Op-Country Tune Bainum 2 Grainger, Percy Aldridge Handel in the Strand 2 Grainger, Percy Aldridge I’m Seventeen Come Sunday Wagner 2 Grainger, Percy Aldridge Molly on the Shore 2 Grantham, Donald Southern Harmony 2 Handel, G. F. Water Music Suite Kay 2 Hardiman, Ronan The Lord of the Dance Saucedo 2 Hearshen, Ira After The Thunderer 2 Himes, William Jericho 2 Symphony in B-flat for Concert Hindemith, Paul Band 2 Holsinger, David R. A Childhood Hymn 2 Holsinger, David R. Gathering of the Ranks at Hebron 2 Holsinger, David R. Havendance 2 Holst, Gustav Jupiter Hymn (from the Planets) de Meij 2 Holst, Gustav Mars from the Planets 2 Hovhaness, Alan Hymn to Yerevan 2 Huckeby, Ed American Folk Fantasia 2 Proclamation and Symphonic Huckeby, Ed Decree 2 Ito, Yasuhide Festal Scenes 2 Jacob, Gordon An Original Suite 2 La Plante, Pierre English Country Settings 2 Lecuona, E. Malaguena Nestico 2 Lloyd Webber, Selections from The Phantom of Andrew the Opera Barker 2 Mailman, Martin Liturgical Music for Band 2 Maslanka, David Rollo Takes a Walk 2 McBeth, W. Francis The Seventh Seal 2 McGinty, Anne Tis a Gift 2 Mendelssohn, Felix Overture for Band, Op. 24 Bartholdy 2 *continued

57 * Table 4 continued Co^o##r Compomition tor./Tran*. * Pf* Mennin, Peter Canzona 2 Mozart, W.A. Marriage of Figaro Overture Slocum 2 Nelhybel, Vaclav Trittico 2 Nelson, Ron Medieval Suite 2 Nelson, Ron Passacaglia (Homage on B-A-C-H) 2 Nelson, Ron Rocky Point Holiday 2 O'Reilly, John Fantasia On An Irish Hymn 2 Epinicion For Winds and Paulson, John Percussion 2 Persichetti, Vincent Divertimento for Band Op. 42 2 Pethel, Stan Encomium 2 Ployhar, James Hymn Fantasy for Band 2 Song of Praise (based on This is Ployhar, James My Father's World) 2 Reed, Alfred El Camino Real 2 Selections from "The Sound of Rodgers, Richard Music" Bennett 2 Rossini, Gioacchino Italian in Algiers Caillet 2 Sheldon, Robert Danse Celestiale 2 Shostakovich, Dmitri Folk Festival Hunsberger 2 Smith, Claude T . Emperata Overture 2 Smith, Claude T . God of Our Fathers 2 Smith, Robert W. Into the Storm 2 Smith, Robert W. Ireland: Of Legend and Lore 2 Smith, Robert W. Songs of Sailor and Sea 2 The Inferno from "The Divine Smith, Robert W. Comedy" 2 The Spirit of Orpheus (A Smith, Robert W. Sinfonian Celebration) 2 Smith, Robert W. To Dance in the secret Garden 2 Sparke, Philip Mountain Song 2 Stamp, Jack Chorale and Toccata 2 Strauss Johann Tritsch-Tratsch Polka Reed 2 Stuart, Hugh A Hymn for Band 2 Stuart, Hugh Three Ayres from Gloucester 2 Suppe, Franz von Light Cavalry Overture Fillmore 2 Swearingen, James Jubilance 2 Swearingen, James Seagate Overture 2 Tchaikovsky, Peter Finale, Symphony No. 4 Hindsley 2 •continued

58 *Table 4 continued Comeoamr Coapoaition Arr./Trana. * Pfs Ticheli, Frank Cajun Folk Songs II 2 Traditional Deep Etiver Swearingen 2 Tschesnokov, Pavel Two Chorales Gilbert 2 Tull, Fischer Sketches on a Tudor Psalm 2 Turina, Joaquin La Procession du Rocio 2 Van der Roost, Jan Canterbury Chorale 2 Van der Roost, Jan Dynamica 2 Van der Roost, Jan Flashing Winds 2 Vaughan Williams, Ralph Flourish for Glorious John Boyd 2 Vaughan Williams, Ralph Rhosymedre Beeler 2 Wagner, Richard Die Meistersinger Osterling 2 Walton, William Crown Imperial Duthoit 2 Ward, Samuel America the Beautiful Dragon 2 Weill, Kurt Little Threepenny Music 2 Williams, Clifton Dedicatory Overture 2 Williams, Clifton Fanfare and Allegro 2 Williams, Clifton Symphonic Suite 2 Williams, Clifton The Sinfonians 2 Williams, John The Cowboys 2 Yurko, Bruce Night Dances 2 Zdechlik, John Celebrations 2

There were a total of 270 composers of pieces other than marches, pieces for soloist and band, unpublished compositions and fanfares. Of these composers, 143 (52.96%) were represented by only one composition, with 117 (43.33%) of these compositions being performed by only one band.

The composers represented by the most performances were

Percy Aldridge Grainger (43) with Gustav Holst and Frank

Ticheli tied for second (39), followed by Ralph Vaughan

Williams (37) and Alfred Reed (36). Not surprisingly, all

59 five of these composers are represented among the ten most- performed compositions. Both Ralph Vaughan Williams and

Gustav Holst appear twice on this top ten list and are also included among the five most-performed compositions, where

Holst appears twice. Together, these top five composers account for 194 (16.30%) of the 1190 performances considered in this study.

Given that all five composers have been judged to have compositions of quality, a determination of the most widely performed of these composers seemed appropriate. It was discovered that each of these composers was performed by over half of the repertoire respondents. Frank Ticheli's compositions were performed by 65.85% (27) of the bands surveyed. Ticheli was followed closely by Ralph Vaughan

Williams, whose compositions received performances by

63.41% (26) of the respondents. Twenty-four (58.54%) bands

performed at least one piece by Percy Grainger, and both

Alfred Reed and Gustav Holst were performed by 53.66% (22)

of the bands. A total of 9 (21.54%) of the respondents

performed at least one piece by each of the five composers,

and another 6 (14.63%) bands had performed works by 4 of

these composers. Only 2 of the respondents had none of

these composers represented in their repertoire for this

60 three-year period. Table 5 lists the number of compositions represented and the number of performances received for the 155 composers whose pieces were performed multiple times.

Coqpos«r Perfoamne## CoapositioM Grainger, Percy Aldridge 43 15 Holst, Gustav 39 9 Ticheli, Frank 39 9 Vaughan Williams, Ralph 37 9 Reed, Alfred 36 16 Holsinger, David R. 27 14 Smith, Robert W. 27 17 Copland, Aaron 24 10 Bach, J.S. 22 15 Bernstein, Leonard 22 9 Wagner, Elichard 22 9 Curnow, James 18 14 McBeth, W. Francis 18 10 Gershwin, George 17 11 Shostakovich, Dmitri 17 6 Persichetti, Vincent 15 4 Van der Roost, Jan 14 8 Williams, Clifton 14 7 Chance, John Barnes 13 3 Dello Joio, Norman 13 5 de Meij, Johan 12 3 Schuman, William 12 4 Nelson, Ron 11 6 Smith, Claude T. 11 9 Arnold, Malcolm 10 3 Gould, Morton 9 5 ♦continued

Table 5: Number of performances and compositions by composer*

61 *Table 5 continued C o ^ o # # r Parfozaaneas Coapoaition# Ives, Charles 9 3 Jager, Robert 9 4 Nelhybel, Vaclav 9 8 Sheldon, Robert 9 6 Swearingen, James 9 7 Tschesnokoff, Pavel 9 2 Williams, John 9 8 Zdechlik, John 9 5 Barnes, James 8 7 Grundman, Clare 8 8 Huckeby, Ed 8 6 Milhaud, Darius 8 2 Tchaikovsky, Peter 8 5 Jacob, Gordon 7 3 Melillo, Stephen 7 7 Mozart, W.A. 7 6 Stuart, Hugh 7 5 Anderson, Leroy 6 5 Barker, Warren 6 5 Bennet, Robert Russell 6 2 Del Borgo, Elliot 6 6 Hindemith, Paul 6 3 Jenkins, Joseph Wilcox 6 1 Mussorgsky, Modest 6 3 Ployhar, James 6 4 Reed, H. Owen 6 2 Rimsky-Korsakov, N 6 2 Rossini, Gioacchino 6 5 Saint-Saëns, Camille 6 4 Sparke, Philip 6 5 Spears, Jared 6 6 Boysen, Andrew Jr. 5 4 Elgar, Edward 5 3 Foster, Robert 5 5 Gillingham, David 5 5 Handel, G. F. 5 4 Hanson, Howard 5 2 Latham, William 5 3 Lloyd Webber, Andrew 5 4 Lo Presti, Ronald 5 1 ♦continued

62 ‘Table 5 continued Coi9 0 ««r Pmrformmmc## Coapoaition* Maslanka, David 5 4 Rodgers, Richard 5 4 Strauss, Richard 5 3 Bach, P.D.Q. 4 1 Bulla, Stephen 4 2 Camphouse, Mark 4 2 Cichy, Roger 4 2 Dvorak, Antonin 4 2 Erickson, Frank 4 4 Frescobaldi, Girolamo 4 2 Giannini, Vittorio 4 2 Mahr, Timothy 4 2 Mendelssohn, Felix 4 3 Stamp, Jack 4 3 Tull, Fischer 4 3 Wood, Haydn 4 2 Brahms, Johannes 3 2 Broege, Timothy 3 3 Daehn, Larry 3 2 Ellington, Duke 3 2 Gillis, Don 3 3 Ginastera, Alberto 3 3 Giovannini, Caesar 3 2 Gliere, Reinhold 3 2 Gossec, Francis Joseph 3 1 Hearshen, Ira 3 2 Higgins, John 3 3 Himes, William 3 2 Hovhaness, Alan 3 3 Ito, Yasuhide 3 2 McGinty, Anne 3 2 Nixon, Roger 3 1 Orff, Carl 3 2 Press, Jacques 3 1 Ravel, Maurice 3 3 Schonberg, Claude-Michel 3 3 Sousa, John Phillip 3 3 Stravinsky, Igor 3 3 Strommen, Carl 3 3 Suppe, Franz von 3 2 ‘continued

63 *Table 5 continued Coapoaar P*rformmne#« Cbmpomition# Washburn, Robert 3 3 Yurko, Bruce 3 2 Barrett, Roland 2 1 Bart, Lionel 2 1 Beethoven, Ludwig van 2 1 Bilik, Jerry 2 1 Bizet, Georges 2 2 Bocook, Jay 2 2 Bukvich, Daniel 2 1 Carter, Charles 2 2 Chattaway, Jay 2 2 Clark, Larry 2 1 Custer, Calvin 2 2 Duffy, Thomas 2 1 Grantham, Donald 2 1 Hardiman, Ronan 2 1 Haydn, Franz Joseph 2 2 Herman, Jerry 2 2 Hilliard, Quincy 2 2 Horner, James 2 2 Hosay, James 2 2 Iwai 2 2 Khachaturian, Aram 2 2 Knox, Thomas 2 2 Kopetz, Barry 2 2 La Plante, Pierre 2 1 Lecuona, E. 2 1 Loewe, Frederick 2 2 Mailman, Martin 2 1 Margolis, Bob 2 2 Mennin, Peter 2 2 Offenbach 2 2 0'Reilly, John 2 1 Paulson, John 2 1 Pethel, Stan 2 1 Rachmaninoff, Sergei 2 2 Reineke, Steve 2 2 Rhodes, Phillip 2 2 Rodgers & Hammerstein 2 2 Shaffer, David 2 2 Strauss Johann 2 1 ^continued

64 *Table 5 continued Susato, Tielman 2 2 Turina, Joaquin 2 1 Walton, William 2 1 Ward, Samuel 2 1 Weill, Kurt 2 1 Whitacre, Eric 2 2

Exception to quality and difficulty assessment

The repertoire of one of the respondents was excluded from the evaluation of quality and technical difficulty due to unforeseen circumstances. It was discovered that most of the pieces performed by this band were unpublished arrangements, many of which were attributed to the conductor. Some solo and small ensemble pieces were also included in the repertoire. In short, there were no published concert band pieces among the compositions performed by this band for the three-year period considered for this study. This literature was not included in the repertoire evaluation portion of this study.

An adjustment of response figures in the data analysis for this portion of the study became necessary. References to quality and levels of difficulty relating to the evaluated repertoire of the respondents is hereafter based on a sample size of 40 participants. Data for this

65 respondent are included in all other portions of this study where the term "repertoire respondent" is utilized.

Quality of performed repertoire

The Repertoire Evaluation Inventory (REI), developed by

Craig Young in 1998 as an instrument to evaluate wind band

literature, was used in this study. In order to update

this instrument, additions were made to the REI by

employing the use of a panel of experts. This panel

compared 297 compositions that had not been evaluated in

the Young study to the 530 compositions already included in

the REI. Their task was to determine if any of those 297

pieces were of a quality that would warrant their inclusion

in any of the categories of the REI. This process resulted

in the addition of 88 compositions that had not appeared in

the original REI.

With these additions, the updated version of the EtEI

consists of 618 compositions split into three quality

categories. With 2 additions the top category, designated

as "Exceptional Quality Literature," now totals 69. Eight

pieces were added to the "High Quality Literature"

category, bringing that total to 199. The new total of

66 350 pieces reflects the addition of 78 compositions to the

"Good Quality Literature" category. Eleven of the pieces performed were not familiar to any of the panel members, and were removed from the evaluation process. A list of these compositions is provided in Appendix I.

A total of 1167 compositions performed by 40 of the repertoire respondents were compared to the updated REI.

Quality ratings of 0 to 3 were assigned to each piece, according to the category in which the composition appeared on the REI. Results indicate that 61.18% (714) of the evaluated pieces performed by the respondents were regarded as quality compositions according to the REI.

A breakdown by category reveals that 193 (16.54%) of the

compositions were considered to be "Exceptional Quality

Literature", and received a score of 3. Another 246

(21.08%) compositions received a "2" (High Quality

Literature), with 275 (23.56%) receiving a "1" (Good

Quality Literature). The remaining 453 (38.82%) pieces

were not included on the REI and received a score of "0".

The mean score for all of the evaluated compositions was

1.15 (SD=1.11).

Of the 69 compositions that appear in the "exceptional"

category, 48 (69.56%) were performed by at least one of the

67 repertoire respondents, while 45.73% (91) in the "high" category and 50.57% (177) in the "good" category were found in at least one respondent's repertoire. This translates to 51.15% (316) of the 618 compositions on the REI receiving performances by at least one of the repertoire respondents during the three-year period considered.

After the repertoire of each respondent (N=40) was compared to the updated REI, an Average Quality Points

(AQP) was calculated by dividing the total quality points by the number of compositions considered. The mean of all

AQP scores (N=40) was 1.11 (SD=.56), with a median score of

1.09. The lowest score was .17 and the highest was 2.19.

Eight (20%) of the respondents had an AQP at or below .5, and 12 (30%) had a score at or above 1.5 with the top two scores being 2.00 and 2.19. Four respondents scored above the 90^h percentile range of 1.77.

68 Technical difficulty of performed repertoire

A combination of published resources, music publishers, and experts (including one composer^) were consulted in order to assign technical difficulty grades for the 1167 compositions performed by the repertoire respondents

(N=40). The widely recognized six level grading scale utilized by these resources ranges from the lowest difficulty grade of "I" (music considered appropriate for beginning bands) to the highest difficulty grade of "VI"

(music playable by only the best college and professional bands). The same 11 pieces that were removed from the quality assessment were also excluded from the assessment of technical difficulty, since no information could be

found on those compositions (refer to Appendix I).

Based on the six level grading scale mentioned above,

the mean score for technical difficulty for all of the

evaluated compositions was 4.22 (SD=.94). A breakdown by

difficulty level reveals that grade IV compositions were

performed most often, resulting in 44.13% (515) of the

total performances. Grade V compositions accounted for

25.79% (301) of all performances, followed by grade III at

^ Donald Grantham 69 17.74% (207) and grade VI at 6.71% (112). A combined total of grade I and II literature accounted for 32 (2.82%) performances.

The total of 1167 performed pieces were generated by

688 different compositions. The breakdown by difficulty level of these 688 pieces is almost identical to that of the overall total of 1167. Grade IV pieces dominated with

302 (43.90%) different pieces performed, followed by 159

(23.11%) grade V pieces, 141 (20.50%) grade III pieces, 61

(8.87%) grade VI pieces and a combined total of 25 (3.63%) different grade I and II selections.

An Average Technical Difficulty (ATD) was computed

for each respondent by adding the graded numbers assigned

to each piece and dividing it by the number of compositions

evaluated. The mean of all ATDs (N=40) was 4.18 (SD=.46)

with a median score of 4.22. The lowest ATD score was

3.34, with 4 bands scoring below the 10^^ percentile range

of 3.50. The highest ATD score was 5.13, with 4 bands

scoring above the 90*^** percentile range of 4.75. Although

grade IV compositions were most prevalent, it is worth

noting that 29 (72.50%) of the bands performed at least one

grade VI piece during the period considered for this study.

70 The relationship between presence of quality and degree of technical difficulty of performed repertoire

A closer look at the presence of quality and degree of technical difficulty of the 1167 compositions performed yielded interesting results. It was discovered that a higher percent of quality was present among those compositions that contained a higher degree of difficulty.

As the level of difficulty decreased, so did the percent of quality pieces at that level. Table 6 illustrates this positive relationship between the presence of quality and the degree of technical difficulty. Due to the low number of pieces at the grade I and II levels, only pieces at or above grade III are included in this table.

Tachnieal Difficulty

Pxasanca of Quality VI V IV III N=122 N=301 N=515 N=207 Yes 112 218 284 99 (91.80%) (72.43%) (55.15%) (47.83%) No 10 83 231 108 (8.20%) (27.57%) (44.85%) (52.17%) Total 100% 100% 100% 100%

Table 6: Presence of quality compared to level of technical difficulty of the 1167 compositions performed by the sample

71 To further investigate this relationship, both the AQP and ATD scores were compiled and divided into three groups.

Those respondents with AQP scores above 1.5 (n=ll), which included all scores between 1.54 and 2.19, were placed in the High Quality Literature group (HQL). Those with AQP scores below .85 (n=14), which included all scores between

.17 and .81, were placed in the Low Quality Literature group (LQL). The remaining respondents (n=15), which included all scores between .85 and 1.5, were placed in the

Medium Quality Literature group. The mean of the LQL group was .47 (SD=.21), the mean for the MQL group was 1.21

(SD=.21), and the HQL group had a mean of 1.78 (SD=.19).

Similar groupings for ATD scores were created. Those

respondents scoring above 4.5 (n=10), which included all

scores between 4.54 and 5.13, were placed in the High

Difficulty Literature (HDL) group. Those respondents with

ATD scores below 4.00 (n=13), which included all scores

between 3.34 and 3.84 were placed in the Low Difficulty

Literature (LDL) group. The remaining respondents (n=17),

whose scores ranged from 4.00 to 4.49, were placed in the

Medium Difficulty Literature (MDL) group. The mean of the

72 LDL group was 3.64 (SD=.17), the mean of the MDL group was

4.26 (SD=.15) and the HDL group had a mean of 4.75

(SD=.i7).

When the respondents in each of the quality groups were compared to those in each of the difficulty groups an interesting trend emerged. The majority (54.55%) of the respondents in the highest quality group (HQL) appeared in the medium difficulty (MDL) group, rather than in the highest difficulty (HDL) group. Those respondents appearing in the highest difficulty (HDL) group were equally represented (n=5) in both the high (HQL) and medium

(MQL) quality groups. A relationship between quality and

technical difficulty was observed at the lowest end of the

spectrum. Of those respondents present in the lowest

difficulty (LDL) group, 84.62% (11) also appeared in the

lowest quality (LQL) group. The number of respondents

appearing in each of the quality and difficulty groups is

included in Table 7.

73 Technical Difficulty

Quality High Medium Low Total Difficulty Difficulty Difficulty High 5 6 0 11 Medium 5 8 2 15 Low 0 3 11 14 Total 10 17 13 40

Table 7; Number of respondents appearing in each level of quality and technical difficulty

Chi-squares comparing both HDL/LDL and HQL/LQL groups were performed on the following conductor-related and institution-related demographic variables; highest degree obtained by the respondent, whether the respondent had public school experience, whether the respondent had a degree in conducting, and whether a degree in music education was offered at the respondent's institution.

Additional ensemble-related variables, the percent of music majors in the ensemble, amount of practice time per week, and whether or not marching band conflicted with concert band rehearsal, were also considered. Only one variable, highest level of education attained by the conductor, differed significantly between the two groups. It was discovered that respondents performing the highest quality literature were significantly more likely to hold a

74 doctoral degree than respondents performing the lowest quality literature ()f(l,N=44)=4.26, £=.033).

Criteria considered in the selection of literature

A list containing both musical and technical criteria

for selection of literature was presented as part of a 5-

point Likert scale. After completing the rating of each

individual criteria, survey respondents (N=44) were asked

to refer to this listing and indicate three primary

criteria considered when selecting literature for their

concert bands. The criteria cited as most important

(20.93%) was a technical consideration, "students could

meet the technical demands". This technical criterion was

followed by two musical criteria, "it was music that the

students should know" (18.60%) and "it would

challenge/improve the student's understanding of musical

style" (16.28%). The order of the second most important

choices was more heavily weighted towards technical

considerations. The criterion "technical demands" once

again appeared on top (20.51%) followed by "it would

challenge/improve the student's technical abilities"

(17.95%). A musical criterion, "students could comprehend

75 and execute the musical demands" (15.38%) was cited third.

