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(1921 to 1963) Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements

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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.
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