10, /8(

D. 0. ("PROF") WILEY: HIS CONTRIBUTIONS

TO MUSIC EDUCATION

(1921 TO 1963)

DISSERTATION

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF PHILOSOPHY

By

James I. Hansford, Jr., B.M.Ed., M.M.Ed.

Denton, Texas

May, 1982 Hansford, James I., Jr., D. 0. ("Prof") Wiley: His

Contributions to Music Education (1921 to 1963).

Doctor of Philosophy (Music Education), May, 1982, 236 pp., 21 illustrations, Bibliography, 88 titles.

The purpose of the study was to write a history of a music educator the professional career of D. 0. Wiley as from 1921 to 1963. To give focus to the career of Wiley, answers were sought to three questions, stated as sub and influ problems: (1) What were the important events

ences in the professional career of D. 0. Wiley as a

college/university band director? (2) What impact did school Wiley have on the development of Texas public

bands that earned him the title "Father of Texas Bands?" of and (3) What role did Wiley play in the development

the Texas Music Educators Association and other professional

music organizations?

D. 0. Wiley was a powerful force in the development as director of public school bands of Texas. While serving

of bands at Simmons College (now Hardin-Simmons University)

in Abilene, and Texas Tech University in Lubbock, he

trained scores of young band directors who accepted

teaching positions across the state.

Wiley is recognized by the Texas Bandmasters Associa

tion as the "Father of Texas Bands," partially because

of the large number of his students who became prominent 2

bandmasters and leaders in the professional state music education organizations, but primarily through his pioneer work with the Texas Music Educators Association (TMEA).

The forty years Wiley played an active part in the TMEA were marked by a phenomenal period of growth in music

education, one in which the music educators of Texas

achieved a level of national leadership in school music

performance. In 1943, Wiley began serving a twenty-year

uninterrupted term as secretary-treasurer of the TMEA

and editor of the Southwestern Musician combined with

The Texas Music Educator. In 1959, he became the first

full-time executive secretary of the TMEA, a post he

held until 1963.

The contributions of Wiley can be briefly summarized

as follows. While serving as a university band director,

he instituted a Summer Band School which he sponsored for

twenty-eight consecutive years. These schools trained

thousands of students and directors in the art of band

directing. While at Texas Tech, he organized annual

band clinics for twenty-five years which proposed to

improve band performance. His influence as an adjudicator,

clinician, and guest conductor in the South and his con

tribution to the founding of two national band organiza

tions, Tau Beta Sigma and Phi Beta Mu, are significant. 3

While serving as president and executive secretary of

TMEA, Wiley was an advocate of standardized instrumental method books; it was his idea to incorporate the clinic

concept as part of the annual convention, and during the war years (1940-1945) he was the stabilizing factor that

held the organization together. For twenty years Wiley

served as the most prevailing figure within the TMEA

and was a major contributor to its growth and development.

Wiley is part of the very foundation on which Texas

school music rests. His exemplary professional career

will live on through those whom he influenced and molded;

the dimension and impact of his work will project far

into the future. Copyright by

James I. Hansford, Jr.

1982

iii TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS...... -..-.-..-..-.-..-.

Chapter

I. INTRODUCTION . . . . ------.-.-.-.-.-.

Need for the Study Statement of Purpose Sub-Problems Delimitations

II. BACKGROUND AND PROCEDURE FOR THE STUDY . . . 7

Related Research Methodology Organization of the Study Biographical Information

III. THE SIMMONS YEARS: 1921-1934 ...... 27

Introduction The Early Years and Cowboy Band Incorporation United Confederate Veterans Conventions Rodeos, Cattlemen's Conventions and State Fairs Inaugurations, Patriotic Celebrations and Other Conventions Concert Tours The European Tour of 1930 West Texas Band Contests Simmons Conservatory and the Summer Band School for Boys Band Sponsored Celebrities on Campus Summer Study in Chicago and Teaching at Whiting, Indiana Summary

IV. BAND DEVELOPMENT AT TEXAS TECHNOLOGICAL 88 COLLEGE: 1934-1959 . . . . . -.- - - -

The Growing Years: 1934-1940 The War Years: 1941-1945

iv Page

The Prolific Years: 1946-1953 The Final Years: 1954-1959 Summary

V. D. 0. profOF") WILEY: THE FATHER OF TEXAS BANDS ...... 147

The Summer Band School at Tech Clinics and Contests Conducted on the Tech Campus Wiley's Role as Adjudicator, Clinician and Guest Conductor Wiley's Affiliation with TMEA and Other Professional Organizations Summary and Conclusions

VI. GENERAL SUMMARY AND CONCLUSIONS ...... 197

The Contributions of D. 0. Wiley Recommendations for Further Research Epilogue

APPENDICES...... 217

A. A Tribute to D. 0. ("Prof") Wiley

B. A Sampling of Concert Program Selections

C. An Index of the Musical Selections Contained on the Enclosed Cassette Tape Recording of the Texas Tech Band

BIBLIOGRAPHY...... 226

V LIST OF ILLUSTRATIONS

Page Figure e viii 1. D. 0. Wiley, c. 1978 32 2. Simmons Cowboy Band, 1923 ...... 39 3. D. 0. Wiley in Uniform, c. 1926 . Cowboy Band in Madison Square 4. Veteran 47 Garden, c. 1932 .D.0-0-0-0-0-*-0-0

Band with Texas Governor Dan 5. Cowboy 49 Moody, 1928 . . 0 ------57 6. Cowboy Concert Band, c. 1929 . . 67 7. Cowboy Band in Europe, 1930 . . 97 8. Texas Tech Concert Band, 1934 . . 99 9. Texas Tech Concert Band, 1938 . . -- - 116 10. Texas Tech Concert Band, 1947 . 123 11. Texas Tech Marching Band, c. 1950.. 0- - 0. . 124 12. Texas Tech Marching Band, c. 1950..

13. Student Modeling New Tech Marching Uniform, 1958 . . . . * - - - - 130 132 14. Texas Tech Concert Band, 1954 . . 140 15. D. 0. Wiley in Uniform, c. 1957 . . 5 153 16. D. 0. Wiley with A. A. Harding, c. 1 955 . . . 156 17. D. 0. Wiley in Rehearsal, c. 1951. . . 165 18. Tri-State Band Festival, 1934...... 171 19. D. 0. Wiley, 1936...... -.-.-.-.-.-

vi Figure Page

20. D. 0. Wiley, c. 1950 ...... 191

21. D. 0. Wiley with Harry LeMaire, c. 1961 . . 214

vii It

Fig. 1

viii CHAPTER I

INTRODUCTION

According to Roger Phelps, historical research in

music education is pursued for four basic reasons: (1) to

use the past as a basis for a better understanding of the present, or for predicting the future, (2) to learn more

about the life of a significant music educator, (3) to

seek for information in order to complete a missing link

in the chain of knowledge about music, and (4) to write

for posterity, not for immediate applause. Turrentine

succinctly states that "one should examine the past in order

to make decisions in the present about the future.,"2

In recent years, an upsurge of interest has occurred in historically oriented studies in music education. In a 1955 music education source book, there is a statement con cerning "the present dearth of dissertations in music educa tion which command respect for substantial scholarship . . . "3 I 'I

1 Roger P. Phelps, A Guide to Research in Music Educa tion, 2nd ed. (Dubuque, Iowa, 1980), pp. 85-86.

2 Edgar M. Turrentine, "Historical Research in Music Education," Bulletin: Council for Research in Music Education (Urbana, Illinois, Summer,1973), p. 1.

3 "Music in American Education," edited by Hazel N. Morgan, Music Education Source Book No. 2 (Chicago, 1955), p. 156.

1 2

Three years later Allen Britton makes the following observation:

The advance in historical perspective has come almost entirely from graduate schools, where an occasional doctoral candidate in music education has chosen a historical subject for his disserta tion. Although these dissertations are few in number at the present time, they represent a satisfactory beginning to the important task of rescuing music education from the historical 4 vacuum in which it gasps for intellectual breath.

In 1973, Turrentine said:

It is a sign of coming of age when an institution develops an interest in its past, begins to inves results tigate it, and to base its decisions on the of these investigations. Music education, as an 5 institution in American society, is coming of age.

An examination of the available bibliographies of doc 1932 toral dissertations in music education written since

reveals an astounding increase in historically oriented and documents during the last fifteen years. Between 1932

1956 a total of thirty-five dissertations were written

about the history of music education, including histories

of music associations and institutions. During the seven were year period from 1957 to 1963, forty-seven histories

written, eight of which were biographical in nature. During of the past fifteen years approximately forty biographies

4 Allen P. Britton, "Music in Early American Public Music Educaton: A Historical Critique," Basic Concepts in Education, The Fifty-Seventh Yearbook of the National B. Society for the Study of Education, edited by Nelson Henry (Chicago, 1958), p. 196.

5 Turrentine, "Historical Research in Music Education," p. 2. 3 famous music educators, including music supervisors,

directors, general music teachers, and band and choral

have been completed by doctoral candidates from various

6 universities throughout the nation.

There are presently three recognized books that serve in the as an introduction to the history of music teaching in United States: Birge's History of Public School Music

the United States, Tellstrom's Music in American Education,

and Sunderman's Historical Foundations of Music Education.

Turrentine insists that "these three are merely introduc The definitive tory and cannot be considered definitive.

history of music teaching in American schools remains to

be written. "7 Power further states:

The history of education offers no guarantee that it will answer the present-day questions concerning goals, curricular methods, costs, and administration. Offering such answers is not its function. It can, however, provide us with some insights into the way these or similar problems have been handled in the past.

At the brink of this increased awareness of our past,

Leonhard and House so aptly observed in 1959:

6 Bibliography of Research Studies in Music Education 1932-1948, edited by William S. Larson (Washington, 1949); "Bibliography of Research in Music Education 1949-1956," Journal of Research in Music Education (Washington, 1957); "Doctoral Dissertations in Music and Music Education," Roderick D. Gordon, Compiler, Journal of Research in Music Education, (1974), pp. 67-111.

7 Turrentine, "Historical Research in Music Education," p. 2.

8 Edward J. Power, Main Currents in the History of Education (New York, 1962), p. 278. 4

Music education in the United States has many a new path to travel; it has not reached the apex of its development. It does seem, however, that past influences and the efforts of uncounted teachers and pupils have achieved certain clear gains. . . .

The great expansion of free public education in this country, taken together with the farsighted ness of pioneers in school music and the effects of modern educational philosophy, have put this goal within reach.9

Need for the Study

Our past is crowded with far-sighted pioneers who

provided the impetus for all we enjoy today in music educa

tion. The increasing number of historical investigations

of their lives is providing "the beginning, and the inspir

ation, towards the gathering of information for a definitive

history. "O

D. 0. Wiley was a powerful force in the development and

continual improvement of public school bands of Texas.

While serving as band director at Simmons College (now

Hardin-Simmons University) in Abilene, Texas, for thirteen

years and Texas Tech University in Lubbock, Texas, for twenty-five years, he trained scores of young band directors who later accepted teaching positions all across the state.

9 Charles Leonhard and Robert W. House, Foundations and Principles of Music Education (New York, 1959), p. 61. 10 Turrentine, "Historical Research in Music Education," p. 4. 5

Associa Wiley is recognized by the Texas Bandmasters of tion as the "Father of Texas Bands," partially because the large number of his students who became prominent bandmasters and leaders in the professional state music education organizations, but primarily through his pioneer work with the Texas Music Educators Association (TMEA) and its predecessor organization, the Texas Band Teachers

Association (TBTA). The forty years when Wiley played an active part in the TMEA-TBTA were marked by a phenomenal transition of music education in Texas from a period of a few town bands to one in which the music educators of

Texas achieved a level of national leadership in the perfor mance level of its bands, orchestras, and choirs. In 1943,

Wiley began serving what was to become a twenty-year

uninterrupted term as secretary-treasurer of the TMEA and

editor of the Texas Music Educator. In 1959 he became

the first full-time executive secretary of the TMEA, a post

he held until 1963.

The long distinguished career of D. 0. Wiley is worthy

of being recorded because of the impact it has had on music

education and the school band movement. There have been no

historical studies dealing with the life and contributions

of this pioneer music educator. 6

Statement of Purpose

The purpose of this study was to write a history of the professional career of D. 0. Wiley as a music educator

from 1921 to 1963.

Sub-Problems

1. What were the important events and influences in

the professional career of D. 0. Wiley as a college and

university band director?

2. What impact did Wiley have on the development of

Texas public school bands that earned him the title

"Father of Texas Bands?"

3. What role did Wiley play in the development of

the Texas Music Educators Association and other profession

al music organizations?

Delimitations

The study is limited to Wiley's professional work

in music education from 1921, when he accepted his first

teaching position at Simmons College, until 1963, the year

he retired as executive secretary of the Texas Music

Educators Association. Biographical information which is

pertinent to his work in music education is included as

necessary. CHAPTER II

BACKGROUND AND PROCEDURE FOR THE STUDY

Related Research

The review of related research "involves the syste matic identification, location, and analysis of documents containing information related to the research problem."'

A review of related literature is necessary to determine what has already been accomplished in other areas relating to the problem. This knowledge fosters insight into all areas of the study, thus enabling the researcher to have

2 a clearer perspective of his study in relation to others.

A review of doctoral dissertations concerned with the history of American music education reveals a broad group

ing into five general areas: (1) general history of music

education; (2) growth of music education in American

communities; (3) development of music programs in institu

tions of higher learning; (4) studies dealing with the

founding and growth of national and state professional

music education organizations; and (5) biographical studies

about prominent music educators.

I L.R. Gay, Educational Research: Competencies for Analysis and Application (Columbus, Ohio, 1976), p. 24. 2 C.M. Linduall, "The Review of Related Research," Phi Delta Kappan, XL (January, 1959), pp. 170-178.

7 8

In the area of general history, one of the earliest dissertations written with regard to the history of

American music education was that of Sunderman3 at the

University of Minnesota in 1939. This well-documented work obviously laid the ground work for his 1971 publica tion4 which stands alongside Birge's and the Tellstrom's5 as the most impressive published documents concerned with the history of American music education. Other disserta tions in this area of emphasis include Rosewall's and the

Blum's,6 which deal with sight-singing solmization and singing schools; John's, Fouts', and Britton's, which are concerned with early tune books, and Oursler's, which

3Lloyd Sunderman, "A History of Public School Music in the United States (1830-1890)," unpublished doctoral disser tation, University of Minnesota, Minneapolis, Minnesota, 1939.

4 Lloyd Sunderman, Historical Foundations of Music Education in the United States (Metuchen, New Jersey, 1971).

5 Edward Bailey Birge, History of Public School Music in the United States (Music Educators National Conference, 1966); A. Theodore Tellstrom, Music in American Education: Past and Present (New York, 1971).

6Richard Bryan Rosewall, "Singing Schools of Pennsyl vania, 1800-1900," unpublished doctoral dissertation, University of Minnesota, Minneapolis, Minnesota, 1969; Beula Blanche Eisenstadt Blum, "Solmization in Nineteenth Century American Sight-Singing Instruction," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1968).

7 Robert W. John, "A History of School Vocal Instruc tion Books in the United States," unpublished doctoral dissertation, Indiana University, Bloomington, Indiana, 1963; Gordon E. Fouts, "Music Instruction in America to Around 1830 as Suggested by the Hartzler Collection of 9

analyzes the Pestalozzian theory and its effect on music education.

The growth of music education in specific communities

and geographical areas has attracted considerable interest

from doctoral candidates. Sloan8 designed his study to

depict the major musical development in the public schools

of Texas from the establishment of Spanish missions in

1659 well into the fifth decade of the present century.

A similar study of public school music in Virginia was

undertaken by Hancock. 9

Conservatories, universities, and colleges have had a

substantial impact on the cultural and educational develop ment of American life. These institutions and the process of their curricular development have been the subject of numerous studies. Faulkner,1 in a 1955 study, traced the

Early Protestant American Tune Books," unpublished doctoral dissertation, Univiersity of Iowa, Iowa City, Iowa, 1968; Allen P. Britton, "Theoretical Introductions in American Tune Books to 1800," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1949; Robert Dale Oursler, "The Effect of Pestalozzian Theory and Prac tice on Music Education in the United States Between 1850 and 1900," unpublished doctoral dissertation, Northwestern University, Evanston, Illinois, 1966.

8 David Walter Sloan, "History of Texas Public School Music," unpublished doctoral dissertation, The University of Texas, Austin, Texas, 1970.

9 Lewis Preston Hancock, "The History of Public School Music in Virginia," unpublished doctoral dissertation, University of Virginia, Charlottesville, Virginia, 1963. 1 0 Maurice E. Faulkner, "The Roots of Music Education in American Colleges and Universities," unpublished 10

the roots of American college music to Europe and discussed history of curriculum. The evolution of the conservatory of and its role as an American institution was the subject an in-depth document by Fitzpatrick. 11 Other categorical studies include Roberts, Mountney, Smith, Swingle, Hines, and Looser.1 2

State and national professional music education of organizations have, without doubt, been at the heart the development of the profession. They have been the structural framework around which we have grown. Two early dissertations dealing with the Music Educators doctoral dissertation, Stanford University, Palo Alto, California, 1955.

1 1 Edward J. Fitzpatrick, Jr., "The Music Conservatory in America," unpublished doctoral dissertation, Boston University, Boston, Massachusetts, 1963.

1 2 Charlie Walton Roberts, Jr., "The History of the Louisiana State University School of Music," unpublished doctoral dissertation, The Louisiana State University, Baton Rouge, 1968; Virginia Ruth Mountney, "The History of the Bachelor's Degree in the Field of Music Education in the United States," unpublished doctoral dissertation, Boston University, Boston, Massachusetts, 1961; Andrew W. Smith, "Undergraduate Music Education Curriculums for Public School Music Teachers from 1920 to 1930," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1970; Marilyn Ruth Swingle, "A History of the Florida State University School of Music," unpublished doctoral dissertation, The Florida State University, Tallahassee, Florida, 1973; Anna Margaret Hines, "Music at Black Mountain College: A Study of Experimental Ideas in Music," unpublished doctoral dissertation, University of Missouri, Kansas City, Missouri, 1973; Donald William Looser, "Significant Factors in the Musical Development of the Cultural Life in Houston, Texas, 1930-1971," unpub lished doctoral dissertation, The Florida State University, Tallahassee, Florida, 1972. 11

1 3 National Conference were Kauffman's and Molnar 's.

Kauffman examined the various associations and organiza

tions preceding the Conference. He documented the influ

ences and trends up to 1942. Molnar's work was more of

an in-depth study of all facets of the Music Educators

National Conference to 1948. Histories of the national

band, choral, and string associations have been completed

by Lasco, DeJournett, and Ritsema.14 A study of particu

lar interest to this writer was completed at Florida State

University in 1971 by McCarrell,15 who presents a well

documented study of the earliest beginnings of college

bands and their development through a seventy-five-year

period. A unique aspect of this study is the inclusion in

1 3 Harry M. Kauffman,"A History-of the Music Educators National Conference," unpublished doctoral dissertation, George Peabody College for Teachers, Nashville, Tennessee, 1942; J. W. Molnar, "The History of the Music Educators National Conference," unpublished doctoral dissertation, University of Cincinnati, Cincinnati, Ohio, 1948. 1 4 Richard Lasco, "A History of the College Band Directors National Association," unpublished doctoral dissertation, University of Cincinnati, Cincinnati, Ohio, 1971; Ned Russell DeJournett, "The History and Development of the American Choral Directors Association, 1957-1970," unpublished doctoral dissertation, The Florida State University, Tallahassee, Florida, 1970; Robert Allen Ritsema, "A History of the American String Teachers Associ ation: The First Twenty-Five Years," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1971.

1 5 Lamar K. McCarrell, "A Historical Review of the College Band Movement from 1875-1969," unpublished doctoral dissertation, The Florida State University, Tallahassee, Florida, 1971. 12

the appendix of transcripts of interviews with prominent

band directors of the early decades of this century. The last of the five general areas into which doctoral

dissertations are grouped includes biographical studies about prominent American music educators. These studies

have gained a decided impetus during the past fifteen years. Before that time, studies of this type were con ducted only sporadically.

New York University produced two of the earliest biographies in this category. DeJarnette16 discussed the life and professional contributions of Hollis Dann in a study in 1939. Rich did a similar document about Lowell

Mason in 1940.

Of the forty biographical dissertations written between 1954 and 1977 and reviewed by this writer, the University of Michigan produced the most. Other univer sities showing more than average interest in this type of study include the University of Southern California, The Catholic University of America, and the University of

Missouri at Kansas City.

Biographical studies can be categorized in various ways. There are those which pertain to personalities

Reven DeJarnette, "Hollis Dann: His Life and Contri butions to Music Education," unpublished doctoral disser tation, New York University, New York, New York, 1939. 1 7 Arthur Rich, "Lowell Mason: Music Educator," unpublished doctoral dissertation, New York University, New York, New York, 1940. 13

outside of the music education field, such as composers, conductors, and publishers who have had a decided influ ence on the profession. Two studies about Walter Damrosch were completed. His career as a conductor and promoter of

youth concerts were documented by Perryman and Goodell.1 8 Frederick Stock's influence on music education was dealt with in a study by Berglund.19 Other theses in this particular category include Hill's, Reed's, Canfield's,

and Cummings'.20

Another type of biographical study is concerned with music educators who served the profession as leaders in the public schools or as teachers or administrative heads

William Ray Perryman, "Walter Damrosch: An Educa tional Force in American Music," unpublished doctoral dissertation, Indiana University, Bloomington, Indiana, 1972; Sister M. Elaine Goodsell, "Walter Damrosch and Contributions his to Music Education," unpublished doctoral dissertation, The Catholic University of America, Washington, D. C., 1973.

1 9 Donald H. Berglund, "A Study of the Life and Frederick Work of Stock During the Time He Served as Musical Director of the Chicago Symphony Orchestra, with Particu lar Reference to His Influence on Music Education," unpub lished doctoral dissertation, Northwestern University, Evanston, Illinois, 1955.

20 Thomas H. Hill, "Ernest Schelling (1876-1939): His Life and Contributions to Music Education Through Educa tional Concerts," unpublished doctoral dissertation, The Catholic University of America, Washington, D. C., 1970; Joel F. Reed, "Anthony J. Showalter (1858-1924): Educator, Southern Publisher, Composer," unpublished doctoral dissertation, New Orleans Baptist Seminary, New Orleans, Louisiana, 1975; John Clair Canfield, Jr., "Henry Hadley: Kimball His Life and Works (1871-1937)," unpublished doctoral dissertation, The Catholic University of America, Washington, D. C., 1973; Harmon Dean Cummings, "Andrew 14

while being associated with an institution of higher learning. The majority of biographical dissertations probably fall into this category.

The lives of most of the earliest pioneers in the music education movement have been documented in bio graphical studies. Educators such as Mason, Giddings,

Earhart, Dykema, Tapper, Gehrkens, McConathy, and Miessner have had their lives and professional contributions docu mented in studies by Pemberton, McDermid, McKerman, 2 2 Eisenkramer,21 Remsen, Lendrim, Platt, and Miller.

Abgate: Philadelphia Psalmodist and Music Educator," unpub lished doctoral dissertation, University of Rochester, Rochester, New York, 1975.

21Carol Ann Pemberton, "Lowell Mason, His Life and Work," unpublished doctoral dissertation, University of Minnesota, Minneapolis, Minnesota, 1971; Charles Maynard McDermid, "Thaddeus P. Giddings: A Biography," unpub lished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1967; Felix E. McKerman, "Will Earhart, His Life and Contributions to Music Education," unpublished doctoral dissertation, University of Southern California, Los Angeles, California, 1958; Henry Edward Eisenkramer, "Peter William Dykema: His Life and Contri butions to Music Education," unpublished doctoral disser tation, Columbia University, New York, New York, 1963.

2 2 Katherine G. Remsen, "Thomas Tapper: His Contri butions to Music Education," unpublished doctoral disser tation, University of Michigan, Ann Arbor, Michigan, 1975; Frank Torbet Lendrim, "Music for Every Child, The Story of Karl Gehrkens," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1962; Melvin Carlos Platt, Jr., "Osbourne McConathy , American Music Educator," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1971; Samuel Dixon Miller, "Otto Miessner and His Contributions to Music in American Schools," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1962. 15

Most recent studies about the careers of music educa tors who were born around the turn of the century would have to include those by Olenchak, Reichmuth, Blasch, and

Johnson.2 3 The Olenchak study is concerned with Glen

Gildersleeve and his Musical Achievement Test along with an analysis of his published and unpublished works.

Reichmuth has completed one of the most thorough and com pletely documented biographies known to this writer. In

440 pages, the life of Price Doyle, with emphasis placed upon his years at Murray State University and his contri butions to Phi Mu Alpha Sinfonia, is covered in detail and with interesting narrative. Blasch chose as her topic

Luther Richman, who was the dean at the Cincinnati

Conservatory of Music (1948-1952) and president of the

Music Educators National Conference from 1946-1948. His outstanding career as an educator in Virginia and Montana is documented chronologically in nine chapters, the last of which summarizes his five objectives and guiding principles in music education. Johnson's work centers around the contributions to music therapy by E. Thayer

Gaston.

2 3 Frank Richard Olenchak, "Glenn Gildersleeve and His Contributions to Music Education (1894-1970)," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1977; Roger E. Reichmuth, "Price Doyle, 1896 1967: His Life and Work in Music Education," unpublished doctoral dissertation, University of Illinois, Urbana, Illinois, 1977; Betty Lou Russell Blasch, "Luther Anton Richman: His Life and Contributions to Music Education," 16

One study that often goesunnoticed is the Wilson2 4 dissertation on H. A. Vandercook. Vandercook's dedication to music education and his unique ability to teach is dis cussed at length in this study. Emphasis is placed on Vandercook as a teacher with an analysis of his teaching methods, philosophies, and an evaluation of his influence on music education.

There is a dearth of biographies concerned with the lives and contributions of band directors as powerful forces in the music education profession. Three examples of respected studies include reports about A. A. Harding, Harold Bachman, and William D. Revelli. The Weber25 study is an excellent view of the life of Harding, the "Dean of College Band Directors." Included in this well-organized study is a wealth of information about the early band

movement. The Tipps 2 6 and the Cavanagh studies were done

unpublished doctoral dissertation, University Charlottesville, of Virginia, Virginia, 1972; Robert Erdman Johnson, "E. Tayer Gaston: Contributions to Music Therapy and Music Education," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1973. 24 Gilbert E. Wilson, "H. A. Vandercook, The Teacher," unpublished doctoral dissertation, University of Missouri, Kansas City, Missouri, 1970.

2 5 Calvin Earl Weber, "The Contributions of Albert Austin Harding and His Influence on the Development of School and College Bands," unpublished doctoral disserta tion, University of Illinois, Urbana, Illinois, 1963. 2 6 Alton Wayne Tipps, "Harold B. Bachman, American Bandmaster--His Contributions and Influences," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, 17 at the University of Michigan. Tipps deals with the entire career of Bachman, whereas the Cavanagh work is concerned only with the ten-year period that Revelli was a high school director in Hobart, Indiana.

The biographical studies offer unique insight into individual human behavior and accomplishment. The work of these exemplary educators serves to lend a deeper perspective to the other four categories of historical studies examined in this section on related research.

Methodology

The procedure employed in this study will follow the

directions set forth by Phelps. He states, "When a

historiographer is involved in the preservation of today's

chronology, which tomorrow will be history, he must be as

accurate and precise as the natural scientist in order

that his objective of presenting and interpreting the

truth be realized. "2 7

There is considerable data contained in the personal

files of D. 0. Wiley, which are held in the archives of

the Southwest Collection at Texas Tech University. There

are some 296 leaves dealing with his personal life from

1925 to 1963 and over 14,000 leaves concerned with his

Michigan, 1974; George A. Cavanagh, "William D. Revelli: The Hobart Years," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1974.

2 Phelps, A Guide to Research, p. 88. 18

band career from 1923 to 1963. Included in this collection

are correspondence, financial documents, newspaper clip

pings, legal documents, minutes, clinic programs, conven

tion materials and programs, band news releases, half-time

programs, photographs, promotional material, periodicals,

directories, and miscellaneous items, including a two-hour

tape-recorded interview with Wiley in July, 1969. Wiley's

long career is well-documented by information in a wealth

of primary sources.

The writer conducted approximately eight hours of

personal interviews with Wiley. Through this technique,

much additional firsthand information was acquired, and

many obscure areas were elucidated. Wiley lent to the

writer many of his personal scrapbooks containing a myriad

of newspaper clippings, photographs, programs, and other

personal mementos.

Information was collected from Wiley's family, and

preliminary tape-recorded interviews were conducted with

his younger brother, Russell Wiley, who is also a retired

university band director, and his sister, Cora Proffitt.

Wiley's youngest son, Charles Wiley, Director of Bands at

Lamar University, Beaumont, Texas, was interviewed, and

he provided a unique perspective of the life of his

father, since he saw him at home and also performed in

his university bands. Additional structured interviews were conducted with associates, colleagues, and Wiley's 19

former students who were in a position to know and evaluate

his work in instrumental music education.

This study used the interview as a means of augmenting

and clarifying other existing sources. It was realized

that each interview had to be carefully examined in order

to detect possible bias. When information existed only

from a single interview, additional interviews or tradi

tional documentation were sought for verification.

As data was collected, it was organized chronologi

cally by the various topics relevant to the sub-problems

of the study in order to facilitate retrieval. Data was

classified as either primary or secondary. Primary, or

firsthand source material, encompassed that which was

actually seen or experienced by the author or respondent.

Secondary material included information of a secondhand

nature to those things which the respondent did not

actually see or experience. Brickman states that "reliable

secondary sources are preferable to primary sources which

are questionable or incomplete. "2 8

In order to determine whether or not specific source

material was authentic and pertinent to the area under

investigation, it was scrutinized according to rules of

external criticism. Phelps says that the "prime objective is to determine whether or not the item of concern is

28William W. Brickman, Guide to Research in Educational History (New York, 1949), p. 108. 20

criticism of genuine.,29 The credibility, or internal source material, was determined to establish to what existed. extent, if any, inconsistencies or inaccuracies was con The process of external and internal criticism other.3 0 ducted simultaneously by using one to implement the

Organization of the Study

Chapter I contains an introduction followed by the

need for the study, a statement ofthe purpose, the sub

problems and delimitations. for Chapter II contains the background and procedure

the study, including the related research, methodology,

organization, and biographical information about Wiley

prior to his first teaching position.

Chapter III is devoted to the thirteen years Wiley

pre spent at Hardin-Simmons University. An overview is

sented of the band program including early incorporation,

participation in conventions, rodeos, fairs, inaugurations,

celebrations, concert tours, the European tour and band is sponsored celebrities on the campus. Special emphasis

placed upon Wiley's initiation of the West Texas band

contests and the development of the Summer Band School for

Boys.

2 9 Phelps, A Guide to Research, p. 95.

30Ibid., pp. 99-100. 21

Chapter IV is concerned with the development of the band program at Texas Technological College. It is divided into four areas: (1) the growing years: 1934

1940, (2) the war years: 1941-1945, (3) the prolific years: 1946-1953, (4) the final years: 1954-1959.

Special emphases include marching band trips, bowl perfor mances, half-time presentations, concert band tours, spring

concerts, programming, instrumentation, Kappa Kappa Psi and

Tau Beta Sigma development, and faculty and departmental

growth as it relates to the band program.

Chapter V is devoted to the activities, accomplish

ments, and influences of Wiley during his forty-two year

career as a leader of instrumental music education. An

examination is made of his leadership and contributions

in developing the Summer Band Schools at Texas Technologi

cal College, his initiation of clinics and contests, his

activities as an adjudicator and clinician, and his affili

ation with professional organizations. Special emphasis

is given to the influences and contributions of Wiley that

cause him to be officially recognized as the "Father of

Texas Bands" by the Texas Bandmasters Association.