All of the third-most important choices were musical criteria. The criterion "challenge/improve musical understanding" (29.73%) scored far above the next 2 choices, "comprehend and execute musical demands" and "it was music the students should know" tied at 13.51% each. A complete listing of the three primary criteria choices and the final ranking of all choices combined can be found in table 8.

76 Most 2“* Most 3“ Most Coabinad Criteria Important Important I i ^ r t a n t Critaria

% of % of % of % of Total M Total H Total H Total M It would challenge/improve the student's understanding of musical style and 16.28 10.26 29.73 56.27 interpretation Students could meet the technical demands in the amount of rehearsal time 20.93 20.51 2.70 44.15 available Students could comprehend and execute the musical demands in the amount of 6.98 15.38 13.51 35.87 rehearsal time available It was music that the students should know 18.60 2.56 13.51 34.68 It would challenge/improve the student's technical 6.98 17.95 2.70 27.63 abilities It fit the ensemble's instrumentation 6.98 7.69 8.11 22.78 It fit the ensemble's strengths and weaknesses 11.63 7.69 0.00 19.32 It was a composer that the students should know 0.00 12.82 2.70 15.52

I liked the piece 9.30 0.00 5.41 14.71 The audience would like the piece 0.00 0.00 10.81 10.81 The students would like the piece 0.00 2.56 5.41 7.97 It would challenge/improve the conductor's technical 2.33 2.56 2.70 7.59 abilities It would teach about a certain genre or historical 0.00 0.00 2.70 2.70 period

I already knew the piece 0.00 0.00 0.00 0.00 It would teach about a certain theoretical concept 0.00 0.00 0.00 0.00

Totals 100.00 100.00 100.00 300.00

Table 8: Three primary criteria and combined criteria considered by respondents when selecting literature

77 Chi-square analyses were completed on the primary criteria cited using both conductor-related and

Institution-related demographic variables. Considered In the chi-square analysis were: (1) the highest degree obtained by the respondent, (2) whether the respondent had experience teaching public school, (3) whether the respondent had a degree In conducting, and (4) If a degree

In music education was offered at the respondent's

Institution.

Analysis using Fisher's exact probability test revealed a significant relationship to whether the respondent had

experience teaching public school for the criterion "would

challenge/improve the student's understanding of musical

style" (p=.0459). This relationship seemed to Indicate

that conductors who had taught at the public school level

were more apt to consider music for performance that would

challenge or Improve their student's musical understanding

than would conductors who had no experience teaching public

school.

Examination of the mean ratings of each of the

Individual criteria reveals that, as with the primary

criteria question discussed earlier, technical and musical

concerns are fairly evenly considered. When compared to

78 the list of primary criteria, an interesting pattern begins to emerge. Although the top criterion is now "meet technical demands", with a mean of 4.57 (SD=.70), it is clear that the top three criteria here are the same as those cited in the primary criteria question. The high means and relatively low standard deviations associated with these criteria indicates agreement among the

respondents with regard to these top three criteria.

The next four criteria are also the same, though in a

slightly different order, as those in the previous listing.

The results are even more consistent as the lists continue,

flip-flopping in order yet still very similar. Table 9

lists the ratings of each criterion by mean and standard

deviation.

79 Criteria Mean SD Students could meet technical demands in amount of rehearsal time available 4.57 0.70 Students could comprehend and execute musical demands in the amount of rehearsal time available 4.48 0.79 It would challenge/improve the student's understanding of musical style and interpretation 4.36 0.78 It would challenge/improve the student's technical abilities 4.14 0.77 It fit the ensemble's strengths and weaknesses 4.07 0.82 It was music that students should know 4.00 1.01 It fit the ensemble's instrumentation 4.00 0.89 I liked the piece 3.98 0.92 It was a composer students should know 3.82 0.92 The students would like the piece 3.61 0.75 The audience would like the piece 3.48 1.05 It would teach about a genre or historical period 3.18 1.15 It would challenge the conductor's technical abilities 2.91 1.43 It would teach a certain theoretical concept 2.86 1.07 I already knew the piece 2.11 1.04

Table 9: Ratings of each criterion by mean and standard deviation

80 Comparisons between demographic variables on each criterion were computed by the use of t-tests. Once again a significant difference was discovered based on the respondents' public school experience. Conductors who had experience teaching in public school considered the improvement of their student's musical understanding more important than did conductors who have never taught at the public school level (t(42)=2.61, p<.01). The data indicated that these former public school teachers were in agreement on this criterion (SD=.65) more than on any of the other criteria listed.

In order to arrive at a complete understanding of the importance of these criteria with regard to music selection, the ranking of each criterion from both lists was averaged. The final ranking, based on this average, along with the ranking for both lists can be found in Table

10.

81 Likart Coabinad Primary Seal# Criteria Criteria Criteria Ratings Ranking Students could meet technical demands in amount of rehearsal time available 2 1 1 It would challenge/improve the student's understanding of musical style and interpretation 1 3 2 Students could comprehend and execute musical demands in the amount of rehearsal time available 3 2 3 It would challenge/improve the student's technical abilities 6 4 4

It was music that students should know 4 6 5 It fit the ensemble's strengths and weaknesses 7 5 6 It fit the ensemble's instrumentation 6 7 7 It was a composer students should know 8 9 8 I liked the piece 9 8 8 The students would like the piece 11 10 10 The audience would like the piece 10 11 10 It would teach about a genre or historical period 13 12 12 It would challenge the conductor's technical abilities 12 13 12 It would teach a certain theoretical concept 14 14 14 I already knew the piece 15 15 14

Table 10: Primary criteria, Likert scale ratings, and combined ranking of criteria utilized in selection of literature

8 2 Resources used in the selection of literature

A 5-point Likert scale listing resources for selection of literature was presented to the survey respondents (see

Appendix C). After rating each individual resource,

respondents were asked to refer to this list and indicate the three primary resources considered when selecting

literature for their concert bands. The resource cited as most important (20.51%) was "private score study", followed

by "attended workshops, clinics and/or conventions",

"publisher tapes or other publisher materials" and "works

previously known, but not conducted" all tied with 17.95%.

The order of second most important of the primary resources

contained the same top-four choices, but in a slightly

different order. This time "attended workshops, clinics"

was on top with 20.69%, followed by "private score study"

and "works previously known" each with 17.24%, and

"publisher tapes/materials" with 13.79%. The third most

important choices showed some variety. The resources

"works previously conducted" (24.00%) and "sought advice

from colleagues in the college band profession" (16.00%)

were the top 2 choices. These choices were followed by

"private score study" and "publisher tapes" tied with

12.00%. The list of results can be found in Table 11.

83 Most 2nd Most 3rd Most Coabinad Raaouxeas Iivostant Important Important Rasoureas

% of % of % of % of Total M Total N Totmd. N Total N

Private score study 20.51% 17.24% 12.00% 49.75%

Attended workshops, clinics and/or conventions 17.95% 20.69% 8.00% 46.64% Publisher tapes or other publisher materials 17.95% 13.79% 12.00% 43.74% Works previously known, but not conducted 17.95% 17.24% 0.00% 35.19%

Recommended repertoire lists from publications (other than contest lists) 15.38% 10.34% 8.00% 33.73%

Sought advice from colleagues in the university/college band profession 7.69% 6.90% 16.00% 30.59%

Works previously conducted 0.00% 0.00% 24.00% 24.00% Attended band performances outside of a clinic/convention/workshop situation 0.00% 10.34% 8.00% 18.34%

Festival/contest lists 2.56% 3.45% 8.00% 14.01%

Student input 0.00% 0.00% 4.00% 4.00% Sought advice from high school conductors 0.00% 0.00% 0.00% 0.00% Sought advice from music store personnel 0.00% 0.00% 0.00% 0.00%

Totals 100.00% 100.00% 100.00% 300.00%

Table 11: Three primary resources and combined resources considered by respondents when selecting literature

84 Chi-square analyses were completed using the same demographic variables cited in the repertoire criteria analysis. No significant differences were found.

When comparing this list of resource criteria to the primary resources drawn from the same list, a considerable amount of consistency is evident. The top 2 choices,

"workshops, clinics, conventions" with a mean of 3.91, and

"private score study", with a mean of 3.80, are the same, but in opposite order. The same situation is true for the third and fourth choices. The resource "works known but not conducted", with a mean of 3.77, changes places with

"publisher tapes", with a means of 3.43. The resource

"recommended repertoire lists (other than contest lists)", with a mean of 3.34, appears fifth on both lists. Table 12 shows the mean and standard deviation of each resource.

85 R##ouro#« Mean SD Attended workshops, clinics or conventions 3.91 1.37 Private score study 3.80 1.11 Works previously known but not conducted 3.77 1.18 Publisher tapes or other publisher materials 3.43 1.45 Recommended repertoire lists (other than contest lists) 3.34 1.38 Attended band performances outside of a clinic/convention/workshop situation 3.27 1.27 Works previously conducted 3.09 1.02 Sought advice from colleagues in the college band prefession 3.07 1.15 Student input 2.34 1.00 Festival/contest list 2.32 1.44 Sought advice from high school conductors 1.91 0.97 Sought advice from music store personnel 1.77 1.04

Table 12: Ratings of each resource by mean and standard deviation

86 When comparing respondents on demographic variables by use of t-tests, it was discovered that those conductors with public school experience cited attendance at workshops, clinics and conventions significantly more often than conductors who had not taught at the public school level (t(42)=2.06, £<.05).

In order to better determine how often these resources were used, the rankings of each resource from both lists were averaged. The ranking for each of these lists, along with the final ranking based on the average, can be found

in Table 13.

87 Likart Coabinad Primary Seala Rasourca Rasoureas Critaria Ratinga Ranking Private score study 1 2 1 Attended workshops, clinics or conventions 2 1 1 Publisher tapes or other publisher materials 3 4 3 Works previously known but not conducted 4 3 3 Recommended repertoire lists (other than contest lists) 5 5 5 Attended band performances outside of a clinic/convention/workshop situation 8 6 6 Works previously conducted 7 7 6 Sought advice from colleagues in the college band profession 6 8 6 Festival/contest list 9 10 9 Student input 10 9 9 Sought advice from high school conductors 11 11 11 Sought advice from music store personnel 12 12 12

Table 13: Primary resources, Likert scale ratings, and combined ranking of resources considered when selecting literature

88 The relationship between quality and difficulty of repertoire and the resources and criteria used to select literature

Difficulty

Primary Criteria/Resources. Chi square statistics were used to compare the highest (HDL) and lowest (LDL) difficulty groups on each of the 15 questions pertaining to criteria and 12 questions pertaining to resources. If a criteria or resource statement was selected by one or more of the respondents as a primary criterion or resource, then it was included in the Important category; conversely, if

it was not mentioned by any of the respondents, then it was

included in the Not Important category. Two-way chi

squares for independent samples were constructed to show

the relationship between group (HDL vs.LDL) and importance

(Important vs. Not Important). Results found no

significant relationship between these two variables on any

of the 27 criteria/resources questions.

Likert scale ratings. The t-tests computed using the

individual criteria and resource rankings revealed one

criterion and one resource that differed significantly

between the two difficulty groups. Though ranked at the

bottom of both groups lists, the criterion "I already knew

89 the piece" was used significantly more often by the respondents in the LDL group than those in the HDL group

(t(21)=2.51y £<.05). The resource "works known, but not conducted", which was an important resource ranking second for both groups, was used significantly more often by respondents in the HDL group (t(21)=2.43, £<.05).

Apparently, both groups apply knowledge of a composition similarly, but to a much different degree.

Quality

Primary Criteria/Resources. Chi square statistics were used to compare the highest (HQL) and lowest (LQL) difficulty groups on each of the 15 questions pertaining to

criteria and 12 questions pertaining to resources. If a

criteria or resource statement was selected by one or more

of the respondents as a most important criterion or

resource, then it was included in the Important category;

conversely, if it was not mentioned by any of the

respondents, then it was included in the Not Important

category. Two-way chi squares for independent samples were

constructed to show the relationship between group (HQL vs.

LQL) and importance (Important vs. Not Important). Results

90 indicated a significant difference on the criterion "it was music that the students should know" (X^(l, N=25)=4.66,

£<.05). At 76.66%, this criterion ranked first among those respondents in the HQL group, but was ranked a distant seventh (24.36%) by those in the LQL group.

Likert scale ratings. Finally, t-tests were computed for the respondents in the HQL and LQL groups on the importance of the criteria and resources presented in the written survey. These tests revealed five criteria and two resources that differed significantly between the two quality level groups. It was discovered that respondents in the LQL group were more concerned with the criteria

"students could comprehend and execute the musical demands"

(t(23)=2.61, £<.01) and "it fit the ensemble's strengths and weaknesses" (t(23)=3.21, £<.01) than were the respondents in the HQL group. It is also noteworthy that, not only are these two criteria among the three highest

rated criteria for respondents in the LQL group, but the means and standard deviations for each of these criteria

indicate a very high level of agreement. The criterion

"comprehend musical demands" has the highest mean (4.71)

and the lowest standard deviation (.47) of all of the

criteria considered by the LQL group. The HQL group rated

91 this same criteria a distant fifth with a mean of 3.82

(SD=1.17). The criterion "fit strengths and weaknesses," rated third by the LQL group, had a mean of 4.36 and a standard deviation of .84. Although this statistic does not indicate agreement as strongly as the previously discussed criterion, this same criterion was rated among the bottom third of all criteria considered by the HQL respondents, with a mean of 3.36 and a standard deviation of .67.

Respondents in the lowest quality group (LQL) were also more likely to be concerned with audience and student acceptance. The criteria "the audience would like it"

(t(23)=3.97, £<.001) and "students would like it"

(t(23)=3.39, £<.01) received relatively high means, at 4.14 and 4.07 respectively, and low standard deviations (.77 and

.73). The highest quality group (HQL) was unimpressed with

these criteria, ranking them in the lowest third of

criteria considered. It is interesting to note that the

HQL group indicated more concern for student approval of

the literature than for audience approval, with means of

3.09 and 2.73 respectively. This is the opposite of the

LQL group's ranking on this criterion.

92 The final criterion that differed significantly between the two quality groups was "it was music that the students should know" (t(23)=2.77, £=.02). This criterion received the highest mean (4.64) and the lowest standard deviation

(.50) of all criteria considered by the HQL group. This differs considerably from the LQL group's opinion, which resulted in a ranking among the bottom third of the criteria with a mean of 3.5.

One resource for locating literature found to differ significantly between the two quality groups was "works known, but not conducted" (t(23)=2.86, £<.01). This resource received the highest mean (4.40) and the lowest standard deviation (.70) of all resources considered by the

HQL group. The final resource, "student input", was ranked among the lowest four resources by both quality groups.

However, this resource was of more interest to respondents

in the LQL group than for respondents in the HQL group

(t(23)=2.99, £<.01) Both groups ranked this resource

higher than "advice from music store personnel". Table 14

illustrates the criteria and resources that were found to

differ significantly between the two quality groups.

93 Criteria HQL SD LQL SD Msan M m x i

Music that students should know 4.64 .50 3.50 1.29

Students could comprehend and execute the musical demands in the amount of rehearsal time 3.82 1.17 4.71 .47 available

It fit the ensemble's strengths and weaknesses 3.36 .67 4.36 .84

Students would like the piece 3.09 .70 4.07 .73

The audience would like the piece 2.73 1.01 4.14 .77

Raaourcas HQL SDLQL SD Maan Maan

Works known, but not previously conducted 4.40 .70 3.43 .94

Student input 1.80 .63 2.64 .74

Table 14: Differences in the utilization of criteria and resources by HQL and LQL groups

In addition to the comparisons made between the HDL/LDL groups and the HQL/LQL groups, a comparison based on average quality (AQP) and average difficulty (ATD) for demographic variables was conducted. Results indicate that respondents who have a degree in conducting perform literature that is significantly higher in quality than respondents who have no degree in conducting (t(38)=2.13,

£=.04). Respondents with conducting degrees also seemed

94 more interested in literature that displayed a higher level of technical difficulty (4.31) than did those without the degree (4.07). However, this difference in technical difficulty between the two groups did not prove to be at a level of significance.

95 CHAPTER 5

SUMMARY AND CONCLUSIONS

Summary of the study

The purpose of this study was: (1) to survey conductors of non-auditioned, small college bands to determine the

literature performed during the 1997-2000 academic years,

(2) to evaluate the quality of this literature, (3) to

evaluate the level of difficulty of this literature and,

(4) to examine the criteria that guided these conductors in

the selection of literature. Conductor-related variables

examined were: (1) what was the highest degree obtained by

the conductor, (2) did the conductor hold a degree in

conducting and, (3) did the conductor have experience in

public school teaching. College and ensemble-related

variables examined were: (1) did the college offer a degree

in music education, (2) did athletic band rehearsal

conflict with concert band rehearsal, (3) what percent of

96 the ensemble was music majors, (4) what was the amount of practice time available per week and, (5) how many members were in the ensemble.

Telephone and E-mail communication were employed during the course of the study to build a rapport with the respondents. A telephone interview was also utilized to help select the sample group of 45 conductors from colleges/universities that met the requirements for

inclusion in the study.

A written survey was administered which resulted in data on demographics, information on criteria, and

resources utilized by the conductors when selecting music

for performance. Respondents were also asked to provide

programs and/or repertoire lists for the academic years

1997-1998 through 1999-2000. Repertoire of each respondent

who returned at least two-thirds of their programs (N=40)

was evaluated and given a score representing both average

quality points (AQP) and average technical difficulty

(ATD). These scores were then divided into three groups to

test for significance on both demographic and

criteria/resource related variables.

97 Conclusions

Quality of Repertoires

The variability in the quality of literature performed by the repertoire respondents (N=41) is most evident when

considering the average quality points (AQP) score. Ranging

from a low AQP score of .17 to a high score of 2.19 (on a

scale ranging from a low of "0" and a high of "3"), these

numbers reflect the quality of the repertoire of all but

one respondent, whose ensemble performed only unpublished

arrangements and small ensemble pieces. Yet, the performed

repertoire yielded a mean of all AQP scores of 1.11(N=40)

with a median of 1.09, an average equal to that of the

"hypothetical balanced repertoire" (p.102) outlined in

Young's 1998 study. Almost half (47.50%) of the

repertoires in this study have an AQP score at or above

1.30.

Of the 1167 compositions performed by these ensembles

during the academic years 1997-1999, 61.18% were quality

compositions that appear on the Repertoire Evaluation

Inventory (REI). This statistic means that 38.82% of the

repertoire performed in this study did not meet the level

98 of quality required to be included in the ElEI. By comparison, the Young study (1998), which focused on the most select bands at the larger high schools in this country, found that almost half of the pieces performed

(47.77%) did not appear on the REI.

When looking at a breakdown by category it is discovered that 48 of the 69 (69.56%) compositions from the

"exceptional quality" category were programmed by at least one band in the current study. This statistic compared to only 55.22% percent of the compositions from this

"exceptional quality" category being performed in the Young

(1998) study. With performances of 45.73% of the "high quality" literature and 50.57% of the "good quality" literature factored in, the result is that over half

(51.15%) of the compositions on the REI were performed by at least one band in the current study.

The 5 most performed compositions in the current study

are: Ralph Vaughan Williams' Folk Song Suite (16), Holst's

Suite in Eb (13) and Suite in F (13), Johan de Meij's

Symphony No. I "Lord of the Rings" (10), and Wagner's

Elsa's Procession to the Cathedral (10). These

compositions were performed by at least one-fourth of the

respondents. Comparing the repertoire in the current study

99 to the 10 most frequently performed compositions in Woike's

(1990) study of Big Ten Conference bands, it is interesting to note that eight of the pieces (excluding the Fillmore march) were performed by at least 10% of the bands in this study. Four of the compositions from Woilce's top 10 list are also on the top 10 list in the current study.

Another study, conducted by Hemberger in 1988, which reported performances by bands at eight leading music schools over a five-year period allows for more interesting comparisons. Although the order is changed, the three most performed compositions in that study. Suite in Eb , Suite in F (Holst) and Folk Song Suite (Vaughan Williams) are the same as the three most performed compositions in the current study. In addition, six of the seven most performed pieces for concert band featured in the Hemberger

study have been performed by at least 10% of the bands in the current study.

As evidenced by the information presented above, many

of the respondents in the current study performed

compositions of a notable level of quality, many of which

are among the most performed compositions of larger, more

select band programs. Considering the non-auditioned

status of these ensembles, and the wide range of technical

100 and musical skills this situation often fosters, the quality of the repertoire performed by the ensembles in this study compared well to other studies. Not only did it sompare well with that of the select high school bands in the Young (1998) study, but with college and university bands at much larger institutions (Hemberger 1988; Woike

1990).

However, it should be noted that 7 of the 10 compositions performed most frequently in this study are considered grade IV pieces. In fact, the average difficulty (ATD) score for these top 10 pieces was 4.3, which was considered a medium degree of difficulty in this study. Conversely, the average quality (AQP) score for the same 10 pieces is a very high 2.4, which exceeds the highest AQP score (2.19) of all repertoire respondents considered in this study.

Difficulty of Repertoires

The average technical difficulty (ATD) mean of 4.18,

with a median of 4.22, suggests that the quality of the

repertoire performed by the respondents is linked to a

rather moderate level of technical difficulty. When more

101 than half (54.54%) of the respondents in the highest quality (HQL) group (n=ll) are NOT included in the highest difficulty (HDL) group, then it becomes obvious that these conductors are performing high quality literature, but not at the degree of difficulty one might expect at the collegiate level. In addition, half of the bands in the highest difficulty (HDL) group (n=10) performed literature of only moderate quality. Although a positive relationship was observed between the percentage of quality pieces at higher degrees of technical difficulty (refer to Table 6),

this is not meant to imply that a high degree of difficulty equates to high quality.

