An Examination Of The Band Works Nominated For The Grawemeyer Award for Music Composition And Factors Influencing The Likelihood A Band Work Will Win The Grawemeyer Award D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Nicholas James Enz, M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Dr. Russel C. Mikkelson, Advisor Dr. Scott A. Jones Dr. Daryl W. Kinney Dr. Robert J. Ward 1 Copyright by Nicholas James Enz 2015 i ABSTRACT A common way many fields or disciplines recognize outstanding work is with competitions and awards. Recognized as one of the premiere prizes for composition, the Grawemeyer Award, since its inception in 1985, has never been awarded to a composition for band. Given that eminent composers such as Steven Stucky, John Corigliano, and Michael Colgrass have written for band, it begs the question, why has a band piece never won? The purpose of this study was to identify factors and barriers influencing the likelihood that a composition for band may win a Grawemeyer Award. Using both qualitative and quantitative methodologies, the following research questions guided this study: (1) What pieces for band have been nominated for the Grawemeyer Award? (2) Is the lack of awards for band pieces due to a disparity in nominations? (3) Are the best works for band being nominated for the Grawemeyer Award? (4) Are there operational aspects of the Grawemeyer Award that may favor certain mediums over others? This study identified all band pieces that had been nominated for the Grawemeyer Award from 1985 through 2015. This list was then compared to three datasets to assess whether the best works for band had been nominated for the award: (1) pieces identified in the Ostling (1978), Gilbert (1993), and Towner (2011) as having “serious artistic merit,” (2) pieces that have won major band composition awards, and (3) band pieces by ii eminent composers that are popular, prolific, and in demand in other mediums. Data from the League of American Orchestras were used to determine composers of eminence. To examine the operations of the Grawemeyer Award, the study utilized a survey of all individuals that have served as a juror since 2005. This study also utilized a one-on- one phone interview with Dr. Marc Satterwhite, Chair of the Grawemeyer Award for Music Composition. This interview was recorded and transcribed. As a way to examine the wider music community’s perception of the band medium, a survey of professional orchestral conductors was used to determine their attitudes regarding programming pieces with nontraditional instrumentation. Findings suggest that there are two reasons why a band composition has never won a Grawemeyer Award: (1) few band works are being nominated and (2) the vast majority band works that are being nominated do not represent the best compositions for the band medium. Additionally, there is no evidence to suggest any aspect of the Grawemeyer Award’s operational process favors one medium over another. iii DEDICATION To Lisa iv ACKNOWLEDGEMENTS James Procell, Interim Director at the Dwight Anderson Music Library at the University of Louisville, and Matthew Ertz, Music Cataloger at the Dwight Anderson Music Library at the University of Louisville, for all of assistance they provided in this project. Without them, this project would not have been possible. Marc Satterwhite, Director of the Grawemeyer Award for Music Composition, for taking his time for an interview. Sean Ferguson, Assistant Librarian and Metadata/Technical Services at the Music/Dance Library at The Ohio State University for his help in tracking down hard to find sources and translating electronic library search procedures into prose. Bret, Michelle, and Miles Wazny for hosting me while I was conducting research in Louisville. I would like to thank the members of my committee, Russel Mikkelson, Scott Jones, Daryl Kinney, and Robert Ward, for their assistance and encouragement in not only this project, but throughout my time at Ohio State. I would like to acknowledge Phil Day for his support and suggestions throughout this project. Scott Jones for his endless support and guidance in helping me become a better teacher, conductor, and person. I would especially like to thank my advisor, Russel Mikkelson, for the lasting impact he has made in my life—musically and beyond. He is selfless in is teaching and music making. I am forever indebted to him for the unwavering support and mentorship he provided me. v VITA 2003 ................................................... Bachelor of Arts in Music Education, Bethel College 2004-2012 ...................................... Director of Bands, Michigan Technological University 2004-2012 ............................................. Director of Jazz Band, Keweenaw Area Jazz Band 2011 ..................................... Master of Music in Conducting, Central Michigan University 2012-present ............................ Doctoral Conducting Associate, The Ohio State University Publications Enz, Nicholas J. “Teaching Music to the Non-Major: A Review of the Literature.” UPDATE: Applications of Research in Music Education 32, no. 1 (November 1, 2013): 34–42. Fields Of Study Major Field: Music Studies in Conducting: Professors Russel Mikkelson, Scott Jones, Robert Ward, Marshall Haddock vi TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii DEDICATION ................................................................................................................... iv ACKNOWLEDGEMENTS ................................................................................................ v VITA .................................................................................................................................. vi TABLE OF CONTENTS .................................................................................................. vii LIST OF FIGURES ........................................................................................................... ix DEFINITIONS ................................................................................................................... xi CHAPTER 1: Introduction, Purpose, and Background ...................................................... 1 Introduction ................................................................................................................................. 1 Statement of the Problem ............................................................................................................ 3 Purpose of Study .......................................................................................................................... 3 Need for the Study ....................................................................................................................... 4 Background and Review of Literature ......................................................................................... 7 A Brief History and Current State of Band Repertoire ........................................................... 7 The Best Works for Band ...................................................................................................... 13 Music Composition Awards .................................................................................................. 18 Overview of Remaining Chapters ............................................................................................. 23 Scope and Limitations ............................................................................................................... 24 CHAPTER 2: Identification of the Band Works Nominated for the Grawemeyer Award and an Examination of the Nominating Parties ................................................................ 25 The Nomination Process ............................................................................................................ 25 Procedures ................................................................................................................................. 26 The Band Pieces Nominated for the Grawemeyer Award ........................................................ 29 Band Pieces Nominated Relative to Other Mediums ................................................................ 33 Who is Serving as the Nominator? ............................................................................................ 34 Who is Nominating Pieces for the Grawemeyer Award in Other Mediums and How Does This Compare to Those Doing the Nominating for Band Pieces? ..................................................... 38 CHAPTER 3: Are the Best Works for Band Being Nominated? ..................................... 40 Procedures ................................................................................................................................. 41 Are works the band community has identified as having “serious artistic merit” being nominated? ................................................................................................................................. 43 Are works that have won major band composition awards being nominated? ......................... 46 The Ostwald Award .............................................................................................................. 46 The National Band Association William D. Revelli Memorial Band Composition