THE RENAISSANCE OF THE AMERICAN SYMPHONY FOR WIND BAND AS EXEMPLIFIED BY THE RECENT SYMPHONIES OF DONALD GRANTHAM, DAVID DZUBAY, JAMES STEPHENSON, AND KEVIN WALCZYK Jacqueline Kathryn Townsend, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Eugene Migliaro Corporon, Major Professor Donna Emmanuel, Committee Member Dennis Fisher, Committee Member Nicholas Enrico Williams, Interim Chair of the Division of Conducting and Ensembles Warren Henry, Interim Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Townsend, Jacqueline Kathryn. The Renaissance of the American Symphony for Wind Band as Exemplified by the Recent Symphonies of Donald Grantham, David Dzubay, James Stephenson, and Kevin Walczyk. Doctor of Musical Arts (Performance), May 2018, 65 pp., 1 table, 15 figures, bibliography, 43 titles. Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional understanding of the classical symphonic form and highlighting the resurgence of the form by wind band composers. For the purposes of this study, David Dzubay's Symphony No. 2: Through a Glass Darkly, James Stephenson's Symphony No. 2: Voices, Donald Grantham's Symphony No. 2: After Hafiz, and Kevin Walczyk's Symphony No. 4: Unforsaken are used to demonstrate how each composer writes in their own unique style using contemporary techniques, while still appearing to maintain traditional aspects of the symphonic form, whether consciously or subconsciously. For each of the four works, a structural analysis is conducted using a rubric of standard symphonic norms. Additionally, interviews were conducted with each composer, providing insight on their compositional process, the commissioning process, and their thoughts on the symphonic form for wind band. The responses each composer gave during their interviews is incorporated into the analysis of each work, allowing the composer's own voice to supplement the findings. Copyright 2018 by Jacqueline Kathryn Townsend ii ACKNOWLEDGEMENTS My sincerest gratitude goes to the composers whose works were the impetus for this study – Donald Grantham, David Dzubay, James Stephenson, and Kevin Walczyk. I am forever grateful and humbled by their encouraging words and their willingness to participate in this project. I am honored to have had the opportunity to work with each of them and highlight their incredible contributions to wind band literature. I would also like to thank my amazing committee members and teachers from the University of North Texas: Eugene Migliaro Corporon, for his unwavering support and guidance, in addition to all of the stimulating conversations to and from Lone Star Wind Orchestra rehearsals; Dennis Fisher, for all the faith he has had in me throughout my studies at UNT, as well as his uncanny ability to “tell it like it is” (whether I wanted to hear it or not); and Donna Emmanuel, for being the ultimate embodiment of strength through adversity, as well as teaching me how to appreciate the little things and embrace my individuality. I would also like to thank Nicholas Enrico Williams for his mentorship and many invaluable chats about music, teaching, and life in general. Thank you also to my fellow wind studies staff members – Vanessa, Kelly, Jack, and Heather – for all of your support throughout this process. Thank you especially to my best friend, Ben Blasko, who has helped me see the bright side of life every time. Thank you for the endless phone calls, Sunday dinners, trips to Loco Café, and inside jokes, as well as teaching me to not ever, for any reason do anything to anyone, for any reason, ever. No matter what, no matter where, or who you are with, or where you are going, or where you’ve been, ever. For any reason, whatsoever. Finally, thank you to my wonderful and supportive friends and family for always believing in me and helping me follow my dreams – I could not have done it without you. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF TABLES AND FIGURES.............................................................................................. vi CHAPTER 1. INTRODUCTION AND OVERVIEW ................................................................... 1 Significance and State of Research ..................................................................................... 4 Research Questions ............................................................................................................. 5 Method ................................................................................................................................ 6 CHAPTER 2. HISTORICAL CONSIDERATIONS: THE SYMPHONY AND THE WIND BAND ........................................................................................................................................... 11 CHAPTER 3. DONALD GRANTHAM – SYMPHONY NO. 2: AFTER HAFIZ ........................ 15 Donald Grantham Biography ............................................................................................ 15 Structural Analysis: Symphony No. 2: After Hafiz............................................................ 18 First Movement ..................................................................................................... 19 Second Movement ................................................................................................ 20 Third Movement ................................................................................................... 21 CHAPTER 4. DAVID DZUBAY – SYMPHONY NO. 2: THROUGH A GLASS, DARKLY ....... 24 David Dzubay Biography ................................................................................................. 24 Structural Analysis: Symphony No. 2, Through a Glass, Darkly ..................................... 26 First Movement ..................................................................................................... 28 Second Movement ................................................................................................ 29 Third Movement ................................................................................................... 31 CHAPTER 5. JAMES STEPHENSON – SYMPHONY NO. 2: VOICES ..................................... 34 James Stephenson Biography ........................................................................................... 34 Program Notes: Symphony No. 2: Voices ......................................................................... 34 Structural Analysis: Symphony No. 2: Voices................................................................... 35 First Movement ..................................................................................................... 37 Second Movement ................................................................................................ 39 Third Movement ................................................................................................... 41 iv CHAPTER 6. KEVIN WALCZYK – SYMPHONY NO. 4: UNFORSAKEN ............................... 44 Kevin Walczyk Biography ................................................................................................ 44 Program Notes: Symphony No. 4: Unforsaken ................................................................. 45 Structural Analysis: Symphony No. 4: Unforsaken........................................................... 46 Section 1................................................................................................................ 47 Section 3................................................................................................................ 48 Sections 2 and 4 .................................................................................................... 49 Section 5................................................................................................................ 50 CHAPTER 7. CONCLUSION...................................................................................................... 54 APPENDIX: PERFORMANCE TIMES OF AMERICAN SYMPHONIES FOR WIND BAND SINCE 1949 .................................................................................................................................. 59 BIBLIOGRAPHY ......................................................................................................................... 63 v LIST OF TABLES AND FIGURES Page Table Table 7.1: Comparison of each symphony against the rubric ....................................................... 55 Figures Figure 3.1: Symphony No. 2: After Hafiz, Movement 1 Diagram................................................. 19 Figure 3.2: Symphony No. 2: After Hafiz, Movement 2 Diagram................................................. 21 Figure 3.3: Symphony No. 2: After Hafiz, Movement 3 Diagram................................................