The degree of technical difficulty of the repertoire

performed by the respondents in this study is not on a par

with that of select bands at larger colleges. With a high

average difficulty (ATD) score of 5.13 and a mean ATD score

of 4.75 among respondents in the HDL group, it is clear

that some bands are capable of performing grade V and even

grade VI pieces. In fact, 72.50% (29) of the bands in this

study have performed at least one grade VI piece during the

three years considered. However, for a majority of these

29 bands, grade VI literature is the exception rather than

the rule.

102 Criteria

Agreement among the respondents on the criteria considered when selecting literature was quite high. Seven of the 15 criteria (46.67%) had a mean score of 4.00 or higher and 9 (60.00%) of the standard deviations were below

1.00. A comparison of the three primary criteria to the ratings of the individual criteria gives a further indication of this agreement (see Table 8).

The one criterion that did differ significantly between demographic groups was a musical consideration. The criterion "it would challenge/improve the student's understanding of musical style" was found to be very important to conductors who had taught in public schools.

With a mean of 4.5 (SD=.66) on a five-point Likert scale, this criterion was only moderately important to those who had no public school experience (3.75). This student focused criterion might well be expected to appeal more to those conductors who had taught in the public schools.

When comparing HQL to LQL groups, five criteria were

found to differ significantly between these two groups.

The high importance placed by those in the LQL group on the

criteria "comprehend and execute musical demands" and "fit

103 ensemble's strengths and weaknesses" appears to reflect their concern about technical difficulty, limited rehearsal time and/or instrumentation which may have led to poor quality literature choices. This conclusion is supported by the data, where a relationship between quality and difficulty was observed for those at the lowest levels of quality and technical difficulty (see Table 7). As was previously noted, degree of technical difficulty is not a predictor of quality for those in the high and medium

quality groups.

The high mean and low deviation scores awarded by the

LQL group to the criteria "the audience would like it" and

"the students would like it" seems to suggest little

concern for quality repertoire. This becomes even more

revealing when considering that both of these criteria were

rated higher than those that did directly reflect a concern

for quality literature. Both "composer students should

know" and "music students should know", with means of 3.71

and 3.50 respectively, rank below the previously mentioned

criteria (which had means above 4.00). The criteria "it

was music students should know" and "it was a composer

104 students should know" are clearly important to those in the

HQL group, while concerns over audience and student approval rate much lower (see Table 14).

When considering the final ranking of the importance of

individual criteria to the selection of literature, it becomes apparent that criteria most directly related to performance issues are rated higher than all other

criteria. Even the criterion "improve understanding of musical style," which is less technical in nature, must be

considered in order to render a good performance. These

performance-related concerns of technical demands,

execution of musical demands, and how well the composition

fits the strengths and weaknesses of the ensemble are

important factors that better enable a proper

interpretation of the music and a more musical performance

of the composition. These criteria do not necessarily

reflect a concern to perform music of quality.

The criteria that do reflect an acknowledgement of the

importance of quality literature, "music that students

should know" and "composer that students should know" are

both highly rated among those in the HQL group, but not by

105 the sample overall. This somewhat moderate reception to

criteria that more directly address quality composers and

compositions is disappointing.

It is also interesting to note that conductors at the

collegiate level find the teaching of theoretical concepts

and historical periods unimportant and rate these criteria

at the lowest level. Even the criteria "students would

like the piece" and "the audience would like the piece"

rate much higher than these more educational criteria.

Resources

Agreement among the respondents about the resources

utilized to identify literature was not as consistent as in

the question about criteria. However, considerable

agreement was displayed when comparing the primary

resources list to the ratings for the individual resources

(see Table 13).

Very little difference was found when comparing various

aspects of demographic variables. The former public school

teachers were more likely to "attend workshops, clinics or

conventions" than were those who had not taught public

school and rated this resource second overall. This rating

106 is not surprising, since one might assume that these respondents undoubtedly attended such events as public school teachers. It is interesting that respondents with no public school experience rate this particular resource below that of attendance at "non-clinic, convention or workshop events".

A comparison of highest and lowest difficulty groups revealed a significant difference for the resource "works known, but not conducted." This finding does not present the entire picture. In fact, this resource is rated first by the HDL group and second by the LDL group. The top three resources cited by both the HDL and LDL groups are the same. The difference simply reflects the higher level of agreement found among the respondents in the HDL group as compared with the LDL respondents.

The difference in use of resources is most evident when

comparing the highest quality (HQL) group to the lowest

quality (LQL) group. The significance found on the

resource "works known, but not conducted," which is rated

first among respondents in the HQL group, is certainly

curious. It would seem that more active resources, such as

attendance at "workshops, clinics and conventions" or

"repertoire lists" would dominate. It might simply be that

107 the conductors in the HQL group are already very knowledgeable when it comes to quality literature, and rely upon their background as a primary resource. Certainly, much of their knowledge was acquired via one, or several, of the other resources presented in this study.

The other resource that differs significantly between the HQL and LDL groups is that of "student input". This

resource is rated among the bottom four by both groups, but

is utilized more often by those in the LQL group than those

in the HQL group. The fact that the LQL group rates this

resource higher than "festival/contest list" indicates a

disregard for an important resource that identifies quality

literature.

The resources utilized most often by the respondents in

this study, "workshop, clinic or convention" and "private

score study" seem to be unrelated. This may be because one

is done in a solitary fashion, while the other is more

social in nature. Both resources require an effort on the

part of the respondent that is not required with some of

the other resources such as "publisher tapes/materials",

"works previously known" and "works previously conducted".

The low rating for "publisher tapes/materials" is

certainly a surprise, since the Young study (1998) cited

108 this resource as the most often utilized. This was a most revealing discovery and may explain why the quality of the literature in this study was higher than that in the Young study. Since the goal of publisher tapes and materials is to market new publications without regard to quality, it might be expected that the use of these materials as a primary resource might result in poor quality choices.

The last question on the survey, which referred to the resources list, asked the respondent to identify any published resources that they utilize often. Although this particular resource was not one of the most highly rated,

10 conductors (22.72%) responded to this request.

A list of these published resources can be found in

Appendix J.

Implications

Offering quality experiences and opportunities that facilitate the attainment of knowledge and understanding should be the goal in any classroom. This is not simply an expectation, but an educational duty. To contemplate the serious study of literature, without exposing students to reputable works and authors would be unthinkable at any

109 level, but particularly so at the collegiate level. When it comes to the performance of musical literature, particularly works performed by a concert band, the expectation of serious study is often dismissed.

Therefore, it is incumbent upon the conductor as a music educator to provide quality musical experiences to his/her

students via the use of high quality literature.

According to the findings of this study, performance of

high quality wind band literature is being accomplished by many non-auditioned, small college bands across the

country. In fact, the music performed by these bands is

often the same music performed by much larger, more select

band programs. Though the degree of difficulty may be less

ambitious (due to the non-select nature of the ensemble),

the quality of the education provided does not have to

suffer due to lack of quality literature at an appropriate

grade level.

The criteria and resources utilized by conductors of

these ensembles have revealed that conductors are sometimes

more concerned with the quality of the performance, than

with the quality of the music performed. Obviously, to

have one without the other serves no real educational or

aesthetic purpose. Poor quality music performed well is no

no more acceptable or enjoyable than is the poor performance of quality music. In neither situation is the listener, or the performer, given an experience that is satisfying.

It would better serve the profession, not to mention the students, if attention to quality performance of quality music was considered a priority by every wind band conductor. In this way the conductor becomes an educator, and the students are afforded the best of both possible worlds.

Suggestions for future research

Research is recommended in the following areas:

1. When securing a sample for this study, the researcher

discovered that 45.40% of the colleges contacted did not

have a concert band program. Therefore, it is suggested

that additional research is needed on small college music

programs concerning the future of the concert band. Issues

of recruitment, retention of students, administrative

support, and scheduling are often examined concerning music

programs at the public school level. The problems and

concerns particular to the survival of concert bands in the

small college setting have not enjoyed the same attention.

Ill 2. Research is also needed which focuses on identifying quality repertoire at a moderate degree of difficulty that would be appropriate for the collegiate band. Much attention has been given to the repertoire at the grade V and VI levels. Though new publications are beginning to address music at the lower difficulty levels, these pieces are not always appropriate for the college musician.

3. Replication of the repertoire portion of this study would provide more information on appropriate literature to the conductors of non-auditioned bands in both college and public school settings. Such a study would also provide information about the literature being performed as well as the quality and degree of difficulty of this repertoire.

112 LIST OF BSSFRENŒS

Abeles, H.f., Hoffer, C.R., & Klotman, R.H.(1984). Foundations of music education. New York: Schirmer.

Austin, P.(1981). The role of bands in education. Journal of Band Research, 27(1),27-46.

Begian, H. (1991). Standards of excellence for band repertoire. The Instrumentalist,45,10-13.

Bergee, M.J.(1989). Reform for the band program. Music Educators Journal,75{9),13-22.

Berz, W.L.(2000). Evaluating music in a multifaceted band world. Journal for the World Association for Symphonic Bands and Ensembles,7,31-40.

Blocher, L., Cramer, R., & Corporon, E.(1997). Teaching music through performance in band (Volume 1). Chicago: GIA Publications, Inc. (R. Miles,Ed.)

Blocher, L., Cramer, R., & Corporon, E . (1998). Teaching music through performance in band (Volume 2). Chicago: GIA Publications, Inc. (R. Miles,Ed.)

Blocher, L., Cramer, R., & Corporon, E. (2000). Teaching music through performance in band (Volume 3). Chicago: GIA Publications, Inc. (R. Miles,Ed.)

Brashier, J.H.(2000). The quest for good music: Perspective from a university conductor. Journal for the World Association for Symphonic Bands and Ensembles,7,61- 63.

Ciepluch, G., Dvorak, T., & Grechesky, R . (1993). Best music for high school band. New York: Manhattan Beach Music. 113 Cochran, J.(1999). Quality repertoire for wind band. Journal for the World Association for Symphonic Bands and Ensembles, 6,2A-25.

Del Borgo, E. (1988). Selecting quality literature for bands and orchestras. The Instrumentalist,43,22-26.

Doran, J.L.(1956). A question of taste in high school band music. Music Educators Journal,42(6),55-58.

Dvorak, T . (1986). Best music for young band. New York: Manhattan Beach Music.

Fiese, R.(1987). College and university wind band repertoire 1980-85. Journal of Band Research,23 (1),11-42.

Fiese, R.(1990). The effects of nonmusical cues on the rankings of music scores by undergraduate conducting students based on judgments of quality. Journal of Band Research,25(2), 13-21.

Fiese, R.(1993). An examination of public secondary school band directors' qualitative judgments. Journal of Band Research,28(2),21-36.

Fonder, M . (2000). Educational quality vs. artistic quality in band literature: Must it be either/or? Journal of the World Association for Symphonic Bands and Ensembles, 7,22-29.

Hemberger, G . (1988). Wind repertoire project. Unpublished manuscript. University of Colorado School of Music, Boulder, CO.

Hoffer, C . (1986). The teaching of music in the secondary schools. Belmont, CA: Wadsworth Publishing

Holvik, K.M.(1970). An emerging band repertory, a survey of the members of the College Band Directors National Association. Journal of Band Research,6(2),19-24.

Hughes, B.(1990). Survey of band repertoire (for high school wind conductors). Instrumentalist,45(4)r^O-65.

114 Kohut, D . (1963). Aesthetics and music evaluation: Separating the wheat from the chaff. The Instrumentalist^ 18(4) ,57-59.

Leonhard, C.,& House, R.W.(1972). Foundations and principles of music education (2nd ed.). New York: McGraw- Hill.

McBeth, F.W.(1989). The band - artistic viability through literature. The Instrumentalist,43(6) ,92+.

Mercer, R.J.(1972). Is the curriculum the score-or more? Music Educators Journal,58(6),51-53.

Music Educators National Convention.(1994). National standards for arts education: What every young American should know and be able to do in the arts. Reston, VA: Music Educators National Conference.

Neidig, K . (1987). The basic band curriculum. BD Guide, 2,12.

Olson, R.H.(1982). A core repertoire for the wind ensemble. Journal of Band Research,18,11-35.

Platt, R.(1999). The quest for good music and the role of the symphonic band. Journal of the World Association for Symphonic Bands and Ensembles,6,51-59.

Reimer, B. (1989). A philosophy of music education{2nd ed.). Englewood Cliffs, NJ: Prentice-Hall.

Righter, C.B.(1945). Success in teaching school orchestras and bands. Minneapolis, MN: Paul Schmitt Music.

Rosene, P . (1981). Why not purchase quality music for your bands? The Instrumentalist,35(6),96.

Tacke, T . (1992). A study of the technical difficulty of the repertoire of seven small liberal arts college wind ensembles. Journal of Band Research,27,54-66.

Thomas, R.B.(1970). Rethinking the curriculum. Music Educators Journal,51 (2),66-69.

115 Vagner, R . (1958). A basic band repertory. The Instrumentalist, 13 (4) ,38.

Woike, D.(1987). The biç ten schools core wind band repertoire. Unpublished manuscript. The Ohio State University, School of Music, Columbus, OH.

Woike, D.(1990). Wind band performance repertoire at the university level: a survey of collegiate wind band curricula and current repertoire selection processes (Doctoral Dissertation, The Ohio State University,1990). Dissertation Abstracts International,51, 2309A.

Young, C.S.(1998). The quality of repertoire chosen by high school wind band conductors and the resources and criteria used to choose this literature (Doctoral Dissertation, The Ohio State University,1998). Dissertation Abstracts International,

Youngblood, J.(1983). Why critics disagree. College Music Symposium: Journal of the College Music Society,23 (2),193-202.

116 APPENDIX A

Telephone Survey Script

117 Telephone Survey Script

My name is Ronda King, and I am Director of Bands at Marietta College in Marietta, Ohio. I am conducting a study on the repertoire of small college concert bands from across the country, and your school has been randomly selected to be included in this study. Would you have a few minutes right now to answer 5 short questions or would there be a better time for me to call? Answer.

1. How many years have you been at this position? Answer

2. Do you currently have more than one concert band? Answer

3. Did you have more than one concert band for the 1997 through 1999 academic years? Answer

4. During the academic years 1997-98 through 1999-2000, was participation in your concert band determined by audition? Answer

In order to complete this study, I will need to collect programs from your concert band from the past three years, which encompasses the 1997-98 through 1999-2000 academic years. Given some time, do you think that you could locate those programs? Answer Would you be willing to send me copies of them? Answer

These are all the questions I have at this time. I will be sending you an envelope to return your programs in, as well as an additional survey that explores the topic of music selection for your concert band. You can expect to receive this survey in about two weeks. Do you think a week after you receive the survey will be enough time to compile your programs and send both the programs and the survey back? Answer.

Thank you so much for your time and for your willingness to participate in this study. Remember, you should expect to receive a mailing from me in about two weeks. I really appreciate your time and effort. Have a great day.

118 APPENDIX B

Cover Letter

119 Ronda King 816 Gladstone Ave. Columbus, Ohio 43204

Conductor Name School Name School Address

Dear Conductor Name:

Thank you for agreeing to participate in this nationwide study on the repertoire performed by small college bands. You are one of the few conductors who has been randomly selected to participate in this study. Therefore, your participation is very important.

As we discussed on the telephone, please collect all of the programs of your concert band performances from the past three years, encompassing the '97-98, '98-99, and '99- 00 academic years. PI#*## do not includ# program# from th« curront aoadmmaio y#«r. If you have already e-mailed your programs, then you need not include them in this return mailing.

Included with this letter you will find a stamped, self- addressed envelope, and a survey. The survey should take only 15-20 minutes to complete. After you have completed the survey, please place it, along with the collected programs, into the envelope and place it in the mail. If you wish, you can then reply to the e-mail I sent earlier, to let me know you have posted the survey.

I assure you that all information submitted will be kept completely confidential. If there are any problems, or if you have any questions about the study, please do not hesitate to call me collect at home (614-274-5379), or contact me via e-mail (Boycekinglgcs.com). My office e- mail is kinqrSmarietta.edu.

120 Since there has been such a tremendous interest in this study from each of the directors I have contacted, I will be happy to share the results with all of the participants upon the completion of the study. Again, thank you for your time and for your participation.

Sincerely,

Ronda King Director of Bands Marietta College

121 APPENDIX C

Survey Instrument

122 SURVEY QUESTIONNAIRE (Small College = enrollment of 5,000 and below)

PROGRAM DEMOGRAPHICS

1. What is the approximate enrollment at your college or university?

2A. Does your institution offer a Bachelors degree in music? (If the answer to this question is "NO" please skip to question #3)

YES NO

2B. List the music degrees that are offered at your institution.

2C. What is the approximate number of music majors within your school, college, or department of music? ______

3. Check one: PUBLIC INSTITUTION PRIVATE INSTITUTION

4. Academic calendar: (Circle one)

a) SEMESTERS b) QUARTERS c) TRIMESTERS d) OTHER (specify) _____

5A. Indicate concert band enrollment for the following academic years and terms: ("WINTER" is included here for Quarter or Trimester calendars.)

1997-1998 FALL (WINTER) SPRING

a) music majors......

b) non-music majors ......

c) non-student personnel ______

TOTAL

123 5B.

1998-1999 FALL (WINTER) SPRING

a) music majors......

b) non-music majors ...

c) non-student personnel ___

TOTAL ____

5C.

1999-2000 FALL (WINTER) SPRING

a) music majors......

b) non-music majors ...

c) non-student personnel ___

TOTAL

7. How do marching and/or pep band obligations impact your concert band? (Circle one)

a) marching band/pep band rehearses separately from concert band, and therefore does not conflict with concert band schedule.

b) concert band rehearses only after marching band/pep band season is over.

c) both concert band and marching band/pep band are active at the same time and share rehearsal time.

d) there are no marching band/pep band obligations.

CONDUCTOR DATA (Circle the appropriate letter for each item. )

1. Your current affiliation with this institution:

a) full time faculty b) part time faculty c) other (specify)

124 2. Your highest academic degree completed:

a) bachelors b) masters c) doctorate 3. Your undergraduate major:

a) performance (primary instrument) _ b) music education (primary instrument) c) other (specify) ______d) does not apply

4. Your major area in Masters study:

a) performance (primary instrument) __ b) music education (primary instrument) c) other (specify) ______d) does not apply

5. Your major area in Doctoral study:

a) performance (primary instrument) __ b) music education (primary instrument______c) other (specify) ______d) does not apply

6. Indicate below the number of years (including the current year) you have directed concert band(s):

Current school __ yrs. Middle/Jr.High/High School yrs.

Previous colleges __ yrs.

PERFORMANCE INFORMATION

1. On average, how many performances does your concert band present per term ("Winter is included here for Quarter or Trimester calendars.) FALL ____ WINTER_____ SPRING ____

2. Approximately what percentage of each years concert band performances are shared with other performing ensembles? a) about 25% of the concerts are shared b) about 50% of the concerts are shared c) about 75% of the concerts are shared d) all of the concerts are shared e) none of the concerts are shared

125 3. During shaxad concerts, what is the average range of performance minutes presented by this band? (Circle one)

20-30 31-40 41-50 51-60 60+ Does not apply

4. During unshaxad concerts, what is the average range of performance minutes presentedby thisband? ( Circle one)

20-30 31-40 41-50 51-60 60+ Does not apply

5A. Indicate your concert band rehearsal schedule for each of the following academic years and terms: ("WINTER" is included here for Quarter or Trimester calendars.)

1997-98 FALL WINTER SPRING

Days per week......

Minutes per rehearsal.... ______

5B. 1998-99 FALL WINTER SPRING

Days per week......

Minutes per rehearsal.... ______

5C. 1999-2000 FALL WINTER SPRING

Days per week......

Minutes per rehearsal.... ______

RKPERTOIRE

1. Consider the music that has been programmed by your concert band over the past three years and rate the importance that each of the following reasons played in your decision to perform those particular pieces. Circle a number from 1 to 5 for each, with "5" indicating a very important reason, and "1" indicating a reason rarely or never considered.

Oninçortant Very important

a) Students could meet the technical demands in the amount of rehearsal time available...... 1 2 3 4 5

b) Students could comprehend and execute the musical demands in the amount of rehearsal time available 1 2 3 4 5 126 c) It would challenge/improve the student's technical abilities 1 2 3 4 5

d) It would challenge/improve the conductor's technical abilities... 1 2 3 4 5

e) It would challenge/improve the student's understanding of musical style and interpretation.. 1 2 3 4 5

f) It was music that the students should know...... 1 2 3 4 5

g) It was a composer that the students should know...... 1 2 3 4 5

h) I liked the piece...... 1 2 3 4 5

i) The students would like the piece. 1 2 3 4 5

j) The audience would like the piece. 1 2 3 4 5

k) I already knew the piece.. 1 2 3 4 5

1) It would teach about a certain genre or historical period. 1 2 3 4 5

m) It would teach about a certain theoretical concept...... 1 2 3 4 5

n) It fit the ensemble's instrumentation 1 2 3 4 5

o) It fit the ensemble's strengths and weaknesses...... 1 2 3 4 5

2. Now review those items to which you gave a rating of "5". Which of those criteria was the most important? (letter) Which was second- most important? (letter) Which was third most important (letter)___

3. Approximately what percent of the music performed by your concert band over the past three years had you previously conducted with other groups?

a) less than 10% b) about 25% c) about 50% d) about 75% e) more than 75% 127 RESOURCES

1. Consider the music that has been programmed by your concert band over the past three years and rate the importance of each of the following resources in your decision to perform those particular pieces. Circle a number from 1 to 5 for each, with "5" indicating a resource you used very often and "1" indicating a resource rarely or never used.

rarely often

a) Festival/Contest list 1 2 3 4 5

b) Recommended repertoire lists from publications (other than contest lists) 1 2 3 4 5

c) Sought advice from colleagues in the University/College band profession. 1 2 3 4 5

d) Sought advice from high school conductors 1 2 3 4 5

e) Sought advice from music store s ^3 nne .. 1 2 3 4 5

f) Student input------1 2 3 4 5

g) Private score study ------1 2 3 4 5

h) Publisher tapes or otherpublisher materials------1 2 3 4 5

i) Attended workshops, clinics and/or conventions______1 2 3 4 5

j) Attended band performances outside of a clinic/convention/workshop situation 1 2 3 4 5

k) Works previously conducted.______1 23 4 5

1) Works previously known, but not conducted.______1 2 3 4 5

2. Now review those items to which you gave a rating of "5". Which of these resources did you use most often? (letter)______Which of these resources did you use second-most often? (letter)______Which of these resources did you use third-most often (letter) ______

128 3. If letter "b" was indicated as a most often, second-most often or third most often used resource in answer to question 2 above, please indicate the publications you utilized as resources below.