Chapter VI includes the general summary and conclu

sions of the study with special attention given to Wiley's

contributions. In conclusion there are recommendations for

further research and an epilogue. 22

Biographical Information

Toward the end of the nineteenth century, George and Cynthia Wiley moved from Arkansas and settled in a small rural farming community in Erath County, Texas. Like both of their families in Arkansas, George and Cynthia were farmers. They had nine children, including six boys, Pembroke (Jack), G. D. (Doc), Frelon, Dewey, Cass, and Russell, and three girls, Edna, Cora, and Mae. Their sixth child, Dewey Otto, was born on April 17, 1898, on the Fain Place, near Alexander, a small town about fifteen miles south of Stephenville, Texas.3 1

When Dewey was about two years old, the family moved to the Sally Robinson Place in Commanche County, Texas, where they raised cotton and tomatoes and planted a large apple and peach orchard. The Wileys operated on a rather austere budget, but Dewey's mother always managed to have enough eggs, butter, and frying chickens on hand to sell and bring in extra cash when needed. In the fall of 1904, an unfortunate incident occurred in which an astute lawyer found a flaw in the title to their property and managed to gain possession of it after having a court order issued forcing them to vacate. From Commanche County, the Wileys moved to the Rod McClaron Place near the 31 Tape-recorded response to letter from writer by Russell Wiley, Prairie Village, Kansas, January 17, 1979. 23

Gooseneck Bend Community in Young County, near Graham, Texas. 32

From a very early age, Dewey was intrigued by the music of the old country fiddlers. When he was five years old, his oldest brother, Jack, acquired an old three dollar violin in a horse trade. When Jack went to the fields to work, young Dewey would slip the violin from its hiding place and play with it. By the time Dewey was about six years old, he was playing most of the same tunes that the community fiddlers could play. "To say the least, I was one of the prime worries of my family," Wiley said. "They had not known of anything good to come of 'fiddlers'."33

Dewey started to school in 1905, at the Gooseneck Bend Community Rural School. He attended this one-room, one-teacher schoolhouse for the first seven years of his education. During these elementary school years, Dewey obtained a mail order violin method from the United States School of Music and miraculously learned correct bowings, fingerings, hand positions, and other fundamentals.3 4

32Tape-recorded conversation between G. and D. (Doc) Wiley D. 0. Wiley, 1969 (exact date unknown). 3 3 Background information on D. 0. Wiley, Southwest Archives of Collection, Texas Tech University, Texas Lubbock, (hereinafter cited as Wiley Papers). 34 Tape-recorded response to letter from writer by D. 0. Wiley, Lubbock, Texas, May 17, 1978; tape-recorded interview with D. 0. Wiley by Beth Schneider, June 12, 1969, Wiley Papers. 24

Dewey's younger brother Russell also possessed a strong desire to learn how to play the violin, so Dewey gave Russell his first lesson, and soon the two youngsters were playing duets. It was not long until they were asked to do some entertaining and performing at some of the country revival meetings in the surrounding area. Russell, who became the band director at Phillips University, Enid,

Oklahoma, was instrumental in starting the Tri-State Band

Festival in 1933. He later became Director of Bands and

Orchestra Director at the University of Kansas, where he founded the Midwestern Music and Art Camp and served as its director for thirty-seven consecutive summers. Russell attributes his interest and success in music to the con stant encouragement and support of his older brother,

Dewey, during those early years.35

After completing elementary school at Gooseneck Bend in 1911, Dewey dropped out of school to help with the farm chores. The older boys had married, secured jobs, and moved away from home. Although he did his part to assist with the family farming business, Dewey's first love was music and his violin.3 6

35 Tape-recorded response to letter from writer by Russell Wiley, January 17, 1979; newspaper clipping, Lawrence Journal-World, July 27, 1974, Wiley Papers.

3 6 Tape-recorded telephone interview with Mrs. Cora Proffitt (sister of Wiley), Fort Worth, Texas, June 10, 1979; tape-recorded response from Russell Wiley, January 17, 1979. 25

At the age of seventeen, Wiley enrolled as a special student of Carl Venth, who was dean of music at what is now Texas Wesleyan University in Fort Worth. Venth, who had studied with the world famous Berlin Conservatory teacher Henri Wieniawski, found it difficult to believe that young Dewey had received no formal training. Dewey's keen ability to read music and the polish he had attained on some of the basic violin concerti was not common among self-taught violinists. Money was scarce and Dewey is indebted to his older brother Doc for paying for his lessons and allowing him to live in his home during this time of special study. 3 7

In the fall of 1917, Wiley enrolled as an eighth grader at Graham High School in Graham, Texas. He is listed in the 1917 annual as Freshman Reporter and is pictured with the school orchestra under the direction of John F. H. Crabb. 3 8 Wiley attended the ninth grade at Woodson High School, Woodson, Texas, and still remembers with great affection his math teacher, Claude Wingo, now a prominent minister in the Christian Church. 3 9

3 7 Wiley Papers.

38The Corral, Vol. II (Graham, Texas: Student Graham Body of High School, 1917), pages unnumbered. 39 9.D7 0. Wiley to Jim Hansford, Durant, Oklahoma, 17, 1978. May 26

While at Woodson, Wiley heard Dr. F. G. Jones, Presi dent of Midland Junior College, Midland, Texas, speak at commencement exercises. Dr. Jones was a long-time friend of the Woodson Superintendent of Schools, Mr. Andrews.

After hearing Wiley, who was a tenth grader, play a violin solo at commencement, and being impressed with his maturity and musicianship, Dr. Jones proposed that Wiley come to

Midland, teach violin, and start an orchestra at the junior

college. He told Wiley that if he would complete one more

year of high school, he would admit him without the usual

high school diploma. Wiley then completed the tenth grade

at Graham High School in 1919 and enrolled that fall at

Midland Junior College. Commenting later, Wiley said, "It

just happened that some string and wind players showed up,

and the Midland College Orchestra was born." 4 0

At Midland, Wiley did not study music but took the

usual college curriculum of English, history, Spanish, and

mathematics. In addition to teaching violin and directing

the orchestra, Wiley played tackle on the football team

and married his high school sweetheart, Willie Ruth Cole,

who was also attending Midland College. Wiley graduated

with an associate of arts degree in 1921, the year he went

to Simmons College in Abilene, Texas, to direct the

orchestra and teach violin. 4 1

4 0 Ibid. 4 1 Wiley Papers. CHAPTER III

THE SIMMONS YEARS: 1921-1934

Introduction

When D. 0. Wiley assumed the duties as orchestra director and teacher of violin at Simmons College in

September, 1921, his teaching experience was very limited.

While a student at Midland College, he had directed the

small college orchestra and taught a few violin students

on a part-time basis. He had no idea that within one

year, he would be faced with the decision of whether or

not to become a band director. In fact, he would be

thrust into an "accidental career" that would lead him

to a position of preeminence among Texas music educators

that would be beyond even his wildest imagination.

This chapter will trace the activities and the develop

mental process of the Simmons Band under Wiley's direction

in ten specific areas of concentration: (1) the Early

Years and Cowboy Band Incorporation, (2) United Confederate

Veterans Conventions, (3) rodeos, cattlemen's conventions,

and other conventions, (5) concert tours, (6) the European

Tour of 1930, (7) West Texas Band Contests, (8) Simmons

Conservatory and the Summer Band School for Boys, (9) band

sponsored celebrities on campus, and (10) summer study in

27 28

Chicago and teaching at Whiting, Indiana. The Simmons Band was one of the busiest and quite possibly the most traveled college band in the nation during these years. The exposure Wiley received during the Simmons years, as a result of his many travels throughout the nation and Texas, proved to be a key to his success. He built a repu tation that drew people to him for training in later years.

The Early Years and Cowboy Band Incorporation

The first football game was scheduled for September 23, 1922, and Jefferson Davis Sandefer, president of Simmons College, had to make a quick decision about obtaining a band director to fill a position vacated, without notice, by W. 0. Hurwood, who had joined a circus band during the summer. After consulting Dean Julius Olsen, the president called Wiley to his office for a conference. Wiley was quite apprehensive about the meeting, thinking he might have erred in the performance of his duties. When asked to assume responsibility for the band, he was shocked: I tried every trick I could think of to get out of that situation. I had heard that band, and I didn't want to have anything to do with it. Dean Olsen had played baritone University in the Yale Band, and after pointing the similarities out some of between band and orchestra, and President Sandefer he convinced me that I could do it. I told them I would take it on one

1D. 0. Wiley, tape-recorded interview with Jim Hansford, January 10, 1978, Lubbock, Texas. All subsequent interviews are with the writer. 29

condition--if I found a good player, I wanted to give him a scholarship. I thought they would refuse my demand and I would not have to take it, but they accepted my proposal.

Wiley immediately scheduled a meeting with the band, which at the time had only fifteen members.3 By the concert Christmas holidays, however, the group had played a in chapel, performed at a pep rally, shared another concert with the orchestra at the First Baptist Church to raise team to money for uniforms, and accompanied the football

Brownwood. By then the group had grown to thirty-five members, and as a result of its half-time show in

Brownwood, it was hailed as the best college band in the

South by the leader of the 142nd Infantry Band, who had

shared the half-time spotlight with them, and who in his

travels throughout the South had observed many bands.4 In direc just fifteen weeks, the Simmons band under Wiley's

tion had gained the respect of the community and student

body alike. In the Simmons school annual of 1923, The

Bronco, the band received commendation for its installation

of pep and school spirit at the athletic contests.

During the spring of 1923, the band performed two

concerts over WQAQ, an Abilene radio station, and the

2 Ibid.

3 The Simmons Brand, September 23, 1922, cited herein after as the Brand.

4 Ibid., December 9, 1922. 30

response was overwhelming. Letters and telegrams were sent

to the station praising the band for its fine performance.

The programs were heard as far away as St. Louis.5

As the band gained in popularity and support, the need

for uniforms became more and more a necessity, and Wiley tried to think of a plan whereby the band could obtain a unique uniform. Getting the uniforms and paying for them prior to the trip to San Angelo in April, which was spon sored by the Chamber of Commerce, was the root of the problem.6 Wiley visited with Grady Kinsolving, secretary of the Chamber of Commerce, and informed him that the band would be unable to make the trip to San Angelo because there were no uniforms. Kinsolving thought that Abilene would be disgraced if it were not represented in the parade, so he instructed Wiley to design a uniform, and if the price were not too high, the Chamber would pay for it.

Wiley later remarked:

When I left his office, I had no idea as to what to assemble. Just around the corner on Pine Street, Over Hardware had a pair of cowboy chaps on display, and right next door, Ward Clothing Store had some ten-gallon white Stetson hats in the window. I drove on to the campus and the first person I saw was Gilbert Sandefer . . . Gib was in the band. . . . We went over to Over Hardware and borrowed a pair of chaps. Gib, rather hesitatingly, put on the full rig and was a bit embarrassed. When we got to the Chamber of Commerce, I got Gib to go in first. Grady

Ibid., March 3, 1923.

6 Ibid., December 15, 1923. 31

Kinsolving looked up and exclaimed very enthusi astically, 'That's it!' He then phoned Over Hardware and ordered thirty-six pairs of chaps. 7

The chaps were made of gold leather with purple

panels down each side. The word "Simmons" was displayed

in brass brads. Each bandsman wore gold and purple wrist

lets and was required to purchase a gold shirt, a purple

bandana, and his own ten-gallon hat.8 With the new band

uniforms, the band had a highly successful trip to the

Chamber of Commerce Convention in San Angelo, where a group

picture was made. (See Figure 2, page 32.)

Two members of this early Simmons band assumed great

significance in later years, one in Texas band history, and the other in national medical history. Both believe that the experiences gained through being a member of this band had a significant impact on their lives.

Raymond Bynum, a saxophonist in the early Simmons band, went to the college in 1922 and joined the band with no instrumental experience. He was educated to teach

Spanish but upon graduation started pioneer band work at

Abilene High School and established possibly the first band in West Texas made up of school students. He remained at Abilene for many years and developed a truly outstanding band program. After leaving Abilene High School, he spent the rest of his professional life as director of bands at

7 Conrad Lam, "History of Cowboy Band," unpublished manuscript, Detroit, Michigan, 1976, p. 8. 8Ibid. 32

ii

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McMurray College, also in Abilene. Bynum served as presi

dent of the Texas Music Educators Association from 1944

1946 and was selected bandmaster of the year by the Texas

Bandmasters Association in 1968. He was Wiley's first

student to become a band director, and he stands among the

great pioneers of band development in Texas.

Conrad Lam, pioneer in cardiac surgery and currently

Consultant Emeritus at Henry Ford Hospital in Detroit,

Michigan, attributes much of his success to his experience

in the Simmons "Cowboy" Band. He was a cornet player in

the original band, and in his autobiography, he mentioned

that his experience in the Cowboy Band made it possible for

a Texas boy to get a medical education in an Ivy League

university. After graduating from Simmons, Lam organized

Texas municipal bands in Sudan, Amherst, and Littlefield.

While attending medical school at Yale, he organized the

Bradford Junior Rotary Band and the Essex Town Band in

Connecticut. He currently conducts the Franklin Village

Band in a suburb of Detroit. Frequently called a "doctor

of music" in his medical circles, Lam is one of the most

prestigious figures to emerge from the early Simmons band.9

9 Conrad Lam, "Echoes from a Surgeon's Trumpet," unpublished manuscript, 1976, pp. 7-11 and 32-36; clippings from booklet "Pioneers in Cardiac Surgery," April 28, 1980; Program of the Franklin Village Concert Band, Detroit, Michigan, November 12, 1968. 34

The San Angelo trip in the spring of 1923 was only the beginning of many tours and trips that would take the band from coast to coast and to Europe. In August of 1923, the band made the first of several trade trips with a group of businessmen from the Abilene Chamber of Commerce. This

1,000-mile trip through some twenty Texas counties lasted four days and was a real test of stamina. The trip not only generated publicity for Abilene, but it also served as a means of recruitment for the Cowboy Band, since several written applications were received on the trip.

The band made summer trade trips in 1924 and 1925, but apparently after that the trade trips took on a lower priority in view of an increasingly busy schedule.1 0

Football games, parades, pep rallies, dedications, and concerts kept the band busy between Chamber of Commerce commitments. Chamber convention trips were made to

Brownwood in 1924, Mineral Wells in 1925, Amarillo in

1926, Fort Worth in 1928, and to Wichita Falls in 1932.11

Because the band was gaining such support both locally and statewide, there was a growing concern on the part of some local leaders and school administrators that other groups might pick up on the idea of a cowboy theme

10 Brand, September 15, 1923, September 13, 1924, and September 16, 1925.

11 Ibid., May 3, 1924, May 9, 1925, May 28, 1926, June 16, 1928, and January 9, 1932. 35

for their band and capitalize on the Cowboy Band's image.

T. N. Carswell, secretary of the Abilene Chamber of Commerce and a former bursar at Simmons, suggested a plan

for incorporation of the band at a special meeting in

January, 1925.12 Carswell recommended the band should apply for a charter from the state legislature, and in his speech he said:

I feel it will add dignity to and raise the standards of the organization, and other musical organizations over the country could not copy after the Simmons Band by calling themselves the Cowboy Band. The Cowboy Band has done more in the past two years to adver tise Simmons College than any other individual force in the college.1 3

He also suggested that the band add singers and show men to the group or use people already in the band to

present a more varied program. Carswell then encouraged the college to purchase a bus for organizational use in

traveling over the country. Wiley responded by proposing

a motion that the band apply for a charter. When the motion passed, officers were elected as follows: President,

T. N. Carswell; Vice-president, D. 0. Wiley; Manager,

Gilbert Sandefer; Secretary-treasurer, Bryan Ball.1 4

In just two months, the band secured a charter of incorporation under the laws of the State of Texas. The

12 Ibid., January 10, 1925. 1 3 Lam, "History," pp. 18-19; Brand, January 10, 1925, and March 28, 1925.

1 4 Brand, January 10, 1925. 36

original certified copy of the Cowboy Band's charter, which was filed on March 18, 1925, was destroyed in a fire in 1947, but a letter is contained in the archives of the band from the Texas Department of State to attorneys

1 5 Wagstaff, Harwell, and Wagstaff certifying the charter.

The university also took steps to procure a bus, and within three months the band received a new $2,500 Reo

Speed Wagon. It had two benches extending along each

side, and the men sat facing each other. The wagon was

subsequently named 'Bovolopus' after an unridable Brahma

bull in the Tex-Austin Rodeo.1 6

The spring semester of 1925 was the most successful

year in the history of the band. In January the band

performed a chapel concert of several marches and an

overture. The selections were Sousa's "Semper Fidelis"

and "Washington Post March," Losey's "March Gloria" and

Lampe's "Sunny South Overture;" and by special request of

President Sandefer and the student body, the band played

the special arrangement of "The Old Gray Mare" by Frank

Panella. This simple tune had been passed out by Wiley

at the first band rehearsal in 1922 and had become an

official encore number and theme song of the Cowboy

1 5 Lam, "History," p. 19.

1 6 Brand, April 4, 1925; Lam, "History,," p. 20.

17 Brand, April 10, 1925. 37

Band.1 8 In his book, ex-President of Hardin-Simmons, Rupert Richardson, recalls the importance of the old song:

It played that number on every occasion, in chapel, even and students would rise and cheer as ex-Confederate soldiers used to cheer The 'Dixie.' more dignified element of students faculty and protested at such nonsense, but Gray 'The Old Mare' remained the 'college saddleh that se' had to be ridden on every occasion.

Concert trips were taken to Albany, Baird, and Hamlin, and the programs featured a variety of solos, acrobats, comedy acts, and the saxophone quartet.2 0

It was not unusual for national agencies to visit the band and attempt to secure entertainment bookings. In January, 1926, Keith Vawter of the Red Path-Vawter Chautauqua Company from Cedar Rapids, Iowa, observed the band and stated that it "could easily rank among the best college bands in the United States. "21 During the same month, the assistant director and musical critic of the Horner-Witte Concert Bureau, Earl Rosenberg, came to Simmons to negotiate a contract for a season's tour with the Lyceum circuit. He was quoted in the school news paper as saying;

18Ibid., January 31, 1925; Lam, "History," pp. 4-5. 19Rupert Norval Richardson, Famous Are Thy Halls (Abilene, 1964), p. 10. 20 Brand, March 28, April 4, and April 18, 1925. 21 Ibid., January 26, 1926. 38

You have a great band here and show surprising ability for a concert band. I am well-pleased to see that you are working hard toward the more serious musical numbers as well as furnishing plenty of life in your concerts.22

In February, 1928, the group had an offer to play a fifteen-week summer engagement in New York and surrounding cities on the vaudeville circuit. The contract was negotiated, but the trip had to be postponed, however, because of an invitation from the Democratic National

Convention. 23

In May of the same year, the Cowboy Band accepted a summer booking engagement at the Majestic Theatre in

Dallas.24 Also in May, one of the nation's foremost news agencies, Paramount News, came to the campus to film the band and the Cowgirls, a pep squad that had been added as an auxiliary unit. The band had actually been already filmed on other occasions and had appeared on the screen all over Texas and the South.2 5

Wiley was determined to get the "Cowboy Band" organ ized and in front of the public as quickly as possible.

He wanted a group that sounded good and looked attractive.

In Figure 3 on page 39, it can be seen that Wiley was

22 Ibid., January 30, 1926.

23 Ibid., March 3, 1928, and July 14, 1928.

24 Ibid., May 26, 1928. 25 Ibid. 39

-$W. -_ A' 40 MWW *

-4

Fig. 3--Wiley in uniform arou nd 1928 40

conscious of appearance and public image. This photo,

made around 1928, shows him with a monogrammed shirt, a

belt buckle displaying Simmons and the showy cowboy chaps.

Even though most of his activities centered around public

relations-oriented trips for Simmons and Abilene, he was

attempting, even at this early date, to schedule concerts

and perform quality music.

United Confederate Veterans Reunions

The Cowboy Band of 1925 was asked to perform in Dallas at the state reunion of United Confederate Veterans (UCV),

an organization composed of Civil War veterans. After playing before an audience of some 30,000 people in Dallas,

Wiley and his cowboys were selected as the official band of the reunion.2 6

The band received numerous invitations to attend the

1926 UCV National Convention held in Birmingham, Alabama.

Wiley decided that the group would make the trip, and

Simmons University was subsequently honored when a resolu tion was introduced and the Cowboy Band was made the official band of the National United Confederate Veterans .27 Association. The Brand responded with an article lauding the band:

26 Brand, May 23, 1925.

27 Ibid., May 22, 1926. 41

The band has attracted more attention than any other organization that has been in Birmingham, according to local people. . . . The famous Cowboys are constantly followed by small knots of spectators whenever they go individually down the street. . . . Every time the Wnd makes an appearance the crowds go wild.

The manager of the Alabama State Fair, who was in

attendance at the convention, tried to draw up a contract

for a week's appearance in October at the State Fair, but

there is no indication that the band accepted the invita

tion. This 2,250-mile trip to Birmingham was the longest

the band had ever made, and after a week it returned just

in time for final examinations.

The Cowboy Band participated in the Confederate

Veterans Convention of 1927 in Tampa, Florida, and

traveled to Little Rock in 1928 to entertain at the same

event. For the Tampa trip, the businessmen of Abilene

gave $3,500 to underwrite the trip. Simmons' President,

Sandefer, who was slated to speak on the program, also made the trip. During the three-day train excursion, the forty bandsmen led parades in Fort Worth, Longview,

Marshall, Mobile, Jacksonville, and Tampa. Many concerts were staged throughout Tampa, several of which were broadcast over WMBR and WDAE, two prominent Tampa radio stations. At the Tampa Bay Hotel, the Cowboys had an opportunity to perform in the concert shell used by

2 8Ibid 42

Bachman's Million Dollar Band. An additional highlight

of the trip was the election of the Cowboy Band as the

official lifetime music makers of the organization by the

2,000 ex-Confederates convening in Tampa.2 9

The Little Rock trip in May of 1928 apparently was the last United Confederate Veterans Reunion that the

Cowboy Band attended. A total of eighty-seven people made the trip, including the forty-five member band and the Cowgirls.3 0

Rodeos, Cattlemen's Conventions and State Fairs

Between 1925 and 1932, the Cowboy Band participated in numerous rodeos, cattlemen's conventions, and state fairs. In May, 1925, the band was invited to the Tex

Austin World Rodeo which, at that time, was perhaps the largest of its kind. This first major rodeo which the band attended was held in Cisco, Texas and the three-day contract required the band to play two performances daily.

Many bands volunteered to perform free of charge, but according to manager Gib Sandefer, the Cowboys were paid

$375 for their services.3 1

29 Brand, April 9, 1927.

3 0 Lam, "History," p. 60.

3 1 Brand, May 16, 1925; Lam, "History," p. 20. 43

Some fifteen or twenty bands applied to perform at the great Tom Burnett Rodeo held in Wichita Falls, Texas, in May, 1926, but the Cowboy Band again was chosen to provide the entertainment for a sizeable fee. Tom Burnett, the son of Burk Burnett (of oil town fame) had one of the greatest and richest shows of its kind in the world. The Brand observed, "The Cowboy Band won much applause and recognition at Wichita. . . . It is estimated that twenty thousand people were entertained by the twenty boys. . . ."32 Wiley was unable to make the trip because he was confined to bed with a case of the mumps. It is doubtful that he was unduly distressed to miss this trip since, as he confessed later, "I hated those rodeo - 33 jobs."' This fact was later confirmed in a conversation with H. A. Anderson, who was a member of the band from 1925 to 1929, and who remained a close personal friend to Wiley until Wiley's death in 1980.34 G. B. Sandefer, long-time manager of the Cowboy Band and known as "Gib" to his friends, was not noted as a musician but was quite gifted in the area of public rela tions. This ability was well-demonstrated in the spring

3 2 Ibid., April 17, 1926.

3 3 Wiley interview, January 22, 1979. 3 4 H. A. Anderson, retired professor of economics, Tech Texas University (ex-Cowboy Band member), tape-recorded interview, Lubbock, Texas, June 22, 1979. 44

of 1927 when he heard that Amarillo was interested in

bringing the 1928 convention of the Southwest Cattle

Raisers Association to their city. He and property

manager Otho Hilliard made a swift trip to Amarillo to

attempt to convince the authorities that they should hire

the Cowboy Band to represent them at the 1927 convention

in El Paso. If so, they would be assured of winning,

thereby giving them the opportunity of selecting their

city as the site of the 1928 affair.35 The authorities

accepted his proposal, hired the band, and the results

were as anticipated. The subsequent headlines of the Brand

read: "Simmons University Band Plays Sensational Engage

ment in El Paso." The article continued:

The Cowhands stepped into international recogni tion Thursday when they played "The Eyes of Texas" and the Mexican national anthem on the Inter national Bridge between Juarez and El Paso, while Governor Dan Moody and Governor Almeida of the state of Chihuahua exchanged official greetings. 3 6

The Cowboys were such a success at this convention that the Cattle Raisers Association invited them to Amarillo to be the official band of the 1928 convention. They also attended the Fifth Annual Convention in Corpus Christi in 1931.37

35 Lam, "History," p. 47.

3 6 Brand, March 19, 1927.

37 Ibid., March 17, 1928, and March 14, 1931. 45

Highlights of the rodeo and state fair engagements

from 1928 to 1930 include its selection as the official

band for the Tom Johnson Famous World Rodeo held in San

Antonio in October, 1928.38 In October, 1929, the band

made a trip to the Texas State Fair in Dallas, where the

group played twenty-two concert engagements and a rodeo

and made two records for the Victor Recording Company.3 9

A ten-day rodeo was booked for May 9-19, 1930, in Houston

at the Southwest Roundup and Rodeo; and in September of the same year, the band traveled to Little Rock to play a

week-long rodeo job at the Arkansas State Fair. On the

return trip, half of the group stopped in Pittsburg, Texas,

to perform at the town's week-long fair, while the remainder

of the group went on to Dallas to entertain at a nine-day 4 0 rodeo. This grueling schedule during the school year explains why there were a few professors at Simmons who did not appreciate the band boys missing so many classes.

According to one former band member,

In general the faculty approved of the band and was glad the university received all the good publicity. We had to miss a lot of classes, and sometimes the professors would penalize students for missing class by giving bad grades even if they made good grades on the tests.

38 Ibid., October 6, 1928. 39 Ibid., October 12, 1929. 4 0 Ibid., September 27, 1930.

4 1 Anderson interview. 46

The same sentiment was reflected in a November, 1930, Brand

article: "There is a limit to all things, even the number

of classes that a bandsman can miss. The band will not make any more trips until after Christmas even though they

have had numerous offers." 4 2

In November, 1931, the Cowboy Band made one of the

longest and most extensive trips ever when it went to the

Great Western Livestock Show and Rodeo, held in Los Angeles.

A select group traveled by rail to the coast, leaving enough

bandsmen in Abilene to perform at the Texas Tech football

game. The strenuous schedule included two morning concerts,

an afternoon open-air rodeo, a short evening concert,

including a live broadcast from the coliseum, and numerous

parades. This busy schedule was balanced by the opportun

ity to visit Hollywood and Beverly Hills.4 3

Wiley organized a veteran Cowboy Band in the summer of

1932 to accept a three-month rodeo tour with the W. T.

Johnson Rodeo. They joined the tour in Fort Worth and

traveled to Chicago, New York (Madison Square Garden),

Boston, and Kansas City. (See Figure 4, page 47.) The

twenty-five graduates broadcast on NBC while Wiley stayed

at home and began training one of the largest freshmen enrollments he had ever experienced. 4 4

4 2 Brand, November 8, 1930.

43 Ibid., December 5, 1931.

44 Ibid., September 24, 1932. 47

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To Wiley, the rodeos, cattlemen's conventions, state fairs, and United Confederate Veterans Conventions were by far the least enjoyable engagements in which the band participated. In spite of the adulation and high level of public exposure, Wiley merely tolerated the rodeo engage ments. He realized that they were keeping the band in front of the public, and that the band members were gain ing invaluable performance experience on their instru ments. The Cowboy Band had become a business venture, and this was not in Wiley's original plans for band development.

Inaugurations, Patriotic Celebrations and Other Conventions

Dan Moody was inaugurated as governor of Texas in January, 1927. The Cowboy Band was the featured enter tainment, serving as the official band of the inauguration. They performed for approximately 150 legislators in a crowded gallery in the House of Representatives and had a reserved place on the speaker's platform entertaining the inaugural audience. The occasion provided additional opportunities for parades and a radio broadcast over KUT, the University of Texas radio station. 45 Less than two years later, the band made a formal picture with Governor Moody while attending the 1928 Cattle Raisers Convention in Amarillo. (See Figure 5, page 49.)

4 5 Ibid., January 15, 1927. 49

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In June, 1928, the band played for the Democratic

National Convention in Houston.46 That was merely a warm-up for what was to follow, for in February, 1929, the band received a formal invitation to attend President-elect

Herbert Hoover's inauguration and serve as the official band of the Texas delegation. The trip would cost about

$5,000, half of which would be paid by the delegation.

The bandsmen traveled to Dallas where they boarded the

Texas Hoover Special enroute to Washington. Along the way, they paraded and performed in Dallas, New Orleans, and Atlanta to large crowds of onlookers drawn in by the colorful western regalia.

In Washington, the Cowboy Band marched more than two miles in a drenching rain before it passed the reviewing stand in front of the White House. The band played through out the march, its favorite selections being "It Ain't

Gonna Rain No More" and "Dixie." According to the Brand,

As the group rounded the corner into Fifteenth Street, . . . the players did a cake walk to their own music. . . . The ovation continued until after the band has passed the President, who acknowledged the delegation as they struck up 'The Eyes o1 7 Texas,' with a wave of his high silk hat.

The Texas group had the honor of being the first delegation to be invited into the White House under the

4 6 Houston Chronicle, June 17, 1928.

4 7 Brand, March 9, 1929. 51

Hoover regime. They serenaded the President at the entrance to the White House and honored the First Lady by playing "Let Me Call You Sweetheart." Mrs. Hoover invited them into the building and showed them around the presidential mansion. 48

As a grand finale to their two-week eastern excursion, the Simmons group proceeded to New York where, by special invitation, they played a few novelty numbers in Ziegfeld's "Show Boat" on Broadway. Performing in possibly the most famous theatre in the world, under the glare of brilliant lights to an audience of two thousand New Yorkers, was indeed an exhilarating experience.49

In February, 1931, the Cowboy Band climaxed a two-day concert tour through East and South Texas by being a featured attraction at the nation's only International

Washington Day Celebration in Laredo, Texas. The two-day celebration of Washington's birthday featured the Cowboys in two NBC hour-long broadcasts. The program spotlighted "The Cowboy Band March," written exclusively for the band by famous trumpeter and bandmaster Herbert L. Clarke. Other numbers on the program included Sousa's "Stars and Stripes Forever" and K. L. King's "The Three Musketeers. "5 0

48Ibid.

49 Ibid., March 16, 1929. 50 Ibid., February 21, 1931. 52

The band made a second trip to the Laredo attraction

in February of 1932, and a listing of the program makes

it quite obvious that more difficult music was being

programmed. The following program appeared in the univer

sity newspaper: Sousa's march "U. S. Field Artillery,"

Offenbach's "Orpheus Overture," Wagner's "Introduction and

Bridal Chorus to Act III" from Lohengrin, Meacham's

"American Patrol," "Russian Fantasy," and Tchaikovsky's

"Finale" to the Fourth Symphony. 5 1 This program contains

more serious literature and is more technically challenging

to the band than the program of 1931.

In the fall of 1926, the Cowboy Band broke a precedent

at the Roswell, New Mexico, Cotton Carnival by being the

only band ever to be offered a contract to return the

following year. The Simmons group so favorably impressed

the officials that they presented them with a contract for

1927, an offer they subsequently accepted. On the trip west, they played to an overflow crowd and broke all house

records at the Rialto Theater in Brownfield, Texas. The thirty-member group (thirty men were left behind to play at the Texas Tech game) played three concerts daily at this, the largest exposition in New Mexico.5 2

51 Ibid., February 13, 1932.

52 Ibid., October 9, 1926, October 16, 1926, and October 1, 1927. 53

The Simmons group made a trip to Dallas in May, 1929, to play for the International Rotary Convention, an affair that included representation from forty-three countries.5 3

Just eight months later, a return trip was made, this time to entertain for the National Cleaners and Dyers Convention.

