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Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies. -
Curriculum Vitae
Curriculum Vitae Lowell E. Graham 1058 Eagle Ridge El Paso, Texas 79912 Residence Work Home e-mail (915) 581-9741 (915) 747-7825 [email protected] Education Doctor of Musical Arts, Catholic University of America, 1977, Orchestral Conducting Graduate Studies in Music, University of Missouri at Kansas City, summers 1972 and 1973 Master of Arts, University of Northern Colorado, 1971, Clarinet Performance Bachelor of Arts, University of Northern Colorado, 1970, Music Education Military Professional Education Air War College, 1996 Air Command and Staff College, 1983 Squadron Officer School, 1977 Work Experience 2009 to Present Director of Orchestral Activities Music Director, UTEP Symphony Orchestra University of Texas at El Paso El Paso, Texas As the Director or Orchestral Activities I am responsible for the training and development of major orchestral ensembles at the university. I began a tradition of featuring faculty soloists as well as winners of the annual student Concerto Competition, now with an award offered by Olivas Music, providing the orchestra the opportunity to perform significant concerto literature as well as learning the art of accompanying. In 2012, I developed a new chamber orchestra called the “UTEP Virtuosi” focusing on significant string orchestra repertoire. I initiated a concert featuring music in movies and for stage in which that music is presented and integrated via multimedia with lectures and video. It has become the capstone event for the year featuring the artistry of faculty soloists and comments per classical music used in movies and music composed exclusively for that medium. Each year six performances are scheduled. Repertoire for each year covers all eras and styles. -
High School Band Required List
2021-2022 High School Band Required List Table of Contents Click on the links below to jump to that list Band Group I (Required) Group II (Required) Group III (Required) BAND 2021‐2022 ISSMA REQUIRED LIST HIGH SCHOOL Perform as published unless otherwise specified. OOP = Permanently Out of Print * = New Additions or Changes this year Approximate times indicated for most selections GROUP I (REQUIRED) Aegean Festival Overture Makris / Bader E.C. Schirmer 10:00 Aerial Fantasy Michael A. Mogensen Barnhouse 10:30 Al Fresco Karel Husa Associated Music 12:13 American Faces David R. Holsinger TRN 6:00 American Hymnsong Suite (mvts. 1 & 3 or mvts. 1 & 4) Dwayne Milburn Kjos 3:11 / 1:45 / 1:50 American Overture For Band Joseph Willcox Jenkins Presser 115‐40040 5:00 American Salute Gould / Lang Belwin / Alfred 4:45 And The Mountains Rising Nowhere Joseph Schwantner European American Music 12:00 And The Multitude With One Voice Spoke James Hosay Curnow 8:00 Angels In The Architecture Frank Ticheli Manhattan Beach 15:00 Apotheosis Kathryn Salfelder Kon Brio 5:45 Apotheosis Of This Earth Karel Husa Associated Music 8:38 Archangel Raphael Leaves A House Of Tobias Masanori Taruya Foster Music 9:00 Armenian Dances Part I Alfred Reed Sam Fox / Plymouth 10:30 Armenian Dances Part II Alfred Reed Barnhouse 9:30 Army Of The Nile (March) Alford or Alford / Fennell Boosey & Hawkes 3:00 Aspen Jubilee Ron Nelson Boosey & Hawkes 10:00 Asphalt Cocktail John Mackey Osti Music 6:00 Austrian Overture Thomas Doss DeHaske 10:20 Away Day A. -
Rolling Thunder (1982)
Henry Fillmore (1895-1982) Rolling Thunder (1982) We open this afternoon’s program with the raucous Rolling Thunder circus march. It features our superb trombone section. Not coincidently, the trombone was Fillmore’s primary instrument. James Henry Fillmore Jr. was born in Cincinnati, OH. His father was a composer of gospel music and was a highly religious presence in the Fillmore household. In fact, when his mother gave him a used trombone, young Henry and his mother kept it a secret from his father who believed the trombone was an uncouth and sinful instrument. Fillmore graduated from the Cincinnati Conservatory of Music, after which he traveled around the United States as a bandmaster with his wife, exotic dancer Mabel May Jones. In 1938, Fillmore moved to the Miami Florida area where he spent the rest of this life conducting area bands and composing marches and novelty pieces involving the trombone. He also wrote several works for the University of Florida, Florida State University and the University of Miami, including Miami’s current fight song Miami U How-Dee-Doo. Frank Ticheli (b. 1958) Postcard (1991) Frank Ticheli is Professor of Composition at the University of Southern California’s Thornton School of Music. He has written for orchestra, chamber ensemble, and choir, but he is perhaps best known for his more than twenty pieces for concert band. Recently, the Metropolitan Wind Symphony has performed his jazz inspired Blue Shades, the energetic Vesuvius and his beautifully melancholy Rest. The Metropolitan Wind Symphony has commissioned Mr. Ticheli for a new composition for wind band as part of a three-ensemble consortium. -