129 APPENDIX D

Quality assessment of compositions not included in the original REI

130 Quality assessment of compositions not included in the original REI

Thank you for agreeing to participate in this study on the quality and difficulty levels of repertoire performed by non-auditioned, small college bands. Your task is to assist with the repertoire quality portion of the study.

Please begin by familiarizing yourself with the Repertoire Evaluation Inventory (REI), which serves as the quality assessment instrument for this study. Developed by Craig Young (1998), this instrument consists of three quality groupings, which are as follows:

Group On#: Compositions of #xc#ption#l quality, representing the highest quality compositions in wind band literature.

Group Two: Compositions of high quali^, representing a very high level of quality, only slightly below that of group one.

Group Thr##: Compositions of good quality, representing compositions that exhibit a significant level of quality, yet are not on a par with the top two categories.

This should take approximately 10 to 15 minutes.

Once again, thank you for your participation.

Ronda King

131 GROUP ONE

EXCEPTIONAL QUALITY

132 Coi^aar Composition Arr./Trana. Arnold, Malcolm Four Scottish Dances Paynter Bach, Johann Sebastian Come, Sweet Death Reed Bach, Johann Sebastian Fantasia in G Goldman/Leist Bassett, Leslie Designs, Images and Textures Bassett, Leslie Sounds, Shapes and Symbols Bennet, Robert Russell Suite of Old American Dances Benson, Warren The Leaves and Falling Benson, Warren The Passing Bell Benson, Warren The Solitary Dancer Bernstein, Leonard Overture to Candide Beeler Bernstein, Leonard Overture to Candide Grundman Profanation from Symphony No. Bernstein, Leonard 1, "Jeremiah" Bencriscutto Chance, John Barnes Elegy Variations on a Korean Folk Chance, John Barnes Song Copland, Aaron A Lincoln Portrait Beeler Copland, Aaron An Outdoor Overture Copland, Aaron Emblems Copland, Aaron Variations on a Shaker Melody Dahl, Ingolf Sinfonietta Dello Joio, Norman Fantasies on a Theme by Haydn Dello Joio, Norman Variants On a Medieval Tune Gould, Morton Symphony for Band Grainger, Percy Aldridge Colonial Song Grainger, Percy Aldridge Irish Tune from County Derry ed. Rogers Grainger, Percy Aldridge Lincolnshire Posy Grainger, Percy Aldridge Molly on the Shore Grainger, Percy Aldridge Shepherd's Hey Handel, G. F. Music for the Royal Fireworks Handel, G. F. Water Music Suite Kay Hanson, Howard Chorale and Alleluia

133 Compommr Co^osition Arr./Izana. March from "Symphonic Hindemith, Paul Metamorphosis" Wilson Symphony in B-flat for Concert Hindemith, Paul Band Holst, Gustav First Suite in Eb Holst, Gustav Hammersmith Holst, Gustav Second Suite in F Husa, Karel Al Fresco Husa, Karel Apotheosis of this Earth Husa, Karel Music for Prague Schuman/ Ives, Charles Variations on America Rhoads Jacob, Gordon William Byrd Suite Greisle or Mendelssohn, Felix Overture for Harmoniemusik Boyd Milhaud, Darius Suite Française Orff, Carl Carmina Burana Krance Persichetti, Vincent Divertimento for Band, Op. 42 Persichetti, Vincent Masquerade for Band, Op. 102 Persichetti, Vincent Pageant Persichetti, Vincent Psalm for Band, Op. 53 Persichetti, Vincent Symphony No. 6, Op. 69 Reed, H. Owen La Fiesta Mexicana Schoenberg, Arnold Theme and Variations, Op. 43a Schuller, Gunther Meditation Symphony No. 3, In Praise of Schuller, Gunther Winds Schuman, William Chester Overture for Band Schuman, William George Washington Bridge Schuman, William When Jesus Wept Shostakovich, Dmitri Festive Overture, Op. 96 Hunsberger Vaughan Williams, Ralph English Folk Song Suite Vaughan Williams, Ralph Toccata Marziale Wagner, Richard Trauersinfonie Leidzen

134 GROUP TWO

HIGH QUALITY

135 Co^oaar Compoaition Arr./Trans. Arnold, Malcolm English Dances Johnstone Arnold, Malcolm Peterloo Overture Sayre

Arnold, Malcolm Preluce, Siciliano, and Rondo Paynter Arnold, Malcolm Tam G'Shanter Overture Paynter Bach, Johann Sebastian Jesu, Joy of Man's Desiring Leidzen Bach, Johann Sebastian Little Fugue in G minor Bach, Johann Sebastian My Jesus I Oh What Anguish Reed Passacaglia and Fugue in C Bach, Johann Sebastian minor Hunsberger Prelude and Fugue in B-flat Bach, Johann Sebastian Major Moehlmann Bach, Johann Sebastian Prelude and Fugue in D minor Moehlmann Bach, Johann Sebastian Prelude and Fugue in g minor Moehlmann Bach, Johann Sebastian Toccata and Fugue in D minor Leidzen Bassett, Leslie Colors and Contours Bennet, Robert Russell Autobiography, Part I Bennet, Robert Russell Symphonic Songs for Band Benson, Warren Dawn's Early Light Benson, Warren Symphony II, Lost Songs Symphonie Funebre et Berlioz, Hector Triomphale Bernstein, Leonard Divertimento Grundman Bernstein, Leonard SlavaÏ Grundman Symphonic Dances from "West Bernstein, Leonard Side Story" Polster Bielawa, Herbert Spectrum Blessed Are They (from "A Brahms, Johannes German Requiem") Buehlman Brahms, Johannes Two Chorale Preludes Guenther Brisman, Heskel Uganda Lullaby The Courtly Dances fro Britten, Benj amin "Gloriana, Op. 53" Broege, Timothy Sinfonia VI Three Pieces for American Broege, Timothy Band, Set No. 1 Symphony No. 1 "In Memorium Bukvich, Daniel Dresden - 1945" Cabezon, Antonio de Prelude in the Dorian Mode Carter, Charles Overture for Winds Catel, Charles Simon Overture in C Chance, John Bames Incantation and Dance Copland, Aaron El Salon Mexico Hindsley

136 Co^o««r Coiq>oaltion Arr./Tran#. Symphony No. 1 "The Lord of de Meij, Johan the Rings" Do Not Go Gentle Into That Del Borgo, Elliot Good Night Dello Joio, Norman Scenes from "The Louvre" Diamond, David Heart's Music Elgar, Edward Enigma Variations Slocum Erickson, Frank Air for Band Erickson, Frank Toccata for Band Finney, Ross Lee Skating on the Sheyenne Finney, Ross Lee Summer in Valley City Frescobaldi, Girolamo Toccata Slocum Gershwin, George Rhapsody in Blue Grofe Giannini, Vittorio Fanatasia for Band Giannini, Vittorio Praeludium and Allegro Giannini, Vittorio Symphony No. 3 Giannini, Vittorio Variations and Fugue Gillingham, David Heroes, Lost and Fallen Gossec, Francis Joseph Military Symphony in F Gossec, Francis Joseph Overture in C Gould, Morton American Salute Lang Gould, Morton Ballad for Band Grainger, Percy Aldridge Australian Op-Country Tune Bainum Grainger, Percy Aldridge Children's March Grainger, Percy Aldridge Country Gardens Grainger, Percy Aldridge Handel in the Strand Grainger, Percy The Sussex Mummers' Christmas Aldridge Carol Grainger, Percy Ye Banks and Braes O'Bonnie Aldridge Doon Grundman, Clare An Irish Rhapsody Hailstork, Adolphus American Guernica Hailstork, Adolphus Out of the Depths Hanson, Howard Laude Harbison, John Three City Blocks Hartley, Walter Sinfonia No. 4 "Geschwindmarsch" from Hindemith, Paul Symphony Serena Holst, Gustav A Moorside Suite Wright Ballet from "The Perfect Holst, Gustav Fool" 137 Composer Co^wsltion Axx./Trans. Holst, Gustav Jupiter, from the Planets Smith Hovhaness, Alan Symphony No. 4, Op. 165 lannaccone, Anthony After a Gentle Rain Ives, Charles Country Band March Old Home Days (Suite for Ives, Charles Band) Elkus Ives, Charles Overture and March, 1776 Ives, Charles The Alcotts Jacob, Gordon An Original Suite Jacob, Gordon Music for a Festival Jadin, Louis Overture in F Jager, Robert Third Suite Jenkins, Joseph Wilcox American Overture for Band Kubik, Gail Stewball Variations Liadov, Anatol Eight Russian Folk Songs Liptak, David Soundings Lo Presti, Ronald Elegy for a Young American Mailman, Martin Liturgical Music for Band Margolis, Bob Fanfare, Ode and Festival Margolis, Bob Terpsichore Maslanka, David A Child's Garden of Dreams Maslanka, David Symphony No. 2 Maw, Nicolas American Games McBeth, W. Francis Chant and Jubilo McBeth, W. Francis Kaddish McBeth, W. Francis Masque Mehul, Etienne Nicolaus Overture in F Mendelssohn, F/Bartholdy Fingals Cave Overture Mendelssohn, F/Bartholdy Trauer-Marsch, op. 103 Mennin, Peter Canzona Miaskovsky, Nicolai Symphony No. 19 Nelhybel, Vaclav Symphonic Movement Nelhybel, Vaclav Trittico Nelson, Ron Courtly Airs and Dances Nelson, Ron Medieval Suite Morning Alleluias for the Nelson, Ron Winter Solstice Passacaglia (Homage on B-A-C- Nelson, Ron H) Nelson, Ron Rocky Point Holiday Nixon, Roger Fiesta Del Pacifico Nixon, Roger Pacific Celebration Suite 138 Coi^sar Composition Arr./Trans. Nixon, Roger Reflections Noon, David Sweelinck Variatioins Penderecki, Krzystztof Pittsburgh Overture

Persichetti, Vincent Chorale Prelude: 0 God Unseen Chorale Prelude: So Pure the Persichetti, Vincent Star, Op. 91 Chorale Prelude: Turn Not Thy Persichetti, Vincent Face, Op. 105 0 Cool is the Valley: Poem Persichetti, Vincent for Band, Op. 118 Persichetti, Vincent Parable IX, Op. 121 Piston, Walter Turnbridge Fair Reed, Alfred A Festival Prelude Reed, Alfred Armenian Dances (Part 1) Reed, Alfred Armenian Dances (Part 2) Reed, Alfred Russan Christmas Music Respighi, Ottorino Huntingtower Ballad for Band Reynolds, Verne Scenes Reynolds, Verne Scenes Revisited Riegger, Wallingford Dance Rhythms Rimsky-Korsakov, N Procession of the Nobles Leidzen Rogers, Bernard Three Japanese Dances On Winged Flight: A Schuller, Gunther Divertimento for Band Schuller, Gunther Study in Textures Schuman, William Be Glad Then, America Schwantner, Joseph From a Dark Millennium Shostakovich, Dmitri Folk Dances Reynolds Shostakovich, Dmitri Prelude, Opus 34, No.14 Reynolds Sibelius, Jean Finlandia Hindsley Skalkottas, Nikos Greek Dances Schuller Smetana, Bedrich Three Revolutionary Marches Nehlybel The Continental Harp and Band Skokes. Eric Report Strauss, Richard Allerseelen Davis Stravinsky, Igor Circus Polka Stuart, Hugh Three Ayres from Gloucester Paeans and Dances of Heathen Surinach, Carlos Iberia Susato, Tielman The Battle Pavane Margolis Twelve Dances from "The Susato, Tielman Danserye" Walters Thomson, Virgil A Solemn Music 139 C o # ^ « # r Coaposltion Axr./Trana. Thorne, Nicolas Adagio Music Ticheli, Frank Cajun Folk Songs Ticheli, Frank Cajun Folk Songs II Ticheli, Frank Fortress Ticheli, Frank Gaian Visions Ticheli, Frank Portrait of a Clown Ticheli, Frank Postcard Tschesnokoff, Pavlov Salvation is Created Houseknecht Tull, Fischer Sketches on a Tudor Psalm Turina, Joaquin Five Miniatures Turina, Joaquin La Procession du Rocio Reed Vaughan Williams, Ralph Flourish for Wind Band Vaughan Williams, Ralph Rhosymedre Beeler Scherzo alia Marcia from Vaughan Williams, Ralph Symphony No. 8 Vaughan Williams, Ralph Sea Songs Elsa's Procession to the Wagner, Richard Cathedral Calliet Walton, William Crown Imperial Duthoit Polka and Fugue from Weinberger, Jaromir "Schwanda the Bagpiper" Welcher, Dan Zion Wiliams, Clifton Fanfare and Allegro Williams, Clifton Symphonic Suite Wilson, Dana Piece of Mind Wood, Haydn Mannin Veen Zdechlik, John Chorale and Shaker Dance

140 GROUP THREE

GOOD QUALITY

141 COMPOSER COMPOSITION ARR/TRAN8 Adler, Samuel Little Night and Day Music Applebaum, Stan Irish Suite Arbeau, Thoinot Belle Qui Tiens Ma Vie Margolis Arnold, Malcolm Four Cornish Dances Marciniak Bach, Jan Praetorius Suite Blithe Bells (Sheep May Safely Bach, Johann Sebastian Graze) Grainger Bach, Johann Sebastian Jesus, Jesus Rest Your Head Wallace Bach, Johann Sebastian My Heart If Filled With Longing Reed Bach, Johann Sebastian Passacaglia and Fugue in C minor Falcone Bach, Johann Sebastian Sleepers Awake! Reed Bach, Johann Sebastian Thus do You Fare, My Jesus Reed Who Puts His Trust in God Most Bach, Johann Sebastian Just Croft

Barber, Samuel Overture to the School for Scandal Hudson Bames, James Yorkshire Ballad Benson, Warren Ginger Marmalade Benson, Warren Night Song Benson, Warren Remembrance Berlioz, Hector Overture to Beatrice et Benedict Henning Bernstein, Leonard A Bernstein Tribute Grundman Bernstein, Leonard Candide Suite Grundman Bernstein, Leonard Danzon from "Fancy Free" Krance Bernstein, Leonard Three Dance Episodes Stith Beversdorf, Thomas Symphony for Band Boysen, Andrew Jr. I Am Brahms, Johannes Three Chorale Preludes Fennell Brant, Henry American Debate Broege, Timothy Dreams and Fancies Broege, Timothy Sinfonia V Broege, Timothy The Headless Horseman Three Pieces for American Band, Broege, Timothy Set No. 2 Bukvich, Daniel Voodoo Bulla, Stephen Firestorm Cable, Howard Newfoundland Shapsody

142 COMPOSER COMPOSITION ARR/TRANS Camphouse, Mark A Movement for Rosa Camphouse, Mark Tribute Watchman, Tell Us of the Camphouse, Mark Night Camphouse, Mark Whatsoever Things Carter, Charles Symphonic Overture Catel, Charles Simon Symphonie Militaire Townsend Chance, John Barnes Blue Lake Overture Chobanian, Loris 0. Armenian Dances Copland, Aaron A Copland Portrait Grundman Copland, Aaron A Copland Tribute Grundman Copland, Aaron Down a Country Lane Patterson Copland, Aaron Red Pony Cowell, Henry Hymn and Fuguing Tune #1 As Summer Was Just Daehn, Larry Beginning Daehn, Larry With Quiet Courage Daugherty, Michael Desi Davidovsky, Mario Consorts Fantasie on a Danish Davis, Albert Oliver Theme de Meij, Johan Aquarium, Op. 5 Symphon No. 2, The Big de Meij, Johan Apple Del Borgo, Elliot Adagio for Winds Del Borgo, Elliot Festa! Music for Winds and Del Borgo, Elliot Percussion Dello Joio, Norman Satiric Dances DeNardis, Camille The Universal Judgment Cafarella Diamond, David Tantivy Symphony for Winds and Downing, Joseph H . Percussion In Memoriam Vincent Druckman, Jacob Persichetti Duffy, Thomas C. Crystals Duffy, Thomas C. Snakes Finale from "New World Dvorak, Antonin Symphony" Leidzen Dvorak, Antonin Slavonic Dances C u m o w Elgar, Edward Severn Suite Ellerby, Martin Paris Sketches Erb, Donald Stargazing Erb, Donald Symphony for Winds The Purple Roofed Ethical Erb, Donald Suicide Parlor 143 COMPOSERCOMPOSITION ARR/TRMI8 Erickson, Frank Balladair

Fauchet, Paul Symphony in Bb Campbell/Watson Faure, Gabriel Grant Them Test Buehlman Franck, Cesar Panis Angelicus Reed Friedmann, Carl Jug Blues and Fat Pickin' Selections from "Porgy and Gershwin, George Bess" Bennett Gershwin, George The Symphonic Gershwin Barker Tulsa, A Symphonic Portrait Gillis, Don in Oil Ford Ginastera, Alberto Danza Final from Estancia Johns Giovannini, Caesar Overture in Bb Gorb, Adam Awayday Jericho : Ethapsody for Gould, Morton Symphonic Band Gould, Morton Mini suite Gounod, Charles Andante Cantabile for Winds Barr Grainger, Percy Aldridge Country Gardens Grainger, Percy Aldridge Feroe Island Dance Grainger, Percy Aldridge Harvest Hymn Grainger, Percy Aldridge Immovable Do Grainger, Percy Aldridge Two Grainger Melodies Kreines Gregson, Edward Festivo Grundman, Clare A Scottish Rhapsody Grundman, Clare A Welsh Rhapsody Grundman, Clare American Folk Rhapsody No. 1 Grundman, Clare American Folk EUiapsody No. 2 Grundman, Clare American Folk Rhapsody No. 3 Grundman, Clare Concord Fantasy on American Sailing Grundman, Clare Songs Grundman, Clare Hebrides Suite Grundman, Clare Kentucky 1800 Grundman, Clare Little Snglish Suite Grundman, Clare Little Suite for Band Grundman, Clare The Blue and the Gray Grundman, Clare Two Moods Overture Hanson, Howard Dies Natalis Hanson, Howard Symphony No. 2 "Romantic" McBeth

144 COMPOSER COMPOSITION ARR/TRAN8 Hearshen, Ira After The Thunderer Hennagin, Michael Jubilee Hidas, Frigyes Merry Music for Wind Band Hodkinson, Sydney Stone Images Hogg, Brian Llwyn Onn Holsinger, David R. Liturgical Dances Holsinger, David R. On A Hymnsong of Philip Bliss Holsinger, David R. On a Hymnsong of Lowell Mason Holsinger, David R. Sinfonia Voci Holst, Gustav Mars from the Planets Smith Holst, Gustav Song of the West Hovhaness, Alan Hymn to Yerevan Hovhaness, Alan Symphony No. 7 "Nanga Parvat" Three Journeys to a Holy Hovhannes, Alan Mountain lannaccone, Anthony Apparitions lannaccone, Anthony Of Fire and Ice lannaccone, Anthony Plymouth Trilogy Ireland, John A Downland Suite Ives, Charles Symphony No. 2: Finale Elkus Variations on Jerusalem the Ives, Charles Golden Brion Fantasia on an English Folk Jacob, Gordon Song Jacob, Gordon Flag of Stars Jacob, Gordon Giles Farnaby Suite Jacob, Gordon The Battell Jacob, Gordon Tribute to Canterbury Jadin, Louis E. Symphonie for Band Schaefer Jager, Robert Colonial Airs and Dances Variations on a Theme of Jager, Robert Robert Schumann Kabalevsky, Dmitri Overture to "Colas Breugnon" Beeler Kabalevsky, Dmitri Suite in a Minor Mode Seikman Khatchaturian, Aram Armenian Dances Setz Kodaly, Zoltan Hary Janos : Suite Bainum Kozhevnikov, Boris Symphony No. 3 "Slavyanskaya" Bourgeois Krenek, Ernst Dream Sequence

La Plante, Pierre American Riversongs Brion/Schissel La Plante, Pierre Prospect Latham, William Court Festival Latham, William Three Chorale Preludes Liadov, Anatol Festival in Russia Wilcox 145 COMPOSER COMPOSITION M n / T R A H S Lij nschooten, Henk Netherlands Suite Linn, Robert Propagula