While there the Cowboy Band broadcast over WFAA, a prominent local radio station. The West Texas Utilities Companies sponsored the band in an appearance at the formal opening of the Southwestern Ice Manufacturers Annual Convention held in Mineral Wells, Texas, in January, 1931, and it served as the official band for the American Legion Conven tion in Stamford, Texas, in the fall of 1932.54

The seriousness of the inaugurations and patriotic celebrations gave Wiley an additional outlet for the per formance of more substantial literature. The music of

Wagner and Tchaikovsky on the 1932 Laredo program is merely a forecast of what was to come. Novelty numbers were still a part of the programs, but a balance was beginning to enter Wiley's programming.

Concert Tours

Prior to the spring of 1926, the Cowboy Band did not make any serious prolonged concert tours consisting of

5 3 Dallas Morning News, May 22, 1926.

5 4 Brand, January 24, 1930, January 24, 1931, and October 1, 1927. 54

multi-day trips to different cities and towns for the expressed purpose of performing concert music. The band made numerous promotional trips as early as 1923, but these trips were not considered concert tours.

The band made two short trips in March, 1925, one to Baird and one to Albany, to present programs. The program featured a variety of solos, acrobats, comic acts, and the saxophone quartet. Not only did the group use the newly arrived Reo Speed Wagon for this trip, but it apparently attempted to follow the advice of T. N. Carswell, who in his speech of January 10, 1925, had encouraged the band to add singers and showmen to its program and strive for more variety. A trip to Hamlin in April, 1925, featured the

Simmons group at the Hamlin Opera House.5 5

In early 1926, the Cowboy Band prepared for its first long concert tour of East Texas. A second Reo Speed Wagon was purchased, allowing as many as forty men to travel on the two buses, and a warm-up concert was scheduled in Haskell for February 19, 1926. This engage ment is significant because it appears to have been the band's first serious concert program. This is probably the program that Wiley used on the thousand-mile concert tour in late March. Highlights of the program included Sousa's marches "King Cotton" and "Liberty Bell," Keler Bela's

55Ibid., April 4, 1925, and April 18, 1925. 55

Overture to the "Hungarian Lustspiel," Ticke's "The

Conqueror March," King's "Saratoga" and "Cyrus the Great"

marches, and Lampe's "The Sunny South Overture. "5 6

This highly successful tour ended with a concert in

the City Auditorium of Houston, where the Cowboys played

to a crowd of 1,500 people. The same number of people

had seen the Simmons boys in the First Baptist Church

of Fort Worth during the first concert of this tour.

Other concerts were given at Arlington under the auspices

of the North Texas Agriculture College Band, Hillsboro,

and Dallas. The thirty-six-hour drive from Houston to

Abilene was grueling, but the Cowboys seemed to think it

was well worth it.57

In the six-town, week-long West Texas tour of February,

1927, the home folks had an opportunity to observe Cowboy

Band members from their town direct the band on one portion

of the program. Each town visited (Big Spring, Midland,

Lamesa, Tahoka, Floydada, and Snyder) had at least one

representative in the band.58 According to an article in

the Snyder weekly newspaper, the forty-six-member band's

performance included the following musical numbers:

Moskowski's "Moorish March," Schubert's Symphony in B

56 Ibid., February 27, 1926; Lam, "History," p. 26.

5 7 Lam, "History," p. 28.

5 8 Brand, February 19, 1927. 56

Minor, Eilenberg's "The Mill in the Forest, " and Beethoven' s

"Turkish March" from The Ruins of Athens.5 9

Spring tours in 1928 and 1929 took the Simmons Cowboys

to North West Texas (Graham, Olney, Wichita Falls, Memphis,

and Hamlin) and Central Texas (Fort Worth, Bowie, Decatur,

Denton, Waco, Lampassas, and Brady). Some new numbers

that were included on the program were "Light Calvary

Overture" by von Suppe and "Suite Atlantis" by Safraneck.

The band continued to perform a wide selection of novelty

numbers, solos, and quartets.6 0

A photograph of the band made around 1929 shows a

fairly normal distribution of instruments. The unusual

seating arrangement with the cornets sitting to the con

ductor's right, and the large number of saxophones in the

ensemble should be noted. Although the stage is small and

the conditions crowded, great care was taken to obtain a

formal picture of the forty-four member group. (See

Figure 6, page 57.)

The two thousand-mile, two-week tour in February,

1930, was the longest, most extensive concert tour the

Simmons Band ever made. A thirty-five-piece group, only half of the total membership, made the excursion to the

5 9 Scurry County Times (Snyder, Texas), February 26, 1927.

6 0 Brand, January 28, 1928, February 11, 1928, and January 12, 1929. 57

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central and valley cities of Texas. Another tour was taken

in April of the same year to West Texas and New Mexico.

Apparently, the same thirty-five-piece band made this tour,

which took it to Lubbock, Plainview, Hereford, Artesia,

Pecos, Midland, and Big Spring in Texas, and Clovis and

Roswell in New Mexico. Undoubtedly, Wiley's musicians

performed the identical program they had prepared for the

February tour, although there is no mention of a program

for this ten-day trip.6 1

The spring tour of 1931 took the Cowboy Band on a

seventeen-city journey through North Texas, concertizing

in cities such as Albany, Jacksboro, Bowie, Henrietta,

Graham, Wichita Falls, and Breckenridge. A two-part

program was used, the first part including works by Verdi,

Romberg, and Lake, and the Liszt "Les Preludes,,62 a work which Wiley recalled nearly fifty years later as one of

his favorites.63 The second part of the program was

simply identified as a "stage show. "6 4

Wiley believed the most effective method of recruiting students was to concertize, and for the first time, efforts were taken to advertise Simmons and recruit additional

61 Ibid., February 15, 1930, March 8, 1930, and April 26, 1930.

62 Ibid., May 2, 1931.

6 3 Wiley interview, January 10, 1978; Anderson interview.

64 Brand, May 2, 1931. 59 players during the concert tour of 1932. The sixteen-town, ten-day journey through West Texas had the band performing in places such as Cahoma, Big Spring, Midland, Wink, Barstow,

Pecos, Marathon, Sanderson, Fort Stockton, McCamey, San

Angelo, and Ballenger.65 Many of the same selections that were performed in February at the Washington's Birthday celebration in Laredo were again performed. They included

Sousa's "Field Artillery," Wagner's "Bridal Chorus" from

Lohengrin, and the "Finale" to Tchaikovsky's Fourth

Symphony.6 6

The year 1932 proved to be a highly productive one for the Cowboys. They initiated the first summer tour and then followed up with a tour in the fall, something that had not been attempted in previous years. The lengthy July excur sion was sponsored by "Colonel" W. T. Johnson, national rodeo promoter. There is no available explanation for

Johnson promoting a concert tour such as this, but it may be assumed that this is just one of many examples of the ingenuity of manager Gib Sandefer to obtain financial backing to promote the Cowboy organization and thrust it into the public eye. This tour was extravagant, taking the band east to Corpus Christi and south to McAllen.

Large crowds heard the band in Kerrville, Harlingen,

6 5 Ibid., April 2, 1931; Wiley interview, January 10, 1978.

6 6 Brand, February 13, 1932. 60

Alice, Victoria, and Beeville.6 7 In Corpus Christi it was

sponsored by the local newspaper, the Caller Times, and

was the guest of the city's Hosptiality Week. The band's

past record and the performance in the Palace Theater

there obviously made a favorable impression on the local

people. The Caller Times commented,

Two large crowds yesterday gave the Cowboy Band of Simmons University enthusiastic reception at its two concerts presented at the Palace Theater. . . . Each number was applauded heartedly and the solo parts and vocal numbers also were well received. . . . Presenting a varied program of classical, popular, and band numbers, the band showed equal skill in each under the able direc tion of Professor D. 0. Wiley. . . . Wiley is given much credit for the present standing of the band. It is known as one of the most widfy known musical organizations in the Southwest.

The fall tour of 1932, the third excursion of the

year, took the band to Wichita Falls, Throckmorton, Archer

City, Seymour, and Olney. The organization, comprised of nineteen veterans and sixteen freshmen, was joined by the graduate band, which had just returned from the trip to the Northeast to play at the rodeo in Madison Square

Garden. 69

The band made three extensive concert tours in 1933.

The nine-town journey in January proceeded through

6 7 Ibid., July 16, 1932, and July 23, 1933.

6 8 The Corpus Christi, Texas, Caller Times, July 21, 1932.

6 9 New York Times, October 18, 1932; Brand, November 19, 1932. 61

Breckenridge, Weatherford, Hillsboro, Teague, Waco, San

Marcos, Del Rio, Sonora, and Ozona. The October trip took five days and traveled through the Central Texas towns of

Cisco, Eastland, Ranger, Mineral Wells, Fort Worth, Dallas, and Baird. An East Texas tour that extended into western

Louisiana began just before Christmas. A Christmas program was presented in Shreveport, and the cowboys entertained at Marshall Junior College in Marshall, Texas, at the Gem

Theatre in Rustin, Louisiana, and in Monroe, Louisiana.7 0

The winter and spring of 1934 were extremely busy times for the Simmons Band, but it was successful in completing two concert tours. The early April trip took the bandsmen to West and South Texas, where they performed fourteen concerts during the six-day journey. Another tour in late April took the band to Jacksboro, Olney, Archer

City, Wichita Falls, Burkburnett, and Lubbock. This final presentation in Lubbock is significant in that it was jointly sponsored by H. A. Anderson, director of the

Lubbock High School Band, and the Texas Tech University

Band. The concert served as an introduction for Wiley, who was leaving Simmons University to accept the position of Director of Bands at Texas Tech the following September.

This last tour featured Johnny Regan, an English rope twirling artist, who joined the band on its European tour

7 0 Brand, January 8, 1932, October 21, 1933, and December 9, 1933. 62 of 1930, and Earl Woolridge, clarinet soloist and a new faculty member who had come to Simmons from the United

States Army Band.7 1

In just nine years, the Simmons Cowboy Band had com pleted some fifteen extensive concert tours of Texas, New

Mexico, and Louisiana. It traveled about 400 miles west to Roswell, New Mexico, 600 miles east to Monroe, Louisiana, and 500 miles south to McAllen, Texas. Concert tours in the 1920's must be put into proper perspective to realize the accomplishments of Wiley and the Simmons Band. Travel ing in two parlor buses and a few cars, over mostly unpaved roads during the years when buses were probably lucky to average thirty miles per hour, indicates how wearisome these trips must have been. Conrad Lam cites one such return trip taken in the spring of 1926 from Houston:

Sunday morning the Cowboys started for home. They ran into rain and mud and were forced to drive all night Sunday in order to reach Abilene Monday evening. The big buses got stuck in the mud, but the men unloaded and pushed them out. It was a thirt -six hour drive from Houston to Abilene.

Lam further recalls that sleeping accommodations were not always first class. During the San Angelo trip of 1923,

". . . the band boys were sleeping in their tents on the bank of the Concho River. A heavy rain caused the river

71 Ibid., April 7, 1934, and April 28, 1934.

7 2 Lam, "History," p. 28. 63 to reach flood stage rapidly. There was a hasty evacuation of the tents and considerable concern lest the music get

7 3 wet." H. A. Anderson recalled one occasion when some men had to sleep in the local jail because there was no other place to stay. "We would often drive all night to save hotel bills," Anderson related.74 The Cowboy Band's claim to the title, "the most widely traveled college band in the

7 5 world', would be worthy of strong consideration even if one only considered its extensive concert tour record.

In view of the tour schedule, in conjunction with all the other activities in which the band participated, it is difficult to ascertain when Cowboy Band members attended class. Even with the exhausting schedule, Wiley was able to motivate the band members to practice. The older students worked with the younger ones to help them polish the music. Pressure was present in rehearsals, but it was never verbalized; it was just understood by all bandsmen.

The concert tours were Wiley's first love because they provided an avenue to sell music, and Wiley was interested in selling the classics. His love for music of the masters is obvious in his selection of works by Schubert, Beethoven,

Liszt, Verdi, Tchaikovsky, Wagner, and von Suppe. On the

73 Ibid., p. 9.

7 4 Anderson interview.

7 5 Houston Chronicle, January 12, 1930. 64

other hand, Wiley was well-aware of the need to entertain and hold the audience's attention. He continued to program novelty songs and acts, vocal numbers, popular songs, and marches, but he maintained a balance within his program based on the nature of his audience.

The European Tour of 1930

As early as September, 1929, the Simmons University newspaper mentioned that a tour of Europe was in the forma tive planning stages. The extended tour of Europe was confirmed in February, 1930, and a thirty-five piece group .76 was selected to make the trip.

About a thousand persons attended a farewell concert in Abilene presented by the Cowboy Band prior to its departure for Dallas, where the tour party was to assemble.

Leaving Dallas on June 8 by rail, the bandsmen were to arrive in New York on June 10 and sail on the S.S. Leviathan on June 11, with London as the destination. Upon arrival

in New York, the band was asked to play a short concert

honoring Rear Admiral Richard E. Byrd, who had just returned

from the South Pole. 78 The group was also scheduled to

play at the Hippodrome Theatre in New York City, but there

7 6 Brand, September 21, 1929, and February 1, 1930.

77 Ibid., May 31, 1930.

7 8 Dorothy McClure, wife of Marion McClure (Cowboy Band director who followed Wiley), tape-recorded interview, Abilene, Texas, July 19, 1981. 65 is no reliable documentation to indicate that they actually played.

The Cowboy Band gave its first concert of what was to be a one-day stand at the Palladium in London on June 23,

1930.79 The management was impressed with the band but

showed a little concern over the fact that their program was too concert band oriented. Wiley later remembered:

They were interested in a show, not a concert band. . . . I was sitting in the dressing room when in walked a little Englishman who said he was a cowboy. He had a bag of ropes and began twirling them for me. I was astonished at his abilities and decided right then to plan our show around him without even notifying the man agement. When they saw the next show they were very shocked but pleased.8 0

The little English cowboy was Johnny Regan, who joined the group for the tour and came back to the United States with the Cowboy Band to be featured on some later concert tours

in Texas.8 1 The rope-spinning tricks added just the flair to the band's program that persuaded the Palladium manage ment to book the group for a two-week engagement.8 2

From London, the band traveled a hundred miles north east to the country's second largest city, Birmingham, where it presented twelve performances in one of England's

79 Small schedule card, backed by a color photo of the London Palladium, Wiley Papers. 80 interview, June 10, 1978.

81Wileyinterview, June 20, 1979.

8 2 McClure interview. 66 largest theaters, the Hippodrome. One Birmingham newspaper praised the Cowboy Band:

Though they are students from the Simmons University in Texas, they possess the secret of showmanship. As for their work itself it is excellent. The precision and harmonic quality of the band--all brass and reed instru ments--is extraordinarily good, and no less entertaining are the rope-spinning and stock whip tricks with which they add variety to their performance.83

While in Birmingham the band posed for an informal photo graph on the steps of the University of Birmingham. (See

Figure 7, page 67.)

After a week of performing in Newcastle-Upon-Tyne, a city located in northernmost England near the east coast, the cowboys traveled south again to Newcastle, approxi mately fifty miles north of Birmingham, where they rendered twelve performances and attended a tea given in their honor by the Lord Mayor of Newcastle. From here they traveled across the North Sea to Holland, giving a concert at the Dierentium Theater in The Hague. Moving to Rotterdam, Wiley's Cowboy Band concertized and marched in a parade which was viewed by approximately 150,000 people. The activities in Rotterdam were the final formal presentation made by the band.

Before leaving the European continent, the band took a side trip to Paris for a few days, setting sail for home

8 3 Undated newspaper clipping featuring reviews of Birmingham, England music halls. l

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This European journey was the first tour of its kind ever planned by a college band from the United States.

Wiley gathered a number of manuscripts of early cowboy music, combining it with music of the Southwest cattle range and a few standard band transcriptions to complete the program for the tour.85 He felt it was necessary to include some music of Victor Herbert because an army band conductor had once told him that the Europeans had a love for this composer.86 There is no record of what was per formed in Europe, but one may assume that the concerts included the same musical numbers that were presented at the "On to Europe" Concert at Simmons University before leaving. That concert in Abilene included Rossini's

Overture to William Tell; Losey's "Corinthian Polka," which featured William Covington playing a bass trombone solo; Rombert's "Waltz" and "Serenade" from The Student

Prince; and Gomez's "Il Guarany." Also featured were the rope twirling acts of John Regan, Tom Hickman, and "Hoss

8 4 Dallas Morning News, August 23, 1930; Abilene Morning Reporter-News, August 25, 1930.

8 5 Houston Chronicle, January 12, 1930.

8 6 Wiley interview, January 10, 1978. 69

Fly" Kelly. Wiley ended the program with the "Star

Spangled Banner. "87

The European tour brought a host of publicity and national, even international, acclaim to the Cowboy Band and Wiley. The name Simmons University seldom appeared

in print without mentioning that it was the home of the

"famous Cowboy Band." One such example appeared in the magazine, West Texas Today, when the article referred to

Simmons as the home of the Cowboy Band before it mentioned

the president's name or other important facts.88 The Cowboy

Band was billed under several titles, including: "best

known university band in the world," "world celebrated, "

"most traveled college band," and "the famous Cowboy

Band." The manager, Gib Sandefer, can be credited with

the ingenious publicity approach of the band.

From the membership of the band that made the European

trip came six future band directors: Elmo Rowe, Clyde

Rowe, Weldon Covington, Marion McClure, Cecil Cammack, and

Troy Dale. Marion McClure followed Wiley as director of

the Cowboy Band, and held that position for nearly forty

years. In 1971, McClure was recognized by the Texas Band

masters Association as Bandmaster of the Year. Weldon

8 7 Cowboy Band Concert Program, May 27, 1930.

8 8 "Colleges of Abilene Give City First Rank as Educa tional Center," West Texas Today, Chamber of Commerce, Stamford, Texas (May, 1930), p. 25. 70

Covington became very involved in Texas public school music,

serving as band chairman in 1940-1941, orchestra chairman

in 1946-1947, and president of the TMEA in 1947-1948.

Additionally, Covington actively served on numerous

committees and participated at all levels within the TMEA

organization for many years.89

The acclaim Wiley received from the European tour

remained with him for the rest of his life, and he was con

stantly mentioned as the man who took the Cowboy Band to

Europe. The fame and reputation he gained from this trip

helped make his name a byword in the music circles of West

Texas and gave credence to the man who knew how to develop

good bands.

West Texas Band Contests

Band contests, as they have existed for the past three

or four decades, were non-existent when D. 0. Wiley assumed

control of the Simmons instrumentalists in 1922. Since

there were only a few school bands in West Texas at that

time, contests at best lumped municipal bands and school

bands, or a combination of each, together in events

sponsored by Chambers of Commerce.90 Prizes were often

891981 Clinic Convention Program, San Antonio, Texas, Texas Music Educators Association, Bill Cormack, executive secretary, Headquarters, Austin, Texas.

9 0 David Walter Sloan, "History of Texas Public School Music," unpublished doctoral dissertation, The University of Texas, Austin, Texas, 1970, pp. 89-94. 71

awarded for extramusical accomplishments such as being the youngest band, the band with the best instrumentation, the band coming the greatest distance, or the one having the prettiest uniforms.9 A growing number of public school

band directors were unhappy with the participation of municipal bands and professional musicians in public

school-oriented contests. Even though the bandmasters were

organizing and unifying their contest efforts, the West

Texas Chamber of Commerce continued to support band contests

9 2 quite actively at each of its conventions.

The Chamber of Commerce convention of 1929 was held in

El Paso, and because of its extreme westward location, many

bands could not finance a trip to the city. Wiley decided,

therefore, to sponsor, at Simmons, the first high school

band contest strictly limited to public school bands.9 3

Bands were divided into classes A and B according to their

Interscholastic League rating. Participating bands

included Abilene, Breckenridge, Cisco, and Lubbock in

Class A, and Albany, Ballinger, and Monahans in Class B.

Lamesa entered the only orchestra. Cisco's thirty-piece

9 1 Charles S. Eskridge, "A History of the T.M.E.A. as recorded in State Secretaries' Minutes of Annual Meetings," unpublished master's thesis, Texas Tech University, Lubbock, Texas, 1943, p. 8.

92 Sloan, "History," pp. 93-94.

93 Ibid., p. 95. 72 group, directed by C. W. Collum was declared winner of

Class A, and Ballinger, directed by H. H. Carsey, received the Class B award.94 The bands were judged on deportment, intonation, precision, interpretation, tonal and harmonic balance, and tonal quality on a scale of 0-100 points.

However, no band received a rating higher than forty points.

The judges, who could not speak English, were members of the Royal Belgian Band who were at Simmons during a tour of the United States. 9 5

No documentation beyond the mention of a Western

Division contest in 1930 was to be found. It can also be assumed, however, that a 1930 contest occurred since the

1932 event was called the "Fourth Annual." The Abilene and Simmons newspaper gave so much coverage to the European tour at that time that it is highly likely that the contest publicity was given a low priority.9 6

The West Texas Band Contest hosted some 400 bands men in the third annual event in 1931. R. A. Dhossche, director of the Magnolia Petroleum Band of Beaumont, judged the groups in each of four classes (A, B, C, and D).

Bands were placed in class A, B, and C based on the school

94 Brand, April 20, 1929.

9 5 Wiley to Nelson Patrick, January 10, 1968, Wiley Papers.

9 6 Jack H. Mahan, "Texas Music Educators Association, 1920-1949," unpublished master's thesis, Southern Methodist University, Dallas, Texas, 1949, p. 26. 73 population, with class A denoting the largest schools.

Bands organized less than one year were placed in class

D. Towns represented were: Class A--Ranger, Cisco,

Abilene, and Lubbock; Class B--Albany, Snyder, Ballenger,

Colorado, and Midland; Class C--Wink and Haskell; and

Class D--Wichita Falls and Breckenridge. Interestingly, four of the participating band directors were ex-members of the Cowboy Band: R. T. Bynum (Abilene), H. A. Anderson

(Lubbock), Millard Shaw (Snyder), and J. C. Burkett

(Albany).97

The Fourth, Fifth, and Sixth Annual West Texas Band

Contests were very successful. About fifteen bands attended each year. At the competition in 1932, bands were required to play a mandated number, and a march, and another selection chosen by the band director. Additionally, each group had to sight read two musical compositions. This was the second year that the winners of the contest were eligible to compete at the national level. In 1931, Wink

Abilene, Colorado, and Cisco had traveled to Tulsa to compete in the National School Band Contest.98 Winners at the West Texas Contest in 1932 were Class A, Abilene,

Class B, Colorado, Class C, Wink, and Class D, Levelland.

97 Brand, April 18, 1931. 9 8 C. E. Tremaine, secretary of National School Band and Orchestra Contests, to Wiley, June 19, 1931, Wiley Papers. 74

Carl Venth, Wiley's ex-violin teacher from Fort Worth, judged the concert, and Colonel Earl Irons judged sight reading. In 1933 Irons returned to judge and was joined by Captain Wilfred Wilson of Fort Worth. Wiley hosted his last contest at Simmons in April of 1934, and fourteen bands participated. New bands in attendance included beginning bands from Odessa, Snyder, Lorraine, and Big

Spring. Colonel Irons returned to judge for his third year and was joined by Russell Wiley (brother of D. 0.

Wiley), band director at Phillips University in Enid,

Oklahoma, and Wilson Betts, president of the Southwestern

Band and Orchestra Conservatory in Dallas. Winners in the

Sixth Annual Contest were Abilene (Class A), Wink (Class

B), Monahans (Class C), and Big Spring (Class D). 99

The impetus provided through the initiating of the

West Texas Band Contests made way for the purification of

a system that, at its inception, did not always uphold

the ethical standards necessary for an educational atmos

phere. The TBTA in 1924 had decided on a definite distinc

tion between the "official" band contests and the Chamber

of Commerce-sponsored contests. In earlier years it was

not uncommon for school bands to have some professional

players to sit in with the band, or as reported on one

occasion, stand behind the curtain and give assitance to

99 Brand, May 7, 1932, April 29, 1933, April 21, 1934, and May 5, 1934. 75 a weak section.100 Abilene did not give up its Chamber of

Commerce-sponsored contests until 1930. It is reported that this contest attracted more than eighty bands, includ ing some high school groups. The sole judge was Herbert L.

Clarke.10 Wiley obviously felt that the Chamber of

Commerce provided a channel through which directors and administrators could see the potential for school band competition. He once observed: "School administrators came with their bands, and it was the administrators, more than the directors, who could see the far reaching effects of school band competition, especially from the educational side of it.102

Wiley is credited with initiating, organizing, and implementing the first West Texas Band Contest exclusively for school bands in 1929. He believed that events spon sored in the name of music education should have high professional and ethical standards, and he ran his contests in a manner that left no room for criticism. The leader ship role Wiley assumed in overseeing and providing the much needed impetus during the early developmental stages of the contests is a real tribute to him and helps

10 0 Sloan, "History," pp. 95-96. 0D.0. Wiley, "Music Education Pioneer Recalls History of Texas Band Contest?" Interscholastic Leaguer, LV (September, 1970). 10 2 Ibid. 76 substantiate his position in the pioneering efforts of

Texas band development.

Simmons Conservatory and the Summer Band School for Boys

Simmons College became a university in the summer of

1925, and two years later a Conservatory of Music was established at the institution. A Department of Band Music under the direction of Wiley was organized, and by

September, 1928, a degree plan for a bachelor of music with a major in band was established.1 0 3 There were five areas of emphasis: (1) general band rehearsal, (2) group drill for reed instruments, (3) group drill for brass instruments, (4) band conducting, and (5) theory of music.

General band rehearsal, a four-hour per week course, was required of all bandsmen, and it entailed a twelve-course plan of study which outlined in detail the various standard marches, grand marches, overtures, and standard classic symphonic transcriptions that the student had to learn. The group drill for reed and brass instruments outlined the various method books and technique studies required at all levels. Reed studies included the Reinecke and Lazarus clarinet school methods and the Eby saxophone studies. Brass methods included the Goldman and Arban trumpet studies, and the Blodgett and Arban trombone

10 3 Brand, July 23, 1927, and September 29, 1928. 77 methods. Band conducting involved baton technique, study of marches, overtures, classics, and the actual methods of beating time, advanced technique, and applied conducting.

A healthy theory requirement was also outlined. Each member of the Cowboy Band was required to practice at least one hour per day, with the stipulation that the director could increase practice time as he deemed necessary.104

Candidates for the bachelor's degree were required to have a working knowledge of every instrument in the band. By today's standards this was a meager attempt to educate band directors, but when placed in proper perspective, it was an honest and innovative first step to prepare young men for a public school band job.

Wiley also saw an increasing need for the continuous educational development of band directors already in the profession. The Simmons Summer Band School for Boys was first launched in June of 1932.105 By this time, the music department had been granted membership in the National

Association of Schools of Music and Allied Arts. The six week session ran from June 6 to July 16, and the purpose was to meet the demand for specialized training on the various band instruments and to insure school credit for work that was completed. A 1933 advertising pamphlet

1 0 4 Updated brochure, Conservatory of Music, Simmons University, Department of Band Music, Wiley Papers.

10 5 Brand, May 7, 1932. 78 designated Wiley as general director and listed a faculty of six instructors, including John Victor, Raymond T.

Bynum, Hugh A. Anderson, Cecil Cammack, Earl Ray, and

Marion McClure. Total cost for the board, room, and tuition was only $72 for the six-week summer session.106

The final summer band concert program for the 1933 session featured Sousa's "King Cotton" and "Washington Post,"

Luigini's "Ballet Egyptian," Herbert's "Victor Herbert

Favorites," and King's "The Goldman Band March.,"1 0 7

The Third Summer Band School in 1934, was the first open to girls wishing to study band music. Added to the faculty were N. J. Whitehurst of Sam Houston State Teachers

College, who taught a methods course, and Wilson Betts, a

French bandmaster who served for four years as president of the Southwestern Band and Orchestra Conservatory in

Dallas. It is doubtful that Wiley attended this session since there is evidence that he was already functioning in his new position at Texas Technological College in Lubbock.

Wiley's vision for providing adequate training for young band directors and prospective band directors was unique in that it occurred at a time when there were no models or precedents on which to build. He understood what music education, at that time, was all about, and

1 0 6 Brochure dated June 8, 1933, Simmons University, Wiley Papers.

10 7 Brand, July 8, 1933. 79

through sheer instinct, he knew where it should go. He

placed emphasis on knowledge of the instruments, individual

practice requirements, conducting, theory, and knowledge of

the great literature. Not so different are these require

ments from those of instrumental music education departments

today. Wiley's guidance, inspiration, and superintendence

in the formulation and implementation of the Summer Band

School at Simmons is indeed one of his greatest accomplish

ments.

Band Sponsored Celebrities on Campus

After the turn of the century, a movement to make

available to small towns and villages the culture of popu

lation centers was initiated by Keith Vawter of Cedar

Rapids, Iowa. The chautauqua circuit offered a package

of speakers, entertainment, management teams, and equipment

to communities along a planned route with each community

on the itinerary responsible for guaranteeing the sale of

1 a set quota of tickets. 0 8 The Cowboy Band sponsored a

series of celebrities at Simmons as part of the chautauqua

circuit. Between 1926 and 1934, Wiley oversaw, and manager Gilbert Sandefer successfully scheduled, a series

of top-quality speakers, concerts, and recitals.

1 0 8 Irene Bridges and Raymond F. DaBoll, Recollections of the Lyceum and Chautauqua Circuits (Freeport, Maine, 1969), p. 65. 80

The first speaker in the series of guest celebrities to appear on the Simmons campus was the Oklahoma-born

American humorist, Will Rogers. He visited the campus, and while there, made a $100 donation to the Cowboy Band to be applied toward the purchase of new music.109 In 1928, a very large crowd of spectators gathered to hear the John

Philip Sousa Band play, and just two weeks later, 2,000 people purchased tickets to hear the Paul Whiteman Band in concert. 110

Even through the depression years, the Cowboy Band continued to bring remarkable groups and artists to the campus. In the spring of 1929, the band of the Royal

Belgium Guard, on its first goodwill tour of America, gave two concerts on the campus, and later that same year the

United States Army Band gave a performance.1 1 1 In the early 1930's, Abilene audiences heard Madame Schumann

Heink, and Galli-Curci sing. There were unforgettable performances by Paderewski, Rachmaninoff, and Fritz .112 Kreisler. By engaging artists such as these, Wiley and the Cowboy Band were providing a valuable educational and

1 0 9 Brand, November 13, 1926.

11 0 Ibid., September 29, 1928, and October 27, 1928.

ilIbid., April 20, 1929, and October 31, 1929. 1 1 2 Richardson, Famous Are Thy Halls, p. 129. 81 cultural experience for the Simmons students and the

Abilene community.

Summer Study in Chicago and Teaching Whiting, Indiana

The strain of the busy spring semester of 1925 took its toll on Wiley, and through the encouragment of Grady

Harlan, voice teacher and choir director at Simmons, he decided to travel with Harlan to Chicago for summer study at the American Conservatory. Wiley later reminisced,

"My chief reason for going was to study private violin with

Jacques Gordon, concert-master of the Chicago Symphony."113

While there Wiley also performed with the American Conserva tory Orchestra. 114

By the summer of 1927, Wiley had experienced some degree of dissatisfaction with his job at Simmons. Manager

Gib Sandefer was booking the Cowboy Band for more and more rodeos and state fair conventions, a part of the job Wiley disliked the most, and apparently Simmons was also experi encing some financial difficulties because Wiley was not receiving regular salary checks. Wiley later remembered,

"The band under Sandefer's management would be playing rodeo jobs and making good money, but there was no money for a band director's salary. ,115

113Wileyinterview, June 22, 1979.

11 4 Ibid., June 20, 1979. 115Ibid. 82

On his trip to Chicago in the summer of 1925, Wiley had become familiar with the Whiting Public Schools in

Whiting, Indiana, a suburb of Chicago. Whiting paid a very good salary to its teachers, and Wiley had considered accepting a job as high school band and orchestra director there. In 1927, when dissatisfaction reached its peak,

Wiley asked for a one-year leave of absence to study at the American Conservatory. He took his family north in the fall and accepted an opening at the Whiting Public

Schools as band and orchestra director. On Saturdays, he would travel to Chicago for private violin study with

Jacques Gordon. 116

The band and orchestra job at Whiting was not as good as Wiley had anticipated, and in general the prospects for improvement were not at all promising. His plans were to look for a new job the following year and remain in the

North. Two factors influenced Wiley to return to Simmons.

