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Toccata for Band by Frank Erickson, Mutations from Bach by Samuel Barber, and Nobles of the Mystic Shrine by John Philip Sousa

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Toccata for Band by Frank Erickson, Mutations from Bach by Samuel Barber, and Nobles of the Mystic Shrine by John Philip Sousa AN EXAMINATION OF WORKS FOR WIND BAND AND BRASS ENSEMBLE: TOCCATA FOR BAND BY FRANK ERICKSON, MUTATIONS FROM BACH BY SAMUEL BARBER, AND NOBLES OF THE MYSTIC SHRINE BY JOHN PHILIP SOUSA by ADAM RICHARD LADD B.M.E., The Ohio State University, 2008 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theater, and Dance College of Arts & Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2014 Approved by: Major Professor Dr. Frank Tracz Abstract The following report is a comprehensive analysis of two works for wind band and one work for brass ensemble, prepared by Adam Ladd. The report was completed during the Spring semester of 2014 and culminated with live performances of each piece by the Kansas State University Concert Band and Brass Ensemble with Adam Ladd conducting. Audio and video recordings of the conducted performances can be found within the K-State Research Exchange database. The following report includes three comprehensive Unit Studies or Teacher Research Guides in the format that is described in the Teaching Music Through Performance in Band book series. The report also includes three Tracz Analysis Grids in the format that is found in The Art of Interpretation of Band Music. The examined pieces are as follows. Toccatta for Band, by Frank Erickson, Mutations from Bach, by Samuel Barber, and Nobles of the Mystic Shrine, by John Philip Sousa, arranged by Philip Sparke. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................ vii CHAPTER 1 - Introduction and Report Information ..................................................................... 1 Introduction and Statement of Purpose ....................................................................................... 1 Performance Information ............................................................................................................ 1 Music Examined ......................................................................................................................... 1 Format of Analysis ...................................................................................................................... 2 Tracz Analysis Grid .................................................................................................................... 3 Concert Program ......................................................................................................................... 5 CHAPTER 2 - Music Education Mission Statement .................................................................... 16 The Purpose of Education ..................................................................................................... 16 The Purpose of Music Education .......................................................................................... 16 The Process of Music Education ........................................................................................... 17 Philosophy as a Living Document ........................................................................................ 18 CHAPTER 3 - Quality Literature Selection ................................................................................. 19 CHAPTER 4 - Toccata for Band .................................................................................................. 22 Unit I. Composer ....................................................................................................................... 22 Unit II. Composition ................................................................................................................. 23 Unit III. Historical Perspective ................................................................................................. 24 Unit IV. Technical Considerations ........................................................................................... 25 Unit V. Stylistic Considerations ............................................................................................... 27 Unit VI. Musical Elements ....................................................................................................... 28 Melody .................................................................................................................................. 28 Harmony ............................................................................................................................... 30 Rhythm .................................................................................................................................. 30 Timbre ................................................................................................................................... 31 Unit VII. Form and Structure .................................................................................................... 31 Unit VIII. Suggested Listening ................................................................................................. 33 iii Unit IX. Seating Chart and Acoustical Justification ................................................................. 33 Unit X. Rehearsal Plans and Evaluations ................................................................................. 35 Rehearsal Plan – Rehearsal #1 .......................................................................................... 35 Rehearsal Plan – Rehearsal #2 .......................................................................................... 36 Rehearsal Plan – Rehearsal #3 .......................................................................................... 37 Rehearsal Plan – Rehearsal #4 .......................................................................................... 38 Rehearsal Plan – Rehearsal #5 .......................................................................................... 39 Rehearsal Plan – Rehearsal #6 .......................................................................................... 40 Rehearsal Plan – Rehearsal #7 .......................................................................................... 41 Rehearsal Plan – Rehearsal #8 .......................................................................................... 42 Rehearsal Plan – Rehearsal #9 .......................................................................................... 43 CHAPTER 5 - Mutations from Bach ............................................................................................ 44 Unit I. Composer ....................................................................................................................... 44 Unit II. Composition ................................................................................................................. 46 Unit III. Historical Perspective ................................................................................................. 47 Unit IV. Technical Considerations ........................................................................................... 49 Unit V. Stylistic Considerations ............................................................................................... 50 Unit VI. Musical Elements ....................................................................................................... 51 Melody .................................................................................................................................. 51 Harmony ............................................................................................................................... 51 Rhythm .................................................................................................................................. 53 Timbre ................................................................................................................................... 53 Unit VII. Form and Structure .................................................................................................... 54 Unit VIII. Suggested Listening ................................................................................................. 55 Unit IX. Seating Chart and Acoustical Justification ................................................................. 55 Unit X. Rehearsal Plans and Evaluations ................................................................................. 57 Rehearsal Plan – Rehearsal #1 .......................................................................................... 57 Rehearsal Plan – Rehearsal #2 .......................................................................................... 58 Rehearsal Plan – Rehearsal #3 .......................................................................................... 59 Rehearsal Plan – Rehearsal #4 .......................................................................................... 60 CHAPTER 6 - Nobles of the Mystic Shrine .................................................................................. 61 iv Unit I. Composer ....................................................................................................................... 61 Unit II. Composition ................................................................................................................. 64 Unit III. Historical Perspective ................................................................................................
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