MacDowell, Edward Woodland Sketches Winterbottom Mahler, Gustav Symphony No. 3: Finale Reynolds Mahr, Timothy Argentum Mahr, Timothy Fantasia in G Mailman, Martin Exaltations Makris, Andreas Aegean Festival Overture Bader Margolis, Bob Color Margolis, Bob Renaissance Fair Maslanka, David In Memoriam Maslanka, David Rollo Takes a Walk Massanet, Jules "Meditation" from Thais Harding McTee, Cindy Circuits Milhaud, Darius West Point Suite Coronation Scene from Boris Moussorgsky, Modeste Godunov Buehlman Moussorgsky, Modeste Night on Bald Mountain Hindsley Moussorgsky, Modeste Pictures at an Exhibition Hindsley Mozart, W.A. Marriage of Figaro Overture Slocum Mozart, W.A. Trauermusik Osterling Nelhybel, Vaclav Chorale Nelhybel, Vaclav Festivo Nelhybel, Vaclav Prelude and Fugue Nelhybel, Vaclav Suite from Bohemia Nelson, Ron Aspen Jubilee Nelson, Ron Mayflower Overture Nelson, Ron Resonances 1 Nelson, Ron Savannah River Holiday Nixon, Roger Elegy and Fanfare Offenbach, Jacgues La Belle Helene Odom Overture, "Orpheus in the Offenbach, Jacques Underworld" Odom Offenbach, Jacques The Drum Major’s Daughter Odom Epinicion For Winds and Paulson, John Percussion Peck, Russell Cave of the Winds Pennington, John Apollo

146 CONPOSBRCOMPOSITIONABR/TRANS Persichetti, Vincent Bagatelles for Band Persichetti, Vincent Serenade for Band Rands, Bernard Ceremonial Reed, Alfred A Jubilant Overture Reed, Alfred Symphony No. 3 Reed, Alfred The Hounds of Spring Reed, H. Owen For the Unfortunate Respighi, Ottorino The Pines of Rome Duker Respighi, Ottorino The Pines of the Appian Way Leidzen Rhodes, Phillip Three Pieces for Band Rimsky-Korsakov, N Dubinushka Chidester Rimsky-Korsakov, N Russian Easter Overture Erickson Rodgers, Richard Victory at Sea Bennett Root, Thomas Polly Oliver Rossini, Gioacchino An Italian in Algiers Caillet Rossini, Gioacchino La Gazza Ladra Overture Caillet

Rossini, Gioacchino March for the Sultan Abdul Medjid Townsend

Rossini, Gioacchino Overture to the Barber of Seville Lake Rossini, Gioacchino Tancredi Overture Falcone Rossini, Gioacchino William Tell Overture Williams Saint-Saëns, Camille Pas Redouble Frackenpohl Saint-Saëns, Camille Occident et Orient, op. 25 Schuman, William Newsreel Scriabin, Alexander Nocturne Reed Shostakovich, Dmitri Finale, Symphony No. 5 Righter Shostakovich, Dmitri Galop Hunsberger Smith, Claude T. Emperata Overture Smith, Claude T. Incidental Suite

Smith, Robert W. Paradise from "The Divine Comedy" Purgatorio from "The Divine Smith, Robert W. Comedy" The Ascension from "The Divine Smith, Robert W. Comedy" The Inferno from "The Divine Smith, Robert W. Comedy" Sparke, Philip Dance Movements Sparke, Philip Music for a Festival

147 COMPOSER COMPOSITIONASR/TRAHS Stamp, Jack Antithigram Stamp, Jack Chorale and Toccata Stamp, Jack Past the Equinox Stuart, Hugh A Hymn for Band Sullivan, Arthur Pineapple Poll Duthoit Suppe, Franz von Light Cavalry Overture

Suppe, Franz von Morning, Noon, and Night in Vienna Fillmore Suppe, Franz von Poet and Peasant Overture Fillmore Sweeney, Michael Ancient Voices Tchaikovsky, Peter Finale, Symphony No. 4 Hindsley Tchaikovsky, Peter Marche Slav Tchaikovsky, Peter Overture 1812 Lake Thomas, Ambroise Overture to "Raymond" Safranek Ticheli, Frank Amazing Grace Ticheli, Frank Blue Shades Traditional Greensleeves Reed Tull, Fisher Credo Tull, Fisher Final Covenant Tull, Fisher Toccata Tyra, Thomas Two Gaelic Folk Songs Van der Roost, Jan Canterbury Chorale Van der Roost, Jan Puszta Van der Roost, Jan Rikudim Vaughan Williams, Ralph Linden Lea Stout Verdi, Giuseppe La Forza Del Destine Overture Lake Verdi, Giuseppe La Traviata: Prelude, Act 1 Falcone Verdi, Giuseppe Nabucco Tangen Wagner, Richard Huldigungsmarsch Schaefer

Wagner, Richard Overture to "The Flying Dutchman" Hindsley Walton, William Orb and Septre Ward, Samuel America the Beautiful Dragon Weber, Carl Maria von Euryanthe Overture Safranek Weber, Carl Maria von Oberon Overture Hindsley Willan, Healy Royce Hall Suitee Teague

148 COMPOSERCOMPOSITIONABR/TRANS Williams, Clifton Caccia and Chorale Williams, Clifton Dedicatory Overture Williams, Clifton Symphonie Dance No. 3 "Fiesta" Williams, Clifton The Sinfonians Williams, Clifton Variation Overture Wilson, Dana Sang Shakata: Sing the World into Wilson, Dana Existence Woolfenden,Guy Illyrian Dances Youtz, Gregory Fireworks Youtz, Gregory Scherzo for a Bitter Moon Yurko, Bruce Night Dances Zdechlik, John Celebrations Zdechlik, John Psalm 46

149 Q uality Assessment Instructions

The following compositions were among the literature performed by the respondents in this study during the academic years 1997-1999. These pieces were not assessed in Young's 1998 study and are, therefore, not included in the REI.

Many of these compositions were published after the REI had been developed, others were simply not assessed because they were not among the pieces performed by the respondents in Young's (1998) study.

Your task is to evaluate the following compositions to determine if any of these pieces should be included in any of the categories of the REI. Please consider the compositions that were listed in the REI and proceed by doing the following:

1. Look over the following list of compositions.

2. Place a mark in the first box ("Don't Know) if you feel you are not familiar enough with that piece to make a judgment.

3. Place a mark in the second box ("To Add") if you believe that piece to be representative of the range of quality presented in the REI.

4. For those pieces that receive a marking in the second box, please indicate the category of the REI you think that piece best represents by circling "1" for #%captional quality literature, "2" for high quality literature, or "3" for good quality literature.

5. Do not mark anything for any piece that you feel does not represent the quality of literature included in the REI

6. If the composition should not be on the list because it is a fanfare, march, or a piece for solo and band, please circle the composition and make a note to that effect.

150 This should take approximately 45 minutes.

Your time and consideration are greatly appreciated.

151 1 TO ARR. Don't Add GROUP COMPOSER COMPOSITION /TRAMS. Know To NUMBER Akey, Douglas Cascade River Overture 1 2 3 Allen, Fred Bosnian Folk Songs 1 2 3 When the Stars Began to Allen, Thomas Fall 1 2 3 Ammerbach, Nicolaus Salterello McLin 1 2 3 Bach, J.S. Chaconne Daehn 1 2 3 Forget Me Not, 0 Dearest Bach, J.S. Lord Reed 1 2 3 Little Fugue (Based on Romm Bach, J.S. Little Fugue in G minor) Custer 1 2 3

Bach, J.S. Prelude and Gloria Erickson 1 2 3

Balmages, Brian Journey By Night 1 2 3 Barber, Samuel First Essay Levey 1 2 3 A Celebration of Barker, Warren Spirituals 1 2 3 Barker, Warren An Irsh Ayre For Winds 1 2 3 Barker, Warren Deir in De 1 2 3 Barnes, James A Very American Overture 1 2 3 Barnes, James Choral and Jubiloso 1 2 3 Barnes, James Golden Festival Overture 1 2 3 Barnes, James Third Symphony 1 2 3

Barrett, Roland Soar the Untamed Spirit 1 2 3 Barton, Steven For the New Day Arisen 1 2 3 Beethoven, Ludwig van Egmont Overture Page 1 2 3 Beethoven, Fanfare Prelude On "Ode to Ludwig van Joy" C u m o w 1 2 3

Bilik, Jerry American Civil War Fantasy 1 2 3 Bizet, Georges Carmen Suite Bullock 1 2 3 Farandole from Bizet, Georges L'Arlesienne lasilli 1 2 3 Black, Dave Two Irish Sketches 1 2 3

152 1 TO ARR. Don't Add GROUP COMPOSER CCMP08IIIW /TRANS. ftoow To NUMBER Fanfare and Hymn: A Bocook, Jay Mighty Fortress 1 2 3 Bowers, Robert Hood The Three Trees 1 2 3 Boysen, Andrew Jr. The Four Horsemen (War) 1 2 3 Boysen, Andrew Jr. Urban Scenes 1 2 3 Brahms, Johannes Hungarian Dances Curnow 1 2 3

Bremer, Carolyn Early Light 1 2 3

Broege, Timothy America Verses 1 2 3

Broege, Timothy Jody 1 2 3 Bulla, Stephen All Creatures of Our God 1 2 3 Bulla, Stephen All Hail The Power 1 2 3

Camphouse, Mark Three London Miniatures 1 2 3 Divertimento for Winds and Cichy, Roger Percussion 1 2 3 Cichy, Roger Fanfare and Salutation 1 2 3 Clark, Larry Da Vincian Visions 1 2 3 Conley, Lloyd Quiet Valley 1 2 3 Copland, Aaron Hoe Down Rogers 1 2 3 Cowell, Henry Celtic Set 1 2 3 Creston, Paul Night in Mexico Yates 1 2 3 Canadian Folk Song Curnow, James Rhapsody 1 2 3 Curnow, James Celestial Celebration X 2 3 Cumow, James Exaltation 1 2 3 Fanfare, Prelude on the Curnow, James Italian Hymn 1 2 3 Four Colonial Country Cumow, James Dances 1 2 3 Cumow, James Prelude and Celebration 1 2 3 Prelude on a Hymn of Cumow, James Praise 1 2 3 Cumow, James Rejouissance 1 2 3 Cumow, James To Fly Without Wings 1 2 3 153 1 TO ARR. Don't Add GROUP COMPOSER CCMPOSIIICN /TRAMS. IDicw To NUMBER

Curnow, James Variants On An Ancient Air 1 2 3 Variants on an Early Curnow, James American Hymn Tune 1 2 3 Curnow, Paul Rhapsodie Trilogy 1 2 3 Custer, Calvin Empire Overture 1 2 3 Fantasia on a Triumphant Custer, Calvin Hymn 1 2 3

Danna, Angelo Tripoli Hastings 1 2 3 de Haan, Jacob Adagietto 1 2 3 de Meij, Johan Continental Overture 1 2 3

Debussy, Claude Reverie Erickson 1 2 3 Del Borgo, Elliot Chant Rituals 1 2 3 Del Borgo, Elliot Chesapeake 1 2 3 Del Borgo, Elliot Lux Aetema 1 2 3 Delius, The Walk to the Paradise Frederick Garden Kreines 1 2 3 Dello Joio, Songs of Abelard for Band Norman and Voice 1 2 3

Erickson, Frank Overture Jubiloso 1 2 3

Erickson, Frank Second Symphony for Band 1 2 3

Faure, Gabriel Agnus Dei Friedman 1 2 3 Foley, Keith Sanctuary 1 2 3 Fantasia On a Hymn by Foster, Robert Praetorius 1 2 3 Foster, Robert E. American Variants 1 2 3 Foster, Robert E. Arcadian Jubilee 1 2 3 Foster, Robert E. Crosswinds 1 2 3

154 1 TO ARR. Don't Add GROUP COMPOSER COMPOSITION /TRANS. IDiow To NUMBER Fraser, Bruce Firepower 1 2 3 Frescobaldi, Girolamo Preludium and Fugue Brunelli 1 2 3 Galbraith, with brightness round Nancy about it 1 2 3 Gass, Henry Ringgold Rhapsody 1 2 3 George, Thom Ritter First Suite in F 1 2 3 Gershwin, Second Prelude from "Three George Preludes" Krance 1 2 3 Gershwin, Selections from "An George American in Paris" Krance 1 2 3 Resting in the Peace of Gibson, John His Hands 1 2 3 Gilbert, Jay Suite Divertimento 1 2 3 Gillingham, Apocalyptic Dreams David (Movement III) 1 2 3 Gillingham, David Be Thou My Vision 1 2 3 Gillingham, David New Century Dawn 1 2 3 Gillingham, David Revelation 1 2 3 Gillis, Don Spiritual Bainum 1 2 3 Gillis, Don Symphony 5 1/2 1 2 3 Giovannini, Caesar Chorale and Capriccio 1 2 3 Giovannini, Caesar Symphony in One Movement Robinson 1 2 3 Overture to Russian and Glinka, Mikhail Ludmilla Henning 1 2 3 Godrey, Daniel S. Jig 1 2 3 Gorb, Adam Yiddish Dances 1 2 3 Gorham, David Golden Point Overture 1 2 3

155 1 TO ARR. Don't Add <3tODP COMPOSER C0MPO8IIIW /TRAMS. Know To NUMBER Grainger, Percy Aldridge Down Longford Way 1 2 3 Grainger, Percy Aldridge I'm Seventeen Come Sunday Daehn 1 2 3 Grainger, Percy ed. Aldridge The Merry King Rogers 1 2 3 Grainger, Percy Aldridge Themes From Green Bushes Daehn 1 2 3 Grantham, Donald Southern Harmony 1 2 3 Grieg, Edvard Last Spring 1 2 3

Grundman, Clare A Westchester Overture 1 2 3

Grundman, Clare Two Irish Songs 1 2 3

Grundman, Clare Waltz in Blue 1 2 3

Halftery, Frank Carlyle Trilogy 1 2 3 Harbinson, Variations on an American William Hymn Tune 1 2 3 Haydn, Franz Finale to Symphony No. 45 Joseph "Farewell" Whitcomb 1 2 3 Haydn, Franz Joseph St. Anthony Divertimento Wilcox 1 2 3 Hearshen, Ira After Fairest of the Fair 1 2 3 Heisinger, Brent Essay for Band 1 2 3 Higgins, John Celtic Ritual 1 2 3 Until Justice Rolls Down Higgins, John Like Waters 1 2 3 Hilliard, Quincy Furioso 1 2 3 Hilliard, Quincy Sundance 1 2 3 Holsinger, David R. Abram's Pursuit 1 2 3 Holsinger, David R. Consider the Uncommon Man 1 2 3 Holsinger, Gathering of the Ranks at David R. Hebron 1 2 3

156 1 TO ARR. Don't Add GROUP CXMEOSBR CGMPOSITKXÎ /TBAN8. IÙ1CW To HUMBER Holsinger, David R. Hommage 1 2 3 Holsinger, David R. On a Southern Hymnsong 1 2 3 Holsinger, David R. On An American Spiritual 1 2 3 Holsinger, David R. Prairie Dances 1 2 3 Holsinger, David R. Prelude and Rondo 1 2 3 Holsinger, David R. To Tame the Perilous Skies 1 2 3 Holst, Gustav I Vow To Thee My Country 1 2 3

Robert W. Holst, Gustav In the Bleak Midwinter Smith 1 2 3 Jupiter Hymn (from the Holst, Gustav Planets) de Meij 1 2 3 Horovitz, Joseph Bacchus on Blue Ridge 1 2 3

Hovhaness, Alan Suite for Band 1 2 3 Huckeby, Ed American Folk Fantasia 1 2 3 Declaration, Ballade & Huckeby, Ed Finale 1 2 3 From Whom All Blessings Huckeby, Ed Flow 1 2 3 Huckeby, Ed Of a Distant Star 1 2 3 Overture to a New Huckeby, Ed Millennium 1 2 3 Proclamation and Symphonic Huckeby, Ed Decree 1 2 3

Hultgren, Ralph Eminence 1 2 3 Hunsberger, Donald Folk Legend 1 2 3 Steadman- Ireland, John Comedy Overture Alien 1 2 3

157 1 TO ABR. Don't Add GROUP COMPOSERCOMPOSITION /TRAMS. 1Ù10W To NUMBER Ito, Yasuhide Festal Scenes 1 2 3 Variations from the Ito, Yasuhide Northern Sea 1 2 3 Ives, Charles A Son of a Gambolier Elkus 1 2 3 Iwai, Naohrio Yaga-Bushi 1 2 3 Jager, Robert Chorale and Toccata 1 2 3 Jager, Robert Japanese Prints 1 2 3 Kermy, George Jubilee 1 2 3 Ketelbey, Albert In a Persian Market 1 2 3 Khachaturian, Aram Galop (from "Maskerade") Erickson 1 2 3 Knox, Thomas Sea Songs 1 2 3 Kopetz, Barry Knightsbridge Chronicles 1 2 3 Variations on "Lobe Den Kopetz, Barry Herm" 1 2 3 La Plante, Pierre English Country Settings 1 2 3 Lampe, J. Bodewalt Creole Belles Brion 1 2 3

Latham, William Plymouth 1 2 3 Lavender, Paul Lake Geneva Celebration 1 2 3 Legassey, Robert Sea Portrait 1 2 3

Liszt, Franz Les Preludes Hindsley 1 2 3 Lowden, Bob Symphonic Ballad 1 2 3 Mahr, Timothy Soaring Hawk 1 2 3 Parade (from Fantasia Nova Margolis, Bob for Concert Band) 1 2 3 Mascagni, Intermezzo from Pietro "Cavalleria Rusticana" Kreines 1 2 3 Prelude on a Gregorian Maslanka, David Tune 1 2 3 McBeth, W. Francis Flourishes 1 2 3

158 1 TO ARR. Don't Add GROUP COMPOSER CCMPOSITXCXf /TRAMS. IQiow To NUMBER McBeth, W. Francis Second Suite 1 2 3 McGinty, Anne Tis a Gift 1 2 3 Melillo, Stephen America the Brave 1 2 3 Melillo, Stephen Before The Storm 1 2 3 Melillo, Stephen ErichI 1 2 3 Melillo, The Fountainhead (Movement Stephen I) 1 2 3 Melillo, The Last Outpost of Stephen Freedom 1 2 3 Melillo, Stephen Timestorm 1 2 3 Mendelssohn, Nocturne (from "Midsummer Felix Night's Dream") 1 2 3

Milhaud, Darius Suite Provençale Nelson 1 2 3 Divertimento No. 3, Mozart, W.A. Movement I Conley 1 2 3

Mozart, W.A. Eine Kleine Nachtmusik Jennings 1 2 3

Mozart, W.A. Overture, "Cosi fan tutte" Moehlmann 1 2 3 Mozart, W.A. Serenade No. 11 Fennell 1 2 3 Mussorgsky, Modest The Siege of Kazan Hubbell 1 2 3 Nachman, Yariv The Match of Hope 1 2 3 Nelhybel, Vaclav Estampie 1 2 3 Nelhybel, Overture for Symphonic Vaclav Band 1 2 3 Nelhybel, Vaclav Prestissimo Galop 1 2 3 Nelson, Ron Homage to Leonin 1 2 3 Nelson, Ron Lauds 1 2 3 Overture to "The Merry Nicolai, Otto Wives of Windsor" Kreines 1 2 3 O'Reilly, John Fantasia On An Irish Hymn 1 2 3 Pachelbel Canon Custer 1 2 3

159 1 TO ARR. Don't Add GROUP CONPOSCR COMPOSITIW /TRANS. Know To NUMBER Overture On a Southern Palmer, Robert Hymn 1 2 3 Pearson,/ Elledge Psalm and Celebration 1 2 3 Pethel, Stan Encomium 1 2 3 Ployhar, James Hymn Fantasy for Band 1 2 3 Ployhar, James Lead On, 0 King Eternal 1 2 3 Ployhar, James Old Tent Meeting 1 2 3 Ployhar, James Song of Praise 1 2 3 Press, Jacques Wedding Dance Fennell 1 2 3 Puccini, La Boheme - A Symphonic Giacomo Portrait Dawson 1 2 3

Purcell, Henry Suite from Dido and Aeneas Walker 1 2 3 Rachmaninoff, Sergei Italian Polka Leidzen 1 2 3 Rachmaninoff, Sergei Prelude, Opus 3, No. 2 Longfield 1 2 3 Ravel, Maurice La Valse Kreines 1 2 3

Ravel, Maurice Pavane Henderson 1 2 3 Reed, Alfred A Festive Overture 1 2 3 Reed, Alfred A Little Concert Suite 1 2 3 Reed, Alfred A Sacred Suite 1 2 3 Reed, Alfred Rushmore 1 2 3 The King Of Love My Reed, Alfred Sheperd Is 1 2 3 Reed, H, Owen Missouri Shindig 1 2 3

Rhodes, Phillip Cosmic Fantasies 1 2 3 Rossini, Gioacchino Semiramide Overture Bender 1 2 3 Saint-Saëns, Camille Danse Bacchanale Steiger 1 2 3 Sayre, Matthew The Aging Jester 1 2 3

Scheldt, Samuel Canzona Bergamasca Daehn 1 2 3

160 1 TO ARR. Don't Add GROUP COMPOSERCOMPOSITIW /TRANS. Khow To NUMBER Schickele, Peter Pavilion Piece 1 2 3 Schmidt, Sakura 1 2 3

Schubert, Franz Sanctus C u m o w 1 2 3 Gently Flows the Amber Scott, Brian Grain 1 2 3 Shaffer, David Southwest Overture 1 2 3 Shaffer, David When Angels Weep 1 2 3

Sheldon, Robert Beyond the Higher Skies 1 2 3

Sheldon, Robert Chanteys 1 2 3

Sheldon, Robert Lindbergh Variations 1 2 3 Shostakovich, Dmitri Folk Festival Hunsberger 1 2 3 Shostakovich, Dmitri Prelude No. 14 Reynolds 1 2 3 Shostakovich, Dmitri Symphony No. 11 Daehn 1 2 3 Smith, Claude T. Concert Variations 1 2 3 Smith, Claude Flourish and Hymn of T. Praise 1 2 3 Smith, Claude T. Gala XXV 1 2 3 Smith, Claude T. God of Our Fathers 1 2 3 Smith, Claude Intrada: Adoration and T. Praise 1 2 3 Smith, Robert W. By Loch and Mountain 1 2 3 Smith, Robert W. Incantations 1 2 3 Smith, Robert Ireland: Of Legend and W. Lore 1 2 3 Smith, Robert W. King of Kings 1 2 3 Smith, Robert Precious Lord, Lead Me W. Home 1 2 3