His oldest son, Norman, had a health problem that was irritated by the cold weather, and Wiley had been contacted by Gib Sandefer and asked to return to the Cowboy Band.

Within a three-day period, Sandefer sent Wiley three tele grams asking him to return to help them with the band pro gram. Sandefer offered Wiley $250 a month salary and promised him that public relation trips would not be

1 6 Ibid. 83

allowed to interfere with.Wiley's schedule of concert tours. He told Wiley that he desperately needed him by January 1, 1928.117 Wiley later observed that Frank Rainwater, a fine cornet player, was assisting Sandefer with the band and they were having some difficulty administering the band program. 11 The university sent train fare to Wiley for him and his family to return, and Wiley resumed his duties with the band in late December, 1927. When he returned he received his salary on a regular basis until the depression of 1929. The Brand said his return to Simmons meant "more fame and a greater success to that

[Cowboy Band] organization." 1 1 9

Wiley valued greatly his private study with concert master Jacques Gordon at the American Conservatory, for his opportunity to perform with the American Conservatory Orchestra and attend concerts by the Chicago Symphony were invaluable educational experiences. Wiley's first love was always the violin, and he considered it "his instrument." 1 2 0 He felt deeply that the best training

Western Union telegrams from Gib Sandefer, Abilene, Texas to Wiley, Whiting, Indiana, December 14, 1927 (8:16 a.m.), December 14, 1927 (11:35 a.m.), December 16, 1927, (2:08 p.m.), Wiley Papers.

1 1 8 Wiley interview, June 20, 1979. 119 Brand, December 17, 1927, January 14, 1928; Wiley interview, June 20, 1979.

1 2 0 Wiley interview, June 22, 1979. 84 one could receive was to improve his individual musician ship and have a thorough knowledge of the great classics.

Through his study with Gordon and with the opportunity provided to perform in the orchestra and attend many con certs, he was confident he was receiving the best training possible. Comments by his students many years later concerning his profound musical sensitivity and knowledge of the classics would prove his philosophy correct.1 2 1

The job dissatisfaction experienced by Wiley when he left Simmons to accept the job in Whiting was diminished upon his return to Simmons in 1928. During the depression years, however, he would sometimes go for several months without any salary. This concerned him, but a larger point of contention was the fact that there were times when Gib Sandefer would organize about thirty of the best players from the Cowboy Band to play a rodeo, leaving

Wiley to struggle with what instrumentation happened to be left. Since Wiley's inclination was always toward the more serious music, and it was becoming continually more difficult to keep the band together, he could see that the Simmons position was not going to allow him the freedom to pursue wholeheartedly the serious musical goals he had

12 1 Ibid. 85 set for himself. He was ready for a job change if the right opportunity presented itself.1 2 2

In the spring of 1934,Dr. Bradford Knapp, President of Texas Technological College in Lubbock, called Wiley and asked him to come for a job interview. Roger Knapp, the president's son, was a trombone player in the Tech

Band, and he and some students of the Lubbock High School

Band, directed by former Cowboy Band member H. A. Anderson, encouraged Wiley to accept the position. The Tech Band was quite weak, and the Lubbock High School Band students were not interested in participating. "My band at Simmons was better, but I had to look at the potential," Wiley said.1 2 3

According to a contract issued by the office of the president on July 9, 1934, Wiley was hired as assistant professor and band director at Texas Technological College at a salary of $1,800 payable in nine monthly installments.

Wiley's long and successful career at Texas Tech began on

September 15, 1934.124

Summary

Wiley's "accidental career" in band which began at

Simmons in the fall of 1922 had developed to a level far

1 2 2 Wiley interview, January 20, 1978, and June 20, 1979. 123 Ibid.

1 2 4 Teachers Contract, Texas Technological College, July 9, 1934, Wiley Papers. 86

beyond his wildest imagination. In thirteen years, the Cowboy Band had grown from a handful of unorganized

instrumentalists to an incorporated association that traveled across the United States and to Europe. The journeys of the band took it from Los Angeles to Washington, D. C., while entertaining at rodeos, cattlemen's conven tions, patriotic celebrations, United Confederate Conven tions, cotton carnivals, and rotary conventions; and participating in the inaugurations of Texas Governor Dan Moody and President Herbert Hoover. National booking agencies solicited the Cowboy Band for summer engagements,

vaudeville circuit shows, and tours of the Northeast. The European tour of 1930 brought the band into the internation al spotlight when it spent ten weeks in England and Holland entertaining in some of their most prestigious theaters. Wiley's pioneer efforts in public school instrumental music education began while at Simmons through his organi zation in 1929 of the first West Texas Band Contest for school bands. His implementation of the Summer Band School for Boys in 1932, and the extensive concert tours made by the Cowboy Band between 1926 and 1934, stand as landmarks in the development of Texas school bands. Wiley's dislike for rodeos, and manager Gib Sandefer's enthusiasm over the promotional and business endeavors of the Cowboy Band developed into a struggle. Wiley had become disenchanted with the realization that the prospects 87 of developing the Cowboy Band into a purely musical organi zation were becoming less optimistic each day.

Wiley's numerous trips throughout Texas and the South west gave him an abundance of public exposure; his concert tours, band contests, and the Summer Band Schools had com bined to create a respect and reputation for Wiley as a man who knew how to develop fine band programs. Wiley's career was at the threshold, and he had not the slightest thought of the timely developments for which he was destined. CHAPTER IV

BAND DEVELOPMENT AT TEXAS

TECHNOLOGICAL COLLEGE

The long tenure of Wiley at Texas Technological College (hereafter referred to as Tech) will be divided into four periods: (1) The Growing Years: 1934-1940; (2) The War Years: 1941-1945; (3) The Prolific Years, 1946-1953; and (4) The Final Years, 1954-1959. This chapter is restricted to a discussion specifically germane to the development of the marching and concert bands at Tech. The emphases will include marching band trips, bowl performances, half-time presentations, concert band tours, spring concerts, programming, instrumentation, the devel opment of Kappa Kappa Psi and Tau Beta Sigma, and faculty and departmental growth as it related to the band.

The Growing Years: 1934-1940 Accepting the position at Tech meant that Wiley succeeded the only band director the college had ever employed. Harry LeMaire, a seventy-one-year-old retired military band director had been on the Tech faculty since the college was founded in 1925.1

La Ventana, Annual of Texas Technological College, Lubbock, Texas, 1933, p. 76.

88 89

The school annual of 1933 set the number of personnel of LeMaire's concert band at fifty, and it referred to a marching band of forty musicians. Activities for the year included trips to Amarillo and Denver to participate in football games with Texas A & M and the Colorado School of Mines. Concert band instrumentation did not lend itself to a well-balanced group: seven flutes, fifteen clarinets, six saxophones, eleven cornets, ten trombones, and five drummers. 2 The band of 1934 was a larger group, but instru mentation problems were still prevalent. Obviously, little effort was made to achieve a balanced instrumentation with an organization that included twenty-three cornets, thirty clarinets, one flute, three baritone saxophones, eight drummers, and a few alto horns, saxophones, trombones, and basses.3

The Tech Matador Band presented a farewell concert to LeMaire on May 17, 1934. Judging from the musical selec tions appearing on the program, the band had not been exposed to serious musical literature. Program selections included Brockenshire's "Captain Anderson March," Grant's "Blue Bird Waltzes," Onivas' "Indianola Novelty," and

Missud's "Our Bugler."4

2 Ibid.

3Ibid., 1934, p. 91.

4Program of Tech Matador Band Farewell Concert, May 17, 1934, Wiley Papers. 90

Tech President Buford Knapp characterized Wiley's appointment as "a new deal for development of the band."5 He and Wiley had already thoroughly discussed plans for band revitalization, including plans for an annual summer band school to commence in June, 1934.6

During fall registration of 1934, in association with Harry Godeke, head of the Department of Mechanical

Engineering and a member of the athletic council, Wiley was successful in securing physical education credit for students participating in the marching band. Physical education was a required course for graduation. When students were allowed to substitute band for physical education there was a substantial increase in the number of students from twenty to eighty-nine by the close of registration. 7

Wiley was dissatisfied with the band uniforms that had been secured during the 1933-1934 school year under director LeMaire.8 He soon purchased new ones for the Matador Band consisting of black corduroy jackets with scarlet sleeves and trimmings, black corduroy trousers

5Lubbock Morning-Avalanche, April 12, 1934. 6 Ibid.

7 Paul Frank Smith, "The History cal College Band of Texas Technologi (1925-1954)," unpublished master's Texas Tech College, thesis, Lubbock, Texas, 1955, p. 29. 8 Lubbock Avalanche-Journal, October 18, 1964; La Ventana, 1934. 91

with scarlet stripes, black ties, black shoes, and white

shirts. The uniforms, which were in keeping with the

college colors, were purchased by the band students.9

The first band trip made under Wiley's direction was

by special train to Los Angeles, California, in October,

1934, when the Matadors opposed Loyola University in

Gilmore Stadium. By this time, the band had grown to

one hundred members, but only a select group of forty

musicians traveled to Los Angeles for the game.10 In 1935

and 1936, sixty-five made the trip to Los Angeles which,

in addition to the football game, included two parades,

concerts at Franklin and Hollywood High Schools, radio

broadcasts, and two appearances each year at the California

Pacific International Exposition. 11

During the middle and late 1930's, it was not uncommon

for the band to perform at all home football games and make

two out -of -town trips. In addition to the three trips to

Los Angeles, the Matador Band traveled to Abilene for the

Hardin-Simmons game in 1935, to Austin for the University

of Texas game in 1937, and to New Orleans for a contest

9The Toreador, October 5, 1934, Student newspaper, Texas Tech University, Lubbock, Texas, cited hereinafter as the Toreador.

1 0 Toreador, October 11, 1934, and October 25, 1934.

1 1 Newspaper clippings from D. 0. Wiley's scrapbook, Wiley Papers. 92 with Loyola in 1939.12 On New Year's Day in 1938, the band performed in the Sun Bowl at El Paso for the game between

Tech and West Virginia University. It made a Cotton Bowl appearance in January of 1939 for the Tech-Saint Mary's

University game.13 In the fall of 1940, the Matador Band traveled to Albuquerque for the game with the University of New Mexico.1 4

During the years before Wiley went to Tech, separate bands existed for boys and for girls. When he became director of bands in 1934, the band for girls was discon tinued. Since the administration did not permit girls to participate in the all-male organization, there was no place in the band program for girls.15 Wiley evidently encountered some difficulty with the dean of women at

Tech in allowing girls to join the band. However, in the spring of 1937, the band boys called a business meeting and voted to accept three girls in the concert band.1 6

Formal pictures of the concert band reveal that two girls were in the band in 1938 and eight in 1939. By 1940, seventeen girls had joined the concert band. The Tech

12 La Ventana, 1935-36, p. 102, 1937-38, p. 206, and 1939-40, p. 97.

1 3 Smith, "History of Tech Band," pp. 35-40.

1 4 La Ventana, 1940-41, p. 288.

1 5 Smith, "History of Tech Band," p. 35.

16Wileyinterview, June 22, 1979. 93

Band was evidently ahead of many of the larger universities

in the country in permitting girls to participate in con cert band. It was in 1940 that the Ohio State University admitted girls to the concert band, after special univer sity action. In 1943, the University of Michigan admitted twenty-seven girls to the concert band. The University of Illinois and the University of Wisconsin also admitted girls as a result of the shortage of men on campuses during the war.17 In the 1930's and 1940's, the marching band was con sidered a military unit and the desire to present a uniform appearance ruled out the participation of girls in most large university marching band programs.18 At Tech, even though girls were considered members of the marching band as early as 1938, they were not permitted to march with the band. They traveled with the marching band and per formed in the stands, but they did not participate in half-time shows until after World War II began.19 In December of 1938, a picture of Ruth Clark identified as drum majorette appeared in The Toreador and on the front page of a Fort Worth newspaper in 1939, a picture of

1 7 Lamar Keith McCarrell, "A Historical Review College of the Band Movement from 1875-1969," unpublished al dissertation, doctor Florida State University, Gainesville, Florida, 1971, p. 121. 18 Ibid. 19 Wava Banes Henry, former Tech band member, tape recorded interview, Aspen, Colorado, October 12, 1981; Wiley interview, June 22, 1979. 94

sisters Elna and Rhea Warner, is identified as Texas Tech

Band majorettes. The girls are attired in long sleeve

blouses, long pants, and knee-high boots. Although these

girls marched with the band on a few occasions, the dean

of women did not approve, so they were not considered

official members of the band.2 0

Wiley's marching band of the thirties presented

half-time shows that often had a humorous theme or that commented on the political situation at the time. The band entered the field in a block (parade) formation and seldom deviated from it. Additional formations were usually limited to block letters or simple objects,such as the outline of a hat or a boat. In 1938, the first picture of the marching band to appear in the school annual shows the band in the double "T" formation signi fying Texas Tech. This photograph was taken during half-time festivities at the Sun Bowl performance in

January, 1938.21 A picture from the 1940-41 annual shows the band forming a large "M" on the New Mexico University football field. An additional picture in the same annual displays the marching ability of the band

20 Toreador, December 20, 1938, Fort Worth Star Tele gram, October 19, 1939, and Henry interview.

21 La Ventana, 1937-38, p. 197. 95

during a precision drill maneuver apparently being executed from a basic block band formation. 2 2

Music was always the most important part of a half time presentation. While expressing his opinion on the subject, Wiley once observed, "Some bands get so involved in marching and maneuvering that they forget about the music." 2 3 He approached the musical portion of the half time presentation much in the same manner as he would approach a concert band performance. Emphasis was placed upon stylistic performance, precise articulation, and a full, sonorous tone quality. He was violently opposed to the concept that a marching band should possess a bright, raspy tone quality.2 4

The first concert program to be presented by the Tech Band under Wiley's leadership was a program in December, 1934. There was an obvious upgrading of the program liter ature as compared to the farewell concert presented by LeMaire in May of that same year. Wiley's program included Offenbach's "Orpheus in the Underworld," Schubert's

"March Militaire," Debussy's "Clair De Lune," Hosmer's "Southern Rhapsody," and three Christmas carols. Alfred Riley was featured on Clarke's cornet solo, "Stars in a

22 Ibid., 1940-41, p. 288. 2 3 Wiley interview, January 10, 1978. 24 Ibid. 96

Velvety Sky," and flute soloist David Humphreys performed

Ciardi's "Le Carneval Russe." Amazingly, Wiley was able

to achieve a rather balanced instrumentation in his eighty

seven-member concert band. His band had one flute and no

bassoon, but it included two alto and two bass clarinets,

six French horns, five tubas, twenty cornets, and a fairly

normal distribution of the other instruments as can be

seen in Figure 8, page 97.25

The December concert of 1935 attracted about a

thousand persons. The program included De Nardis'

"Universal Judgement" and Smetana's "The Bartered Bride."

John Victor, author and composer from Cincinnati, Ohio,

was a guest conductor. Victor's method for bands was

used throughout the nation and had been adopted by Texas

as an offical textbook in 1933.26

Wiley promoted a rather extensive concert schedule,

presenting three and four formal programs each year in

addition to the spring tours, festival concerts, and

clinic presentations. In December, 1936, four guest

conductors were on campus participating in a two-day band

clinic, and Wiley scheduled the winter concert to allow

these men to conduct the band. Visiting conductors

2 5 Program of Tech band concert, December 19, 1934, Wiley Papers.

2 6 Sloan, "History of Texas School Music," pp. 105 106. 97

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included A. R. McAllister, high school director, Joliet, Illinois; Colonel Earl Irons, director, North Texas Agricultural College Band; Ellis Hall, Amarillo Academy of Music; and Joe Berryman, president, West Texas Division

of the Texas School Band and Orchestra Association. Admission was free and the concert was held at the Lubbock High School Auditorium.27 In March, 1937, the seventy five musicians of the Matador Band climaxed a joint uniform benefit drive, conducted by the American Business Club of Lubbock and the Student Council of Tech, by pre senting a concert. The new uniforms cost $33 each and were of a strict military style, with scarlet coats, black trousers, and Sam Brown shoulder straps.2 8 As early as 1938, Wiley began allowing upperclassmen, who were studying to be band directors, to conduct on various concerts. This educationally motivated gesture was one that he continued throughout his long career. In a 1938 photograph of the concert band, it should be observed that Wiley had moved the cornets from the front row and adopted a more standard seating arrangement. (See Figure 9, page 99.) On that May, 1938 concert the program featured works by Verdi, Strauss, and Rimsky Korsakov. In the spring concert of 1939, the one hundred

2 7 Toreador, December 9, 1936.

2 8 The (Lubbock) Evening Journal, March 10, 1937. 99

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r- 100 member ensemble performed works by Tchaikovsky and von

Weber.29 Wiley continued to upgrade the quality of liter ature and his love of the classics was evident in the number of transcriptions he programmed.

The Matador Band gave its Sixth Annual Spring Concert in April, 1940. The program, in a lighter vein, included marches by Sousa and King, "Malaguena" by Lecuona, and

"Les Preludes" by Liszt. One month later, Johnny Regan, the English cowboy who performed with the Simmons Cowboy

Band in Europe, made a visit to Tech and was featured by

Wiley on a program. Musical numbers included Alford's

"Oh Panama," Wood's "King Orry," Sibelius' "Finlandia," and "Memories of Stephen Foster" arranged by Cailliet. 3 0

This concert by the ninety-four-member group was the last big concert before World War II began to take its toll on the enrollment of the Matador Band.

Concert tours were as important to Wiley's educational philosophy as were campus concerts. He took the Tech Band on six concert tours during the first six years of his tenure. Most of the excursions were very strenuous and taxing on the physical stamina of the students. In 1935 and 1937, a fifteen-town tour was taken, and on some days the band played three concerts. In 1935, the band

29 Ibid., May 18, 1938, and April 5, 1959.

30 Ibid., April 7, 1940, and May 18, 1940. 101

visited Amarillo, Hereford, Panhandle, Pampa, Borger, Clarendon, Padukah, Plainview, and seven other towns. In 1937, the group went southeast to Snyder, Rosco, Sweet water, Abilene, Albany, Cisco, Breckinridge, Wichita Falls, Vernon, and other towns. The tour of 1936 covered 850 miles and took the seventy-piece group to towns such as Midland, Odessa, Wink, and Monahans. 3 1

The 1938 tour required the Matadors to perform thir teen concerts in five days, while they visited twelve cities. The tours of 1939 and 1940 required a less taxing schedule, as the band visited Lamesa, Big Spring, Wink, San Angelo, Ballenger, and Sweetwater, and Jal and Eunice, New Mexico. 32

Soon after Wiley arrived at Tech, the program grew to the point that two bands were organized. According to an article in a September, 1936, Toreador, the band was divided into an "A" and "B" section. Between 1936 and 1938, the "A" band rehearsed on Tuesday and Thursday evenings from 7:30 to 9:00 p.m., while the "B" band rehearsed three times weekly at 5:00 p.m. During this period, band majors played their major instruments in the "A" band and their minor instruments in the "B" band.

31Ibid., February 14, 1935, and March 24, 1937. 32 Ibid., March 9, 1938, February 25, 1938, February 28, and 1940; Smith, "History of the p. 40. Tech Band," 102

The 7:30 p.m. rehearsal time began to place a hardship on the engineering students in the band who needed the evenings to study. Wiley changed the "A" band rehearsal time to 1:00 p.m., Monday through Friday, in the fall of

1938. During the spring semester of 1940, the "B" band played regularly at home basketball games.33

Apparently, Mother-in-law Day celebrations were customary in the 1930's because the Tech band was chosen as the official band for the Amarillo festivities of

March, 1935. The Matadors led a parade and performed a brief concert in a local auditorium for the official occasion. In March, 1938, a return trip to Amarillo was made to participate in a similar event. Mrs. Franklin

D. Roosevelt was being honored, and the Tech band was selected to serve as her official escort.3 4

During the fall semester of 1937, Wiley made the first recordings in the history of the Tech Band. A pro gram of Berlioz's "Beatrice and Benedict," Bach's "Prelude and Fugue in D minor," and Bizet's "L'Arlesienne" was recorded on a borrowed Wilcox-Gay combination recorder, a seventy-dollar machine with crystal microphones. One year later, Wiley acquired recording equipment for the

3 3 Smith, "History of the Tech Band," pp. 39-44.

34 Ibid., pp. 31-37. 103

band, including a "Federal" sixteen-inch turntable. 3 5

(See cassette recording in Appendix C.) Prior to the spring of 1938, the national band fraternity, Kappa Kappa Psi, did not have a chapter in Texas. On March 12, 1938, Alpha Omicron Chapter of Kappa Kappa Psi was installed at Texas Technological College, and Wiley was honored by being the first member of Kappa Kappa Psi to be initiated in Texas. The Tech band was one of the first thirty-nine chapters to be established in the United States.36 Tau Beta Sigma, the sister organization of Kappa Kappa Psi, was installed at Tech in the spring of 1944. Twenty women and an honorary member, D. 0. Wiley, were initiated at the chartering ceremonies. This ceremony was the result of a great deal of hard work by the girls who six years earlier had established a local chapter of Tau Beta Sigma on the campus to lend support to the band program and Wiley. 3 7 (More information about Wiley's role in the founding of Tau Beta Sigma is contained in Chapter V.)

The Tech Matador Band experienced remarkable growth during the first six years of Wiley's tenure. During the first four months, under his leadership the Tech

3 5Ibid., pp. 36-39. 36 Ibid., pp. 37-39; Toreador, March 16, 1938. 37 Ibid., p. 47. 104

Band grew from twenty members to eighty-nine, and many of the students received physical education credit for their marching band participation. New uniforms were purchased, and within three years the marching band had made three trips to Los Angeles, in addition to all of its in-state football trips. Wiley was in the forefront nationally in obtaining university sanction for the participation of girls in the all-male band program at Tech. The establishment at Tech of the first Texas Chapter of Kappa Kappa Psi, National Band Fraternity in 1938, lends further credence to the fact that the Tech Band under Wiley's direction was assuming a leadership role among Texas university bands. By accepting affiliation with the only national organization whose primary purpose was to further the cause of band music in America, the Tech band had taken a step that no other band in Texas had. Kappa Kappa Psi chapters were established only at colleges where the band programs were thriving and upholding high standards.

The enormous growth which the band program experienced between 1934 and 1940 (from 80 to 350 students) was due to Wiley's untiring efforts in promoting the band and exposing it to the public eye as often as possible. Extensive con cert tours each year played a major role in attracting students to Tech. Wiley was known all over Texas for his expertise and skill in band development, in part because 105

of his years of travel while director of the Simmons

Cowboy Band. One particular student, for example, who

lived in Lubbock, had decided to go to Simmons University,

but when Wiley moved to Tech, the student changed his mind and followed Wiley to Tech in 1934.38 There were a

large number of band directors in West Texas who were

Wiley's students at Simmons University. Some of them

included Raymond Bynum of Abilene, H. A. Anderson of

Lubbock, Weldon Covington of Austin, and Marion Etheredge

of Levelland. Because of Wiley's reputation, these

directors encouraged their students to attend Tech,

especially if the student was interested in becoming a band director.39 Soon after he went to Tech, a degree program was approved for a bachelor of science degree

with a major in band directing. Tech was unique in offer

ing a degree program of this type. 4 0

Wiley became frustrated by crowded conditions resulting from the enormous growth of the band. He was concerned that the band still rehearsed in the same room

(twenty-six feet by thirty-six feet) in which it had

Carroll McMath, retired band director, Denton, Texas, tape-recorded interview, Denton, Texas, August 28, 1981.

3 9 Anderson interview. 40 Wiley to C. E. Strain, band director, West Texas Teachers College, Canyon, November 21, 1934, Wiley Papers; Gene Hemmle, retired department head at Texas Tech, tape recorded interview, September 11, 1981. 106

started six years earlier. He informed the dean that for a hundred-piece concert band, a room four times larger would be adequate, and he observed that practice rooms, ensemble rehearsal rooms, and storage rooms were urgently needed. He also believed that the increasing size of the band required the appointment of a part-time band assis tant. 41

The growth of the band and its general complexion, however, was soon sharply altered. World War II was gaining momentum in Europe, and college students across the United States were being called into active military service.

The War Years: 1941-1945 The Texas Tech Band enrollment was at an all-time high of 352 students in the academic year 1939-1940. Many of the Tech Band members were also members of the Lubbock National Guard Band. When the 131st Field Artillery Battalion Band, stationed at Lubbock, was mobilized on November 25, 1940, band enrollment immediately decreased by fifty members.4 2

The situation at Tech was not at all unusual. William Revelli, director of bands at the University of

41Wiley to Dean James Marcus Gordon, Dean of Division, Arts and Sciences at Tech, May 16, 1939, Wiley Papers. 4 2 Smith, "History of Tech Band," p. 44. 107

Michigan, said that at an increasing rate,college and

university bands were suffering from a loss of student

personnel because of the war. Many bands dissolved com

pletely or curtailed public performances, and only the

most notable college bands were able to continue success

ful programs.43 In view of the national situation, the

Tech Band was an exception, however, since its program

was far from dissolving. Concert tours were discontinued,

and football trips were held to a minimum, but local con

certizing increased.

Among the few football trips were those to the

Oklahoma A & M game at Oklahoma City in 1941, the Texas

Christian University game at Fort Worth in 1943, the West

Texas State Teachers College game at Amarillo in 1944,

and the Texas A & M game at San Antonio in 1945.44 The

marching band was smaller, but more girls and an increased

freshmen class helped reduce the deficit.45 It enlisted

eighty-eight students in the fall of 1942, and seventy

students in 1943. In 1944 and 1945, the band consisted

of more than 50 percent freshmen.46 Wiley summed up his

4 3 McCarrell, "History of College Bands," pp. 119, 120. 44 Toreador, October 8, 1941, and September 28, 1945; La Ventana, 1943-44 and 1944-45.

45 La Ventana, 1943-44, p. 165.

4 6 Toreador, October 7, 1942, October 22, 1943, September 22, 1944, and September 21, 1945. 108

dilemma in a letter to music department head Julien Blitz in April, 1943:

It goes without saying that this war has very definitely affected our work in that it has taken our older and more experienced and left players us with less experienced talent. That we have been able to function well with less talent is due solely to hard work more than the and usual time given to the ation of numbers prepar to be performed.4 e By the end of the spring semester in 1943, there were 170 former band members serving in the military. 48

Wiley's request for an assistant band director in 1939 was honored in the fall of 1941 with the hiring of James B. Nevins. Ironically, Nevins, the first assistant director to be hired by Tech, served only one year before being obliged to enter the military service in October, 1942. Charles Sanford Eskridge of Lubbock High School replaced him as a part-time band assistant.4 9

The war was also responsible for a reduction in num bers of the general student body and a subsequent trimming of the university budget. The last tour which the concert band was permitted to take until after the war was in the fall of 1941. This trip took the sixty-five-member group to Littlefield, Sudan, Friona, Hereford, Amarillo, Tulia,

47Wiley to Julien Blizt, April 22, 1943, Papers. Wiley

48Smith, "History of Tech Band," p. 46. 49 Ibid.,I p. 45; Toreador, October 3, 1942. 109

Plainview, and Clovis, New Mexico.50 According to an Amarillo newspaper, the band combined semi-classical, popular, and military music into a brilliant program.

A feature of the tour program was an alto saxophone solo, "The Duchess," by Louie Cohen of Borger, Texas. The band accompaniment for the solo was arranged by Tech band president, Bill McEachern, of Amarillo, who also conducted on the program. Other numbers performed included Dvorak's New World Symphony, Morton Gould's "Prima Donna," and Lillya's "A Childhood Fantasy. "5 1

In response to a proclamation by the governor in 1942, a series of Victory Concerts were scheduled across Texas. The price for admission to the concerts was the purchase of stamps and bonds in denominations from ten cents to one thousand dollars. The avowed purposes of the concerts were to build optimism for victory, to support the economy, and to provide entertainment for the public. In December, 1942, six hundred Victory Concerts were all staged across the state on the same night. The Tech Band combined the program with its Christmas Concert, which was broadcast on the Texas State Network.5 2

50 Toreador, February 5, 1941. 5 1 The Amarillo Times, March 12, 1941. 52 Toreador, December 16, 1942; Lubbock Avalanche, Morning December 15, 1942. 110

In addition to scheduling a series of spring concerts each year during the war, Wiley encouraged student conduc tors and composers by allowing them to direct works on concert programs, and, he permitted the band to perform student compositions. In April, 1943, Barbara Griggs, the second woman band major to graduate at Tech, and Charles Senning, clarinetist, conducted works on the spring concert. During the spring of 1944, three concerts by the eighty-member band were scheduled on Sunday afternoons in the gymnasium.5 3

The years of war were a great challenge to the leader ship and student personnel of the Tech Band. It was necessary for freshmen students to accept a more mature role within the band, and women shouldered a greater responsibility than ever in the past. Because of Wiley's leadership and the acceptance of greater responsibility by the students, the Tech Band managed to maintain a high level of accomplishment.

The Prolific Years: 1946-1953

As the war years came to a close and mature young men began returning home, the Tech Band began receiving some of the leadership that it had so abruptly lost in 1940. The most fruitful and productive years in the history of the Tech Band were just ahead.

53Toreador, April 14, 1943, February 24, 1944, March 31, 1944, and April 21, 1944. 111

The spring semester of 1946 proved to be an outstand ing semester. A series of six concerts were scheduled between February and April. Every two weeks, a new con cert had to be prepared. The concerts spotlighted student soloists, ensembles, and conductors. In February, 1946, the program featured cornet solo ist John James Haynie, playing the Herbert L. Clarke solo, "Bride of the Waves." An early April program included possibly the first performance by a university band of the complete Tchaikovsky Symphony No. 6 (Pathetique). The second band under the direction of Joe L. Haddon performed Sousa's "King Cotton," Tchaikovsky's "Morning Prayer," Bach's "Komm Susser Tod," and the Seitz march, "Saluta

tion. "54 Haddon, except for the war years, had been at Tech every summer since 1936. He had assisted Wiley in an unofficial capacity for many summers. During the war years, Haddon, a chief warrant officer, had served as a band director in the United States Army. After the war, he accepted a position as band director in Big Spring, Texas. After one year there the position of assistant band director opened at Tech, and in the fall of 1947, he received the appointment. He assisted Wiley in the

L54ubbock Avalanche-Journal, April 26, 1946; April 12, 1946. Toreador, 112

instrumental music department with an emphasis on the marching band. 5 5

In the spring of 1946, the Tech Band moved out of its rehearsal hall in the Textile Engineering Building to the Stock Judging Pavilion, while an X-7 barracks (used as an army hospital during the war) was being remodeled for use as a band hall. The band subsequently occupied these new quarters in the fall of 1947.56

In the early years after the war, there was a large percentage of veterans who were in the Tech Band. In 1947, for instance, seventy members of the group served during the war and many played in a military organization. This maturity and experience helped make the Tech Band a fine musical organization.5 7

The marching band traveled to Dallas in the fall of 1946 and 1948 to play for the Southern Methodist University game in the Cotton Bowl. At the 1948 game, the 107-member band formed the letters "SMU" and played the SMU fight song and "Alma Mater." Following this, the last two letters of the formation did a slight shift to form the letters "SWC," for Southwest Conference. On command from 55 Joe L. Haddon, former assistant to Wiley at Tech, tape-recorded interview, Wichita Falls, Texas, September 7, 1981.

56Smith, "History of Tech Band," p. 43. 57Big Spring (Texas) Herald, March 13, 1947. 113

drum major J. R. McEntyre, the Tech Band played "Open the Door, Richard," making known their sentiments for joining the Southwest Conference. Then, the band maneuvered into block formation, marched to the north end of the field, moved into a huge double "T" formation and marched off the field playing the "Matador Song. "58 This type show was evidently very typical during the late 1 9 40's and 9 early 1 50's. Haddon once observed, "We usually entered the field from one end zone, marched the length of the field, came back to the middle and made some formations. We called them picture shows.,59 Themes were often humorous, and according to Haddon, an attempt was made to educate the young directors on how to maneuver through the various required marching contest maneuvers. Marching band enrollment peaked in 1949 with a 145 member band. The band traveled to San Antonio for the Texas A & M game in September and hosted the Hardin Simmons Cowboy Band at home in October. The Tech Band presented at half-time a history of Hardin-Simmons put to music. The show highlighted the development of the university through its fifty-seven-year history. After the salute to Hardin-Simmons, both bands formed the

5 8 Toreador, September 29, 1948. 5 9 Haddon interview. 114

traditional double "T" and played the Tech fight song.