Our Own Red, White and Blue March and One Step Henry Fillmore Edited by Robert E
FULL SCORE Our Own Red, White and Blue March and One Step Henry Fillmore Edited by Robert E. Foster For unlawfulpromotional CB148 INSTRUMENTATION Full Score ............................................ 1 Piccolo ................................................ 1 Flute .................................................... 8 Oboe .................................................... 2 Clarinet in E≤ ...................................... 1 Clarinet 1 in B≤ ................................... 4 Clarinetto 2 in B≤ ................................... 4 Clarinet 3 in B≤ ................................... 4 Bass Clarinet in B≤ ............................. 2 Bassoon copy.............................................. 2 Alto Saxophone in E≤ ........................use4 Tenor Saxophone in B≤ ..................... 2 Baritone Saxophone in E≤................ 2 Trumpet 1 in B≤ .................................. 3 Trumpet 2 in B≤ .................................. 3 only Trumpet 3 in B≤ ..................................or 3 Trumpet 4 in B≤ .................................. 3 Horn 1 in F .......................................... 2 Horn 2 in F .......................................... 2print Horn 3 in F .......................................... 2 Horn 4 in F .......................................... 2 Trombone 1 ........................................ 3 Trombone 2 ........................................ 3 Trombone 3 ........................................ 3 Euphonium ........................................ 3 Euphonium T.C. in B≤ ....................... -
Gifted Leadership March Henry Fillmore Edited by Robert E
FULL SCORE Gifted Leadership March Henry Fillmore Edited By Robert E. Foster CB134 INSTRUMENTATION Full Score .............................. 1 Flute & Piccolo ....................... 8 Oboe .................................. 2 Clarinet 1 in B≤ ...................... 4 Clarinet 2 in B≤ ...................... 4 Clarinet 3 in B≤ ...................... 4 Bass Clarinet in B≤ .................. 2 Bassoon ................................ 2 Alto Saxophone 1 in E≤ .......... 2 Alto Saxophone 2 in E≤ .......... 2 Tenor Saxophone in B≤ ........... 2 Baritone Saxophone in E≤ ....... 2 Trumpet 1 in B≤ ...................... 3 Trumpet 2 in B≤ ...................... 3 Trumpet 3 in B≤ ...................... 3 Trumpet 4 in B≤ ...................... 3 Horn 1 in F ........................... 2 Horn 2 in F ........................... 2 Horn 3 in F ........................... 2 Horn 4 in F ........................... 2 Trombone 1 ........................... 3 Trombone 2 ........................... 3 Trombone 3 ........................... 3 Baritone T.C. in B≤ .................. 2 Baritone B.C. ......................... 3 Tuba ..................................... 4 Percussion 1 .......................... 1 Snare Drum Percussion 2 .......................... 2 Crash Cymbals, Bass Drum 2 Program Notes Henry Fillmore was a well known musical personality in band gained national fame after they began a series of Cincinnati when he wrote his march, Gifted Leadership, weekly radio broadcasts that were heard throughout and dedicated it to a fellow Cincinnatian, Frank Simon the country. in 1927. Fillmore was in his mid-forties, and had enjoyed a successful career conducting his popular Shrine Band, Thus, the mid-American city of Cincinnati had two and he now was leading his own professional concert extremely successful and popular professional bands band, which was enjoying a lot of success in Cincinnati. and band leaders, who each had a healthy respect for Frank Simon, also from Cincinnati, was a virtuoso cornet- the other. -
Texas Bandmasters Association 2016 Convention/Clinic