161 1 TO ARR. Don't Add GROUP COMPOSERCOMPOSITION /TRAMS. Know To NUMBER Smith, Robert W. Songs of Sailor and Sea 1 2 3 Smith, Robert The Spirit of Orpheus (A W. Sinfonian Celebration) 1 2 3 Smith, Robert W. The Winds of Poseidon 1 2 3 Smith, Robert To Dance in the Secret W. Garden 1 2 3 Sochinski, With Liberty and Justice James for All 1 2 3 By the Light of the Polar Sousa, John Star (Looking Upward Phillip Suite) 1 2 3 Sparke, Philip Carnival 1 2 3 Sparke, Philip Concert Prelude 1 2 3 Sparke, Philip Jubilee Overture 1 2 3 Sparke, Philip Mountain Song 1 2 3 Spears, Jared Alleluias 1 2 3 At a Dixieland Jazz Spears, Jared Funeral 1 2 3 Spears, Jared Deo Gratias 1 2 3 Spears, Jared Dramatic Episode 1 2 3 Spears, Jared Festal Overture 1 2 3 Spears, Jared Images Diabolique 1 2 3 Chorale Prelude: Be Thou Stamp, Jack My Vision 1 2 3 Remembrance of Things to Stamp, Jack Come 1 2 3 Folksongs for Band, Suite Stanhope, David No. 1 1 2 3 Strauss, Richard Serenade in E-flat, Op. 7 1 2 3 Strauss, Richard Zueignung Davis 1 2 3 Stravinsky, Firebird Suite, "Berceuse Igor and Finale" Longfield 1 2 3 Stravinsky, Symphonies of Wind Igor Instruments 1 2 3 Strommen, Carl Introduction and Caprice 1 2 3 Strommen, Carl To A Distant Place 1 2 3 Strommen, Carl Waterdance 1 2 3 162 1 TO ARR. Don't Add GROUP COMPOSERCOMPOSITION /TRAMS. Know To NUMBER Stuart, Hugh Andalusia 1 2 3 Stuart, Hugh In Search of A Shamrock 1 2 3 Stuart, Hugh Rio Con Brio 1 2 3 Sweelinck, Jan P. Variations on Est Ce Mars Garofalo 1 2 3 Tatgenhorst, John Upon These Grounds 1 2 3 Tchesnckov, Pavel Two Chorales Gilbert 1 2 3 Thompson, Randall Alleluia Buckley 1 2 3 Ticheli, Frank Shenandoah 1 2 3 Ticheli, Frank Sun Dance 1 2 3 Ticheli, Frank Vesuvius 1 2 3

Traditional Deep River Swearingen 1 2 3

Tschaikowsy, P. Nutcracker Suite Lake 1 2 3 Tubb, Monte Concert Piece for Band 1 2 3 Tull, Fischer Antiphon 1 2 3 Van der Roost, Jan Conzensus 1 2 3 Van der Roost, Jan Dynaraica 1 2 3 Van der Roost, Jan Firework 1 2 3

Vaughan Flourish for Glorious Williams, Ralph John Boyd 1 2 3

Vaughan Prelude on Three Welsh Williams, Ralph Hymn Tunes Curnow 1 2 3

Vaughan Well Met, My Own True Williams, Ralph Love Daehn 1 2 3 von Suppe, Morning, Noon and Night Franz in Vienna Fillmore 1 2 3

163 1 TO Don't Add GROUP COMPOSERCOMPOSITION ARR. /TRANS. Khow To NUMBER Wagner, Richard Lohengrin 1 2 3 Wagner, Prelude and Love Richard Death Godfrey 1 2 3 Wagner, Prelude to Act III of Richard "Lohengrin" Erickson 1 2 3 Wagner, Richard Ride of The Valkyries Williams 1 2 3 Washbum, Robert Buriesk For Band 1 2 3 Wasson, John Tangents 1 2 3

Watters, Mark Forged In Fire Watters/Hearshen 1 2 3 Little Threepenny Weill, Music 1 2 3

Williams, Dance of the Witches Lavender 1 2 3

Williams, Hymn to the Fallen Lavender 1 2 3 Williams, Symphonic Dance No.2, Clifton "The Maskers" 1 2 3 Williams, Kenneth Vilabella Reed 1 2 3 Wood, Haydn A Manx Overture Brown 1 2 3 Chinese Suite for Yang, Hua Band, Movement # 2 1 2 3 Yurko, Bruce In Memoriam: Kristina 1 2 3 Zdechlik, John Prelude and Fugue 1 2 3 Three Baroque Chorales Gordon 1 2 3 Were You There Allen 1 2 3

164 APPENDIX E

REPERTOIRE EVALUATION INVENTORY

EXCEPTIONAL QUALITY LITERATURE

(Additions &om this study in bold)

165 Compo##r Coapoaition Arr./Trans. Arnold, Malcolm Four Scottish Dances Paynter Bach, Johann Sebastian Come, Sweet Death Reed Bach, Johann Sebastian Fantasia in G Goldman/Leist Bassett, Leslie Designs, Images and Textures Bassett, Leslie Sounds, Shapes and Symbols Bennet, Robert Russell Suite of Old American Dances Benson, Warren The Leaves and Falling Benson, Warren The Passing Bell Benson, Warren The Solitary Dancer Bernstein, Leonard Overture to Candide Beeler Bernstein, Leonard Overture to Candide Grundman Profanatioin from Symphony No. Bernstein, Leonard 1, "Jeremiah" Bencriscutto Chance, John Barnes Elegy Variations on a Korean Folk Chance, John Barnes Song Copland, Aaron A Lincoln Portrait Beeler Copland, Aaron An Outdoor Overture Copland, Aaron Emblems Copland, Aaron Variations on a Shaker Melody Dahl, Ingolf Sinfonietta Dello Joio, Norman Fantasies on a Theme by Haydn Dello Joio, Norman Variants On a Medieval Tune Gould, Morton Symphony for Band Grainger, Percy Aldridge Colonial Song Grainger, Percy Aldridge Irish Tune from County Derry ed. Rogers Grainger, Percy Aldridge Lincolnshire Posy Grainger, Percy Aldridge Molly on the Shore Grainger, Percy Aldridge Shepherd's Hey Handel, G. F. Music for the Royal Fireworks Handel, G. F. Water Music Suite Kay Hanson, Howard Chorale and Alleluia

166 Compo«#r Coapoaition Arr./Trans. March from "Symphonic Hindemith, Paul Metamorphosis" Wilson Symphony in B-flat for Concert Hindemith, Paul Band Holst, Gustav First Suite in Eb Holst, Gustav Hammersmith Holst, Gustav Second Suite in F Husa, Karel Al Fresco Husa, Karel Apotheosis of this Earth Husa, Karel Music for Prague Schuman/ Ives, Charles Variations on America Rhoads Jacob, Gordon William Byrd Suite Greisle or Mendelssohn, Felix Overture for Harmoniemusik Boyd Milhaud, Darius Suite Française Mozart, W. A. Overture, "Coai fan tutte" Moehlmann Mozart, W. A Serenade Mo. 11 Fennell Orff, Carl Carmina Burana Krance Persichetti, Vincent Divertimento for Band, Op. 42 Persichetti, Vincent Masquerade for Band, Op. 102 Persichetti, Vincent Pageant Persichetti, Vincent Psalm for Band, Op. 53 Persichetti, Vincent Symphony No. 6, Op. 69 Reed, H. Owen La Fiesta Mexicana Schoenberg, Arnold Theme and Variations, Op. 43a Schuller, Gunther Meditation Symphony No. 3, In Praise of Schuller, Gunther Winds Schuman, William Chester Overture for Band Schuman, William George Washington Bridge Schuman, William When Jesus Wept Shostakovich, Dmitri Festive Overture, Op. 96 Hunsberger Vaughan Williams, Ralph English Folk Song Suite Vaughan Williams, Ralph Toccata Marziale Wagner, Elichard Trauersinfonie Leidzen

167 APPENDIX F

REPERTOIRE EVALUATION INVENTORY

HIGH QUALITY LITERATURE

(Additions 6om this study in bold)

168 COMPOSERCOMPOSITION ARR/TRANS Arnold, Malcolm English Dances Johnstone Arnold, Malcolm Peterloo Overture Sayre

Arnold, Malcolm Preluce, Siciliano, and Rondo Paynter Arnold, Malcolm Tam G ’Shanter Overture Paynter Baoh, Johann Sabaatian Chaconns Daahn Bach, Johann Sebastian Jesu, Joy of Man's Desiring Leidzen Bach, Johann Sebastian Little Fugue in G minor Bach, Johann Sebastian My Jesus 1 Oh What Anguish Reed Passacaglia and Fugue in C Bach, Johann Sebastian minor Hunsberger Prelude and Fugue in B-flat Bach, Johann Sebastian Major Moehlmann Bach, Johann Sebastian Prelude and Fugue in D minor Moehlmann Bach, Johann Sebastian Prelude and Fugue in g minor Moehlmann Bach, Johann Sebastian Toccata and Fugue in D minor Leidzen Barber, Samuel First Essay Bamea, James Third Symphony Bassett, Leslie Colors and Contours Bennet, Robert Russell Autobiography, Part I Bennet, Robert Russell Symphonic Songs for Band Benson, Warren Dawn's Early Light Benson, Warren Symphony II, Lost Songs Symphonie Funebre et Berlioz, Hector Triomphale Bernstein, Leonard Divertimento Grundman Bernstein, Leonard Slava 1 Grundman Symphonic Dances from "West Bernstein, Leonard Side Story" Polster Bielawa, Herbert Spectrum Blessed Are They (from "A Brahms, Johannes German Reguiem") Buehlman Brahms, Johannas Hungarian Oaneas Brahms, Johannes Two Chorale Preludes Guenther Brisman, Heskel Uganda Lullaby The Courtly Dances fro Britten, Benjamin "Gloriana, Op. 53" Broege, Timothy Sinfonia VI Three Pieces for American Broege, Timothy Band, Set No. 1 Symphony No. 1 "In Memorium Bukvich, Daniel Dresden - 1945" Cabezon, Antonio de Prelude in the Dorian Mode Carter, Charles Overture for Winds 169 COMPOSER CGMPOSITIOI ABR/TRANS Catel, Charles Simon Overture in C Chance, John Bames Incantation and Dance Copland, Aaron El Salon Mexico Hindsley Symphony No. 1 "The Lord of de Meij, Johan the Rings" Do Not Go Gentle Into That Del Borgo, Elliot Good Night Dello Joio, Norman Scenes from "The Louvre" Diamond, David Heart's Music Elgar, Edward Enigma Variations Slocum Erickson, Frank Air for Band Erickson, Frank Toccata for Band Finney, Ross Lee Skating on the Sheyenne Finney, Ross Lee Summer in Valley City Frescobaldi, Girolamo Toccata Slocum Gershwin, George Rhapsody in Blue Grofe Giannini, Vittorio Fanatasia for Band Giannini, Vittorio Praeludium and Allegro Giannini, Vittorio Symphony No. 3 Giannini, Vittorio Variations and Fugue Gillingham, David Bm Thou My Vision Gillingham, David Heroes, Lost and Fallen Gossec, Francis Joseph Military Symphony in F Gossec, Francis Joseph Overture in C Gould, Morton American Salute Lang Gould, Morton Ballad for Band Grainger, Percy Aldridge Australian Op-Country Tune Bainum Grainger, Percy Aldridge Children's March Grainger, Percy Aldridge Country Gardens Grainger, Percy Aldridge Handel in the Strand Grainger, Percy The Sussex Mummers' Christmas Aldridge Carol Grainger, Percy Ye Banks and Braes O'Bonnie Aldridge Doon Grantham, Donald Southern Harmony Grundman, Clare An Irish Rhapsody Hailstork, Adolphus American Guernica Hailstork, Adolphus Out of the Depths Hanson, Howard Laude Harbison, John Three City Blocks

170 Coaposar Co^oaition Arr./Trans. Hartley, Walter Sinfonia No. 4 "Geschwindmarsch" from Hindemith, Paul Symphony Serena Holst, Gustav A Moorside Suite Wright Ballet from "The Perfect Holst, Gustav Fool" Holst, Gustav Jupiter, from the Planets Smith Hovhaness, Alan Symphony No. 4, Op. 165 lannaccone, Anthony After a Gentle Rain Ives, Charles Country Band March Old Home Days (Suite for Ives, Charles Band) Elkus Ives, Charles Overture and March, 1776 Ives, Charles The Alcotts Jacob, Gordon An Original Suite Jacob, Gordon Music for a Festival Jadin, Louis Overture in F Jager, Robert Third Suite Jenkins, Joseph Wilcox American Overture for Band Kubik, Gail Stewball Variations Laidov, Anatol Eight Russian Folk Songs Liptak, David Soundings Lo Presti, Ronald Elegy for a Young American Mailman, Martin Liturgical Music for Band Margolis, Bob Fanfare, Ode and Festival Margolis, Bob Terpsichore Maslanka, David A Child's Garden of Dreams Maslanka, David Symphony No. 2 Maw, Nicolas American Games McBeth, W. Francis Chant and Jubilo McBeth, W. Francis Kaddish McBeth, W. Francis Masque Mehul, Etienne Nicolaus Overture in F Mendelssohn, F/Bartholdy Fingals Cave Overture Mendelssohn, F/Bartholdy Trauer-Marsch, op. 103 Mennin, Peter Canzona Miaskovsky, Nicolai Symphony No. 19 Naehaan, Yariv Ih« Itoteh of Hop# Nelhybel, Vaclav Symphonic Movement Nelhybel, Vaclav Trittico Nelson, Ron Courtly Airs and Dances

171 Coqpossr Coaposition Arr./Trans. Ntolaon, Ron Hougtt to Leonin tielson, Ron Medieval Suite Morning Alleluias for the Nelson, Ron Winter Solstice Passacaglia (Homage on B-A-C- Nelson, Ron H) Nelson, Ron Rocky Point Holiday Nixon, Roger Fiesta Del Pacifico Nixon, Roger Pacific Celebration Suite Nixon, Roger Reflections Noon, David Sweelinck Variatioins Penderecki, Krzystztof Pittsburgh Overture

Persichetti, Vincent Chorale Prelude: 0 God Unseen Chorale Prelude: So Pure the Persichetti, Vincent Star, Op. 91 Chorale Prelude: Turn Not Thy Persichetti, Vincent Face, Op. 105 0 Cool is the Valley: Poem Persichetti, Vincent for Band, Op. 118 Persichetti, Vincent Parable IX, Op. 121 Piston, Walter Turnbridge Fair Reed, Alfred A Festival Prelude Reed, Alfred Armenian Dances (Part 1) Reed, Alfred Armenian Dances (Part 2) Reed, Alfred Russan Christmas Music Respighi, Ottorino Huntingtower Ballad for Band Reynolds, Verne Scenes Reynolds, Verne Scenes Revisited Riegger, Wallingford Dance Rhythms Rims ky-Korsakov, N Procession of the Nobles Leidzen Rogers, Bernard Three Japanese Dances On Winged Flight: A Schuller, Gunther Divertimento for Band Schuller, Gunther Study in Textures Schuman, William Be Glad Then, America Schwantner, Joseph From a Dark Millennium Shostakovich, Dmitri Folk Dances Reynolds Shostakovich, Dmitri Prelude, Opus 34, No.14 Reynolds Sibelius, Jean Finlandia Hindsley Skalkottas, Nikos Greek Dances Schuller Smetana, Bedrich Three Revolutionary Marches Nehlybel The Continental Harp and Band Skokes. Eric Report 172 Coaposar Coaposition Arr./Trans. Strauss, Richard Allerseelen Davis Stravinsky, Igor Circus Polka Stuart, Hugh Three Ayres from Gloucester Paeans and Dances of Heathen Surinach, Carlos Iberia Susato, Tielman The Battle Pavane Margolis Twelve Dances from "The Susato, Tielman Danserye" Walters Thomson, Virgil A Solemn Music Thorne, Nicolas Adagio Music Ticheli, Frank Cajun Folk Songs Ticheli, Frank Cajun Folk Songs II Ticheli, Frank Fortress Ticheli, Frank Gaian Visions Ticheli, Frank Portrait of a Clown Ticheli, Frank Postcard Tschesnokoff, Pavlov Salvation is Created Houseknecht Tull, Fischer Sketches on a Tudor Psalm Turina, Joaquin Five Miniatures Turina, Joaquin La Procession du Rocio Reed Vaughan Williams, Ralph Flourish for Wind Band Vaughan Williams, Ralph Rhosymedre Beeler Scherzo alia Marcia from Vaughan Williams, Ralph Symphony No. 8 Vaughan Williams, Ralph Sea Songs Elsa's Procession to the Wagner, Richard Cathedral Calliet Walton, William Crown Imperial Duthoit Polka and Fugue from Weinberger, Jaromir "Schwanda the Bagpiper" Welcher, Dan Zion Wiliams, Clifton Fanfare and Allegro Williams, Clifton Symphonic Suite Wilson, Dana Piece of Mind Wood, Haydn Mannin Veen Zdechlik, John Chorale and Shaker Dance

173 APPENDIX G

REPERTOIRE EVALUATION INVENTORY

GOOD QUALITY LITERATURE

(Additions from this study in bold)

174 COMPOSER COMPOSITION ABR/TRANS Adler, Samuel Little Night and Day Music Ak#y, Douglas Cascade River Overture Allan, Thoaaa When the Stars Began to Pall Applebaum, Stan Irish Suite Arbeau, Thoinot Belle Qui Tiens Ma Vie Margolis Arnold, Malcolm Four Cornish Dances Marciniak Bach, Jan Praetorius Suite Blithe Bells (Sheep May Safely Bach, Johann Sebastian Graze) Grainger Bach, Johann Sébastian Forget Ms Not, 0 Dearest Lord Bach, Johann Sebastian Jesus, Jesus Rest Your Head Wallace Bach, Johann Sebastian My Heart If Filled With Longing Reed Bach, Johann Sebastian Passacaglia and Fugue in C minor Falcone Bach, Johann Sebastian Sleepers Awake ! Reed Bach, Johann Sebastian Thus do You Fare, My Jesus Reed Who Puts His Trust in God Most Bach, Johann Sebastian Just Croft

Barber, Samuel Overture to the School for Scandal Hudson Barker, Warren An Irsh Ayre For Winds Barker, Warren Deir in De Barnes, James Yorkshire Ballad Beethoven, Ludwig van Fanfare Prelude On "Ode to Joy" C u m o w Benson, Warren Ginger Marmalade Benson, Warren Night Song Benson, Warren Remembrance Berlioz, Hector Overture to Beatrice et Benedict Henning Bernstein, Leonard A Bernstein Tribute Grundman Bernstein, Leonard Candide Suite Grundman Bernstein, Leonard Danzon from "Fancy Free" Krance Bernstein, Leonard Three Dance Episodes Stith Beversdorf, Thomas Symphony for Band Bilik, Jerry American Civil War Fantasy Bizet, Georges Farandole from L'Arlesienne lasilli Boysen, Andrew Jr. I Am Brahms, Johannes Three Chorale Preludes Fennell Brant, Henry American Debate Bremer, Carolyn Early Light

175 COMPOSER COMPOSITIONARR/TRAMS Broeg#, Timothy Aamrica Vmrsms Broege, Timothy Dreams and Fancies Bxomgm, Timothy Jo4r Broege, Timothy Sinfonia V Broege, Timothy The Headless Horseman Three Pieces for American Band, Broege, Timothy Set No. 2 Bukvich, Daniel Voodoo Bulla, Stephen Firestorm Cable, Howard Newfoundland Shapsody Camphouse, Mark A Movement for Rosa Cai^housm, Mark Thrmm London Miniatures Camphouse, Mark Tribute Camphouse, Mark Watchman, Tell Os of the Night Camphouse, Mark Whatsoever Things Carter, Charles Symphonic Overture Catel, Charles Simon Symphonie Militaire Townsend Chance, John Barnes Blue Lake Overture Divmrtimanto for Winds and Cichy, Rogmr Percussion Cichy, Rogmr Fanfare and Salutation Chobanian, Loris 0. Armenian Dances Copland, Aaron A Copland Portrait Grundman Copland, Aaron A Copland Tribute Grundman Copland, Aaron Down a Country Lane Patterson Copland, Aaron Hoe Down Rogers Copland, Aaron Red Pony Cowoll, Hmnry Celtic Set Cowell, Henry Hymn and Fuguing Tune #1 Cumow, Jamms Four Colonial Country Dances Cumow, Jamms Rejouissance Daehn, Larry As Summer Was Just Beginning Daehn, Larry With Quiet Courage Daugherty, Michael Desi Davidovsky, Mario Consorts Davis, Albert Oliver Fantasie on a Danish Theme de Meij, Johan. Aquarium, Op. 5