More than two hundred musicians were on the field.6 0

In 1951, Wiley received an invitation to attend the Sun Bowl of January, 1952, but declined because funds were not available. He felt that adequate funding could be secured, but because of past experiences with poor seating arrangements at the El Paso affair, he was not eager to be involved. Future trips would be consid ered only if adequate seating were provided.6 1 In September, 1952, the Tech Band did accept an invitation

to stand in for Georgia Tech in its football clash with SMU at the Cotton Bowl in Dallas. While in Dallas, it performed a pre-game presentation for the Dallas Texas

San Francisco 49er's pro-football game.6 2 The Tech Marching Band of 1952 opened the first live West Texas television broadcast with a musical rendition of "The Eyes of Texas." Other musical numbers included marches such as "His Honor," "The Klaxon," and "Manhattan Beach. ,63

Concert tours were resumed in the spring of 1947. One small-scale tour took the band to Big Spring and

6 0 Toreador, November 20, 1949.

6 1 Lubbock Evening Journal, December 11, 1951. 6 2 Ibid., December 14, 1951, September 26, 1952, and October 3, 1952.

63 Ibid., November 14, 1952. 115

Bess Amarillo. The program included Gershwin's "Porgy and

Overture," Wood's "A Manx Overture," Weinburger's "Czech

Rhapsody," and a cornet solo "Carnival of Venice," per formed by John Haynie.6 4 The 1947 concert band was a well-balanced group of seventy-six members, including fifteen girls, who were now an integral part of the band organization. (See Figure 10, page 116).

The tour of 1948 proved to be one of the most success ful ever taken by the Tech Band. This tenth annual trip took the band east to Paris, Gladewater, and Nacogdoches.

Clinics were held in the afternoons for Region IV band

directors. They requested that music from the Texas

required contest selection lists be performed. Musical

numbers on the program included Dvorak's "First Movement"

from New World Symphony, Gioconda's "Dance of the Hours,"

and Tchaikovsky's "Overture Miniature and Marche." 65 C. E.

Wendt, a Toreador staff writer traveling with the Tech

Band filed the following report:

Knocking them in the aisles is a very little exaggeration of the effect the Texas Tech Band is having on the music lovers of this East Texas city. . . . The opinion of Pat Mayse, Paris resident and a member of the Tech Board of Directors, gave expression to the thoughts of faculty members making the trip. . . . Mayse said, 'I am certainly impressed by the appearance of the band,

6 4 Ibid., March 14, 1947.

6 5 Gladewater (Texas) Daily Times-Tribune, March 14, 1948. 116

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and I am particularly glad that re esentative.s of Tech could come to East Texas.' the Encores and curtain calls seemed to be the order of 6 7 day, as the band drew capacity crowds.

The eleventh annual tour, in 1949, took the band to Jal, Big Spring, Midland, Odessa, and Kermit, Texas, and

New Mexico. The eighty-member group made the tour with

the foremost purpose of trying to set an example for bands

on the interpretation of the music they were required to

play at the state contests. The impressive program

included works by Saint Saens, Dukas, Tchaikovsky, and

Rimsky-Korsakov.68

During 1950, 1951, and 1952, there is no substantiat its ing evidence to indicate that the concert band made

usual annual tour. Tours prior to this time were given

lengthy coverage in the Tech newspaper, as well as the

Lubbock newspapers. In the Lubbock Avalanche-Journal of that April 8, 1951, reference is made to a series of concerts

were given in the Tech gymnasium.69 In all probability,

6 6 Lubbock Avalanche-Journal, March 18, 1948; Toreador March 17, 1948.

6 7Toreador, March 20, 1948. 6 8Ibid., March 16, 1949, March 20, 1949.

6 9 Financial and Budget records for 1950-1952, Texas Tech University, Southwest Collection, Texas Tech University, Lubbock, Texas. 118

tours were not taken during this period, and if they were, they must have been on a reduced scale.

The Tech Concert Band performed in six South Plains

towns, Lamesa, Midland, Odessa, Big Spring, Andrews, and

Kermit, during its tour of 1953. Nearly a thousand

students enjoyed the concert in the Midland High School

Auditorium, and as an added attraction, Ralph Mills, band

director at the high school, was called to the podium to

conduct a march.7 0

Concert tours were only one avenue of performance

for the Tech Band. During these productive years, Wiley

locally presented his bandsmen in annual Christmas

concerts, winter concerts, and several spring concerts.

In 1948, 1949, and 1950, special Presidential Concerts

were given to honor the Texas Tech president. Two signifi

cant program selections from the 1949 concert include

"Finale" from Tchaikovsky's Symphony No. 4 and Grainger's

"Children's March" from "Over the Hills and Far Away."

A joint Christmas concert with the Tech chorus was pre

sented in 1949, and in 1951, the Tech bandsmen joined

7 1 the Lubbock High School Band in a spring concert.

Wiley and the Tech Concert Band presented numerous

local concerts during these highly productive years.

7 0 The Midland Reporter-Telegram, April 15, 1953.

7 1 Toreador, May 4, 1949, May 6, 1950, December 17, 1949, and April 21, 1951. 119

Many of these concerts were given at the close of a tour.

The band returned from its 1948 tour of East Texas on

March 18, and in one month Wiley had prepared an entirely new program for a late spring concert. This program included works by Sousa, Beethoven, Rossini, Liszt, and

Handel.72 Wiley's love of the classics is quite evident in the selections chosen for this program. David Dawson, of H. N. White Music Company, visited Lubbock and attended the concert. He stated afterwards that after having heard about twenty-two of the nation's fine university bands that year, including the University of Illinois, the two he most enjoyed were Illinois and Texas Tech. 7 3

From 1950-1953, Wiley broadened his concert reper toire to include some of the more contemporary selections of band literature and to give increasing opportunities to his students with exceptional talent. In March, 1950, he selected three graduate students, Ted Crager, Paul

Lovett, and 0. T. Ryan, to conduct on a spring concert.

In February, 1952, the Tech Concert Band was selected to present a special concert at the annual TMEA Convention, which was held in Mineral Wells. A mid-January program the following year featured two new works, Everett Maxwell's

72 Ibid., April 24, 1948.

7 3 Lubbock Avalanche-Journal, April 28, 1948. 1.20

"March Vivo" and Bennett's "Suite of Old American

Dances."74

Wiley did not limit himself to a program of tran

scriptions, even though it is apparent that his first love was the great orchestral works. On many occasions during

these years, he programmed works that were published

just a few years prior to his performances. Examples

include: "Czech Rhapsody" by Weinburger (1943), per

formed in 1947, "March Fantastique" by Fucik (1948),

performed in 1948, "Walls of Jericho" by Deniston (1951)

performed in 1951, "March Vivo" by Maxwell (1952) performed

in 1953, and "Suite of Old American Dances" by Bennett

(1952) performed in 1953. The Tech Band continued to

perform the best in band literature by providing audiences

with a balanced selection of the new and the old. Wiley

had matured into the highly-respected superintendent of

West Texas band music. Likewise, Kappa Kappa Psi at Tech

was near the threshold of national prominence.

The Alpha Omicron Chapter of Kappa Kappa Psi, after

ten years of existence, was establishing itself as one of

the finest chapters in the country. In February, 1948,

the Tech group was honored when it was chosen to install

a Kappa Kappa Psi chapter at Baylor University in Waco.

Eight months later, Alpha Omicron was selected the most

7 4 Toreador, March 8, 1950, February 24, 1951, February 26, 1952, and January 16, 1953. 121

outstanding chapter in the United States, and the Balfour

Award, in the form of a golden loving cup, was presented to the chapter by A. Frank Martin, executive-secretary of

Kappa Kappa Psi. The chapter received consecutive awards through 1953. Tech and the Alpha Omicron Chapter hosted the Kappa Kappa Psi-Tau Beta Sigma National Conven tion from June 25-28, 1953. The National Intercollegiate

Band presented a concert under the baton of guest conduc tor A. A. Harding, while Wiley, the host conductor, conducted a premier performance of Don Gillis' "Ballet for Band." It was during this convention that Charles

A. Wiley, the son of D. 0. Wiley, was elected Grand

National President of Kappa Kappa Psi. At the time

Charles was Director of Bands at Lamar Tech University in

7 5 Beaumont, Texas, a position he currently holds.

The Tech Beta Chapter of Tau Beta Sigma was six years

younger than Kappa Kappa Psi, but during the war years,

the girls experienced great growth and maturity. In 1950,

Beta Chapter won second place in competition for the

Balfour Award, and in 1951, it took first place, as did

Kappa Kappa Psi. From 1948-1953, these two chapters

ranked top in the nation' almost every year. These

7 5Ibid., February 14, 1948, March 29, 1950, and February 25, 1953; "National Intercollegiate Band," and "New Officers of Kappa Kappa Psi," The Podium, Fraternity Magazine for Kappa Kappa Psi and Tau Beta Sigma, National Headquarters, Oklahoma A & M College, Stillwater, Oklahoma (December, 1953), pp. 1 and 5. 122

achievements were additional indications that Wiley and the Tech Band were going through very fruitful and produc . 76 tive years.

In the fall of 1949, the university administration hired a music department chairman whose primary job was to develop a balanced music department. Although Tech had perhaps one of the finest band programs in the nation, a total music department did not really exist. After one year, the new music department chairman, Gene Hemmle, was instrumental in implementing a bachelor of music

education degree.78 An added impetus to the music depart

ment came in May, 1952, when a $300,000 music building

was completed and a choir and an orchestra program were

initiated.

The marching band attended the usual football games

and traveled to three or four out-of-town games each year.

The marching and show design were supervised by assistant

band director Joe Haddon. Examples of the 1953, 120

member marching band in two typical formations can be

observed in Figures 11 and 12, pages 123 and 124.

Wiley's primary concern in dealing with the marching band

7 6Toreador, March 29, 1950, February 10, 1951, and February 25, 1953.

7 7 Gene Hemmle, tape-recorded interview, September 11, 1981.

7 8 Toreador, September 20, 1950. 123

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was his keen interest in the quality of the musical parts of the show. Wiley reportedly said, "Frankly, I never had any fondness for working up marching shows. I was more interested in the playing part of it. . . ."79

The long-time working partnership of Wiley and Haddon came to an end in the summer, 1953, however, when Haddon resigned his position at Tech to begin doctoral study at

Columbia University.80

Concert programming was well-balanced between tran

scriptions and newly composed works. Concert tours had three purposes: (1) to sell Tech to high school students,

(2) to entertain the audiences with the best available

band music, and (3) to perform selected music from the

contest lists, to help educate young band directors on

available music, and give assistance in musical interpre

tation of the works.

The years following the war were, indeed, prosperous

and productive years. Band enrollment peaked at 350

students in the 1950-1951 school year, and the level of

musical maturity and enthusiasm within the group was at

an all-time high. Wiley used his more accomplished

musicians in solo performances with the band, and those

older students who were training to become band directors

7 9 Lubbock Morning-Avalanche, October 9, 1964.

8 0 Haddon interview. 126 received opportunities to conduct the band in concert programs. He believed the best way to learn was by actually performing the task, so much more emphasis was placed on experience than textbook methodology.

The Final Years: 1954-1959

Texas Tech was soon going to celebrate its thirtieth anniversary, and for twenty of those years, Wiley had held the position of Director of Bands. During the concluding five years of Wiley's career at Tech, the band would per form for the American Bandmasters Convention in Santa Fe,

New Mexico, play at the inauguration of a Texas governor, feature Sigurd Rascher in concert, and participate in a symposium of contemporary music. Tours, concerts, and marching band activities continued much the same as they had in previous years.

After Haddon's resignation in the summer, 1953, two full-time assistants were appointed at Tech. Darrell Keith

McCarty and Robert B. Taylor came in the fall of 1953 to serve as assistants to Wiley. McCarty, a clarinetist who served on the faculty at the University of Illinois for three years, was responsible for teaching all woodwind instruments, in addition to serving as an instructor in percussion, orchestration, instrumental methods, and conducting. McCarty received the bachelor of music degree, the bachelor of science degree, and the master of music 127 degree from the University of Illinois. Taylor, a horn player, came to Tech from the United States Navy School of Music in Washington, D. C. He received the bachelor of science degree from the Juilliard School of Music, and the master of arts degree from Teachers College, Columbia

University. At Tech, he taught brass and percussion, music appreciation, and music history.81 Their addition to the faculty gave the music department its first full time applied music teachers.

After Haddon's resignation, Wiley, more burdened with marching band responsibility, looked to his assistants and the drum major for support. A marching band of 105 members was fielded in the fall, 1953. In October, 1954, the marching band traveled to Baton Rouge for a game with

Louisiana State University; and one year later, it went to

Houston, with a group of 146 students, for a gridiron clash with the University of Houston. The half-time pre sentation at a November game in 1955 was unique in that it saluted four decades in the history of the college.

Tech was celebrating its thirtieth anniversary, and

Wiley decided to project ten years into the future. For the decade, 1925-1935, "Lullaby of Broadway;" for 1945

8 1 Darrell Keith McCarty, tape-recorded interview, Lubbock, Texas, September 14, 1981; Smith, "History of Tech Band," pp. 54-55. 128

1955, "June Is Bustin' Out All Over;" and the projected decade 1955-1965 featured "Yellow Rose of Texas." 8 2

Two highlights of the 1956 marching season included a trip to Dallas for Tech's first football game as a member of the Southwest Football Conference and a trip to Austin to participate in the inauguration of Texas

Governor Price Daniel. Southern Methodist University was the opponent in the football game and the 112-member band provided half-time entertainment in a televised game from the Cotton Bowl. At Price Daniel's inauguration, the band marched in a parade, performed a concert, and assisted in the inaugural ceremonies.83 Wiley had now participated in three inaugurations in his career: that of Governor Dan

Moody in 1927, President Herbert Hoover in 1929, and

Governor Price Daniel in 1957.

There is little information available to document actual half-time shows, but The Toreador related the forma tions of the half-time show at the game with Baylor Univer sity. According to the article, the band opened the show with the formation of a lamp of knowledge, then quickly formed the outline of a graduation cap as a salute to the

Mortar Board. In a tribute to its recent entrance into the Southwest Conference, the band formed the letters

8 2 Toreador, September 23, 1953, October 15, 1954, October 18, 1955, and November 1, 1955.

8 3 Ibid., September 21, 1956, and December 5, 1956. 129

"SWC." After forming the words Baylor and Tech, while playing the respective school songs, the band exited the f ield. The band continued to execute pageantry-type shows

8 4 by forming pictures and playing appropriate music.

The Tech bandsmen were still wearing the uniforms that Wiley had managed to purchase in 1937. Plans to replace the twenty-year-old uniforms were initiated in the fall of 1957. The school newspaper reported that $7,000 was needed to fund the replacement uniforms, which were a modified West Point-style. (See Figure 13, page 130).

Money was obtained to purchase the uniform through contri butions from friends of Tech in a campaign conducted the previous fall. It is not known why the university did not

appropriate budget funds for the much-needed uniforms, but

in a letter Tech president E. N. Jones left the decision

to Hemmle and Wiley to determine if sufficient funds were

available to purchase the uniforms. Wiley originally

hoped to introduce the new uniforms on the 1958 spring

tour, but it was during the football game with West Texas

State in September, 1958, that the uniforms were presented

in public. It seems somewhat unusual that at a major

university such as Tech, contributions from friends were

8 4 Toreador, September 28, 1956. l

130

4 4

Fig. 13--Wiley shown with an unidentified Tech band student in the new marching uniform purchased in 1958. 131

necessary to purchase such essential items as replacements

f or twenty-year-old, worn-out band uniforms. 85

The concert band took its regular spring tour each

year between 1954 and 1959, with the exception of 1957.

In April, 1954, a West-Central Texas tour included Snyder,

Sweetwater, Colorado City, San Angelo, Ballenger, and Big

Spring. Thirty-four towns were represented among the membership of the seventy-eight member concert band. (See

Figure 14, page 132.) As a special feature on the con

certs, new faculty member Keith McCarty was programmed as a clarinet soloist with the band. A three-day tour in

1955 took the band to Brownwood, Seminole, Kermit,

Monahans, Midland, and Crane in Texas,and Hobbs and Jal

in New Mexico. The program for this trip included a repertoire of twenty-nine concert band selections, nine brass ensemble works, and two solos with band accompani ment. The band works included transcriptions of works by

Handel, Rimsky-Korsakov, Tschaikovsky, Wagner, and Gounod.

A number of contemporary works written in 1954 and 1955 appeared in the program: Hanson's "Chorale and Alleluia,"

Persichetti's "Pageant," Breydent's "Suite in F,"

Latham's "Brighton Beach" March, and Perkins' "Fandango."

8 5 Copy of announcer's half-time script, September 27, 1958, Wiley Papers; E. N. Jones to Wiley, July 3, 1958, Wiley Papers. 132

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The Weber "Concertino" featured Keith McCarty as clarinet soloist, and Bellstedt's "Napoli" spotlighted cornet soloist Scott Couch.8 6

The highlight trip of Wiley's final years at Tech came in the spring of 1956, when the band traveled to Santa Fe,

New Mexico, to perform for the meeting of the American

Bandmasters Association. The band departed Lubbock on

March 7 and played a morning and afternoon concert in

Littlefield and Muleshoe, Texas, and an evening concert in Tucumcari, New Mexico. On March 8, the band played a morning program in Santa Rosa, New Mexico, and traveled on to Santa Fe. An extensive program was prepared for the tour and concert in Santa Fe, and the tour program was selected from a repertoire of twenty concert selections.

The concert program for the American Bandmasters Associa tion included eleven works totally different from the tour program, and a guest conductor directed each work. Wiley opened the concert with Weber's "Oberon Overture." Ronald

0. Gregory of the University of Utah conducted Jacob's

"Flag of Stars," and Al Wright of Purdue University directed

Fillmore's march, "Men of Ohio." Henry Fillmore conducted the final concert selection, his march, "Miss Trombone"

(a slippery rag). 8 7

8 6 Toreador, April 1, 1955 and April 15, 1955; Concert band tour program, April 18, 1955, Wiley Papers.

8 7 Concert band tour program, March 7, 1956, Wiley Papers. 134

The three-day spring tour in 1958 took the concert band to Crosbyton, Paducah, Vernon, Seymour, Anson,

Abilene, Snyder, and Post. The impressive program listed a repertoire of thirty selections. Transcriptions on the program included works by Berlioz, Saint Saens, Tchaikovsky, and Wagner. Original band literature on the program included more than eight band works that were less than three years old. A new work, "Tulsa," by Don Gillis, was still in manuscript for the first reading by the band.

This was the most contemporary tour program that Wiley ever selected in his forty-year career.88

Wiley's final concert tour came in April, 1959.

Program selections included Chabrier's "Espana,"

Maxwell's "Herald Trumpets," Mozart's Concerto No. 1 for horn, featuring faculty member, Robert Taylor, Shostako vitch's "Finale" to Symphony No. 5, and Latham's "Proud

Heritage." These selections were from a twenty-three piece repertoire.8 9

Kappa Kappa Psi played an active role in promoting and supporting the band during the early 1950's. The fraternity sponsored the tour of 1954, and in February,

8 8 Concert band tour program, March 31, 1958, Wiley Papers; Lee Boyd Montgomery, tape-recorded interview, Seguin, Texas, September 17, 1981; publication dates for these works were verified in the Band Music Guide, 6th ed. (Evanston, Illinois, 1975).

89 Toreador, April 4, 1959. 135

1955, it brought to the campus the internationally known

saxophonist Sigurd Rascher. The concert band opened the program with Rimsky-Korsakov's "Procession of the Nobles" and Leidzen's "First Swedish Rhapsody." Rascher was accompanied by the band on two works that had been dedi cated to the saxophonist, Clair Leonard's "Recitative and

Abracadabra" and Maurice Whitney's "Adagio and Samba."

The remainder of the program included several works for

saxophone with piano accompaniment.9 0

Two highlights of the 1957 on-campus concert season included a performance by the eighty-four-member band, which featured the following selections: Beethoven's

Fifth Symphony, Dvorak's "Roguish Peasant," and a newly composed work by L. W. Chidester, written for the Tech

Band, "Fantasy on Four Notes." 9 1 Later that spring, the

Sixth Annual Texas Symposium of Contemporary Music was held, and it featured chamber groups, the Tech Choir and

Orchestra, Walter Schenkman, a guest pianist, and the Tech

Concert Band with guest composer-conductor Clifton

Williams. Program selections were Erickson's "Toccata for

Band," Jacob's "Flag of Stars," Tech faculty member, Mary van Appledorn's "Concerto for Trumpet," and Gillis' "Tulsa."

Williams conducted the band in three of his newest works:

9 0 Concert band program, February 25, 1955, Wiley Papers.

9 1 Toreador, March 8, 1957. 136

"Fanfare and Allegro," "Pastorale," and "Symphonic

Suite. ,92

In Wiley's final two years, on campus concerts were

scheduled much in the same fashion as they were since the

war. One major difference was that Wiley prepared an

extensive, tour-program repertoire and then selected music

from that repertoire for the final spring concert, rather

than preparing an entirely new concert program, as he did

in the late 1940's and early 1950's.

During this period, Wiley attempted to stay abreast

of the times by programming new music as it became avail

able, especially in the years from 1954 to 1959. His love

of the "music of the masters" is still very evident, but

his desire to be open to the new is manifest through his

programming of works by Clifton Williams, Vincent

Persichetti, Gordon Jacob, Don Gillis, William Latham,

Alfred Reed, and Howard Hanson.

In May, 1959, Wiley announced his retirement. On

June 1, he would leave his post as the Tech director of bands, a position he held for twenty-five years. Wiley was surprised by a gathering of close friends and associ ates who interrupted a band rehearsal to announce that the 1959 edition of the Tech yearbook, the La Ventana, had been dedicated to him. Co-editors Carolyn Mimms and

9 2 Program booklet, May 6-12, 1957, Wiley Papers. 137

Jerry Martin were on hand to make the official dedication

to "Prof," as he was affectionately known. 9 3

Wiley's success in band development at Texas Tech can

be attributed to his enthusiasm and untiring, often

single-handed effort to promote and sell the band program

wherever he went. Gene Hemmle said, "It was he [Wiley]

who fired the superintendents and communities up to the

level to offer band in the public schools, and as a result,

he built an area in West Texas that was very strong in

band." These same schools, moreover, sent students to

Tech to participate in the band program.94 From the mere handful of students who registered for band in 1934,

the Tech Band experienced phenomenal growth, peaking at

350 students just prior to World War II. In the 1950-1951

school year, the band reached a similar peak, resulting in the most productive years in Wiley's career. According to

Hemmle, Wiley would go to any extreme to make sure that the band had full instrumentation.9 5

Wiley believed a band should first be a musical organization; it should play great music--music that com pared with that of a symphony orchestra. He had no affection for marching band but was well aware of its

9 3 The Midland (Texas) Reporter-Telegram, May 10, 1959; Toreador, May 9, 1959.

9 4 Hemmle interview.

95 Ibid. 138 necessity to serve the student body. His dislike for marching did not lower his standard for performance at football games. Wiley related, "I would never allow for a sloppy performance at a football game or anything else.

. . . In the twenty-five years I was at Tech, the band never repeated a show on the field." 9 6

Wiley's rehearsals are characterized by his students as low-key, relaxed, and calm. He never stopped and verbally attacked anyone for musical errors.9 His com ments most often were general in nature and pertained to musical style and interpretation.98 Wiley obtained good results even though he was not a harsh disciplinarian.

The band spent most of its time making music, and Wiley was not afraid to challenge the group with technically

difficult works.99 According to Gary Garner, director

of bands at West Texas State University, the real credit

to Wiley was his ability to bring such accomplishment to

the podium with the lack of formal training. He was able

to accomplish these things at a time when there were no

precedents or models. He was a competent conductor, and

96 Lubbock Morning-Avalanche, October 9, 1964. 97 John James Haynie, tape-recorded interview, Denton, Texas, September 15, 1981.

9 8 Montgomery interview.

99 Ted Crager, tape-recorded interview, Miami, Florida, September 15, 1981. 139 what he did seemed to be done by sheer instinct. Keith

McCarty came to Tech in 1953 as Wiley's assistant, and he remembers Wiley as a man who ". . . had not lost his enthusiasm. This distinguished man, with white hair, was very impressive. He knew his music well and was super at conducting the old 'war horses.'" (See Figure 15, page

140.)

As a conductor, Wiley was dignified, stately, and always under control. J. R. McEntyre, a student at Tech in the late 1940's, who later became president of TMEA and coordinator of music in Odessa, Texas, recalled some specifics about Wiley's conducting style:

Wiley was the opposite of a 'hot-dog' conductor. He never made a scene or put on any airs at all. He was impressive looking on the podium, with his white hair and his great dignity. His abil ity to get the Tech Band to play musically, even with a limited number of rehearsals, was a very admirable trait. In the late 1940's, we had a superb reading band, that read a large amount of literature. Concerts were prepared in only a few rehearsals.1 0 2

Wiley was self-taught as a conductor, as he was in so many other areas. He observed a few basic rules of conducting which he related to a Lubbock newspaper staff writer in a

1951 interview. He explained that he always beat time

10 0 Gary Garner, tape-recorded interview, Canyon, Texas, September 17, 1981.

1 0 1 McCarty interview. O2J. R. McEntyre, tape-recorded interview, Oklahoma City, Oklahoma, July 23, 1981. 140

Fig. 15--Wiley in a formal photograph made around 1957. 141 for the band with his right hand, while indicating dynamic markings with the left hand. Facial expressions tell the group whether or not the conductor is pleased with what he is hearing, and where improvement is needed. The other techniques that a conductor uses are a part of his own personality and cannot be designated as rules. Wiley con tinued by discussing his philosophy of educating students during a band rehearsal:

In a college band, the conductor must remember he is not only conducting, but teaching. What I do may be the pattern by which a young student will begf 3 his band directing when he leaves college. 0

To Wiley, the band rehearsal served as an effective

training lab in conducting, music literature, and

rehearsal techniques for future directors. He felt so

strongly about this that formal classes in these subject

areas seldom met. This philosophy caused contention

between him and department head, Hemmle, when Hemmle was designing and implementing a curriculum program for

the degree of bachelor of music education.1 0 4

Wiley made effective use of Kappa Kappa Psi in

organizing and administrating the band program. He knew

how to delegate authority to student leaders and how to

inspire and motivate them to see that tasks were completed.

10 3 Lubbock Avalanche-Journal, April 8, 1951.

10 4 Hemmle interview. 142

His genteel manner and his love of people provided an instant rapport with students that made them feel impor tant. Students wanted to aspire to their highest level of achievement because of the influence, expectation, and inspiration generated by Wiley.105

Texas Tech Band development was only one aspect of

Wiley's contributions and influence on public school music development. There are many who believe his influence was more profoundly substantiated through his efforts in organizing the Texas Tech Summer Band School, the annual band clinics, and his affiliation with the Texas Music

Educators Association (TMEA); Kappa Kappa Psi, National

Band Fraternity; Tau Beta Sigma, National Band Sorority; and Phi Beta Mu, National Bandmasters Fraternity.

Summary

When Wiley left Hardin-Simmons University in 1934 to become director of bands at Texas Tech, he was well aware of the impending potential at that young West Texas college. He was greeted by a small group of band students in the fall, but by the time registration was over the band had increased to nearly ninety members. He arranged for students to receive physical education credit for their marching band participation, and during the fall

1 0 5 Haynie interview. 143 semester the band accompanied the football team on a trip to Los Angeles where it performed at the half-time of the

Loyola University football game and appeared in concert at the California-Pacific International Exposition. The band returned to Los Angeles the next two years to participate in the exposition and present concerts in high schools around the city.

During the years of rapid growth for the Tech Band

(1934-1940), Wiley purchased new uniforms for the band, obtained university sanction for the participation of girls in the band and began using majorettes, established at Tech the first Texas chapter of Kappa Kappa Psi, helped create a degree of bachelor of science with a major in band directing, made the first recordings of the Tech

Band, organized a second concert band, and initiated an extensive concert tour schedule that took the band all across Texas and into neighboring states. Wiley's continuous promotion of the band program, the annual tours, and his general reputation for band development, played a major role in attracting numerous students to Texas

Tech. Between 1934 and 1940 the band program grew from about eighty students to over 340.

When the United States entered the Second World War, about fifty of the Tech Band members were immediately called into active military service. The war took its toll on most of the university bands across the country 144 causing many to completely discontinue activities. The

Tech Band was an exception in that it continued all of its activities except for concert tours. Most of the band was composed of girls, and a large freshman class helped take up some of the slack. There was a substantial increase in the number of local band concerts, and Wiley cooperated in a series of Victory Concerts held all across the state to promote optimism for victory and help support the war-torn economy. On many of the concerts Wiley encouraged student conductors and composers. Regular

Sunday afternoon concerts in the gymnasium were scheduled and the public was invited to attend free of charge. The war years were a great challenge for the leadership and student personnel of the Tech Band, but because of a greater acceptance of responsibility by the students, the band managed to maintain a high level of accomplishment.

Wiley's most prolific years were between 1946 and

1953. In the fall of 1947, Tech hired Joe Haddon as an assistant band director. He helped Wiley with every aspect of the program with an emphasis on marching band activity. The marching band performed in the Cotton Bowl and Sun Bowl in addition to all of the in-state football games. Large-scale concert tours were resumed in 1947, and Wiley combined clinics with the trips, performing music from the state contest lists. Additionally,

Christmas, winter, and spring concerts were given 145 regularly, and in 1948-1950, special Presidential Concerts were performed. The local chapters of Kappa Kappa Psi and

Tau Beta Sigma were becoming established as among the finest in the nation, each receiving national awards between 1948 and 1953.

Highlights of Wiley's concluding five years at Tech included a concert for the American Bandmasters Convention in Santa Fe, New Mexico, playing at the inauguration of

Texas governor Price Daniel, featuring Sigurd Rascher in concert and performing in a symposium of contemporary music. Tours, concerts, and marching band activities continued as they had in previous years. In the summer of

1953, after Joe Haddon had resigned his position, two full-time band assistants were hired. Keith McCarty and

Robert Taylor assisted Wiley with music education courses and became Tech's first full-time applied instrumental music teachers. Wiley continued regularly to program the great classics, but his open attitude toward the new music is evident through the appearance of works by Clifton

Williams, Vincent Persichetti, Gordon Jacob, Don Gillis,

William Latham, Alfred Reed, and Howard Hanson on his concert programs.

The success Wiley experienced at Texas Tech resulted from his never-ceasing enthusiasm and his total commitment to band music and its proliferation. It was Wiley who traveled and sold many school superintendents on the idea 146 of having a band program in their schools. He knew how to utilize Kappa Kappa Psi and Tau Beta Sigma advantageous ly. Because of his ability to motivate and inspire, Wiley was able to influence students to aspire to their highest level of achievement. CHAPTER V

D. 0. ("PROF") WILEY: THE FATHER OF

TEXAS BANDS

Wiley was more than an accomplished band director,

a master of his trade; he loved and believed in people,

especially those devoted to furthering the cause of music.

His vision was to see instrumental music in all public

schools, and for the students to have a professional,

qualified band director as their musical leader. To this

end, Wiley initiated, and became involved in, activities

outside the specific realm of an academic environment.

It is quite possible that some of his most enduring

influences resulted from his involvement in these activ

ities, beyond his required duties as a band director.

Wiley was referred to as the "Father of Texas Bands"

as early as 1949. In 1977, he was officially recognized by the Texas Bandmasters Association as the "Father of the

Band Movement in Texas" and was awarded a special plaque

lauding his distinguished service to bands.2 In order to determine why Wiley achieved this status, one must examine

1 San Angelo Texas Evening Standard, April 27, 1949.

2 Plaque presented to "Prof Wiley, Father of the Band Movement in Texas, . . . ," July 26, 1977, San Antonio, Texas, Wiley Papers.