The American March CLINICIAN: Lowell E. Graham, Col (ret.) USAF Texas Bandmasters Association 2016 Convention/Clinic JULY 21-24, 2016 HENRY B. GONZALEZ CONVENTION CENTER SAN ANTONIO, TEXAS “The American March” For the Texas Bandmasters Association By Lowell E. Graham, Col (ret.) USAF Professor of Music University of Texas at El Paso The American March THE OBVIOUS 1. Sir Donald Tovey identifies two basic types of rhythms – Speech and Body. I refer to these are music for the Brain and music for the Feet. 2. Marches are functional, physical and artistic. 3. Melody and articulation reigns supreme in marches. 4. Basic Types of Marches – Concert, Funeral or Dirge, Street (Military and Regimental), Quick Step and Circus (Screamers). PERFOMANCE ISSUES FOR ALL ENSEMBLES INTONATION 1. Tuners are good for one note only. Use your ears! 2. Intonation – tune unisons first, then octaves, then fifths. For the perception of good intonation, the bottom octave is perceived as correct as it is heard as the fundamental. Thirds will take care of themselves. 3. Ensembles play or sing in Pythagorean/Just tuning, not equal temperament. 4. Tuning Pitch (clarinet especially) – CO2 (Carbon Dioxide) content is greater when air flow begins making the pitch sharp for a moment until the air mixture stabilizes. PERFORMANCE PRACTICE 1. Articulate with more strength in quieter passages, not more legato or softer. 2. Attacks – Chewing the note, typically the first note of the piece. 3. Play full value – of course, if under a crescendo or diminuendo this does not apply. 4. Play rhythms as slowly as possible within the tempo to avoid compression. -
Rolling-Thunder.Pdf
YOUNG BAND ROLLING THUNDER Concert MARCH HENRY FILLMORE Arranged by CALVIN CUSTER INSTRUMENTATION 1 Conductor 5 1st B Trumpet 5 1st and 2nd C Flutes 5 2nd Bb Trumpet 2 Oboe 3 Horn bin F 5 1st B Clarinet 4 Trombone 5 2nd Bb Clarinet 2 Baritone 2 B Bassb Clarinet 2 Baritone Treble Clef 2 Bassoonb 4 Tuba 4 E Alto Saxophone 2 Mallet Percussion (Bells) 2 Bb Tenor Saxophone 4 Percussion (Snare Drum, 2 Eb Baritone Saxophone Bass Drum, Crash Cymbals) b proGRAM notes ROLLING THUNDER was written in 1916 by Henry Fillmore and has gained a reputation as one of the best known and best loved circus “Screamers”. Fillmore marked the tempo as FURIOUS with a metronome marking that is almost “out of sight”. It’s excitement as can only be generated by the big top and the three rings inside. Fillmore equals fun. Play the work in as brisk a fashion as is comfortable for the group… and most of all, have fun with it. Calvin Custer has transformed much of what was technically difficult in the original version to a more realistic level in this arrangement. The “tough stuff” is gone, but the great musical circus ex- citement is intact… and it remains a wonderful SCREAMER! Preview OnlyCalvin Custer LegalPlease note: Our bandUse and orchestra musicRequires is now being collated by an automatic Purchase high-speed system. The enclosed parts are now sorted by page count, rather than score order. We hope this will not present any difficulty for you in distributing the parts. Thank you for your understanding. -
Scholarly Publishing Services — UW Libraries
Co \'l\ ~ ~ d c\l' sL. ;;I~~ W&' ~~~R~~~~:~GTON 5--1 Paragons University of Washington Symphonic Band Dr. Steven Morrison, conductor University of Washington Wind Ensemble Timothy Salzman, conductor 7:30 PM March 7, 2017 Meany Theater UW MUSIC 2016-17 SEASON PROGRAM UNIVERSITY OF WASHINGTON SYMPHONIC BAND Or. Steven Morrison, conductor Moorside March (1927/1960)................~.;.{.!..1:......................... Gustav Holst (1874·1934), arr. Gordon Jacob (1895·1984) Z ~lity#-5 k.vmur :3 Chatterbox (2013) ..................................~.!.!.§. ......................................................................... Jason McChristian (b. 1979) Anita Kumar, conductor 1- r-ew-" M ~s k10 rnsc711 ~-. An Introduction to the Moon (2006) .....................12'z..Q!... ..? ......................................................................... Libby. Larsen (b. 1950) (:J ~Vf. ('#-5 morn >OY) -::;.. Entrance of the Gladiators (Thunder and Blazes) (1897/1910) .......... ~.:..?.1................................. Julius Fucik (1872·1916) arr. Louis·Philippe Laurendeau (1861-1916) UNIVERSITY OF WASHINGTON WIND ENSEMBLE Timothy Salzman, conductor \.. George Washington Bridge (1950) ..................'??.U.Q.......................................................... William Schuman (1910·1992) Shayna Stahl, conductor Redwood (201 0)..................................................&': .................................................................................z.. Ryan George (b. 1978) Doug Morin, conductor .3 re..wtvvt f::..S, S~ r2..w;.ti.-V\ -
Cedar Falls Band Library, Status 9/28/11 Title Composer Arranger