176 COMPOSER COMPOSITim ABR/TRANS de Meij, Johan Symphon No. 2, The Big Apple Del Borgo, Elliot Adagio for Winds Del Borgo, Elliot FestaI Del Borgo, Elliot Lux Ae t e m a Del Borgo, Elliot Music for Winds and Percussion Delius, Frederick The Walk to the Paradise Garden Dello Joio, Norman Satiric Dances Songs of Abelard for Band and Dello Joio, Noraan Voice DeNardis, Camille The Universal Judgment Cafarella Diamond, David Tantivy Downing, Joseph H. Symphony for Winds and Percussion Druckman, Jacob In Memoriam Vincent Persichetti Duffy, Thomas C. Crystals Duffy, Thomas C. Snakes Dvorak, Antonin Finale from "New World Symphony" Leidzen Dvorak, Antonin Slavonic Dances Curnow Elgar, Edward Severn Suite Ellerby, Martin Paris Sketches Erb, Donald Stargazing Erb, Donald Symphony for Winds The Purple Roofed Ethical Suicide Erb, Donald Parlor Erickson, Frank Second Syi^hony for Band Erickson, Frank Balladair Campbell Fauchet, Paul Symphony in Bb /Watson Faure, Gabriel Grant Them Test Buehlman Franck, César Panis Angelicus Reed Friedmann, Carl Jug Blues and Fat Pickin' Galbraith, Nancy with brightneaa round about it George, Thon Ritter First Suite in F Second Prelude from "Three Gershwin, George Preludes" Krance Selections from "An American in Gershwin, George Paris" Krance Gershwin, George Selections from "Porgy and Bess" Bennett Gershwin, George The Symphonic Gershwin Barker

Gibson, John Resting in the Peace of His Hands Gillingham, David ^ocalyptic Dreams

177 COMPOSER COMPOSITION ARR/TRANS Sillis, Don Spiritual Bainum

Gillis, Don Tulsa, A Symphonic Portrait in Oil Ford Ginastera, Alberto Danza Final from Estancia Johns Giovannini, Caesar Overture in Bb Gcdxey, Daniel S. Jig Gorb, Adam Awayday Gorb, Adam Yiddish Dances Jericho: Rhapsody for Symphonic Gould, Morton Band Gould, Morton Mini suite Gounod, Charles Andante Cantabile for Winds Barr Grainger, Percy Aldridge Country Gardens Grainger, Percy Aldridge Down Longford Way Grainger, Percy Aldridge Feroe Island Dance Grainger, Percy Aldridge Harvest Hymn Grainger, Percy Aldridge Immovable Do Grainger, Percy Aldridge I'm Seventeen Come Sunday Daehn Grainger, Percy Aldridge Themes From Green Bushes Daehn Grainger, Percy Aldridge Two Grainger Melodies Kreines Gregson, Edward Festivo Grundman, Clare A Scottish Rhapsody Grundman, Clare A Welsh Rhapsody Grundman, Clare American Folk Elhapsody No. 1 Grundman, Clare American Folk Rhapsody No. 2 Grundman, Clare American Folk Rhapsody No. 3 Grundman, Clare Concord Grundman, Clare Fantasy on American Sailing Songs Grundman, Clare Hebrides Suite Grundman, Clare Kentucky 1800 Grundman, Clare Little Snglish Suite Grundman, Clare Little Suite for Band Grundman, Clare The Blue and the Gray Grundean, Clare Two Irish Songs Grundman, Clare Two Moods Overture Halftery, Frank Carlyle Trilogy Hanson, Howard Dies Natalis Hanson, Howard Symphony No. 2 "Romantic" McBeth Hearahen, Ira After Fairest of the Fair Hearshen, Ira After The Thunderer Hennagin, Michael Jubilee

178 COMPOSERCOMPOSITION ABR/TRANS Hidas, Frigyes Merry Music for Wind Band Hilliard, Quinoy Furioao Hilliard, Quincy Sundanc* Hodkinson, Sydney Stone Images Hogg, Brian Llwyn Onn Holsinger, David R. Liturgical Dances Holsinger, David R. On A Hymnsong of Philip Bliss Holsinger, David R. On a Hymnsong of Lowell Mason Holaingar, David R. Prairi* Dane#* Holsinger, David R. Sinfonia Voci Robart W. Holst, Guatav In the Blaak Midwintar Smith Holst, Guatav Jupitar Ryan (from the Planata) da Mai] Holst, Gustav Mars from the Planets Smith Holst, Gustav Song of the West Hovhaness, Alan Hymn to Yerevan Hovhanasa, Alan Suita for Band Hovhaness, Alan Symphony No. 7 "Nanga Parvat" Hovhannes, Alan Three Journeys to a Holy Mountain lannaccone. Anthony Apparitions lannaccone. Anthony Of Fire and Ice lannaccone. Anthony Plymouth Trilogy Ireland, John A Downland Suite Ives, Charles Symphony No. 2: Finale Elkus

Ives, Charles Variations on Jerusalem the GoldenBrion Jacob, Gordon Fantasia on an English Folk Song Jacob, Gordon Flag of Stars Jacob, Gordon Giles Famaby Suite Jacob, Gordon The Battell Jacob, Gordon Tribute to Canterbury Jadin, Louis E. Symphonie for Band Schaefer Jager, Robert Colonial Airs and Dances Variations on a Theme of Robert Jager, Robert Schumann Kabalevsky, Dmitri Overture to "Colas Breugnon" Beeler Kabalevsky, Dmitri Suite in a Minor Mode Seikman Khatchaturian, Aram Armenian Dances Setz Rnox, Thom** Saa Songa

179 COMPOSER COMPOSITIONABR/TRANS Kodaly, Zoltan Hary Janos: Suite Bainum Kozhevnikov, Boris Symphony No. 3 "Slavyanskaya" Bourgeois Krenek, Ernst Dream Sequence La Plante, Pierre American Riversongs Brion/Schissel La Plante, Pierre Prospect Latham, William Court Festival Latham, William Three Chorale Preludes Liadov, Anatol Festival in Russia Wilcox Lijnschooten, Henk Netherlands Suite Linn, Robert Propagula Lisst, Franz Las Praludas Hindalay MacDowell, Edward Woodland Sketches Winterbottom Mahler, Gustav Symphony No. 3: Finale Reynolds Mahr, Timothy Argentum Mahr, Timothy Fantasia in G Mahr, Timothy Soaring Hawk Mailman, Martin Exaltations Makris, Andreas Aegean Festival Overture Bader Margolis, Bob Color Parada (from Fantasia Nova for Margolia, Bob Coneart Band) Margolis, Bob Renaissance Fair Intarmazzo from "Cavallaria Mhaeagni, Piatro Rusticana" Maslanka, David In Memoriam Maslanka, David Rollo Takes a Walk Massanet, Jules "Meditation" from Thais Harding McTee, Cindy Circuits Malillo, Staphan Bafora Tha Storm Malillo, Staphan Tha Fountainhaad Malillo, Staphan limaatorm Nootuma (from "Midaummar Mandalasohn, Falix Night'a Draam") Milhaud, Darius Suita Provanoala Milhaud, Darius West Point Suite Coronation Scene from Boris Moussorgsky, Modeste Godunov Buehlman Moussorgsky, Modeste Night on Bald Mountain Hindsley Moussorgsky, Modeste Pictures at an Exhibition Hindsley Mozart, W.A. Marriage of Figaro Overture Slocum Mozart, W.A. Trauermusik Osterling

180 COMPOSERCOMPOSIIIWARR/TRANS Nelhybel, Vaclav Chorale Néllq^l, Vaolav Eatampia Nelhybel, Vaclav Festivo Nelhybel, Vaclav Prelude and Fugue Nelhybel, Vaclav Suite from Bohemia Nelson, Ron Aspen Jubilee Nalson, Ron Lauds Nelson, Ron Mayflower Overture Nelson, Ron Resonances 1 Nelson, Ron Savannah River Holiday Ovartura to "Tha Marry Wivas of Nicolai, Otto Windsor" Nixon, Roger Elegy and Fanfare Offenbach, Jacques La Belle Helene Odom Overture, "Orpheus in the Offenbach, Jacques Underworld" Odom Offenbach, Jacques The Drum Major's Daughter Odom

Paulson, John Epinicion For Winds and Percussion Peck, Russell Cave of the Winds Pennington, John Apollo Persichetti, Vincent Bagatelles for Band Persichetti, Vincent Serenade for Band Ployhar, Jaaaa Laad On, 0 King Etamal Purcall, Hanry Suita from Dido and Aanaas Walkar Rachmaninoff, Sargai Italian Polka Laidzan Rands, Bernard Ceremonial Raad, Alfrad A Faativa Ovartura Reed, Alfred A Jubilant Overture Reed, Alfred Symphony No. 3 Reed, Alfred The Hounds of Spring Reed, H. Owen For the Unfortunate Respighi, Ottorino The Pines of Rome Duker Respighi, Ottorino The Pines of the Appian Way Leidzen Rhodes, Phillip Three Pieces for Band Rims ky-Korsakov, N Dubinushka Chidester Rimsky-Korsakov, N Russian Easter Overture Erickson Rodgers, Richard Victory at Sea Bennett Root, Thomas Polly Oliver

181 COMPOSER COMPOSITIONARR/TRANS Rossini, Gioacchino An Italian in Algiers Caillet Rossini, Gioacchino La Gazza Ladra Overture Caillet Rossini, Gioacchino March for the Sultan Abdul Medjid Townsend Rossini, Gioacchino Overture to the Barber of Seville Lake Rossini, Gioacchino Tancredi Overture Falcone Rossini, Gioacchino William Tell Overture Williams Saint-Smmn#, Camilla Danse Bacchanale Steiger Saint-Saëns, Camille Pas Redouble Frackenpohl Saint-Saëns, Camille Occident et Orient, op. 25 Sehaidt, Samuel Canzone Bergamasca Daehn Schuman, William Newsreel Scriabin, Alexander Nocturne Reed Sheldon, Robert Chanteys Shostakovich, Dmitri Finale, Symphony No. 5 Righter

Shostakovich, Dmitri Folk Festival Hunsberger Shostakovich, Dmitri Galop Hunsberger Shostakovich, Dmitri Prelude No. 14 Reynolds Shostakovich, Dmitri Sy^hony No. 11 Daehn Smith, Claude T. Emperata Overture Smith, Claude T. God of Our Fathers Smith, Claude T. Incidental Suite Smith, Robert W. Paradise from "The Divine Comedy" Purgatorio from "The Divine Smith, Robert W. Comedy" The Ascension from "The Divine Smith, Robert W. Comedy" The Inferno from "The Divine Smith, Robert W. Comedy" By the Light of the Polar Star Sousa, John Phillip (Looking Upward Suite) Sparke, Philip Dance Movements Sparke, Philip Music for a Festival Stamp, Jack Antithigram Stamp, Jack Chorale and Toccata Stamp, Jack Past the Equinox Stanhope, David Folksongs for Band, Suite No. 1 Strauss, Richard Zueignung Davis Stuart, Hugh A Hymn for Band

182 COMPOSERCOMPOSITION ARR/TRANS Sullivan, Arthur Pineapple Poll Duthoit Suppe, Franz von Light Cavalry Overture

Suppe, Franz von Morning, Noon, and Night in Vienna Fillmore Suppe, Franz von Poet and Peasant Overture Fillmore Sweeney, Michael Ancient Voices Tchaikovsky, Peter Finale, Symphony No. 4 Hindsley Tchaikovsky, Peter Marche Slav Tchaikovsky, Peter Overture 1812 Lake Thomas, Ambroise Overture to "Raymond" Safranek Thoi^aoii, Randall Alleluia Bucklsy Ticheli, Frank Amazing Grace Ticheli, Frank Blue Shades Tiehali, Frank Shenandoah Tichali, Frank Sun Dance Tiehalir Frank Vesuvius Traditional Greensleeves Reed Tull, Fisher Credo Tull, Fisher Final Covenant Tull, Fisher Toccata Tyra, Thomas Two Gaelic Folk Songs Van der Roost, Jan Canterbury Chorale Van der Roost, Jan Puszta Van der Roost, Jan Rikudim Vaughan Williams, Ralph Linden Lea Stout Vaughan Williaaa, Ralph Prelude on Three Welsh Ryan Tunes Curoow Vaughan Williaaa, Ralph Well Mat, My Own True Love Dashn Verdi, Giuseppe La Forza Del Destino Overture Lake Verdi, Giuseppe La Traviata: Prelude, Act 1 Falcone Verdi, Giuseppe Nabucco Tangen Wagner, Richard Huldigungsmarsch Schaefer Wagner, Richard Overture to "The Flying Dutchman" Hindsley Walton, William Orb and Septre Ward, Samuel America the Beautiful Dragon Weber, Carl Maria von Euryanthe Overture Safranek Weber, Carl Maria von Oberon Overture Hindsley Willan, Healy Royce Hall Suitee Teague Williams, Clifton Caccia and Chorale Williams, Clifton Dedicatory Overture Williams, Clifton Symphonic Dance No. 3 "Fiesta" Williams, Clifton The Sinfonians Williams, Clifton Variation Overture

183 COMPOSIR COMPOSITIONARR/TRANS Wilson, Dana Sang Shakata: Sing the World into Wilson, Dana Existence Wood, Haydn K Manx Ovaxtuxa Brown Woolfenden,Guy Illyrian Dances Youtz, Gregory Fireworks Youtz, Gregory Scherzo for a Bitter Moon Xurko, Bruea In Mamoriam: Kristina Yurko, Bruce Night Dances Zdechlik, John Celebrations Zdechlik, John Psalm 46

184 APPENDIX H

Compositions Performed by Only One Band

185 C « q p o M T Co^osltion Arr./Trans. t Pfs Rkey, Douglas Cascade River Overture 1 Allen, Fred Bosnian Folk Songs 1 When the Stars began to Allen, Thomas Fall 1 Anderson, Leroy Belle of the Ball 1 The Bluebells of Scotland Anderson, Leroy from "Scottish Suite" 1 Anderson, Leroy The Irish Washerwoman 1 Anderson, Leroy The Syncopated Clock Lang 1 Anderson, Leroy The Syncopated Clock Schubert 1 Anderson, Leroy The Typewriter Werle 1 Arnold, Malcolm Peterloo Overture Sudduth 1 Bach, J.S. Chaconne Daehn 1 Bach, J.S. Fantasia in G Goldman/Leist 1 Forget Me Not, 0 Dearest Bach, J.S. Lord Reed 1 Bach, J.S. Fugue in G minor Armstrong 1 Little Fugue (Based on Bach, J.S. Little Fugue in G minor) Custer/Romm 1 My Heart Is Filled With Bach, J.S. Longing Reed 1 Bach, J.S. My Jesus 1 Oh What Anguish Reed 1 Prelude and Fugue in g Bach, J.S. minor Moehlmann 1 Bach, J.S. Prelude and Gloria Erickson 1 Bach, Jan Praetorius Suite 1 Balmages, Brian Journey By Night 1 Barber, Samuel First Essay Levey 1

Barker, Warren A Celebration of Spirituals 1 Barker, Warren Deir in De 1

Barker, Warren Hoagy Carmichael in Concert I Barker, Warren Tin Pan AlleyI 1 Barnes, James A Very American Overture 1 Bames, James Caribbean Hideaway 1 Bames, James Chorale and Jubiloso 1 Bames, James Golden Festival Overture 1

186 Coapoaar Conposition Arr. Trana. « Pfs. Barnes, James Poetic Intermezzo 1 Barnes, James Third Symphony 1 George Washington's Barnhouse, Carl Birthday Party 1 Barton, Steven For the New Day Arisen 1 Beethoven, Ludwig van Egmont Overture Page 1 Beethoven, Ludwig Fanfare Prelude On "Ode to van Joy" Curnow 1 Benjamin, Arthur Jamaican Rhumba Lang 1 Bennet, Robert Russell Symphonic Songs for Band 1 Benson, Warren The Solitary Dancer 1 Irving Berlin - A Symphonic Berlin, Irving Portrait Ades 1 Overture to Beatrice et Berlioz, Hector Benedict Henning 1 Bernstein, Leonard Candide Suite Grundman 1 Bernstein, Leonard Danzon from "Fancy Free" Bocook 1 Profanatioin from Symphony Bernstein, Leonard No. 1, "Jeremiah" Bencriscutto 1 Bernstein, Leonard Slava 1 Grundman 1 Bernstein, Leonard West Side Story Dulhoit 1 Bizet, Georges Carmen Suite Bullock 1

Bizet, Georges Farandole from L'Arlesienne lasilli 1 Black, Dave Two Irish Sketches 1 Bocook, Jay Ascensions 1 Fanfare and Hymn: A Mighty Bocook, Jay Fortress 1 Bowers, Robert Hood The Three Trees 1 Boysen, Andrew Jr. Kinetic Energy 1 Boysen, Andrew Jr. The Four Horsemen (War) 1 Boysen, Andrew Jr. Urban Scenes 1 Brahms, Johannes Hungarian Dances Curnow 1 Bremer, Carolyn Early Light 1 Broege, Timothy America Verses 1 Broege, Timothy Jody 1 Broege, Timothy The Headless Horseman 1 Bulla, Stephen All Creatures of Our God 1

187 Coqposar Coaposition Arr./Trana. # Pfs Camphouse, Mark Three London Miniatures I Carter, Charles Overture for Winds 1 Carter, Charles Symphonic Overture 1 Chattaway, Jay Spanish Fever 1

Chattaway, Jay Star Trek - The Inner Light Bocook 1 Chobanian, Loris 0. Armenian Dances 1 Cichy, Roger Fanfare and Salutation 1 Conley, Lloyd Quiet Valley 1 Copland, Aaron A Copland Portrait Grundman 1 Copland, Aaron A Lincoln Portrait Beeler 1 Copland, Aaron Copland Tribute Grundman 1 Copland, Aaron El Salon Mexico Hindsley 1 Copland, Aaron Emblems 1 Copland, Aaron Hoe Down from "Rodeo" Rogers 1 Cowell, Henry Celtic Set 1 Creston, Paul Night in Mexico Yates 1

Curnow, James Canadian Folk Song Rhapsody 1 Curnow, James Celestial Celebration 1 Curnow, James Exaltation 1 Fanfare, Prelude on the Curnow, James Italian Hymn 1 Four Colonial Country Cumow, James Dances 1 Cumow, James Prelude and Celebration 1

Curnow, James Prelude on a Hymn of Praise 1 Rhapsody on American Cumow, James Shaped-Note Melodies 1 Cumow, James To Fly Without Wings 1 Curnow, James Variants On An Ancient Air 1 Variants on an Early Curnow, James American Hymn Tune 1 Cumow, Paul Rhapsodic Trilogy 1 Custer, Calvin Empire Overture 1 Fantasia on a Triumphant Custer, Calvin Hymn 1

188 Coiq>os«r C o ^ o s i t i o n Arr./Trans. f Pfs Daehn, Larry With Quiet Courage 1 Dahl, Ingolf Sinfonietta 1 Danna, Angelo Tripoli Hastings 1 Gettysburg: The Third Day Dawson, Jay (By Dawn's Early Light) 1 de Haan, Jacob Adagietto 1 de Melj, Johan Aquarium, Op. 5 1 de Meij, Johan Continental Overture 1 Debussy, Claude Reverie Erickson 1 Del Borgo, Elliot Chant Rituals 1 Del Borgo, Elliot Chesapeake 1 Do Not Go Gentle Into That Del Borgo, Elliot Good Night 1 Del Borgo, Elliot Lux Aeterna 1 Music for Winds and Del Borgo, Elliot Percussion 1 Del Borgo, Elliot Symphonic Paraphrase 1 March and Procession of Delibes, Leo Bacchus Osterling 1 The Walk to the Paradise Delius, Frederick Garden Kreines 1 Dello Joio, Norman Caccia 1 Songs of Abelard for Band Dello Joio, Norman and Voice 1 Dvorak, Antonin Slavonic Dances 1 Elgar, Edward Enigma Variations Slocum 1 Elgar, Edward Enigma Variations (Nimrod) Bocook 1 Ellington, Duke Caravan Saucedo 1 Erickson, Frank Overture Jubiloso 1 Erickson, Frank Pillars of the Earth 1 Erickson, Frank Second Symphony for Band 1 Erickson, Frank Toccata for Band 1 Faure, Gabriel Agnus Dei Friedman 1 Foley, Keith Sanctuary 1 Foster, Robert A Sussex Carol 1 Fantasia On a Hymn by Foster, Robert Praetorius 1

189 Coapo««r Coi^sition Arr./Trans. t Pfs Foster, Robert E. American Variants 1 Foster, Robert E. Arcadian Jubilee 1 Foster, Robert E. Crosswinds 1 A Tribute to Stephen Foster, Stephen Foster Nestico 1 Fraser, Bruce Firepower 1 Frescobaldi, Girolamo Preludium and Fugue Brunelli 1 with brightness round Galbraith, Nancy about it 1 Gass, Henry Ringgold Rhapsody 1 George, Thom Ritter First Suite in F 1 Gershwin, George Gershwin! Barker 1 Gershwin, George I Got Rhythm Higgins 1 Gershwin, George Porgy and Bess Barnes 1 Gershwin, George Rhapsody in Blue Grofe 1 Gershwin, George Rhapsody in Blue Verrier 1 Selections from "Porgy Gershwin, George and Bess" Bennett 1 Gershwin, George Strike Up The Band Brubaker 1 Giannini, Vittorio Variations and Fugue 1 Resting in the Peace of Gibson, John His Hands 1 Gilbert, Jay Suite Divertimento 1 Apocalyptic Dreams Gillingham, David (Movement III) 1 Gillingham, David Be Thou My Vision 1 Gillingham, David Heroes, Lost and Fallen 1 Gillingham, David New Century Dawn 1 Gillingham, David Revelation 1 Gillis, Don Spiritual Bainum 1 Tulsa, A Symphonic Gillis, Don Portrait in Oil Ford 1 Gillis,Don Symphony 5 1/2 1 Giovannini, Caesar Symphony in One Movement Robinson 1 Russian Sailors Dance Gliere, Reinhold from "The Red Poppy" Isaac 1 Overture to Russian and Glinka, Mikhail Ludmilla Hindsley 1 Godrey, Daniel S . Jig 1