147 148 his influence and leadership in (1) the Summer Band

Schools at Tech, (2) clinics and contests conducted on the Tech campus, (3) activities as an adjudicator and clinician, and (4) affiliation with professional organi zations.

The Summer Band Schools

Two years prior to coming to Texas Tech, Wiley organ ized the Simmons Summer Band School for Boys to train young band directors. His first task upon arrival at Tech was to institute a similar summer program there. During the next twenty-five years, these band schools had far reaching effects on the general education of band directors.

Possibly, these summer training sessions had more impact and influence on the development of public school bands in

Texas and the surrounding areas than any other thing Wiley ever accomplished.

Based on these observations, the major thrust of the

Summer Band Schools was obviously three-fold: (1) to provide accredited college work for public school band directors, (2) to provide top-level instruction in instru mental pedagogy, conducting, and rehearsal techniques, and

(3) to provide laboratory/reading bands for all performance levels from beginner through advanced.

During the years before World War II, a student who had completed the equivalent of two years in college, and 149

had satisfied the state requirement in education and

government, could receive a three-year teaching certifi

cate in music, if he completed six hours of applied

music (band) and two hours of conducting and instrumental teaching methods. Many public school band directors were attracted to the Tech summer program because they needed to complete degrees or to meet requirements for a teaching certificate in music. Students were normally permitted to take six semester hours of credit during the six-week band school.3

In order to provide quality instruction, Wiley invited nationally-known conductors and teachers to work

in the band school. To review a list of the prominent

educators he brought to the Tech campus is like reading

the list of "Who's Who" of American school band directors.

Some of the more notable men included A. A. Harding,

Director of Bands at University of Illinois; Harold

Bachman, Director of Bands at the University of Chicago; Mark Hindsley, Director of Bands at the University of Illinois; Charles Brendler, Director of the United States Navy Band; Earl Irons, Director of Bands at North Texas Agricultural College and a leading authority in cornet

3 Brochure, Texas Tech Summer Band School, June 5, 1939, Wiley Papers. 150 pedagogy; and Milburn Carey, Director of Bands at Phillips

University. 4

A. A. Harding, considered by the profession to be the dean of college band directors, participated in the

Tech Summer Band School for eighteen years. His first appearance was in 1936, and he continued coming every year until the war started. He returned in 1948 and continued until the summer of 1958, one year prior to

Wiley's retirement. Harding attended so many of the summer schools that he apparently began to believe that

Wiley felt an obligation to continue inviting him. His attitude concerning the band school is evident when he told Wiley in 1951, "Yours is one of my most pleasant engagements, and is one of the very few I accept anymore, but you must not feel any obligation to continue inviting me."5 Wiley had profound respect for Harding and incor porated many of his educational and organizational prin ciples into the development of the Texas Tech Band.6 This fact was confirmed by John Haynie, current professor of trumpet, North Texas State University, who left Tech in 1947 with Wiley's endorsement to attend the University of Illinois. Haynie said there were a lot of similarities

4 Toreador, 1934-1959.

5 A. A. Harding to Wiley, March 6, 1951, Wiley Papers. 6. Wiley interview, June 20, 1979. 151

in the way Wiley had organized the Tech Band and the way

the Illinois Band was designed.7

Conversely, Harding was impressed with Wiley and the

way he had organized the Tech Summer Band School. He

praised Wiley and the Band School in a newspaper article

in 1948.

The Tech Summer Band School is one of the most progressive institutions of its kind in the Southwest. I consider Mr. Wiley one of the leading figures in the band field in the South west. He is widely known and well thought of in other parts of the country, and he seems to attract the best of players and high school bandmasters to the school.

Harding lectured on subjects such as conducting,

rehearsal techniques, marching band techniques, and

instrumentation. He conducted seminars on band arranging and the selection of concert band literature. Harding also brought his own transcriptions, and the advanced band read and performed them, many of which were still in manuscript.9 Harding's influence on Texas band development through Wiley, and through his direct associ ation with students he touched during the Summer Band

Schools, had a rejuvenating effect on band development at that time, the results of which can be observed

7 Haynie interview.

8 Lubbock Avalanche-Journal, July 13, 1948.

9 McEntyre interview. 152

throughout Texas and the Southwest even today. (See

Figure 16, page 153.)

Wiley attempted to obtain expert applied music

teachers to balance the reputation of the guest conductors.

Some of the conductors were equally qualified to teach

applied music. Two were Earl Irons, cornet, and Milburn

Carey, double reeds. A vast array of applied teachers

participated in the Summer Band Schools, and some were:

R.A. Dhossoche, former flutist with the Los Angeles

Philharmonic, a graduate of the Royal Belgian Conservatory,

and band director at San Antonio Technical High School;

Harold Woolridge, solo clarinetist with Sousa for eight

years; John Haynie, cornet student at the University of

Illinois (currently professor of trumpet at North Texas

State University); Nelson Patrick, bassoon, San Benito

High School (currently director of U.I.L for Texas);

Michael Balnemones, for twenty-two years first clarinetist

with the Berlin State Opera Orchestra; Ted Crager,

cornet (currently associate dean, school of music,

University of Miami); Charles Wiley, oboe and saxophone

(currently director of bands at Lamar University, Beaumont,

Texas); Gary Garner, flute (currently director of bands

at West Texas State University); and J. R. McEntyre, horn,

band director in Odessa, Texas (currently supervisor of music, Odessa). Many of these applied teachers also

doubled as directors of the summer bands. 153

Fig. 16--Wiley with A. A. Harding at a Tech Summer Band Camp around 1956. Harding is on the right. 154

The third thrust of the Summer Band School provided

a laboratory/reading band for all performance levels.

In the first few years, the enrollment was not large

enough to allow more than one band for reading sessions.

As the school grew, however, there were sometimes three

and four bands organized for the six-week session. The

Summer Band School was not limited to band directors

alone, since directors were encouraged to bring students.

In the years just before the war, the band school enrolled

around 200 students, about fifty of whom were directors.

After the war, the band school enrolled 200 or more stu

dents every summer until Wiley's last school in 1958,

and it peaked near 300. During Wiley's tenure as director

of the Tech Summer Band School, he influenced over 2,000

young musicians and scores of band directors. In a 1948

newspaper article, a survey showed that approximately 30

percent of the band directors in Texas had attended the

Tech Summer Band School. 1 0

In the summer of 1947, a committee representing the

University Interscholastic League met on the Tech campus

to select the music required for the UIL contests in the

spring of 1948. In previous years, Texas used the

National Lists, but because of a decision in 1946 by

TMEA to incorporate the public school music contests within

1 0 Lubbock Avalanche-Journal, June 17, 1948. 155

the scope of the UIL, a Texas list had to be formulated.

A committee was formed to make the selections, and the

Tech Summer Band was chosen to read available literature

and assist the committee in the selection of the competi . 11 tion music. The summer band under Wiley's direction

continued to provide this invaluable service to the music

selection committee for the next four years.12 (See

Figure 17, page 156.)

During a time when little or no training was avail

able to the band directors of Texas, Wiley provided a

quality program. The directors in Texas understood that

if training of this nature was to be obtained, Tech was

the place to go. Especially in West Texas, band students

grew up knowing who Wiley was, and they were familiar with

his reputation because of the numerous tours and clinics

he provided. If one wanted to become a band director,

it was generally acknowledged that Tech had the best band

and was the best place to go for such training.13

Band Contests and Clinics at Texas Tech

Wiley initiated the West Texas Band Contests in 1929 while he was at Simmons University. The annual contests

11 Patrick, "Minutes of TMEA," p. 334.

1 2 Tape-recorded interviews with Haynie, McEntyre, Haddon, Hemmle, McCarty, Montgomery, and Crager.

1 3 Toreador, 1947-1950; Patrick, "Minutes of TMEA." 156

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were held on the Simmons campus each subsequent year until

1935, when they were moved to the Texas Tech campus.

The Seventh West Texas Band Contest hosted seventeen

bands, comprising approximately a thousand band youngsters

playing in concerts and parading through downtown Lubbock.

More than a hundred soloists entered the various classes,

and a special feature included a massed concert of 200

selected musicians directed by Wiley in an evening concert

presentation. Judges for the contest included Ellis B.

Hall, Amarillo Academy of Music, N. J. Whitehurst, state

supervisor of instrumental music from the State Department

of Education, Richard Dunn, band director at Texas A & M,

Earl Irons, band director at North Texas Agriculture

College, and Sanford Eskridge of San Antonio. The contest

was an official divisional contest of the Texas Band

Teachers Association, and prizes totaling $300 wereawarded

to winners in the various classes.1 4

The Ninth West Texas Band Contest was the last one

held on the Tech campus. More than twenty-five bands

participated in each of four classes of concert compe

tition. Other activities included a parade, field marching competition, solo and ensemble contests, and a massed band performance of over 225 musicians. Judges

for the contest were Herbert L. Clarke, director of the

1 4 Lubbock Avalanche-Journal, May 3, 1935. 158

Long Beach, California, Municipal Band, Earl Irons, Milburn

Carey, Ellis B. Hall, and L. M. Calavan, director of the

Central High School Band, Oklahoma City. Bands receiving first division ratings in concert were as follows: Class

A--Abilene and Lubbock; Class B--Cisco, Slaton, and Wink;

Class C--Monahans; and Class D--Pecos and Sweetwater.

The contest of 1937 was judged the most successful in the history of the Texas School Band and Orchestra Associ ation. Almost effusive in his praise was Herbert L.

Clarke, chief of the judging team. Clarke, who served for four years as the chief assistant to John Philip

Sousa, said with reference to his judging visit to the

Simmons campus in 1930,

I served as judge in contests of this same association seven years ago at Abilene, and the improvement I found this year was beyond possibility of imagination. I believe you have better bands in Western Texas than in the far west [sic]--and until now I had re garded the far west [sic] as unsurpassed.1 5

Clarke further credited Wiley with having more to do with the success of West Texas band music than any other individual.

Wiley's influence on band development during this period can be observed from several different viewpoints.

The mere fact that he instituted and directed the first all high school band contest in Abilene in 1929 and all

15 Ibid., May 2, 1937. 159

subsequent contests up to 1938 is reason enough to con

clude that he was influential. Additionally, he provided

facilities, procured judges, and organized the entire

contest almost single-handedly. Several of the band

directors participating were his former students, includ

ing H. A. Anderson of Lubbock and R. T. Bynum of Abilene

(both of whom received first division ratings); those who were not ex-students had participated in a number of the

Summer Band Schools at Tech. Wiley's inspiration and encouragement of public school band development was gaining momentum.

Although it is not clear why Wiley inaugurated the first West Texas Band Clinic in December, 1936, it was possibly because of his great admiration and respect for the innovations of A. A. Harding. Wiley was aware of the development of clinics at the University of Illinois, and through his relationship with Harding he was influenced to introduce the concept in the Southwest. The use of the word "clinic" in the field of band music can be attributed to Harding, according to Neil A.Kjos, who was a band assistant at Illinois when Harding first began using the word which previously was employed only in a medical sense. It was Harding's desire that the University of

Illinois Band Department might fulfill a comparable

"pathological" function in alleviating the problems of school band directors. The first clinic at the University 160 of Illinois was held in 1930, and it was described as highly successful with nearly fifty band directors present. 16

The clinic held at Tech in 1936 was co-sponsored by

Wiley and Klein Ault, a Fort Worth music dealer, and its purpose was to diagnose band contest numbers that were to be played in the Texas band contests of 1937. Wiley invited A. R. McAllister, director of the Joliet, Illinois, champion high school band, and president of the National

School Band Association, to serve as the guest clinician.

McAllister provided comments on interpretation and poten tial problem areas for each of the contest numbers as they were performed by the Tech Band, under the direction of

Wiley. Five hundred persons, including over a hundred band directors, attended the two-day clinic, many coming from distances as far away as Waco, Austin, Arlington, and Houston. In comparison to the first clinic held in

Illinois, where fifty directors were present, the first

West Texas band clinic apparently met with success, mainly due to Wiley's organizational ability and his vision for band development.1 7

16 Calvin E. Weber, "The Contributions of Albert Austin Harding and His Influence on the Development of School and College Bands," unpublished doctoral disserta tion, University of Illinois, Urbana, Illinois, 1963, p. 168.

1 7 Lubbock Avalanche-Journal, December 12, 1936. 161

Sixteen band clinics were held between 1936 and 1958 with the peak attendance years occurring between 1948 and

1951. Directors and students were drawn basically from a geographical area north to Pampa, east to Vernon, south to Pecos, and west to Hobbs, New Mexico. Fifty bands participated in the 1945 clinic, and in 1947 over 500 students and directors attended, fourteen of the directors having been Tech graduates.18 In 1948, a thousand attended the two-day clinic, and the students were divided up into three classes (AA, A, B) depending on the size of their representative schools.19 In 1949 nearly 1,500 participants were on hand representing forty public schools. The students were divided into four classes

(AA, A, B, and Junior High) based on their UIL classifi cation. Wiley selected distinguished Texas directors to clinic the various levels of bands represented. Raymond

Bynum of Abilene worked with the "AA" group, Robert

Maddox of Odessa, the "A" group, Robert Davison of Plain view, the "B" students, while Tech assistant director,

Joe Haddon, was in charge of the junior high students.

Each group met at a different location in Lubbock and worked simultaneously with a band of about 125 students who were selected from representative students from each

1 8 Toreador, December 7, 1945, and December 19, 1947.

1 9 Lubbock Avalanche-Journal, December 12, 1948. 162 group. Contest numbers were rehearsed and specific problems of style, interpretation, and technique were addressed by the clinicians. Directors were given the opportunity to ask questions concerning the musical numbers presented.20

The clinic of 1951 was the largest clinic ever held on the Tech campus. Seventy directors and 2,000 students arrived on campus for the reading sessions. The reading bands were likewise large, numbering up to 175 students in each. Directors assisting with the clinic again included Robert Maddox and Robert Davidson, plus newcomers

J. W. King from Big Spring and Fred Smith from Brownfield.

An added attraction at this 1951 clinic was the formal auditions for the all-state band. Eighteen students qualified from a host of a hundred hopefuls to represent the West Texas division in the all-state band. As was the custom, the Tech Concert Band presented a concert program of the selected contest numbers for 1952.21

The Tech West Texas Band clinics continued to be successful during the remaining years of Wiley's tenure at Tech. Thirty-five to forty-five directors and 400 to 800 students attended each of the December clinics through 1958. Geographical areas represented included

2 0 Ibid., December 8, 1949; Toreador, December 7, 1949.

2 1 Lubbock Avalanche-Journal, December 8, 1951. 163 the South Plains, Panhandle, and Permian Basin areas of

Texas and Eastern New Mexico west to Hobbs.

Wiley's original motivation for initiating the

December band clinics is not known, but their timeliness and contribution to the development of bands in Texas is indisputable. Wiley possibly sensed a keen need for a training program to elevate the educational and musical standards of band directors across the Southwest. His original reason for inaugurating the clinics is of little importance, however, but it is a fact that they were of incalculable value in the growth and development of Texas band history, and they stand as one of Wiley's most

influential contributions.

Wiley's Role as Adjudicator, Clinician, and Guest Conductor

Wiley further advanced the cause of band development

in the Southwest through his many appearances as adjudi

cator at clinics and contests and as a guest conductor

for numerous band festivals and high school band concerts.

There is evidence that he was judging and conducting

local high school band clinics as early as 1928. Earl

Ray, organizer of the band programs at Monahans and Wink

in the late 1920's, remembers Wiley judging his Monahans band at a contest in 1928. 2 Jack Mahan, retired band 222

22 Earl Ray, tape-recorded interview, Lubbock, Texas, September 28, 1981. 164 director at Arlington, and a member of the American Band masters Association, first met Wiley in 1930, when he guest conducted the North Texas Agricultural College Band, whose band director was Colonel Earl Irons.2 3

Wiley judged in the First Annual Tri-State Band Festi val in Enid, Oklahoma, in 1933, where he served on a distinguished panel with Edwin Franko Goldman and Carl

Busch. In 1934, he returned to serve with the same panel and additional judges A. A. Harding and Colonel Earl

Irons. (See Figure 18, page 165). He judged at consecu tive festivals in Enid until 1943 and following World War

II, he returned and judged festivals in 1946, 1947, 1950-57, and 1960 (after retirement). In all, he served as an adjudicator in twenty-two out of twenty-seven Tri-State

Festivals. On several occasions, he served as a conductor at the massed band performance during the festival.2 4

During the twenty-five years that Wiley was at Tech, he took part in numerous band contests as an adjudicator.

These included national festivals, national regional contests, state contests, and state regional contests.

For other adjudications, he traveled to Oklahoma, Arkansas,

23 Jack Mahan, tape-recorded interview, Arlington, Texas, September 29, 1981.

2 4 Souvenir programs, Tri-State Band Festivals, Enid, Oklahoma, April 6-8, 1933 and April 5-7, 1934; Toreador, 1935-1959; Milburn Carey, director of Tri-State Band Festival, Enid, Oklahoma. 165

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Louisiana, Mississippi, Florida, New Mexico, and Kansas,

as well as all over Texas. The majority of judging assign

ments occurred in Texas and Oklahoma, however, where Wiley

was highly sought as a judge. On numerous occasions, he

judged as many as five contests in a single month, often

in three different states. More specifically, he adjudi

cated at the National Festival, University of Kansas

(1935); National Regional Contest, Abilene, Texas (1938,

1939); State Contest, Jackson, Mississippi (1942); twelfth

annual Florida Band and Orchestra Contest, Tampa, Florida

(1952); and a myriad of assignments in all of the regions of Texas and much of Oklahoma. That Wiley was so much in demand and active in this particular phase of public school band activity provides further evidence of his influence.

Adjudication was only one aspect of Wiley's direct contribution to band development. Almost everywhere he went, he conducted clinics, inspired students, and encouraged young directors. A typical clinic was held in March, 1942, at Vernon, when band director E. W.

Shepherd invited Wiley for a one and one-half day clinic, concluding with an evening concert in which Wiley served as a guest conductor.25 During several concert tours, he also held clinics for interested directors and students.

Wiley directed the Tech Concert Band in sample contest

2 5 Vernon (Texas) Daily News, March 12-13, 1942. 167

selections and let directors ask questions. One such

example was the tour of 1948, when the band was invited

by Region IV to make clinic appearances for students and

directors throughout Northeast Texas. The clinics and

tour were combined, a unique innovation not commonly prac

ticed by most college bands.26 While on tour, Wiley

keenly sensed the urge to do more than merely entertain

and recruit. He was constantly driven to educate, instruct,

and inspire the local band directors and students, indeed

a trait which made him a powerful influence.

Wiley's Affiliation with Professional Organizations

For thirty-four years, Wiley served as a powerful influence through the Texas Music Educators Association

(TMEA) and its precursor organizations. From committee member, to president, to executive secretary, Wiley rose to a place of preeminence in the organization that has not been attained by anyone else in the fifty-seven-year existence of one of the nation's largest music education associations.

It is not known when Wiley first began attending the meetings of the Texas Band Teachers Association (TBTA), but his name appears for the first time in the minutes of the January 19, 1929, meeting, which was held at the

2 6 Gladewater (Texas) Daily Times-Tribune, March 14, 1948. 168

Baker Hotel in Dallas. At that time, he was the secretary treasurer of the Western Divison and served in that capacity until 1932, when he was elected to the state office of treasurer. He evidently served with distinction, for at the meeting in January, 1933, he was commended by

President Everett McCracken, who said that he and Secretary

Richard Dunn had audited the books and "found them in such perfect condition, and the system so clear and simple, that any person could easily understand every entry, and that there was no room for any sort of error to occur." 2 7

Wiley's astuteness as an administrator, a trait that would bring him great admiration and respect by TMEA in years to come, had surfaced; consequently, he was reelected as treasurer for the 1933 term.

In the early 1930's, there was an increasing demand for a standardization of music courses. The State Depart ment of Education made amove to improve the situation by appointing Nell Parmley, the Deputy State Superintendent of District Five (Denton), to oversee the formulation of a new course of study in music. She was to "work with and through the county school boards, county superintendents of independent districts, and teachers in the direction of greater efficiency in public education in Texas." 2 8

2 7 Patrick, "Minutes of TMEA," pp. 22, 43, 51.

2 8 State Department of Education, Twenty-eighth Biennial Report, Bulletin 341 (March, 1935), p. 23. 169

A curriculum committee, chaired by Parmley, was formed to

investigate various avenues of approach. The committee

consisted of Inez Powell, Sam Houston State College;

Agnes Samuelson, State Superintendent of Iowa; C. A.

Fullerton, Iowa State Teachers College; N. J. Whitehurst,

Sam Houston State College; D. 0. Wiley, Simmons University

(Abilene); Raymond Bynum, Abilene High School; and H. A.

Anderson, Lubbock High School.2 9

Whitehurst, Wiley, Bynum, and Anderson, all appointed

from the membership of TBTA, comprised the Committee of

Standardization of Instrumental Music Instruction in the

Public Schools. Wiley believed that the teaching of band

should be standardized throughout the state just as were

other courses. In fact, his thinking had preceded this

action by the State Department of Education because in

January, 1932, Wiley introduced a new instrumental method

book by John Victor of Lubbock, and he and the committee

endorsed the book after a thorough explanation of its

contents to the association.30 Wiley worked very closely with Victor in the manuscript stages of the method book.

Victor came on a regular basis to the Wiley home to dis cuss the contents and format; and the Tech Concert Band

2 9 State Department of Education, The Teaching of Music in Texas Public Schools, Bulletin 318 (March, 1933), p. 7.

3 0 Patrick, "Minutes of TMEA," pp. 30, 41. 170 read each method book for Victor as he was designing it.3 1

In January of 1932, the TBTA voted to accept the Victor

Method for use in Texas, after a motion by Wiley and a second by Earl Irons. The labors of this instrumental music committee resulted in the state accreditation of high school bands and orchestras; and band and orchestra were added to the list of state accredited music courses.

Class instrumental music was considered as having a place in the high school curriculum.33 Wiley's beliefs and influence had experienced fruition, and he was a part of a historical decision in the acceptance of instrumental music as a valid course of study in public education in

Texas.

In January, 1934, Wiley was elected president of

TBTA, a position he held for two consecutive one-year terms. (See Figure 19, page 171.) During his two years of leadership, the association grew in membership from

52 to 197, a highly substantial increase. Other highlights during his term include (1) a speech by Wiley discussing credit for band and music courses in Texas colleges, (2) an invitation to all state public school orchestra

3 1 Charles A. (Pete) Wiley, "Memories of My Dad," South western Musician combined with The Texas Music Educator, IL (March, 1981), pp. 11-18; Wiley interview, June 20, 1979.

3 2 Patrick, "Minutes of TMEA," p. 41.

3 3 State Department of Education, Bulletin 318 (March, 1933), p. 25. 171

219

Fig. 19--Wiley in 1936 172

directors to join TBTA (one obvious reason for the member

ship increase), (3) a brief period when the association's

name was changed to Texas Band and Orchestra Association,

and (4) the innovation of the "clinic" concept as an

integral part of the 1936 convention and a decision to

sponsor clinics at each future convention (a practice

that continues to this day). One year after his final

term as president, choral music received full accredita

tion, the result of efforts begun by Euell Porter during

Wiley's term as president. After the choral directors were admitted to the association, a reorganization was affected and TBTA became the Texas Music Educators Associ ation (TMEA).3 4

In April, 1943, as the war was taking its toll on the membership of TMEA, Wiley was elected to replace

Jack Mahan as secretary-treasurer because of the vacancy created when Mahan entered the armed forces. Little did

Wiley realize that he would serve as secretary-treasurer of TMEA for twenty consecutive years. During the war,

Wiley was instrumental in holding the TMEA together.

Even when there was very little money available to pro mote music education and the association, Wiley seemed

3 4 Patrick, "Minutes of TMEA, " pp. 65-72, 81-89; State Department of Education, The Teaching of Music in Texas Public School, Bulletin 378 (December, 1937), p. 127. 173

to find ways to get things done, even if he had to spend

his own money.3 5

In 1947, the subject of whether or not the TMEA music

contests should come under the control of the University

Interscholastic League came before the state schools for

their consideration. They voted 189 to 14 in favor of

League sponsorship, and as a result of the vote, the TMEA

committee and the superintendents met to formulate rules

governing the 1941 contest. Wiley served on the committee

which negotiated with the superintendents during this

critical time. When there was considerable diversity of

thought between the administrators and the band directors,

Robert Maddox, TMEA president in 1946-47, said Wiley was

a very influential member of the committee and served as

a stately liaison between the superintendents and the musicians. "Wiley was a very stabilizing factor, a person who knew all the answers," Maddox said. 3 6

In August, 1954, Wiley was appointed editor-manager of the Southwestern Musician combined with The Texas

Music Educator, the official magazine of the TMEA. Wiley followed Grady Harlan, who had published the magazine for the previous seven years. Wiley gave Harlan a down

3 5 Patrick, "Minutes of TMEA, " p. 291; McEntyre inter view.

3 6 Patrick, "Minutes of TMEA," p. 330; Robert Maddox, tape-recorded interview, Odessa, Texas, September 15, 1981. 174

payment of $1,500 out of his personal funds to secure the

magazine for the association. Robert Fielder, TMEA

president, stated that Wiley should be reimbursed the

funds, as soon as the money became available, and the

executive board fully agreed.3 7

In 1955, Wiley's title of secretary-treasurer of

TMEA was changed to that of executive secretary, and

along with the new title came more duties and responsi

bilities which were specifically outlined as amendments

to the constitution. Upon Wiley's retirement at Tech in

1959, he was made the first full-time executive secretary

in the history of the TMEA.38 Wiley completed his

twenty-years of service as executive secretary in July,

1963. Joseph Lenzo, who was hired as the full-time

executive secretary to replace Wiley, accepted the posi

tion with the understanding that Wiley was to remain as a consultant for one year.39 Wiley was paid an editorial tribute by Lenzo in his first publication of September,

1963.

D. 0. Wiley's contribution to the devel opment of our music programs throughout the state are of inestimable value to us, and his

37 Receipt from Grady Harlan to Wiley for $1,500 cash, July 17, 1954; Patrick, "Minutes of TMEA, " p. 450.

3 8 Patrick, "Minutes of TMEA, " pp. 457, 545. 39Minutes of Executive Committee Meeting of the TMEA, Houston, Texas, July 15-17, 1963, Wiley Papers. 175

successful record of service has left a for midable tradition for me to follow.4 0

During Wiley's years of involvement with TMEA, he gained respect on a national level, in addition to his fame in Texas and the Southwest. Wiley avoided partici pation in the Music Educators National Conference (MENC) at the national level, even though he was invited on several occasions to serve on national committees and participate in the national convention. On one such occasion in 1952, Vanett Lawler, associate executive secretary of MENC urged him to attend the national conven tion in Philadelphia:

May we say again how anxious we are to have you in Philadelphia and may I assure you that if you will come, I shall see to it personally that you have a hotel reservation close to, or in the headquarters hotel. . . .

We have only admiration for all of the wonderful work you have done in making the TMEA the remarkable organization it is. Even as a visitor, I could well understand why all of the members of the TMEA hold you in such high esteem and value so greatly your wise counsel and advise.4 1

Wiley did not attend the 1952 convention but instead sent Robert Fielder, state band chairman, and G. Lewis

Doll, state orchestra chairman. Wiley, in general, felt

40 Joseph Lenzo, "Editorial," Southwestern Musician combined with The Texas Music Educator, XXIX (September, 1963), p. 2.

4 1 Vanett Lawler, associate executive secretary, TMEA to Wiley, February 16, 1952, Wiley Papers. 176 that he was too busy with matters at home to get involved at the national level. His real interest and concern centered around "his boys" in Texas.4 2

The Texas State Department of Education thought highly of Wiley and his commitment to public school music.

A letter from Nell Parmley, state music director, echoes its sentiment:

May I take this opportunity of thanking you for your interest and cooperation in the project for instrumental directors sponsored by this department. It would be impossible for us to put over such a program without the cooperation of the leaders in the state, and we appreciate what you have done and will do toward making this meeting a success.4 3

One month later the state superintendent, L. A. Wood, wrote

Wiley and expressed his appreciation:

I appreciate very much . . . your fine spirit of cooperation which you have given us to help the public schools of this state im prove their musical programs. It is through this fine cooperation . . . that we are able to accomplish as much as we are accomplishing, and I assure you that this department will stand ready to do all that it can to help push this movement along. Texas must become musi cal.44

F. W. Savage, director of music activities under the

University Interscholastic League, always believed that

42Wileyto Vanett Lawler, February 16, 1952, Wiley Papers; Wiley interview, June 22, 1979.

4 3 Nell Parmley, State Music Director, to Wiley, October 22, 1937, Wiley Papers.

4 4 L. A. Wood, State Superintendent of Education, to Wiley, November 9, 1937, Wiley Papers. 177

Wiley had rendered a distinct service to education by placing his abilities and facilities at their service.4 5

In August, 1949, Savage formally expressed the appreciation of the University Interscholastic League for the hospital ity extended to the Music Selection Committee which met at Tech during the summer. He said,

You, personally, should be continuously congratulated on the part you are playing in assisting to build and improve the public school music program. Your influence is greatly felt in all meetings and organizations where music is studied and discussed.

I hope you feel you have received adequate remuneration above and beyond your salary when you realize that progress is being made and a large part is a direct result of your conscious effort.

Through your efforts, and those of your associates, the institution which you represent has assumed a role of leadership in the field of music education in Texas. May I congratulate you on this leadership and implore you to hold your standards even higher.46

Wiley was consulted on many occasions to give high schools and other institutions recommendations for pro spective band directors. While at Hardin-Simmons

University, Wiley placed some of the first band directors in the schools of West Texas. One superintendent, for example, said the band members were enthusiastic about

4 5 F. W. Savage, Director of Music Activities, Austin, Texas, to Wiley, July 5, 1948, Wiley Papers. 4F. W. Savage to Wiley, August 25, 1949, Wiley Papers. 178

the prospects of getting a "Cowboy Band" member to carry

on the work. Some of the band directors placed in

positions during the Simmons years include Raymond Bynum,

Weldon Covington, Marion Etheredge, Hugh A. Anderson,

Cecil Cammack, Holmes McNeely, and J. C. Burkett. At the

same time he received calls from William Revelli, Director

of Bands at the University of Michigan, and R. C. Cook,

president of University of Southern Mississippi, for job

placement recommendations for positions in the Midwest

and Deep South. 4 8

During the early 1930's, Wiley was instrumental in

obtaining recognition of Texas schools by the State and

National School Band Contests, in cooperation with the

National Bureau for the Advancement of Music. In early

1931, for the first time, five Texas bands participated

in the National Band Contest held in Tulsa that year.

The schools represented were Cisco, Abilene, Colorado,

Wink, and Canadian.49 Again, Wiley had taken the

4 7 J. T. Ferguson, Superintendent, Falfurras Public Schools, Falfurras, Texas, to Wiley, March 27, 1931, Wiley Papers. 48Wileyto Doris McLaughlin (secretary to William Revelli), University of Michigan Bands, Ann Arbor, November 15, 1951, Wiley Papers; R. C. Cook, President, Mississippi Southern College (currently University of Southern Mississippi), Hattiesburg, to Wiley, May 30, 1952, Wiley Papers. 49* C. M. Tremaine, secretary of the state and national band contests, to Wiley, February 13, April 18, and June 19, 1931, Wiley Papers. 179

initiative to help thrust Texas bands to the forefront by

encouraging them to compete at the national level.

