AN EXAMINATION OF CONTEMPORARY WORKS FOR THE WIND, PERCUSSION, AND BRASS ENSEMBLE: MOTOWN METAL BY MICHAEL DAUGHERTY, ANTIPHONIES BY STANLEY LEONARD, AND AFTER THE THUNDERER BY IRA HEARSHEN by TERESA C. PURCELL B.M, University of Texas at El Paso, 2007 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2011 Approved by: Major Professor Frank TracZ, Ph. D Copyright TERESA C. PURCELL 2011 Abstract This document is written in support of a conducting recital given in partial fulfillment of the Masters of Music Education with an Emphasis in Instrumental Conducting at Kansas State University. It encompasses the historical research, theoretical analysis, and rehearsal recommendations and considerations necessary to prepare the selected works for performance. The pieces analyzed are Michael Daughertys Motown Metal, Stanley Leonards Antiphonies, and Ira Hearshens second movement, “after the Thunderer” from Symphony on Themes of John Philip Sousa. I seek to highlight the significance of these works to the literature of their mediums, and show how they are valuable pieces of literature in the contemporary repertoire. In addition, I offer my philosophies on music learning and literature selection as a means to better understand the process entailed in laying the groundwork for successful authentic learning experiences for conductor and students. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................ vii Chapter 1 - Purpose Statement and Introduction ............................................................................ 1 Purpose Statement ....................................................................................................................... 1 Introduction ................................................................................................................................. 2 Performance Information ............................................................................................................ 3 Music Examined ......................................................................................................................... 3 Format of Analysis ...................................................................................................................... 4 Concert Program ......................................................................................................................... 8 Chapter 2 - Philosophy of Music Education ................................................................................. 19 Chapter 3 - Selecting Quality Literature ....................................................................................... 23 Chapter 4 - Motown Metal ............................................................................................................ 28 Unit 1: Composer ...................................................................................................................... 28 Unit 2: Composition .................................................................................................................. 30 Unit 3: Historical Perspective ................................................................................................... 31 Unit 4: Technical Considerations ............................................................................................. 32 Unit 5: Stylistic Considerations ................................................................................................ 33 Unit 6: Musical Elements ......................................................................................................... 34 Unit 7: Form and Structure ....................................................................................................... 39 Unit 8: Suggested Listening ...................................................................................................... 40 Unit 9: Seating Justification ...................................................................................................... 41 Unit 10: Rehearsal Plans ........................................................................................................... 42 Chapter 5 - Antiphonies ................................................................................................................ 52 Unit 1: Composer ...................................................................................................................... 52 Unit 2: Composition .................................................................................................................. 58 Unit 3: Historical Perspective ................................................................................................... 58 Unit 4: Technical Considerations ............................................................................................. 60 iv Unit 5: Stylistic Considerations ................................................................................................ 68 Unit 6: Musical Elements ......................................................................................................... 68 Unit 7: Form and Structure ....................................................................................................... 70 Unit 8: Suggested Listening ...................................................................................................... 70 Unit 9: Seating Justification ...................................................................................................... 71 Unit 10: Rehearsal Plans ........................................................................................................... 72 Chapter 6 - Symphony on Themes of John Philip Sousa after The Thunderer ......................... 82 Unit 1: Composer ...................................................................................................................... 82 Unit 2: Composition .................................................................................................................. 83 Unit 3: Historical Perspective ................................................................................................... 90 Unit 4: Technical Considerations ............................................................................................. 91 Unit 5: Stylistic Considerations ................................................................................................ 93 Unit 6: Musical Elements ......................................................................................................... 93 Unit 7: Form and Structure ....................................................................................................... 93 Unit 8: Suggested Listening ...................................................................................................... 95 Unit 9: Seating Justification ...................................................................................................... 96 Unit 10: Rehearsal Plans ........................................................................................................... 97 Conclusion .................................................................................................................................. 111 Bibliography ............................................................................................................................... 112 Appendix A - Score Analysis for Daughertys Motown Metal ................................................... 114 Appendix B - Score Analysis for Leonards “Antiphonies” ...................................................... 115 Appendix C - Score Analysis for Hearshens “after the Thunderer” ........................................ 116 Appendix D - Errata List for Hearshens after the Thunderer” ................................................ 117 v List of Figures Figure 1.1 Corporons Macro-Micro-Macro Diagram .................................................................... 7 Figure 4.1 Picture of Michael Daugherty ..................................................................................... 28 Figure 4.2 Motown Hit Singers Florence Ballard, Diana Ross, and Mary Wilson ...................... 32 Figure 4.3 Motown Metal, Tuba Ostinato ..................................................................................... 37 Figure 4.4 Motown Metal, Percussion Rhythm, m. 18-20 ............................................................ 38 Figure 4.5 Motown Metal, Percussion Rhythm, m. 91-94 ............................................................ 38 Figure 5.1 Picture of Stanley Leonard .......................................................................................... 52 Figure 5.2 Antiphonies, m. 53-62 ................................................................................................. 61 Figure 5.3 Antiphonies, m. 25-28 .................................................................................................. 65 Figure 5.4 Antiphonies, m. 38-39, 5/8 Time Signature ................................................................ 66 Figure 5.5 Antiphonies, m. 53, 13/8 Time Signature .................................................................... 66 Figure 5.6 Antiphonies, Conducting