190 Coapos«r Co^oaition Arz./Trans. * Pfs Gorb, Adam Yiddish Dances 1 Golden Point Gorham, David Overture 1 Gould, Morton Ballad for Band 1 Jericho: Rhapsody Gould, Morton for Symphonic Band 1 Pavanne from Gould, Morton Symphonette No. 2 1 Gould, Morton Symphony for Band 1 Andante Cantabile for Winds (fr. Gounod, Charles Petite Sym.) Barr 1 Grainger, Percy Aldridge Country Gardens 1 Grainger, Percy Aldridge Down Longford Way 1 Finale from "Lincolnshire Grainger, Percy Aldridge Posy" Vinson 1 Grainger, Percy Aldridge The Immovable Do 1 Grainger, Percy Aldridge The Merry King ed. Rogers 1 Themes From Green Grainger, Percy Aldridge Bushes Daehn 1 Two Grainger Grainger, Percy Aldridge Melodies Kreines 1 Grieg, Edvard Last Spring Borlawsky 1 A Westchester Grundman, Clare Overture 1 American Folk Grundman, Clare Rhapsody No. 1 1 Grundman, Clare Hebrides Suite 1 Grundman, Clare Kentucky 1800 1 Second American Grundman, Clare Folk Rhapsody 1 The Blue and the Grundman, Clare Gray 1 Grundman, Clare Two Irish Songs 1 Grundman, Clare Waltz in Blue 1 Halftery, Frank Carlyle Trilogy Music for the Royal Fireworks Handel, G. F. (II. Bourree) Baines & Mackerras 1 Royal Fireworks Handel, G. F. Music Erickson 1 Handel, G. F. Water Music Suite Custer 1 Hanson, Howard Laude 1 Variations on an Harbinson, William American Hymn Tune 1

191 Coapoaar Composition Arr./Trans. « Pfs Finale to Symphony No. 45 Haydn, Franz Joseph "Farewell" Whitcomb 1 Haydn, Franz Joseph St. Anthony Divertimento Wilcox 1 Hearshen, Ira After Fairest of the Fair 1 Heisinger, Brent Essay for Band 1 Highlights from "Hello Herman, Jerry Dolly" Lang 1 Highlights from "Hello Herman, Jerry Dolly" Cacavas 1 Herold, Ferdinand Zampa Overture Safranek 1 Hidas, Frigyes Merry Music 1 Higgins, John Black Wolf Run 1 Higgins, John Celtic Ritual 1 Until Justice Rolls Down Higgins, John Like Water 1 Hilliard, Quincy Furioso 1 Hilliard, Quincy Sundance 1 Himes, William Doxology 1 Hindemith, Paul Geschwindmarsch 1 Hogg, Brian Llwyn Onn 1 Holcombe, Bill Stephen Foster Revisited 1 Holsinger, David R. Abram's Pursuit 1 Holsinger, David R. Consider the Uncommon Man 1 Holsinger, David R. Homage - Three Tapestries 1 Holsinger, David R. Nilesdance 1 Holsinger, David R. On a Southern Hymnsong 1 Holsinger, David R. Prairie Dances 1 Holsinger, David R. Sinfonia Voci 1 To Tame the Perlious Holsinger, David R. Skies 1 Holst, Gustav "Uranus" from The Planets Curnow 1 Holst, Gustav Hammersmith 1 Holst, Gustav I Vow To Thee My Country 1 Holst, Gustav In the Bleak Midwinter Robert W. Smith 1 Horner, James Music of James Homer Moss 1 Horner, James Titanic Custer 1 Horovitz, Joseph Bacchus on Blue Ridge 1 Hosay, James Fusion Factory 1 Hosay, James Let It Shine1 1

192 Co*po*#r Composition Axr./Txans. « Pfm Hovhaness, Alan Suite for Band 1 Three Journeys to a Holy Hovhannes, Alan Mountain 1 Hubfaell, Fred Midnight in Madrid 1 Declaration, Ballade & Huckeby, Ed Finale 1 From Whom All Blessings Huckeby, Ed Flow 1 Huckeby, Ed Of a Distant Star 1 Overture to a New Huckeby, Ed Millennium 1 Hultgren, Ralph Eminence 1 Hunsberger, Donald Folk Legend 1 lannaccone, Anthony Plymouth Trilogy 1 Ireland, John Comedy Overture Steadman-Allen 1 Variations from the Ito, Yasuhide Northern Sea 1 Ives, Charles A Son of a Gambolier Elkus 1 Old Home Days (Suite for Ives, Charles Band) Elkus 1 Iwai, Yagi-Bushi 1 Iwai, N Jungle Fantasy 1 Jacob, Gordon The Battell 1 Jadin, Louis E. Symphonie for Band Schaefer 1 Jager, Robert Chorale and Toccata 1 Jager, Robert Colonial Airs and Dances 1 Jager, Robert Japanese Prints 1 Overture to "Colas Kabalevsky, Dmitri Breugnon" Hunsberger 1 Robin Hood Prince of Kamen, Michael Thieves Lavender 1 Kenny, George Jubilee 1 Ketelbey, Albert In a Persian Market 1 Khachaturian, Aram Galop (from "Maskerade") Erickson 1 Khachaturian, Aram Sword Dance from "Gayne" Lang 1 Rampage on the Ole Grey King, Stacy Mare (A Hybrid Skit) 1 Knox, Thomas American Pageant 1 Knox, Thomas Sea Songs 1 Kopetz, Barry Knightsbridge Chronicles 1 Variations on "Lobe Den Kopetz, Barry Herm" 1

193 Coqpoaar Coaposition Axr./Trans. # Pfs Lampe, J. Bodewalt Creole Belles Brion 1 Latham, William Court Festival 1 Latham, William Plymouth 1 Lavender Lake Geneva Celebration 1 Legassey, Robert Sea Portrait 1 Selections from My Fair Lerner and Loewe Lady Bennett 1 Liszt, Franz Les Preludes Hindsley 1 Lloyd Webber, Andrew Pie Jesu, from "Requiem" McGinty 1 Lloyd Webber, Andrew Sunset Boulevard Bocook 1 The Phantom of the Opera Lloyd Webber, Andrew Medley Vinson 1 Loewe, Frederick Highlights from Camelot Yoder 1 Selections from My Fair Loewe, Frederick Lady Bennett 1 Lowden, Bob Symphonic Ballad 1 Mahr, Timothy Soaring Hawk 1 Parade (from Fantaia Nova Margolis, Bob for Concert Band 1 Margolis, Bob Terpsichore 1 Intermezzo from Mascagni, Pietro "Cavalleria Rusticana" Kreines 1 Maslanka, David Golden Light 1 Maslanka, David Morning Star 1 Prelude on a Gregorian Maslanka, David Tune 1 McBeth, W. Francis Beowulf 1 McBeth, W. Francis Flourishes 1 McBeth, W. Francis Joyant Narrative 1 McBeth, W. Francis Kaddish 1 McBeth, W. Francis Masque 1 McBeth, W. Francis Second Suite 1 The Sea Traders: In Calm McBeth, W. Francis and Storm 1 McGinty, Anne Variations and Theme 1 Melillo, Stephen America the Brave 1 Melillo, Stephen Before The Storm 1 Melillo, Stephen Erich1 1 Melillo, Stephen Escape from Plato's Cave 1 The Fountainhead (Movement Melillo, Stephen I) 1

194 Composer Composition Arr./Trans. » P£m

Melillo, Stephen The Last Outpost of Freedom 1 Melillo, Stephen Timestorm 1 Nocturne (from "Midsummer Mendelssohn, Felix Night's Dream") 1 Mendelssohn, Felix Overture for Harmoniemusik Bartholdy 1 Milhaud, Darius Suite Provençale Nelson 1 Miller, Glenn In The Miller Mood Barker 1 Divertimento No. 3, Mozart, W.A. Movement I Conley 1 Mozart, W.A. Eine Kleine Nachtmusik Jennings 1 Mozart, W.A. Overture, "Cosi fan tutte" Moehlmann 1 Mozart, W.A. Serenade No. 11 Fennell 1 Mozart, W.A. The Impresario Overture Barnes 1 Mussorgsky, Modest Night on Bald Mountain Conley 1 Mussorgsky, Modest The Siege of Kazan Hubbell 1 Nachman, Yariv The Match of Hope 1 Nelhybel, Vaclav Chorale for Symphonic Band 1 Nelhybel, Vaclav Estampie 1 Nelhybel, Vaclav Festive 1 Nelhybel, Vaclav Overture for Band 1 Nelhybel, Vaclav Praise To The Lord 1 Nelhybel, Vaclav Prestissimo Galop 1 Nelhybel, Vaclav Symphonic Movement 1 Nelson, Ron Lauds 1 Morning Alleluias for the Nelson, Ron Winter Solstice 1 Nestico, Sammy Ellington Festival 1 Overture to "The Merry Nicolai, Otto Wives of Windsor" Kreines 1 Offenbach, La Belle Helene 1 Overture, "Orpheus in the Offenbach, Underworld" 1 Pachelbel Canon Custer 1

Palmer, Robert Overture On a Southern Hymn 1 Paynter, John The Messenger 1 Pearson Psalm and Celebration Elledge 1

195 C o v o s a r C o ^ o a l t i o n Arr./Trana. * Pf a

Persichetti, Vincent Psalm for Band 1 Piersol, Frank Lone Star 1 Ployhar, James Lead On, 0 King Eternal 1 Ployhar, James Old Tent Meeting 1 Prokofiev, Sergei Peter and the Wolf Curnow 1 La Boheme - A Symphonic Puccini, Giacomo Portrait Dawson 1 Suite from Dido and Purcell, Henry Aeneas Walker 1 Rachmaninoff, Sergei Italian Polka Leidzen 1 Rachmaninoff, Sergei Prelude, Opus 3, No. 2 Longfield 1 Ravel, Maurice Bolero Erickson 1 Ravel, Maurice La Valse Kreines 1 Ravel, Maurice Pavane Henderson 1 Reed, Alfred A Jubilant Overture 1 Reed, Alfred A Little Concert Suite 1 Reed, Alfred A Sacred Suite 1 Reed, Alfred A Symphonic Prelude 1 Reed, Alfred Armenian Dances (Part 2) 1 Reed, Alfred Fifth Suite For Band 1 Reed, Alfred First Suite for Band 1 Reed, Alfred Rushmore 1 Reed, Alfred The Hounds of Spring 1 The King Of Love My Reed, Alfred Sheperd Is 1 Reed, Alfred The Music Makers 1 Reed, H. Owen Missouri Shindig 1 Reineke, Steve In the Temple of Zion 1 Reineke, Steve Into the Raging River 1 Respighi, Ottorino Pines of the Appian Way Leidzen 1 Rhodes, Phillip Cosmic Fantasies 1 Rhodes, Phillip Three Pieces for Band 1 Rimsky-Korsakov, N Russian Easter Overture Erickson 1 Robles, Daniel El Condor Pasa 1 Rodgers & Hammerstein Highlights from Oklahoma Yoder 1 Rodgers & Hammerstein Oklahoma Edmondson 1 Highlights from "The King Rodgers, Richard and I" Herfurth 1 Selections from Rodgers, Richard "Carousel" Leidzen 1 Selections from "The King Rodgers, Richard and I" Custer 1

196 Coqpoamr Co*po#ition Arr./Tran*. t Pf• Root, George Battle Cry of Freedom Nowak 1 La Gazza Ladra Rossini, Gioacchino Overture Caillet 1 Overture to La Rossini, Gioacchino Cambiale di matrimonio Hudson 1 Overture to the Barber Rossini, Gioacchino of Seville Lake 1 Rossini, Gioacchino Semiramide Overture Bender 1 Russell, Armand Theme and Fantasia 1 Saint-Saëns, Camille Danse Bacchanale Steiger 1 Saint-Saëns, Camille Danse Macabre Bender 1 Orient et Occident, Op Saint-Saëns, Camille 25 Reynish/Parry 1 Sanders, Greg Coventry Variant 1 Sayre, Charles The Midway 1 1 Sayre, Matthew The Aging Jester 1 Scheldt, Samuel Canzona Bergamasca Daehn 1 Schickele, Peter Pavilion Piece 1 Schmidt, Sakura 1 Theme and Variations, Schoenberg, Arnold Op. 43a 1 Highlights from Les Schonberg, Claude-Michel Misérables Vinson 1 Schonberg, Claude-MichelMiss Saigon Medley Barker 1 Selections from "Les Schonberg, Claude-Michel Misérables" Barker 1 Schubert, Franz Sanctus Curnow 1 Schuman, William Circus Overture Owen 1 Schuman, William When Jesus Wept 1 Gently Flows the Amber Scott, Brian Grain 1 Scriabin, Alexander Nocturne Reed 1 Shaffer, David Southwest Overture 1 Shaffer, David When Angels Weep 1 Beyond the Higher Sheldon, Robert Skies 1 Sheldon, Robert Cape Fear Chronicles 1 Sheldon, Robert Chanteys 1 Sheldon, Robert Lindbergh Variations 1 Shostakovich, Dmitri Galop 1 Shostakovich, Dmitri Prelude No. 14 Reynolds 1

197 Co*po##r Composition Arr./Trana. * Pfs Shostakovich, Dmitri Symphony No. 11 Daehn 1 Sibelius, Jean Finlandia Hindsley 1 Simon, Paul The Genius of Paul Simon Wallace 1 Smith, King of Kings 1 Canticle: All Creatures of Smith, Claude T. Our God and King 1 Smith, Claude T . Concert Variations 1 Eternal Father, Strong To Smith, Claude T . Save 1 Flourish and Hymn of Smith, Claude T. Praise 1 Smith, Claude T. Gala XXV 1 Intrada: Adoration and Smith, Claude T . Praise 1 Smith, Robert W. By Loch and Mountain 1 Smith, Robert W. Credo 1 Smith, Robert W. Incantations 1 Paradiso from "The Divine Smith, Robert W. Comedy" 1 Precious Lord, Lead Me Smith, Robert W. Home 1 Purgatorio from "The Smith, Robert W. Divine Comedy" 1 Smith, Robert W. The Winds of Poseidon 1 Smith, Robert W. Through the Vulcan's Eye 1 Twas in the Moon of Smith, Robert W. Wintertime 1 With Liberty and Justice Sochinski, James for All 1 A Funny Thing Happened on Sondheim, Steven the Way to the Forum Moss 1 By the Light of the Polar Sousa, John Phillip Star (Looking Upward Suite 1 Sousa, John Phillip Fugue on Yankee Doodle Brion/Schissel 1 Songs of Grace and Songs Sousa, John Phillip of Glory 1 Sparke, Philip Carnival 1 Sparke, Philip Concert Prelude 1 Sparke, Philip Jubilee Overture 1 Sparke, Philip Music for a Festival 1 Spears, Jared Alleluias 1 At a Dixieland Jazz Spears, Jared Funeral 1 Spears, Jared Deo Gratias 1 198 Coaposar Coaposition Arr./Trmn*. • Pf• Spears, Jared Dramatic Episode 1 Spears, Jared Festal Overture 1 Spears, Jared Images Diabolique 1 Chorale Prelude: Be Thou My Stamp, Jack Vision 1 Remembrance of Things to Stamp, Jack Come 1 Folksongs for Band, Suite Stanhope, David No. 1 1 Strauss, Richard Serenade in E-flat, Op. 7 1 Strauss, Richard Zueignung Davis 1 Stravinsky, Igor Circus Polka 1 Firebird Suite, "Berceuse Stravinsky, Igor and Finale" Longfield 1 Symphonies of Wind Stravinsky, Igor Instruments 1 Strommen, Carl Introduction and Caprice 1 Strommen, Carl To A Distant Place 1 Strommen, Carl Waterdance 1 Stuart, Hugh Andalusia 1 Stuart, Hugh In Search of A Shamrock 1 Stuart, Hugh Rio Con Brio 1 Sullivan, Arthur Pineapple Poll Duthoit 1 Morning, Noon and Night in Suppe, Franz von Vienna Fillmore 1 Susato, Tielman The Battle Pavane Margolis 1 Twelve Dances from "The Susato, Tielman Danserye" Walters 1 Swearingen, James Celebration and Dance 1 Swearingen, James Chesford Portrait 1 Swearingen, James In All Its Glory 1 Swearingen, James Let the Spirit Soar 1 Swearingen, James The Light Eternal 1 Sweelinck, Jan P. Variations on Est Ce Mars Garofalo 1 Tatgenhorst, John Upon These Grounds 1 Tchaikovsky, Peter Finale from Symphony No. 4 1 Tchaikovsky, Peter Nutcracker Suite Lake 1 Tchaikovsky, Peter Overture 1812 Lake 1 Thompson, Randall Alleluia 1 Thomson, Virgil A Solemn Music 1 Ticheli, Frank Fortress 1 Ticheli, Frank Postcard 1

199 Coqpomer Comeomition Arr./Tzans. « Pfs Ticheli, Frank Vesuvius 1 Concert Piece for Tubb, Monte Band 1 Tull, Fischer Antiphon 1 Tull, Fisher Final Covenant 1 Van der Roost, Jan Conzensus 1 Van der Roost, Jan Firework 1 Van der Roost, Jan Olympica Overture 1 Van der Roost, Jan Rikudim 1 Vaughan Williams, Ralph Linden Lea Stout 1 Prelude on Three Vaughan Williams, Ralph Welsh Hymn Tunes Curnow 1 Vaughan Williams, Ralph Toccata Marziale 1 Well Met, My Own True Vaughan Williams, Ralph Love Daehn 1 Verdi, Giuseppe Nabucco Caillet 1 Wagner, Richard Album Leaf Johnson 1 Wagner, Elichard Lohengrin 1 Prelude and Love Wagner, Richard Death Godfrey 1 Prelude to Act III of Wagner, Richard "Lohengrin" Erickson 1 Wagner, Richard Ride of The Valkyries Williams 1 Wagner, Richard The Pilgrim's Chorus Reed 1 Washburn, Robert Burlesk For Band 1 Washburn, Robert Buriesk For Band II 1 Kilimanjaro: An Washburn, Robert African Portrait 1 Wasson, John Tangents 1 Watters, Mark Forged In Fire Watters/Hearshen 1 Polka and Fugue from "Schwanda the Weinberger, Jaromir Bagpiper" 1 Whitacre, Eric Ghost Train 1 Godzilla Eats Las Whitacre, Eric Vegas 1 1 Old Scottish Melody: Wiley, Charles Auld Lang Syne 1 Battle Hymn of the Wilhousky, Republic 1 Willan, Healy Royce Hall Suitee Teague 1 Williams, Dance of the Witches Lavender 1 Williams, Clifton Caccia and Chorale 1

200 CoiVosar Coapoaition Arr./Trans. # Pfs Symphonic Dance No.2, "The Williams, Clifton Maskers" 1 Williams, John Far and Away 1 Williams, John Hymn to the Fallen Lavender 1 John Williams: The Williams, John Symphonic Marches Lavender 1 Jurassic Park Soundtrack Williams, John Highlights Lavender 1 Williams, John Seven Years in Tibet Moss 1 Williams, John Star Wars Trilogy Hunsberger 1 Theme from "Schindler's Williams, John List" Custer 1 Williams, Kenneth Vilabella Reed 1 Willson, Meredith The Unsinkable Molly Brown Reed 1 Wood, Haydn A Manx Overture Brown 1 Woolfenden,Guy Illyrian Dances 1 Chinese Suite for Band, Yang, Hua Movement # 2 1 Yurko, Bruce In Memoriam: Kristina I Zdechlik, John Grand Rapids Suite 1 Zdechlik, John Prelude and Fugue 1 Zdechlik, John Psalm 46 1 Big Band Spectacular Bullock 1 Broadway Show Stoppers Overture Barker 1 Fantasia Curnow 1 Festa Espagnol Sweeney 1 Glenn Miller in Concert Scott 1 Hitsville, O.S.A. Wasson 1 House of Horrors Wallace 1 Salute To 01' Blue Eyes Moss 1 Selections from Annie Lang 1 That's Entertainment Barker 1 The Best of Jule Styne Nowak 1 The Blues Brothers Medley Taylor 1 The Hunchback of Notre Dame Soundtrack Highlights Custer I The Magic of Andrew Lloyd Webber Barker 1 The Wonderful World of Disney Edmondson 1 Three Barogue Chorales Gordon 1 Were You There Allen 1 Zoot Suit Riot Moss 1 201 APPENDIX I

Compositions Performed by the Repertoire Respondents Which Were Unknown to the Panel

COMPOSER COMPOSITION ARR./TRANS Balmages, Brian Journey By Night Bowers, Robert Hood The Three Trees Conley, Lloyd Quiet Valley Grundman, Clare Waltz in Blue Finale to Symphony No. 45 Haydn, Franz Joseph "Farewell" Whitcomb King, Stacy Rampage on the Ole Grey Mare Ravel, Maurice La Valse Kreines Sayre, Matthew The Aging Jester Shaffer, David Southwest Overture Sochinski, James With Liberty and Justice for All Wasson, John Tangents

202 APPENDIX J

Published Resources Used by Respondents For Locating Literature

RESOURCEAUTHOR PUBLISHER

Band Music Notes Smith & Stoutamire Neil Kjos Publications Best Music For High Dvorak, Girechesky, & School Band Ciepulch Manhattan Beach Music Best Music For Young Band Dvorak, T. Manhattan Beach Music College Band Directors National Association College Band Directors Journal National Association Selective Music List National Band for Bands Association Teaching Music Through Blocher, Corporon, Performance in Band Cramer, Lautzenheiser, Volume 1 Lisk, Miles & Stamp GIA Publications Teaching Music Through Blocher, Corporon, Performance in Band Cramer, Lautzenheiser, Volume 2 Lisk, Miles & Stamp GIA Publications Teaching Music Through Blocher, Corporon, Performance in Band Cramer, Lautzenheiser, Volume 3 Lisk, Miles & Stamp GIA Publications The 20'** Century American Wind Band/ Meredith Music Ensemble Battisti, F. Publications

203