Cedar Falls Band Library, status 9/28/11 Title Composer Arranger 12th Street Rag Bowman, E. L. 147th Field Artillery (band book #1) King, K. L. 1812 Overture Tschaikowsky Laurendeau, L. 20th Century (galop-xylophone) Stobbe, Wm. R. 20th Century March Losey, F. H. 22nd Regiment March Herbert, Victor 2nd Regiment Conn. N. G. March Reeves, D. W. 53rd Iowa N.G. March Fraser, C. A. St. Clare 80th Anniversary March Marsh, Ed Manuscript A. A. Harding March Mader, Carl A. A. Harding March Mader, Carl A.A.B.B. March Willcocks, G. H. Abdallah (band book #1) King, K. L. Abide With Me Monk, W. H. Briegel, G. F. Abu Hassan Overture von Weber, C. M. Rollinson, T. Aces of the Air (band book #2) King, K. L. Across the Danube Sousa, J. P. Adagio-Taratella Cavallini, Ernest Waln, George Adieu Lake, M. L. Adorable (waltz) Marion, G. Whiting Briegel, G. F. Adoration Borowski, F. Lake, M. L Africantus (4 perc) Brand, Morris Alan Age of Progress, The Goldman, Edwin Ah! Sweet Mystery of Life Herbert, Victor Trinkaus, J. G. Air Battle March, The Dalbey, C. W. Air Varie (solo for baritone) Harlow, Fred P. Akebond "Dawn" (Japanese Navy) Takayama, Min Akebono Al and Pal (solo for cornet) Short, T. V. Alameda Caneva, Ernest Alamo (band book #3) King, K. L. Alaska Overture Jones, Steven Album Leaf Wagner, Richard Johnson, C.W. Alexander's Rag Time Band Berlin, Irving Alfalfa Club March Howard, George Kepner, Fred Algeria (band book #3) King, K. L. All American March Crosby, Richard All I Owe Ioway Rodgers, Richard Leidzen, Erik Alla Barocco Gioyannini, Caesar Robinson, W. -
The Golden Age of the American March New World 80266 THE
The Golden Age of the American March New World 80266 THE PRIDE OF AMERICA - THE GOLDEN AGE OF THE AMERICAN MARCH The march, like the waltz and the minuet, is a highly stylized form of dance. It was purely functional in origin, designed to keep troops in step with a regular beat and a cheerful sound. Some form of march music was possibly among the earliest types of concerted performance, although documentation before the middle of the seventeenth century is lacking. But we know that small bands of musicians usually marched in parades or processions, or provided encouraging noise for charges. The instrumentation of these bands, playing in the open air, was dependent not only on the potential volume but also on portability. These little bands were therefore always composed of wind instruments (the louder the better), and from early times one had fifes and trumpets—together with drums—as the basic instruments of the military band. As wind instruments evolved, they were added rather haphazardly to the bands. Until the end of the eighteenth century, the military marches these bands played were generally short and simple, as they had to be memorized. Few of them are of any musical interest today, although there are preserved examples by Lully, C. P. E. Bach, and Haydn, among others. The standard military band of the mid-eighteenth century consisted of an octet of oboes, clarinets, horns, and bassoons, with a side drum and a bass drum and occasionally a trumpet. Large bands, as we think of them today, were unknown, and the history of the modern band did not begin until the time of the French Revolution. -
UNLV Symphonic Winds & UNLV New Horizons Band
Department of MUSIC College of Fine Arts presents UNL V Symphonic Winds UNL V New Horizons Band Anthony LaBounty, conductor Clinton L. Williams, graduate conducting assistant Chris Golden, graduate conducting assistant Keith E. Larsen, graduate conducting assistant Keith E. Larsen, graduate conducting assistant PROGRAM UNL V New Horizons Band Robert W. Smith On The Rising Winds (b. 1958) Keith E. Larsen, conductor Larry Daehn A Song for Friends (b. 1939) Clinton L. Williams, conductor Johnnie Vinson Grand Galop (b. 1944) Keith E. Larsen, conductor Charles L. Booker, Jr. Civil War Saga (b. 1952) Clinton L. Williams, conductor INTERMISSION UNLV Symphonic Winds Caesar Giovannini Fanfare, Choral and Fugue (b. 1925) Anthony LaBounty, conductor Timothy Mahr Fantasia in G (b. 1956) Percy Grainger Lincolnshire Posy (1882-1961) Lisbon Horkstow Grange The Lost Lady Found Chris Golden, conductor Charles Ives Variations on America (1874-1954) Anthony LaBounty, conductor Sergei Prokofiev March, Op. 99 (1891-1953) Keith E. Larsen, conductor Tuesday, March 5, 2013 7:30p.m. Artemus W. Ham Concert Hall Performing Arts Center University of Nevada, Las Vegas Robert W. Smith's On The Rising Winds was inspired by an experience during a flight over the beautiful state of Georgia. Flying on a smaller plane on the clearest of Sunday mornings, the ascent was very gradual, slowly revealing the natural beauty of the state. Beginning with the softest of winds, the mysterious introduction gives way to the most exuberant of flights, culminating in an exciting final statement. The title also suggests and celebrates the ever-increasing skills of wind band musicians at this level.