Kappa Kappa Psi, national honorary band fraternity

for college bandsmen, was organized on the campus of

Oklahoma A & M College in the summer of 1919. Today,

chapters of the fraternity are located on the campus of

183 outstanding colleges and universities across the

nation and for the past sixty-three years it has been

promoting the cause of band music in America. Alpha

Omicron Chapter of Kappa Kappa Psi, the first to be estab

lished in Texas (the thirty-ninth in the nation), was

installed at Texas Tech on March 12, 1938. There were

eighteen charter members of the chapter including Wiley,

the first person in Texas to be initiated into Kappa Kappa Psi.. 50

During the next twenty years, under Wiley's sponsor

ship, the chapter was established as one of the truly

fine organizations in the country, confirmed by the fact

that it won five consecutive Balfour Awards (1949-1953), which were presented annually to the outstanding Kappa

Kappa Psi chapter in the nation. Alpha Omicron hosted the national convention in 1953, and Wiley served as host conductor of the National Intercollegiate Band. The

5 0 Charter and minutes of Alpha Omicron Chapter, Kappa Kappa Psi, contained in the files of the chapter at Texas Tech University, Lubbock, Texas. 180

success of the chapter can in part be contributed to

Wiley's expectations. He shouldered the chapter with numerous responsibilities and looked to it to provide

leadership in many areas of band organization. The chapter rose to the height of his expectations.

As a result of Wiley's long term of outstanding and dedicated service to the fraternity, he was awarded the

"Distinguished Service to Music Medal" at the 1971-73

Kappa Kappa Psi Biennium. This medal, Kappa Kappa Psi's highest award, was established at the 1963 Biennial

Convention and is awarded, in one of ten areas, to persons who have rendered exceptional service to American bands.

It recognizes the extraordinary accomplishments by those who have actively supported college and university bands and have contributed "above and beyond" of themselves and their talents to help bands grow in performance and purpose. Wiley was recognized in the area of fraternity service because of his outstanding contributions to the growth and development of the fraternity. Only five other presentations have been awarded in this particular area since the medal was established eighteen years ago.51

Wiley was again commended by Kappa Kappa Psi in 1979, when the 30th Biennial National Convention established the

5 1 Kappa Kappa Psi and Tau Beta Sigma Pledge Manual, National Office, Oklahoma State University, Stillwater, Oklahoma, pp. 54-55. 181

"Bohumil Makovsky Memorial Award" and included Wiley as one

of the fourteen charter recipients, six of whom were

deceased. Wiley, one of the eight retired directors named,

was among a prestigious group including Donald McGinnis,

Ohio State University; William Revelli, University of

Michigan; Manley Whitcomb, Florida State University; and

Donald Moore, Baylor University. Starting in 1981, the

award was presented to a currently active outstanding

college band director. The first recipient was Gary

Garner, West Texas State University, a student of Wiley's

in the early 1950's.5 2 Indeed, this award serves as

further support of the powerful influence Wiley exerted

on band development.

The first band sorority in the nation, created to meet the needs of women in college and university bands, was established on the Texas Tech campus in late 1937.

Wava Banes presented the idea to Wiley, and through his encouragement and support, a local chapter, known as Tau

Beta Sigma, was organized at Tech. It was modeled in principle after Kappa Kappa Psi but was designed to provide other positive experiences needed by the band. Hopes of going national were disrupted by World War II, but the chapter at Tech lent support to the band program there and helped keep the band operating during the war years.

5 2 Ibid., p. 58; "Makovsky Memorial Award" Plaque, Wiley Papers. 182

After the war, the Tech girls, under the leadership

of Banes, again sought national support, and A. Frank

Martin, executive secretary of Kappa Kappa Psi was con

tacted concerning the procedure for being recognized on

a national level. Because the Alpha Chapter of Kappa

Kappa Psi was located on the campus of Oklahoma A & M

College in Stillwater, Martin felt that the Alpha Chapter

of Tau Beta Sigma should be there also. He told the Tech

girls that meeting charter statutes in Oklahoma was

easier than meeting them in Texas, and he advised the

girls to surrender the name Tau Beta Sigma and their

constitution to the local band club at Oklahoma A & M.

The Tech chapter later regretted this decision, but

because they were so interested in going national, they

followed Martin's advice and in doing so forfeited their

right to become the Tau Beta Sigma "mother chapter" Alpha.

On March 26, 1946, a charter was granted legally establish

ing "Tau Beta Sigma, National Honorary Sorority for Bands women," and on May 4 of that year, the Alpha chapter traveled to Lubbock and officially installed the girls at Tech as the Beta chapter of the National Sorority.

Today there are 162 chapters of Tau Beta Sigma located across the United States. Although the Tech chapter, through the effort of Wava Banes, is credited with founding the organization, it was not rewarded for its efforts by being designated the Alpha chapter. Wiley again was 183 instrumental in supporting and furthering the cause of band development.5 3

Wiley met Herbert L. Clarke, famous cornet soloist, and director of the Long Beach Municipal Band, in 1930 when Clarke was invited to Abilene to judge the last official Chamber of Commerce contest. Clarke evidently developed much admiration for Wiley during their short association because in 1935, he submitted Wiley's name as a candidate for membership in the exclusive American

Bandmasters Association (ABA). Glenn C. Bainum, secretary treasurer of the association and Director of the North western University Bands in Evanston, Illinois, indicated to Wiley that Clarke had written a nice letter "praising you [Wiley] to the skies."54

The American Bandmasters Association originated with

Edwin Franko Goldman and was organized in 1929, with an initial membership which included only four college band directors: A. A. Harding, G. C. Bainum, Richard Dunn

(Texas A & M), and Everett McCracken (Baylor University).

Most of the original membership included professional bandsmen such as John Philip Sousa, Herbert L. Clarke,

Karl L. King, and Frank Simon. It was customary for a candidate to have three sponsors to be given consideration

53 Ibid., p. 28.

5 4 Glen C. Bainum to Wiley, December 6, 1935, Wiley Papers. 184 for membership in the American Bandmasters Association.

Although Wiley's additional sponsors are unknown, he was officially inducted into ABA on July 31, 1936, along with another Texas band director, Colonel Earl Irons, whose primary sponsor was Frank Simon. The ABA has always main tained the highest standards of professionalism within its organization; therefore, the select group has remained relatively few in number. When Wiley and Irons were inducted, there were less than fifty members.5 5

Wiley attended numerous national conventions of the association and took the Tech Concert Band for a perfor mance at the 1956 convention in Santa Fe, New Mexico, but in general he was not inwardly motivated to participate actively in organizations of a national level. As was the case with MENC, he had a compulsion to stay in the South west to encourage and inspire the people with whom he was most closely associated.

Wiley was instrumental in the founding of yet another band organization at the national level. During the Texas Tech Summer Band School of 1937 or 1938, a group of directors and students were enjoying a watermelon feast at Wiley's home, when the National Bandmasters

Fraternity, Phi Beta Mu, was born. Under the leadership of Colonel Earl Irons (its established founder) and

55 Minutes of American Bandmasters Association, July 31, 1936; Mahan interview. 185

Wiley, the fraternity came into existence in 1938 and

today has chapters in every state in the nation. Wiley

served as the Honorary Life President of the organiza

tion.56 School Musician editor, James Slutz, pays

tribute to Wiley by saying,

*. .0.Phi Beta Mu owes its very existence to "Prof" Wiley, a man whose credits, accom plishments, expertise, and dedication were a level of excellence seldom attained. Under girding all of this were some convictions that went much farther; D. 0. Wiley was a man of Christian principles who believed in being completely honest. . . . he will long be remembered as an example in Christian living as well as an inspired teacher of music. The band has lost a great friend.5 7

Wiley was a man of great stature, both physically

and spiritually. He believed in people, and because of

his homespun, "country-boy" philosophy, people were

drawn to him with the greatest admiration and respect.

He was easy-going, yet aggressive; deliberate, yet

slow to anger. His relaxed manner enabled him to be a

friend of students, while simultaneously being their

teacher. He possessed such a positive attitude and was

so interested in his life's work that those around him held him in the highest regard without question--his

love of music was contagious. He was open and honest,

5 6 James Slutz, editor, "A Salute to Prof Wiley, 1898 1980," The School Musician, LII (May, 1981), p. 43+.

5 Ibid., p. 45. 186

gentle, yet ironlike. His demeanor was that of stately

dignity.5 8

Wiley's rehearsals were relaxed, but the band members

could sense his expectations. Even though his nature was

not authoritarian, and he was not a strong disciplinarian,

he was demanding in rehearsal and always knew what he wanted to achieve. Robert Fielder, a former student who

served as Wiley's first assistant in 1937, said, "'Prof' was one of those unique personalities who could get stu dents to perform without using fear or a strong hand." 5 9

Fielder considered Wiley a very fine musician and said that any shortcomings that he might have had in instru mental pedagogy were greatly overshadowed by his overall musicality and ability to inspire students to learn on their own. Wiley was not a meticulous rehearsal techni cian; his comments were few, and most often general in nature, but he had the keen ability to motivate students to perform at their best. His son, Charles Wiley, recalled a typical rehearsal:

. . . When he would stop the band for an error, there would always be that big laugh and smile, telling us 'bunch of yahoos' to listen, play in tune, phrase, balance, play together, get a better tone, play the right notes, get the right stob down, put some air through the horn, etc.,

5 8 Leon Harris, tape-recorded interview, Lubbock, Texas, June 23, 1979, Ray interview.

5 9 Robert Fielder, tape-recorded interview, Plano, Texas, September 29, 1981. 187

as if we could do it instantly, and we generally did, reaching back to correctly taught funda mentals each time.6 0

Wiley was not blunt, not a man of harsh words; he was soft-spoken, seldom raising his voice. He refused to attack students verbally or embarass them for making a mistake. One had to listen intently to hear him, and if he chose to speak informally to a concert audience, they could scarcely hear him.6 1

Wiley's programming was innovative, and he always kept the audience in mind, with a desire to entertain.

He was partial to orchestral transcriptions, but as new compositions were published, he read and programmed them.

He was exceptionally kind to composers of new works who came to him requesting to have their compositions performed.

McEntyre recalls that the Tech Band was called upon many times to read new compositions in manuscript. Wiley never made any derogatory remarks about even the poorest of .62 compositions. He wanted to encourage new composers to write for band.

Described as a pure musician, or strictly a band man,

Wiley's foremost interest was music, and his life was sur rounded by it. He was not a true showman, and he had

6 0 Charles Wiley, "Memories," p. 19.

6 1 McEntyre interview. 6 2 Ibid. 188

little interest in frills. There was the tendency to set

aside things that were not musically oriented. Sometimes

his classes did not meet, but McEntyre recalls "learning

much from 'Prof' about phrasing, style, structure, and

interpretation, in an informal way, during rap sessions,

band rehearsals, and at social gatherings in his home." 6 3

Hemmle described Wiley as highly successful in his role as

a university band director but felt he was more of a

university man than a department man. Because of his many years of operating almost singlehandedly, he had

difficulty functioning as a member of a department. Wiley

could never approve of the teacher who ignored the funda mentals. He had great admiration for performers like

Enrico Caruso, Herbert L. Clarke, Fritz Kreisler, and

Jascha Heifetz. The highest compliment he could pay

someone was to say he could "smell a phrase." 6 4

Wiley was a man with strong musical instincts, and his achievements were the result of hard work and an abundance of natural ability. His only earned degree was the bachelor of music awarded by Simmons

University in June, 1927. He came to Simmons with an associate of arts degree from Midland College, a two year institution, which he completed in 1921. After

63 Ibid.

6 4 Hemmle interview; Charles Wiley, "Memories," p. 18. 189 transferring some credits from the American Conservatory in Chicago, the result of summer study, he completed the course work for the degree while teaching at Simmons.

Because of his reputation and active involvement in public school music development, he was awarded an honorary doctor of music degree from the Southwestern Conservatory of Fine Arts in Dallas in 1947.65

Wiley undoubtedly touched the lives of more band directors in Texas than any other man. Among the past presidents of TMEA, eight are Wiley's former students, and seven other former students have served as TMEA vice presidents (Band Division Chairmen). Within the organiza tion of the Texas Bandmasters Association, six of Wiley's students have served as president, and four have been honored as Bandmaster of the Year. There are countless successful band directors and other professional people across the state of Texas who attribute part of their success to Wiley's influence. John Haynie, professor of trumpet at North Texas State University, observed the following about Wiley:

Ihave the highest respect for Wiley. He was part of the springboard to any success that

6 5 Permanent record on file with the registrar, Charlene Archer, Hardin-Simmons University, Abilene, Texas; Honorary Doctorate degree certificate, Southwestern Conservatory of Fine Arts, Dallas, Texas, May 10, 1947; Associate of Arts Diploma, Midland College, Midland, Texas, May 19, 1921, Wiley Papers. 190

I have had. He understood where music educa tion was, and what people of that generation were trying to do in Texas. He had a great vision of what could happen in this state, and we have seen it happen.6 6

Earl Ray, retired band director and a pioneer in his own right, having started bands at Wink and Monahans in the late

1920's, made the following observations regarding Wiley:

Wiley has undoubtedly had more influence on the beginning band movement and its develop ment in Texas and the Southwest, than any other man in our history. It is just simply a fact.6 7

Joe L. Haddon, retired Supervisor of Music, Wichita Falls, likewise believes that Wiley was instrumental in the pioneering efforts of band development in Texas:

When he [Wiley] started out, he was the 'king bee,' because he got this business going. 'Prof' was a byword. He was one of the few directors in the South that everyone knew. People Nre drawn to him because of his repu tation.

J. R. McEntyre, Coordinator of Music, Odessa Public

Schools, believes that Wiley is the Father of Texas Bands:

He was always working in the forefront of TMEA, promoting, organizing, and selling band, and those things that aid in the development of bands. We owe a lot to Wiley; we would not be as well organized today in our contests, and in our association in general if it had not been for D. 0. Wiley. He was the organizer and facilitator behind TMEA.6 9

6 6 Haynie interview.

6 7 Ray interview.

6 8 Haddon interview.

6 9 McEntyre interview. 191

Fig. 20--Wiley, "Father of Texas Bands," around 1950. 192

Summary and Conclusions

Wiley's influence on the development of Texas bands

thus occurred in several well-defined areas. By providing

a Summer Band School on the campus of Tech, Wiley was

indeed able to make it possible for band directors through

out the state to receive college level credit to apply

toward their state accreditation requirements. Over the

twenty-five-year period, literally hundreds of band

directors were able to participate in the school and

become academically accredited to teach in their local

school districts. Additionally, those attending the

school were trained by some of the most prestigious music

educators in the nation, and while there, they were pro

vided the opportunity of performing in a laboratory/

reading band, gaining exposure to the best in band liter

ature. Students and directors alike received top-level

instruction for six weeks. This training for band

directors and students had a powerful influence on band

development, especially during the years 1934-1953.

Secondly, Wiley's efforts in organizing band contests are extremely significant. Bands were improving through competition, and the inspiration and excitement created by the contests had a positive effect on band improvement.

The comment by Herbert L. Clarke alone is adequate verification that improvement was evident in each of the public school bands. Many of Wiley's students were 193 already becoming successful band directors. The initia tion of the band clinics and their value to, and influence upon, Texas band development is incalculable. Wiley's contributions in this area are indisputable.

The leadership and example provided by Wiley in the area of adjudication illustrates his dedication to, and love for, the profession. The fact that he was highly sought as a judge in the Southwest stems from his presti gious reputation in the band field. His opinions and comments on interpretation, style, tone, and intonation were well-respected, and band directors across the state were eager to hear his judgmental views. Wiley willingly fulfilled requests to present clinics, even while on tour with the concert band. His influence and contributions in the area of adjudication, clinics, and guest conduct ing are of great magnitude.

Wiley's participation in professional organizations gave him a fourth avenue of significant influence. His thirty-four years of service to the TMEA, first as president in 1934-36, as secretary-treasurer, and as executive secretary is astounding when one is aware of the development of Texas bands in the last forty years to a place of national prominence. His contributions to, and influence upon, the TMEA is well-documented and a matter of record; his involvement in Kappa Kappa Psi, his guidance in founding Tau Beta Sigma and Phi Beta Mu 194 are all very significant factors contributing to his

influence on band development. Being a recipient of the

Kappa Kappa Psi "Distinguished Service to Music Medal,," and the "Bohumil Makovsky Memorial Award," in addition to being a member of the renouned American Bandmasters

Association, are in themselves proof of Wiley's stature among the great men who have shaped the course of public school band history in this nation.

Additional support for Wiley's status as the "Father of Texas Bands" is found in the uniqueness of the man himself. His keen ability to motivate, encourage and inspire people without the use of fear or authoritative discipline and his faith in people are among his most admirable characteristics. Wiley was not a speech maker, and he did not write much for publication, but his real belief in what music could do in the lives of youth is expressed in a rare quote in the Houston Chronicle in 1949. He was interviewed while attending the TMEA convention in Galveston and obviously felt that music had charm and could be used to positively influence youth:

We are trying to spread music appreciation among our youth of Texas through the public schools. The more they know about music, the more they will appreciate it.

We are not just training professionals. We always hold up to them the best in music. It has a good moral force, as well as an 195

educational force. We are in need of good moral forces among our youth in Texas today. 7 0

Wiley wanted every child to have the opportunity to

study and perform instrumental music. He did not adhere to the musical discrimination inherent in the practice of selecting only the highly talented for participation in his performance organizations. This is evident in the fact that he permitted students with a wide range of musical abilities to perform in his concert band.7 1

Students with whom Wiley came in contact experienced much more than an education in music because Wiley was a teacher of people, not a teacher of a subject. The positive and lasting influence he exerted on the lives of countless students and band directors will always stand as a living monument to him.

When Wiley completed his long career of service to the TMEA in 1964, he was paid due respect by band chair man and vice president of TMEA, Fred Junkin:

All music educators will certainly want to take the opportunity at this convention to pay their respects to our beloved "Prof" Wiley, who is closing out a long and dis tinguished career in music education. The Texas Music Educators Association's success is certainly due in a very large part to Prof's guidance during the past thirty-five years. D. 0. Wiley's musical experience and leadership in two of our fine college music departments has had a profound effect on

7 0 Houston Chronicle, February 10, 1949.

7 1 Haynie interview. 196

the growth of music education and the teach ing of instrumental music in our state, and his organizational and editorial ability has created a pattern by which the teaching of all phases of music has been furthered through his association. . . . We will always value his advice.72

The opening remarks of Earl Ray, before an assembling

of the Texas Bandmasters Association, in July, 1977, just

prior to Wiley being recognized as the "Father of Texas

Bands," serves as an appropriate conclusion to this chapter. Ray said,

At long last, the dean of the bands of the Southwest and the father of excellence in modern high school bands of the region, is to receive his most deserved recognition from the Texas Bandmasters Association. Cast in the mold of America's great band names: Sousa, Goldman, King, Makowsky, Revelli, and Hindsley, he stands alongside such Southwest notables as Dunn, Irons, Skinner, Bynum, and Moore. The name Dewey 0. Wiley, known to many as 'Prof,' to a few as 'D. 0.,' still has a familiar ring throughout the band halls of Texas. 7 3

7 2 Fred Junkin, "Band Division Notes," Southwestern Musician combined with The Texas Music Educator, XXXII (February, 1964), p. 4.

7 3 Earl Ray, tape-recorded speech made to the Texas Bandmasters Association, San Antonio, Texas, July 26, 1977, Wiley Papers. CHAPTER VI

GENERAL SUMMARY AND CONCLUSIONS

The purpose of the study was to write a history of

the professional career of D. 0. Wiley as a music

educator from 1921 to 1963. The work was organized

around the following questions:

1. What were the important events and influences

in the professional career of D. 0. Wiley as a college/

university band director?

2. What impact did Wiley have on the development

of Texas public school bands that earned him the title

"Father of Texas Bands?"

3. What role did Wiley play in the development of

the Texas Music Educators Association and other profes

sional music organizations?

Dewey Otto Wiley was born on the Fain Place, near

Alexander, a small town about fifteen miles south of

Stephenville, Texas, on April 17, 1898. His parents,

George and Cynthia Wiley, were farmers, and Dewey was one of nine children, including six boys. Young Dewey, from an early age, was intrigued by the violin music of the country fiddlers, and by the time he was six years old, he could play most of their tunes. During his

197 198

elementary school years, he obtained a mail order violin

method from the United States School of Music and learned

the correct bowings, fingerings, and other fundamentals.

At the age of seventeen, he enrolled as a special

violin student of Dr. Carl Venth in Fort Worth. Wiley's

older brother, "Doc," paid for his lessons and allowed

him to live in his home during this time of special study.

Venth was amazed at Wiley's self-taught abilities and

found it difficult to believe that Wiley had not received any formal training.

In the fall of 1917, Wiley enrolled as an eighth

grader (at age nineteen) at Graham High School, Graham,

Texas. The next year he attended Woodson High School,

Woodson, Texas, and while at Woodson, F. G. Jones,

president of Midland College, Midland, Texas, heard

Wiley perform a violin solo at a Woodson commencement.

Jones was impressed with Wiley and told him if he would

complete the tenth grade, he could come to Midland

College without the usual diploma. Returning to Graham High School, he finished the tenth grade and was per

mitted to enroll in the fall of 1919 at Midland College.

In addition to taking the usual college curriculum

at Midland, Wiley taught violin, directed a small

orchestra, played tackle on the football team, and married his high school sweetheart, Willie Ruth Cole. 199

Wiley graduated from Midland with an associate of arts degree in 1921.

In the fall of 1921, Wiley was hired as orchestra

director and violin teacher at Simmons University. After one year, he became band director, when the previous

director did not return after the summer vacation. In

only three years, the small group of instrumentalists became incorporated as the "Cowboy Band," adopted a unique cowboy uniform, and began traveling throughout the State of Texas.

Between 1925 and 1930, the band traveled across the United States from Los Angeles to Washington, D. C., while entertaining at rodeos, United Confederate Veterans Conventions, cattlemen's conventions, state fairs, patriotic celebrations, cotton carnivals, and rotary conventions; and participating in the inauguration of Texas Governor Dan Moody and President Herbert Hoover. The band attracted enormous crowds and broke house records in several prominent theaters. Additionally, several national booking agencies solicited its services for summer engagements on the vaudeville circuit and for

tours to the Northeast.

In 1930, the Cowboy Band traveled to Europe for a ten-week tour of England and Holland. It played a two-week engagement at the Palladium in London, a week engagement at Newcastle-Upon-Tyne, twelve performances 200

in Newcastle, a concert at the Dierentium Theater in Holland, and it marched in a parade and concertized in Rotterdam. Music for the trip included cowboy songs of the Southwest cattle range, music of Victor Herbert, and standard band transcriptions. In London, a young English cowboy named Johnny Regan joined the band and traveled with it throughout the tour and did rope twirl ing acts as part of the show. The European trip brought a host of national, and even international, publicity to Wiley and the Cowboy Band.

While at Simmons University, some of Wiley's greatest accomplishments were in the area of music education, or more specifically, public school band development. He initiated and implemented the first West Texas Band Contest for school bands in 1929. Contests were held at Simmons every year through 1934, the year Wiley moved to Texas Tech. At that time, the contests were moved with Wiley to Tech in Lubbock. Wiley inaugurated the Summer Band School for Boys at Simmons in 1932, and between 1926 and 1934, the Cowboy Band made fifteen extensive concert tours of Texas, New Mexico, and Louisiana. Several tours took as long as two weeks; one covered 2,000 miles, and it was not uncommon for the band to perform in seventeen cities in ten or twelve days. 201

The Cowboy Band of 1922, with fifteen members, grew to a membership of one hundred by the time it performed in concert at the Texas Band Teachers Association Conven tion in Abilene in 1930. As the band grew, it frequently was divided into two groups with one group playing a rodeo and the other performing at a football game. Wiley had a basic dislike for rodeos, and his desire to direct a band program more inclined to serious literature was not being met at Simmons. Wiley's calm, genteel person ality did not lend itself to the basic philosophical camp toward which the Cowboy Band was progressing. Tension was developing between Wiley's musical goals for the band and manager Sandefer's promotional and business

venture goals.

When Texas Technological College President Buford Knapp approached Wiley about accepting the band director position at Tech, Wiley saw nothing but potential at the young West Texas college, therefore, on July 9, 1934, he was appointed assistant professor and band director at the college.

Upon arrival at Texas Technological College, an institution only nine years old, Wiley found twenty eager band students. By the close of registration, the number had increased to eighty-nine and by mid-semester the Matador Band had grown to a hundred-member ensemble. During Wiley's twenty-five years at Tech, band enrollment 202

peaked twice at 350 students, once just prior to the war

in 1939-1940 and again in 1950-1951. Under Wiley's

leadership, the Tech Band was among the first bands in

the nation to permit girls to participate in what had

always been an all-boy organization. The marching band

actively participated in football half-time shows,

parades, and other West Texas festive occasions, including

the first live West Texas television broadcast in 1952.

The marching band accompanied the football team on three

trips to Los Angeles, concertizing at the California

Pacific International Exposition each time, and it also

made several appearances at the Cotton Bowl and Sun Bowl.

Wiley's extensive concert tour program took the

Tech Band all over Texas and the Southwest, playing con

certs inhigh schools and local auditoriums. In 1956, the

band traveled to Santa Fe, New Mexico, to perform for

the American Bandmasters Association, and on several

other occasions, it served as the clinic band for the

Texas Music Educators Convention. During the war years,

the Tech Band was one of the few college bands in the

nation to continue an active program throughout that

difficult period. During these years girls took an active role in band organization, and as a result, the national band sorority Tau Beta Sigma was formed on the Tech campus. In 1938, the first Texas chapter of 203

Kappa Kappa Psi was installed on the campus of Tech, and Wiley became the first Texas initiate.

Wiley believed that college and university bands

should reflect the dignity of the institution to which

it was attached; therefore, he constantly taught profes sionalism and integrity within the profession. He firmly

believed that band directors should uphold high standards of morality and ethics in their professional and personal lives. This philosophy was further reflected through his

selection of literature for the band from among serious

musical works of high quality.

The Contributions of D. 0. Wiley

Dewey 0. Wiley served the music education profession as a university band director for thirty-seven years. His contributions to the school band movement while serving as band director at Simmons University and Texas Tech University are significant and can be organized into five well-defined areas:

(1) In 1932 while at Simmons University, Wiley insti tuted a Summer Band School with the expressed purpose of training band directors to teach band in the public schools. For twenty-five consecutive years (1934-1959), Wiley sponsored a Summer Band School on the Tech campus which touched the lives of literally thousands of students and directors. He provided an invaluable service by 204

inviting some of the top band directors in the country to

the summer event at Tech, where they conducted seminars,

directed reading bands, and imparted knowledge relevant

to the many vital aspects of the profession. Those

participating directors and students stand today as a

monument to Wiley's tireless devotion and perseverence

during the pioneer days of music education in the South

west.

(2) Between 1936 and 1958, Wiley organized annual

band clinics on the Tech campus for the purpose of improv

ing the performance level of band music. Band directors

were invited to bring their bands and join other bands

from across the Southwest in reading sessions of

appropriate contest literature. Outstanding Texas

directors were invited to conduct the band and discuss

style and interpretation. These clinics were of incal

culable value to the growth and development of Texas

bands, and they stand as one of Wiley's most influential

contributions.

(3) Wiley's contribution as an adjudicator, clinician,

and guest conductor in eight states in the South and Southwestern United States is of great importance. He judged in numerous national, regional, state, and state

regional contests, and served as a judge at the annual Tri-State Musical Festival for twenty-two years. One of Wiley's traits that made him a powerful influence was his 205

constant compulsion to inspire, instruct, and encourage

students and their directors.

(4) Wiley further contributed through his influence in the founding of two national band organizations, Tau Beta Sigma, National Band Sorority in 1946, and Phi Beta Mu, National Bandmasters Fraternity in 1938. He serves as the Honorary Life President of Phi Beta Mu. Wiley's motivation to further the cause of music through band development is evident in his work with professional

organi zations.

(5) Wiley was one of the first university band directors to allow females to participate in what was

an all-male organization.

Because of Wiley's influence and contributions as a university band director, he was awarded, at the 1971-73 Kappa Kappa Psi Biennium, the fraternity's most prestigious award, the "Distinguished Service to Music Medal," recognizing his extraordinary accomplishments "above and beyond" his talents to help develop the performance and purpose of American bands. Six years later, the fraternity commended him again by including him among the fourteen charter recipients of the coveted "Bohumil Makovsky Memorial Award," acknowledging outstanding American bandmasters.

Wiley served as president of TMEA from 1934 to 1936, secretary-treasurer from 1943 to 1955, and executive 206

secretary from 1955 to 1963. In 1954, he was appointed editor-manager of the Southwestern Musician combined with The Texas Music Educator, a position he held until 1963.

Wiley's influence upon, and contributions to, TMEA were notable and can be organized into four well-defined areas:

(1) As a member of the Committee for Standardization

of Instrumental Music Instruction in Public Schools, Wiley was an outspoken advocate of standardized instru mental method books within the schools of Texas. As a

result of this committee's work, full state accreditation was granted to high school bands and orchestras in 1933. Furthermore, he worked closely with and served as an advisor to John Victor, in the preparation of the Victor

band method book which was adopted and used in public

school instrumental programs across the state.

(2) During Wiley's presidency the TMEA almost quadrupled in size, partly as a result of an invitation to school orchestra directors to join. It was Wiley's idea to incorporate the clinic concept as part of the annual TMEA convention, and he invited William Revelli to conduct the first band clinic at the 1936 convention. The practice of providing a clinic at each of the annual meetings has continued to this day.

(3) Wiley served as a liaison between the local school superintendents and the band directors across the state during the period of intense negotiation and 207

discord concerning placing the state music contests under

the auspices of the University Interscholastic League.

In 1947 the matter came before the schools and passed in

favor of League sponsorship. Wiley also served on the committee to formulate the rules governing the contests.

(4) During the war years, Wiley was the stabilizing factor that held the TMEA organization together. He managed and promoted the organization when there was no money to do so, frequently using his own personal funds.

For twenty years (1943-1963) Wiley, served as the most prevailing figure within the TMEA, due to the visibility of his position and his commitment to it. He was a major factor in the growth and development of the association to the prominent place of national leadership it holds today.

Wiley is considered the "Father of Texas Bands" because of the immense influence he exerted and the pro found guidance he provided, especially in the pioneer years (1925-1940) of Texas band development. He had a vision for what Texas bands could achieve long before there were models or precedents on which to build. The magnitude of his influence can be found in the great number of his students who rose to prominent positions of leadership within the professional music organizations of the State of Texas, and even a greater number who attained a high degree of success and accomplishments 208

as secondary school and college or university instrumental

music directors.

A man of exceptional professional commitment, Wiley

devoted his entire career to music and music education.

His unique: ability to organize and administer was primarily

intuitive. There is no indication that Wiley ever received

any special training in administration. He was able to

make things happen through his resourcefulness and ingenuity,

and most of the time he was able to remain in the back

ground while watching it being accomplished. He had no original motivation to become a pioneer music educator. He

simply did what came natural to him, an outgrowth of his

inherent love of music and its propagation. It was a consensus among those interviewed that Wiley's work in

music education was born out of a deep-rooted conviction

that good music had a positive influence on youth, and if

good music flourished, the world would be a better place to live for all mankind.

Wiley's success was due, in part, to his love of people and the ability to inspire and encourage those with whom he came in contact to believe in themselves and to perform at a high level of expectation. He could inspire confidence and enthusiasm in people when it seemed an impossibility. He was vitally interested in the ability and discipline of his students as performers and teachers, 209

but he was even more concerned with their growth as human beings. He believed that a high level of accom plishment in music education was directly correlated to unquestionable conduct and personal values of the highest nature.

Wiley developed a close rapport with his students, many of them becoming close personal friends in later years. They still stand in awe of the man. He never expected more of others than from himself, and patience was always exhibited with those who were earnest. He was known as a man having absolute integrity and a contagious vitality.

Behind every well-defined movement, there are people of influence who ultimately determine the course of future development. Dewey 0. Wiley is part of the very foundation on which Texas school music rests. His exemplary and illustrious professional career will live on through the existence of those whom he influenced and molded; the dimension and impact of his work will project far into the future.

