INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 North! Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9130640 The influence of Leonard B. Smith on the heritage of the band in the United States Polce, Vincent John, Ph.D. The Ohio State University, 1991 Copyright ©1991 by Poke, Vincent John. All rights reserved. UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 THE INFLUENCE OF LEONARD B. SMITH ON THE HERITAGE OF THE BAND IN THE UNITED STATES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Vincent Polce, B.M.E., M.M.E *** The Ohio State University 1991 Dissertation Committee: Approved By Dr. Peter Costanza Dr. Jon Woods Adviser Professor Craig Kirchhoff School of Muè Copyright by Vincent John Polce 1991 Dedication To my mother and father George and Lena Polce 11 ACKNOWLEDGMENTS This author would like to acknowledge those individuals who participated directly or indirectly in the completion of this project. It was indeed a labor of love. To my parents for their continued love and encouragement in all my musical studies. To Leonard B. Smith for his time, patience, and co-operation I extend my most sincere gratitude. His countless hours of dialogue and interest in the project was essential toward its completion. He provided without hesitation the necessary memorabilia from his wonderful career, and he was always available for consultation and advice. He is indeed a gentleman and one who holds my highest admiration. To Paul Bierley for his interest and encouragement as well as providing the many scores, books, and data pertinent to the study. Serving as a catalyst, he was a major influence. To all my past teachers, especially my father, Lou Marini, David Glasmire and Mark Kelly. True musicians and true gentlemen all. To Sue Bowling, thanks is extended for her computer, editorial and technical assis­ tance. Her many hours of formating and typesetting was critical. To the Defiance High School Band of 1991, especially the senior class. To Ruth Ann Weaver for her proofreading skills. To Dr. Robert Wendt for his insights. Thanks to my advisor. Dr. Peter Costanza and the reading committee of Dr. Jon Woods and Professor Craig Kirchhoff for their suggestions and assistance. Their interest and support was much appreciated. Finally, to Dr. Frank Tracz my heartfelt thanks and appreciation. It is difficult to express my genuine gratitude to him. His unfailing friendship and support has made the completion of this task possible. I consider myself fortunate to have him as a true friend. So, to both Wally II and Geralyn, I say thank you and I'll meet you at Rax. iii VITA Septembei 14,1944 Bom, Dover, Ohio 1966 B.M.E., Bowling Green State University, Bowling Green, Ohio 1970 M.M.E., Vandercook College of Music, Chicago, Illinois 1966-1967 Director of Bands Grand Rapids High School, Grand Rapids, Ohio 1968-1984 Director of Bands, Defiance High School, Defiance, Ohio 1985-86 Graduate Assistant School of Music, Ohio State Uni­ versity, Columbus, Ohio 1986-1991 Director of Bands Defiance High School, Defiance, Ohio FIELDS OF STUDY Major Field: Music Education Studies in Conducting, Professor Craig Kirchhoff Studies in Marching Band, Dr. Jon R. Woods Studies in Trombone Performance, Professor Joseph Duchi IV TABLE OF CONTENTS ACKNOWLEDGMENTS................................................................................................... üi VITA ...................................................................................................................................iv LIST OF PLATES...................................................................................... - .....................vüi LIST OF FIGURES..............................................................................................................xi LIST OF TABLES..............................................................................................................xvi CHAPTER PAGE I INTRODUCTION...............................................................................................1 Need for the Study .................................................................................. 1 Purpose................................................................................................... 2 Questions................................................................................................ 2 Assumptions........................................................................................... 3 Definitions.............................................................................................. 3 Limitations.............................................................................................. 3 n. METHODOLOGY.......................... 4 Materials and Procedures ....................................................................... 5 Chronological Questionaire ................................................................... 6 Leonard B. Smith’s Early Training .......................................................6 Leonard B. Smith’s Association with The Goldman Band, The Detroit Symphony, The United States Navy Band ............ 7 Leonard B. Smith’s Role as an Educator .............................................. 8 The Detroit Concert Band ...................................................................... 8 Philosophical Considerations ................................................................. 9 Part II 11 III. Leonard Smith’s Eaiiy Life and Musical Training 1915-1935 ....................... 11 IV. Leonard Smith’s Career as a Cornet Virtouso with the Goldman Band, Tiie Navy Band and The Detroit Symphony -1936-1945 .......................................................................32 V. Leonard Smith: The Cornet Virtuoso ...............................................................46 VI. Leonard Smith: The Composer and Arranger ..................................................57 Partin 80 ■ VII THE PROFESSIONAL BANDS OF LEONARD SMITH THE EVOLUTION OF THE DETROIT CONCERT BAND -1946 THE BEGINNING......................................................................................... 80 VIII. MANAGEMENT/FINANCING/PUBLIC RELATIONS/ PERSONNEL/EQUIPMENT....................................................................... 101 IX. THE BAND LIBRARY.................................................................................. 111 X. SEATING/INSTRUMENTATION/PROGRAMMING/ CONDUCTING................................ 115 XI. THE BLOSSOM BAND................................................................................ 134 Xn. THE RECORDINGS OF THE DETROIT CONCERT BAND AND THE NEED FOR DOCUMENTATION............................................142 Xni. THE DETROIT CONCERT BAND: PERFORMANCES AND IMPACT.................................................................. 157 XIV. PHILOSOPHICAL CONSIDERATIONS TOWARD PUBLIC SCHOOL MUSIC EDUCATION/TOWARD THE COLLEGE AND UNIVERSITY BAND/TOWARD THE DETROIT CONCERT BAND PRESENT AND FUTURE/TOWARD HIS OWN LEGACY 168 General Conclusions......................................................................... 177 VI APPENDICES A. Autographed Photos and Programs-Memorabilia .......................180 B. Fraternal Affiliations and Awards ................................................189 G. Photographs of Early Bands and Bandmasters of influence on Leonard B. Smith ......................................................................... 191 D. Photographs of Variety of Performances of the Detroit Concert Band, Leonard B. Smith and Personnel 201 E. Discography of the Detroit Concert Band ...................................212 F. Time Line of Leonard B. Smith .................................................. 225 LIST OF REFERENCES.............................................................: .................................. 227 Vll LIST OF PLATES PLATE PAGE I. Leonard B. Smith .............................................................................Frontispiece n. The Poughkeepsie School Band -1927 under the direction of Frank Scofield. Even then, the band traveled to the football games