Recommendations for Further Research Within the last decade, historical biography in music education has received increased attention. Approximately eighty years old, public school instrumental music has come of age and now an objective and accurate investi gation of the past is feasible. There are other prominent 210

figures in the school band movement of Texas that could be approached in a study similar to the one employed in

the present study of D. 0. Wiley. Some other significant figures in Texas school instrumental music who are worthy of consideration include the following: Richard J. Dunn, former director of bands at Texas A & M, and past presi dent of TMEA, 1931-1932; Everett McCracken, former director of bands at Baylor University and past president of TMEA, 1932-1934; Robert Maddox, former band director in Odessa, and past president of TMEA, 1946-1947; Charles Eskridge, former band director in Monahans and Lubbock and past president of TMEA, 1942-1943; R. C. (Chief) Davidson, former band director in Plainview; R. A. Dhossche, former band director at Technical High School in San Antonio, and Maurice McAdow, former director of bands at North Texas State University. All of these people were influ ential in the development of public school bands in

Texas.

There is a dearth of studies dealing with the develop ment of outstanding band programs in the State of Texas. A study could be devised to compare a selected few of the more notable bands with regard to teaching methods, administrative procedures, and general organization. A study of this nature would reveal some key factors that are necessary to proper band development. 211

There has not been a definitive study that has

concentrated on the development of the public school

marching band in America. An investigation of the

history of the public school marching band should con

centrate on the following areas: (1) the earliest

appearances of marching bands at public school athletic

events; (2) the evolution of marching maneuvers and half

time presentations; (3) the development of charting

methods; (4) the growth and changes in music selection

for half-time shows; (5) the evolution of instrumentation;

and (6) the basic change in philosophical thought with

regard to the dilemma of education versus entertainment. A study of this nature would be welcomed by music educa tion historians.

Other general areas that are recommended for research and investigation include concert band programming and performance practices, stylistic changes in the evolution of band uniforms, the acceptance of girls into college and university bands, the everchanging concepts concerning concert band instrumentation and its various treatments by composers, arrangers and transcribers, and lastly, a study addressing the problems of instrumentation, musical selections and the general diversity of thought surround ing the problem of the concert/symphonic band versus the wind ensemble. 212

These recommendations are not meant to be comprehen

sive or all-inclusive, but merely thought provoking.

During the years of research by this writer, it became

evident that little research and investigation had been

accomplished on the subjects that were cited. It is hoped

that these recommendations may serve as a source of induce

ment to one who desires to write about the history of music education.

Epilogue

After retirement at Texas Tech, D. 0. Wiley purchased

a large building in Lubbock where he set up his TMEA office

and continued to publish the Southwestern Musician combined with The Music Educator. His duties as full-time executive

secretary of TMEA kept him quite busy, but he found time to launch a small laundromat business using the extra space in the building where his office was located. He soon opened another laundromat and was kept busy servicing the machines and keeping everything in good working condition.

When Wiley's successor, Dean Killion, invited the retired bandmaster to visit the Tech Band during the foot ball season, he accepted and enjoyed sitting in the stands with the band at many home games. On one occasion, not many years after retirement, Wiley and his predecessor,

Harry LeMaire, who had retired in 1934, were visiting the Tech band hall examining some of the new equipment. 213

A unique photograph was made of the two gentlemen who had

been Tech's only band directors during the first thirty

four years of the university's existence. (See Figure 21, page 213.)

Each summer he took his wife, Willie Ruth, to Tres

Ritos, New Mexico, to study art. She was a self-taught

oil painter who did not discover her talent to paint

until her later years. The trips to New Mexico began

to be a real hardship on Wiley since he would have to

return to Lubbock to manage his laundromat business,

then drive back to New Mexico to bring Willie Ruth home. He gave up the business in the late 1960's so that he and

Willie Ruth could vacation. One of their most enjoyable

trips was a tour of Hawaii.

In January, 1971, the Wileys celebrated their Golden

Wedding Anniversary in Lubbock. All of the family were present and many of Wiley's former students returned to join in the festive occasion with them. The Wileys regarded the celebration as the greatest day of their lives. A year later in January, 1972, Willie Ruth

Wiley died of complications resulting from cancer.

In March, 1972, Wiley attended the American Band masters Association Convention in Arlington, Texas, where he guest conducted the Tech Band on one number. At that particular convention there were three Wileys from the same family who were ABA members participating l

214

( v~ J

A I' I

4,

Fig. 21--Wiley with former Tech band director, Harry LeMaire (1925-1934), in the Tech band hall around 1961. 215

in the convention: D. 0.; his brother Russell, director

of bands at the University of Kansas; and his youngest

son Charles (Pete), director of bands at Lamar University

in Beaumont, Texas. Wiley attended the 1973 ABA conven

tion in Florida and the 1974 ABA convention in Hawaii,

which was a joint convention with the Japanese Bandmasters

Association.

Wiley's only daughter, Genelle, an employee of a

major airlines, encouraged her father to take some trips

with her to see some other parts of the world. In 1972,

they traveled to South America for a two-week vacation

where they visited Rio De Janeiro, Buenos Aires, La Paz,

and Machu Picchu. In April, 1975, they made a ten-day

trip to Hong Kong with a side trip to Sydney, Australia.

Rome, Florence, Switzerland, and Paris were visited by

Wiley and his daughter in 1976; a one-week tour of Spain

in 1977 and a short trip to Mexico City in 1978 were the

last out-of-country trips Wiley made. On several occasions he flew to California to visit his oldest son Norman, a retired Marine officer, who taught optometry at the Los

Angeles College of Optometry in Anaheim.

According to Genelle, Wiley seemed to be in good health until Christmas, 1977, when he experienced what was later termed a mild heart problem while visiting her in Arlington, Texas. In February, 1980, Wiley's doctor advised Genelle that Wiley should not live alone. She, 216

understandably, could not convince him to leave his Lubbock home of nearly fifty years and move to Arlington to live with her, so in February, 1980, she moved to Lubbock to live with her father in the old home place.1 As interviews were conducted between January, 1978, and June, 1979, it was becoming more apparent that Wiley was becoming pressed by the debilitating effects of time. Even though his voice was weakening, his lighthearted enthusiasm never waned; he was humbled by the fact that someone was writing about his life. Much of his time was spent around the home listening to his favorite recordings of Paganini, Heifetz, Kreisler and Caruso. He was constantly reorganizing his multitudinous collection of tapes and records and cataloguing them for future recollection.

D. 0. ("Prof") Wiley died in his sleep on December 30, 1980, after viewing a special televised performance of one of his favorite violin concerti, the Mendelssohn, by an aspiring young Korean violinist. This writer was reminded of a comment made by Wiley in a 1979 interview: "The violin always was my instrument."

1Genelle Coleman, tape-recorded interview, Lubbock, Texas, January 24, 1982. 2 Ibid. APPENDIX A

A TRIBUTE TO D. 0. WILEY

When D. 0. Wiley retired in 1958, many of his associates, colleagues, students, and friends sent him a congratulatory letter or telegram applauding his four decades of dedicated work in instrumental music education.

Below are some excerpts from a selected few of the many notes of congratulations he received.

Harold B. Bachman, Director of Bands University of Florida, Gainesville, Florida

I have treasured our close acquaintance and friendship since we first met in Tampa over 30 years ago. Few men in our profession have a more distinguished record of service, and enjoy greater affection and respect from their former students and colleagues. None deserves to be honored for distinguished service to his profession more than D. 0. Wiley.

. . . I do wish to offer my heartiest congratulations and best wishes for many more fruitful years in the profession to which you have made such a notable contri bution.

George S. Howard, Colonel Chief, The United States Air Force Band Washington, D. C.

The many contributions you have made in the field of music education are a great tribute to you. Your name stands as a landmark for thousands of students and your

217 218

accomplishments set a standard and goal toward which to strive.

A. A. Harding, Director Emeritis University of Illinois Bands, Champaign, Illinois

Your outstanding work in the band field at Texas Tech, together with your personal qualities, has caused you to become the bell wether of Texas bandmasters.

Raymond F. Dvorak, Director of Bands University of Wisconsin, Madison, Wisconsin

On the occasion of the appearance of your band in Abilene, Texas, I am taking the oppor tunity of saying once more congratulations to you who in my mind represents Mr. Music in Texas.

Anyone who has spent forty-four years of his life in promoting music among the fine young people of Texas certainly has left an indelible mark in the minds of all of them. Please accept the humble congratulations of one who has admired you from both near and far.

Frank Simon, Professional Band Director Tucson, Arizona

It affords me genuine pleasure to join with your many friends on the occasion of your visit, with your splendid band, back in old familiar surroundings in Abilene in congratulating you on the years of ser vice you have rendered to the many young musicians who have passed thru [sic] your hands.

Having been so closely associated with you, they have inherited not only a sound musical education from you--but those other essential qualities, that spell success in life.

How rewarding must be the work that you have contributed to these young people--and the cultural appreciation that you have 219

developed in your territory over the years will stand as a monument to your dedication.

William F. Santelmann, Lieutenant Colonel United States Marine Corps Band Arlington, Virginia

My heartiest congratulations to you for the long years that you have so successfully served the band movement at Hardin Simmons and Texas Tech. You have been an inspiration to your students and your good influence on them will be a lasting monument that will always be a tribute to you.

G. 0. Slaughter, Band Director Dallas, Texas

Congratulations to one of our great pioneers of the Southwest. We all treasure you as a friend, teacher, and a great musician.

Bob Whipkey, Big Spring Herald Big Spring, Texas

. . if you find new pleasures, let me say that no man has earned them more. I want to send along my warmest wishes for your continued success and happiness, and to con gratulate you on such a wonderful job through the years.

Few men have helped the cause of good music for young people as you have, and while you were training them, you were setting them an example of what a real upstanding man ought to be.

I will always cherish the memories of wonderful days in the Cowboy band under you. That's been a long time ago, but still very dear to me. 220

Carroll McMath, Band Director Denton, Texas

You have been a real inspiration to me ever since our first contact in 1934 when I came to Tech as about the youngest, greenest freshman that you ever had in a band. Your patience, encouragement, and guidance during the next four years was a wonderful help to me. APPENDIX B

A SAMPLING OF CONCERT SELECTIONS FROM

D. 0. WILEY'S BAND PROGRAMS

Hardin-Simmons Band

1925-1926

"Semper Fidelis" Sousa "Washington Post" Sousa "King Cotton" Sousa "March Gloria" Sousa "Sunny South Overture" Lampe "Overture" to the "Hungarian Lustspiel" Keler Bela "The Conqueror March" Ticke "Cyrus the Great" "Saratoga" King King

1927-1929

"Moorish March" Moskowski Symphony in B Minor Schubert "The Mill in the Forest" Eilenberg "Turkish March" from The Ruins of Athens Beethoven "Light Calvary Overture" von Suppe "Suite Atlantis" Safraneck

1930-1934

"Les Preludes" Liszt "Finale" to Fourth Symphony Tchaikovsky "Bridal Chorus" from Lohengrin Wagner "U.S. Field Artillery" Sousa "William Tell Overture" Rossini "Corinthian Polka" Losey "Waltz" and "Serenade" from The Student Prince Rombert "Il Guarany" Gomez "Orpheus Overture" Of fenbach "American Patrol" Meacham

221 222

Tech Band

1934 (First Concert)

"Orpheus in the Underworld" Of fenbach "March Militaire" Schubert "Clair De Lune" Debussy "Southern Rhapsody" Hosmer "Stars in a Velvety Sky" (soloist, Alfred Riley) Clarke "Le Carneval Russe" (soloist, David Humphreys) Ciardi

1935-1940

"The Universal Judgement" De Nardis The Bartered Bride Smetana "March Militaire Francaise" Saint Saens "William Tell Overture" Rossini "Blue Danube Waltz Strauss Komm Susser Tod Bach "Coronation Scene" from Boris Godounov Moussorgsky "The Force of Destiny" Verdi "Die Fledermaus" Strauss "Dance of the Tumblers" from Snow Maiden Rimsky-Korsakov "Capriccio Italien" Tchaikovsky Symphony No. 6 (excerpts) Tchaikovsky "Euranthe Overture" von Weber "Malaguena" Lecuona "Les Preludes" Liszt "Beatrice and Benedict" Berlioz "Prelude and Fugue in D Minor" Bach "L 'Arlesienne" Bizet

1941-1945

New World Symphony Dvorak "Prima Donna" Gould "A Childhood Fantasy" "Mirella Lillya Overture" Gonoud "Willow Echoes" (soloist, Ted Crager) Simons The Marriage of Figaro Mozart "Americans We" Fillmore "The Universal Judgement" De Nardis "Barber of Seville Overture" Rossini "Slavonic Rhapsody No. 2" Fredermann 223

"March Heroic" Holmes Unfinished Symphony Schubert "Tales of Vienna Woods" Strauss "In a Persian Market" Ketelby "March and Chorus" from Judas Macabeas Mendelssohn

1946-1953

"Bride of the Waves" (soloist, John Haynie) Clarke Symphony No. 6 (Complete) Tchaikovsky "Carnival of Venice" (soloist, John Haynie) Clarke "Caravan Overture" Ellington "Anniversary March" Goldman "The Three Blind Mice" Frangkiser "Porgy and Bess Overture" Gershwin "A Manx Overture" Wood "Czech Rhapsody" Weinburger "Dance of the Hours" Gioconda New World Symphony (First Movement) Dvorak "The Sorcerer's Apprentice" Dukas "Children's March" from "Over the Hills and Far Away" Grainger "Suite of Old American Dances" Bennet "March Vivo" Maxwell "Overture to Mignon" Thomas "Blue Tango" Anderson "Galop" Katchaturian "March Fantastique" Fucik "The Thunderer" Sousa "Toccata and Fugue in D Minor" Bach "Fingal's Cave" Mendelssohn

1954-1959

"Chorale and Alleluia" Hanson "Pageant" Persichetti "Brighton Beach March" Latham "Suite in F" Breydert "Fandango" Perkins "Oberon Overture" von Weber "Men of Ohio" Fillmore "Miss Trombone" Fillmore "Flag of Stars" Jacob "Tulsa" Gillis "Espana" Chabrier "Finale" to Symphony No. 5 Shostakovitch "Proud Heritage" Latham 224

"Procession of Nobles" Rimsky-Korsakov "First Swedish Rhapsody" Leidzen Symphony No. 5 (excerpts) Beethoven * "Fantasy on Four Notes" Chidester "Toccata for Band" Erickson "Fanfare and Allegro" Williams "Symphonic Suite" Williams

*Written for the Tech Band APPENDIX C

AN INDEX OF THE MUSICAL SELECTIONS CONTAINED ON

THE ENCLOSED CASSETTE TAPE RECORDING

OF THE TEXAS TECH BAND

1. "Farandole from L'Arlesienne Suite" Bizet (first recording of Tech Band, December, 1937)

2. "New Colonial March" Hall (recorded in May, 1948) 3. "March" from Symphony No. 6 Tchaikovsky (recorded in May, 1948)

4. "Mexican Overture" Isaac (recorded in May, 1950)

5. "The Klaxon" Fillmore (recorded in 1955)

6. "Beatrice and Benedict Overture" Berlioz (recorded in 1937; recording was poor--only two excerpts included)

7. "Meditation from Thais" Massenet/Harding (Tech 1949 Summer Band; Harding conducted)

The cassette was made from original recordings contained in the holdings of the Southwest Collection, Texas Tech University, Lubbock, Texas.

225 BIBLIOGRAPHY

Manuscripts

The D. 0. Wiley Papers, author's personal collection, Southeastern State University, Durant, Oklahoma.

The D. 0. Wiley Papers, Southwest Collection, Texas Tech University, Lubbock, Texas.

Public Documents

Charter and Minutes of Alpha Omicron Chapter, Texas Tech University, Lubbock, Texas.

Financial and Budget Records for 1950-1952, Texas Tech University, Southwest Collection, Lubbock, Texas.

Minutes of American Bandmasters Association, July 31, 1936, Jack Mahan, Secretary-Treasurer, Arlington, Texas.

Patrick, Nelson G., editor, "Minutes and Proceedings of the Texas Music Educators Association 1924-1961," printed by TMEA, University of Texas, Austin, Texas, 1961.

State Department of Education, The Teaching of Music in Texas Public Schools, Bulletin 318, March, 1933.

State Department of Education, Twenty-eighth Biennial Report, Bulletin 341, March, 1935.

State Department of Education, The Teaching of Music in Texas Public Schools, Bulletin 378, December, 1937.

Interviews

Anderson, Hugh A., tape-recorded interview with writer, Lubbock, Texas, June 22, 1979.

Coleman, Genelle, tape-recorded interview with writer, Lubbock, Texas, January 24, 1982.

Crager, Ted, tape-recorded interview with writer, Miami, Florida, September 15, 1981.

226 227

Fielder, Robert, tape-recorded interview with writer, Plano, Texas, September 29, 1981.

Garner, Gary, tape-recorded interview with writer, Canyon, Texas, September 17, 1981.

Haddon, Joe L., tape-recorded interview with writer, Wichita Falls, Texas, September 7, 1981.

Harris, Leon, tape-recorded interview with writer, Lubbock, Texas, June 23, 1979.

Haynie, John James, tape-recorded interview with writer, Denton, Texas, September 15, 1981.

Hemmle, Gene, tape-recorded interview with writer, Lubbock, Texas, September 11, 1981.

Henry, Wava Banes, tape-recorded interview with writer, Aspen, Colorado, October 12, 1981.

Maddox, Robert, tape-recorded interview with writer, Odessa, Texas, September 15, 1981.

Mahan, Jack, tape-recorded interview with writer, Arlington, Texas, September 29, 1981.

McCarty, Darrell K., tape-recorded interview with writer, Lubbock, Texas, September 14, 1981.

McClure, Dorothy, tape-recorded interview with writer, Abilene, Texas, June 19, 1981.

McEntyre, J. R., tape-recorded interview with writer, Oklahoma City, Oklahoma, July 23, 1981.

McMath, Carroll, tape-recorded interview with writer, Denton, Texas, August 28, 1981.

Montgomery, Lee Boyd, tape-recorded interview with writer, Sequin, Texas, September 17, 1981.

Proffitt, Cora, tape-recorded interview with writer, Fort Worth, Texas, June 10, 1979.

Ray, Earl, tape-recorded interview with writer, Lubbock, Texas, September 28, 1981.

Wiley, D. 0., tape-recorded interview with writer, Lubbock, Texas, 1978-1979. 228

Wiley, G. D., tape-recorded conversation between D. 0. Wiley and G. D. (Doc) Wiley, place unknown, June 19, 1969.

Wiley, Russell, tape-recorded response to letter from writer, Prairie Village, Kansas, January 17, 1979.

Newspapers

Abilene Texas Morning Reporter-News, August 25, 1930.

The Amarillo Times, March 12, 1941.

Big Spring Texas Herald, March 13, 1947.

Caller Times, Corpus Christi, Texas, July 21, 1932.

Dallas Morning News, 1926-1930.

Evening Standard, San Angelo, Texas, April 27, 1949.

Fort Worth Star-Telegram, October 19, 1939.

Gladewater Texas Daily Times-Tribune, March 14, 1948.

Houston Chronicle, 1929-1949.

Lawrence Kansas Journal-World, July 27, 1974.

Lubbock Avalanche-Journal, 1935-1964.

The Lubbock Evening Journal, 1935-1959.

Lubbock Morning-Avalanche, 1934-1964.

The Midland Texas Reporter-Telegram, 1953-1959.

New York Times, October 18, 1932.

Scurry County Times, Snyder, Texas, February 26, 1927.

The Simmons Brand, Hardin-Simmons University, Abilene, Texas, 1921-1934.

The Toreador, Texas Tech University, Lubbock, Texas, 1934-1959.

Vernon Texas Daily News, March 12, 13, 1942. 229

Books

Band Music Guide, 6th ed., Evanston, Illinois, The Instrumentalist Company, 1975.

Birge, Edward Bailey, History of Public School Music in the United States, Washington, D. C., Music Educators National Conference, 1966.

Brickman, William W., Guide to Research in Educational History, New York, New York University Bookstore, 1949.

Bridges, Irene and Raymond F. DaBoll, Recollections of the Lyceum and Chautauqua Circuits, Freeport, Maine, The Bond Wheelwright, Co., 1979.

Collingwood, R. G., The Idea of History, London, Oxford University Press, 1956.

Colwell, Richard J., The Teaching of Instumental Music, Englewood Cliffs, New Jersey, Prentice-Hall, Inc., 1969.

Gay, L. R., Education Research: Competencies for Analysis and Appreciation, Columbus, Ohio, Charles E. Merrill Publishing Co., 1976.

Good, Carter V., Essentials of Educational Research, New York, Appleton-Century-Crofts, 1966.

Larson, William S., Bibliography of Research Studies in Music Education, 1932-1948, Washington, D. C., MENC, 1949.

Leonhard, Charles and Robert W. House, Foundations and Principles of Music Education, New York, McGraw Hill Book Co., 1959.

Morgan, Hazel Nohavec, editor, Music in American Education, Music Education Source Book Number Two, Chicago, Music Educators National Conference, 1955.

Phelps, Roger P., A Guide to Research in Music Education, 2nd ed., Dubuque, Iowa, William C. Brown Company, Publishers, 1980. 230

Power, Edward J., Main Currents in the History of Education, New York, McGraw Hill Book Co., 1962.

Richardson, Rupert Norval, Famous Are Thy Halls, Abilene, Texas, Abilene Publishing Company, 1964.

Ryan, Patrick J., Historical Foundations of Public Education in America, Dubuque, Iowa,~William C. Brown Company, Publishers, 1965.

Sunderman, Floyd F., Historical Foundations of Music Education in the United States, Metuchen, New Jersey, Scarecrow Press, 1971.

Tellstrom, A. Theodore, Music in American Education: Past and Present, New York, Holt, Rinehart and Winston, Inc., 1971.

Articles

"Bibliography of Research in Music Education 1949-1956," Journal of Research in Music Education, V (Fall, 1957).

Britton, Allen P., "Music in Early American Public Education: A Historical Critique," Basic Concepts in Music Education, Fifty-seventh Yearbook of the National Society for the Study of Education, edited by Nelson B. Henry, 1959.

"Colleges of Abilene Give City First Rank as Educational Center," West Texas Today, Stamford, Texas (May, 1930 ), 25.

Gordon, Roderick D., Compiler, "Doctoral Dissertations in Music and Music Education," Journal of Research in Music Education, XXII (Summer, 1974), 67-111.

Johnson, H. Earl, "The Need for Research in the History of American Music," Journal of Research in Music Education, VI (Spring, 1958)743-61.

Junkin, Fred, "Band Division Notes," Southwestern Musician combined with The Texas Music Educator, XXXII (February, 1964), 4.

Lenzo, Joseph, "Editorial," Southwestern Musician com bined with The Texas Music Educator, XXIX (September, 1963), 2. 231

Linduall, C. M., "The Review of Related Research," Phi Delta Kappan, XL (January, 1959), 170-180.

"National Intercollegiate Band," and "New Officers of Kappa Kappa Psi," The Podium (December, 1953), 1-5.

Slutz, James, editor, "A Salute to Prof Wiley, 1898-1980," The School Musician, LII (May, 1981), 43+.

Turrentine, Edgar M., "Historical Research in Music Education," Council for Research in Music Education, XXXIII (Summer, 1973), 1-7.

Wiley, D. 0., "Music Education Pioneer Recalls History of Texas Band Contests," Interscholastic Leaguer, LV (September, 1970).

Wiley, Charles A. (Pete), "Memories of My Dad," South western Musician combined with The Texas Music Educator, IL (March, 1981), 11-18.

Annuals and Yearbooks

La Ventana, Texas Tech University, Lubbock, Texas, 1933 1959.

The Corral, Graham High School, Graham, Texas, 1917.

Dissertations and Theses

Berglund, Donald H., "A Study of the Life and Work of Frederick Stock During the Time He Served as Musical Director of the Chicago Symphony Orchestra, with Particular Reference to His Influence on Music Education," unpublished doctoral dissertation, Northwestern University, Evanston, Illinois, 1955.

Blasch, Betty Lou Russell, "Luther Anton Richman: His Life and Contributions to Music Education," unpub lished doctoral dissertation, University of Virginia, Charlottesville, Virginia, 1972.

Blum, Beula Blanche Eisenstadt, "Solmization in Nineteenth Century American Sight-Singing Instruction," unpub lished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1968. 232

Britton, Allen P., "Theoretical Introductions in American Tune Books to 1800," unpublished doctoral disserta tion, The University of Michigan, Ann Arbor, Michigan, 1949.

Canfield, John Clair, Jr., "Henry Kimball Hadley: His Life and Works (1971-1937)," unpublished doctoral dissertation, The Catholic University of America, Washington, D. C., 1973.

Cummings, Harmon Dean, "Andrew Abgate: Philadelphia Psalmodist and Music Educator," unpublished doctoral dissertation, University of Rochester, Rochester, New York, 1975.

DeJarnette, Reven, "Hollis Dann: His Life and Contributions to Music Education," unpublished doctoral dissertation, New York University, New York, 1939.

DeJournett, Ned Russell, "The History and Development of The American Choral Directors Association, 1957 1970," unpublished doctoral dissertation, The Florida State University, Tallahassee, Florida, 1970.

Eisenkramer, Henry Edward, "Peter William Dykema: His Life and Contributions to Music Education," unpub lished doctoral dissertation, Columbia University, New York, 1963.

Eskridge, Charles Sanford, "A History of the TMEA as Recorded in State Secretaries' Minutes of Annual Meetings," unpublished master's thesis, Texas Tech College, Lubbock, Texas, 1943.

Faulkner, Maurice E., "The Roots of Music Education in American Colleges and Universities," unpublished doctoral dissertation, Stanford University, Palo Alto, California, 1955.

FitzPatrick, Edward J., Jr., "The Music Conservatory in America," unpublished doctoral dissertation, Boston University, Boston, Masachusetts, 1963.

Fouts, Gordon E., "Music Instruction in America to Around 1830 as Suggested by the Hartzler Collection of Early Protestant American Tune Books," unpublished doctoral dissertation, University of Iowa, Iowa City, Iowa, 1968. 233

Goodsell, M. Elaine, Sister, "Walter Damrosch and His Contributions to Music Education," unpublished doctoral dissertation, The Catholic University of America, Washington, D. C., 1973.

Hancock, Lewis Preston, "The History of Public School Music in Virginia," unpublished doctoral dissertation, University of Virginia, Charlottesville, Virginia, 1963.

Hill, Thomas H., "Ernest Schnelling (1876-1939): His Life and Contributions to Music Education Through Educa tional Concerts," unpublished doctoral dissertation, The Catholic University of America, Washington, D. C., 1970.

Hines, Anna Margaret,"Music at Black Mountain College: A Study of Experimental Ideas in Music," unpublished doctoral i dissertation, The Florida State University, Tallahassee, Florida, 1972.

John, Robert W., "AHistory of School Vocal Instruction Books in the United States," unpublished doctoral dissertation, Indiana University, Bloomington, Indiana, 1963.

Johnson, Robert Erdman, "E. Thayer Gaston: Contributions to Music Therapy and Music Education," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1973.

Kauffman, Harry M., "A History of the Music Educators National Conference," unpublished doctoral disser tation, George Peabody College for Teachers, Nashville, Tennessee, 1942.

Lasco, Richard, "A History of the College Band Directors National Association," unpublished doctoral disser tation, University of Cincinnati, Cincinnati, Ohio, 1971.

Lendrim, Frank Torbet, "Music for Every Child, the Story of Karl Gehrkens," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1962.

Looser, Donald William, "Significant Factors in the Musical Development of the Cultural Life in Houston, Texas, 1930-1971," unpublished doctoral dissertation, The Florida State University, Tallahassee, Florida, 1972. 234

Mahan, Jack, "Texas Music Educators Association, 1920 1949," unpublished master's thesis, Southern Methodist University, Dallas, Texas,1949.

McCarrell, Lamar K., "A Historical Review of the College Band Movement from 1875-1969," unpublished doctoral dissertation, The Florida State University, Talla hassee, Florida, 1971.

McDermid, Charles Maynard, "Thaddeus P. Giddings: A Biography," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1967.

McKerman, Felix E., "Will Earhart, His Life and Contri butions to Music Education," unpublished doctoral dissertation, University of Southern California, Los Angeles, California, 1958.

Miller, Samuel Dixon, "Otto Miessner and His Contributions to Music in American Schools," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1962.

Molnar, J. W., "The History of the Music Educators National Conference," unpublished doctoral disser tation, University of Cincinnati, Cincinnati, Ohio, 1948.

Mountney, Virginia Ruth, "The History of the Bachelor's Degree in the Field of Music Education in the United States," unpublished doctoral dissertation, Boston University, Boston, Massachusetts, 1961.

Olenchak, Frank Richard, "Glenn Gildersleeve and His Contributions to Music Education (1894-1970)," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1977.

Oursler, Robert Dale, "The Effect of Pestalozzian Theory and Practice on Music Education in the United States Between 1850 and 1900," unpublished doctoral disser tation, Northwestern University, Evanston, Illinois, 1966.

Pemberton, Carol Ann, "Lowell Mason, His Life and Work," unpublished doctoral dissertation, University of Minnesota, Minneapolis, Minnesota, 1971. 235

Perryman, William Ray, "Walter Damrosch: An Educational Force in American Music," unpublished doctoral dissertation, Indiana University, Bloomington, Indiana, 1972.

Platt, Melvin Carlos, Jr., "Osbourne McConathy, American Music Educator," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1971.

Reed, Joel F., "Anthony L. Showalter (1858-1924): Southern Educator, Publisher,Composer," unpublished doctoral dissertation, New Orleans Baptist Seminary, New Orleans, Louisiana, 1975.

Reichmuth, Roger E., "Price Doyle, 1896-1967: His Life and Work in Music Education," unpublished doctoral dissertation, University of Illinois, Urbana, Illinois, 1977.

Remsen, Katherine G., "Thomas Tapper: His Contributions to Music Education," unpublished doctoral dissertation, University of Michigan, Ann Arbor, Michigan, 1975.

Rich, Arthur, "Lowell Mason: Music Educator," unpublished doctoral dissertation, New York University, New York, 1940.

Ritsema, Robert Allen, "A History of the American String Teachers Association: The First Twenty-five Years," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1971.

Roberts, Charlie Walton, Jr., "The History of the Louisiana State University School of Music," unpub lished doctoral dissertation, The Louisiana State University, Baton Rouge, Louisiana, 1968.

Rosewall, Richard Bryan, "Singing Schools of Pennsylvania, 1800-1900," unpublished doctoral dissertation, University of Minnesota, Minneapolis, Minnesota, 1969.

Sloan, David Walter,"History of Texas Public School Music," unpublished doctoral dissertation, The University of Texas, Austin, Texas, 1970.

Smith, Andrew W., "Undergraduate Music Education Curriculums for Public School Music Teachers from 1920 to 1930," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1970. 236

Smith, Paul Frank, "The History of Texas Technological College Band (1925-1954)," unpublished master's thesis, Texas Tech College, Lubbock, Texas, 1955.

Sunderman, Lloyd, "A History of Public School Music in the United States (1830-1890)," unpublished doctoral dissertation, University of Minnesota, Minneapolis, Minnesota, 1939.

Swingle, Marilyn Ruth, "A History of the Florida State University School of Music," unpublished doctoral dissertation, The Florida State University, Talla hassee, Florida, 1973.

Tipps, Alton Wayne, "Harold B. Bachman, American Band master--His Contributions and Influences," unpublished doctoral dissertation, The University of Michigan, Ann Arbor, Michigan, 1971.

Weber, Calvin Earl, "The Contributions of Albert Austin Harding and His Infulence on the Development of School and College Bands," unpublished doctoral dissertation, University of Illinois, Urbana, Illinois, 1963.

Wilson, Gilbert E., "H. A. Vandercook, the Teacher," unpublished doctoral dissertation, University of Missouri, Kansas City, Missouri, 1970.

Miscellaneous Unpublished Materials

Lam, Conrad, "Echoes from a Surgeon's Trumpet," unpublished manuscript, Detroit, Michigan, 1976.

Lam, Conrad, "History of the Cowboy Band," unpublished manuscript, Detroit, Michigan, 1976.

Pledge Manual, Kappa Kappa Psi and Tau Beta Sigma, National Office, Oklahoma State University, Stillwater, Oklahoma, 1981.

Ray, Earl, tape-recorded speech made to the Texas Band masters Association, San Antonio, Texas, July 26, 1977. PLEASE NOTE:

Cassette Tape available for consultation at the Library of North Texas State University.

UNIVERSITY MICROFILMS.